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The so-called French Suites are actually no more French stylistically than either of Bach's other sets of keyboard suites, the English Suites and the Partitas. They are a fascinating mixture of movements of differing national styles, primarily French and Italian, lacking an introductory movement such as a prelude and conceived for performers without the virtuoso technique demanded in particular by the Partitas.In the sleeve note for his 1961 recording on L'Oiseau-Lyre, reprinted for this newly remastered reissue, Thurston Dart argues persuasively for the use of what was supposed to have been Bach's favourite keyboard instrument, the clavichord. Softer in volume, the intimate clavichord also allows for more dynamic variation than the harpsichord, as well as subtleties of tone.

It was Georg Böhm who introduced Bach to French harpsichord music and the appropriate manner of playing. Thanks to Böhm’s introduction, Bach, the German harpsichordist, was able to perform French dance music of the era of Louis XIV at gatherings of the nobility, thus becoming familiar with the music of his French contemporaries such as François Couperin, Jean-Philippe Rameau and Louis Marchand. Among the harpsichord pieces which Bach composed in the French style, besides many separate suites, are the English and French Suites (both completed as series in Cöthen and Leipzig in 1718-1725), and the Six Partitas. Bach included in the French Suites the customary sequence of allemande, courante, sarabande and gigue, with additional short movements between the sarabande and gigue. The dances are based on French models, but have no preludes and are generally of a more modest scale, both less stylized and less demanding technically.Played by one of the foremost keyboard players of today, Wolfgang Rübsam, on the Lute Harpsichord.

Liliana Stawarz presents a program of Bach’s French Suites. Liliana graduated in 1988 from the Fryderyk Chopin Academy of Music in Warsaw (the harpsichord class of Wladyslaw Klosiewicz). Two years later she gained a diploma from the Conservatoire à Rayonnement Régional de Rueil-Malmaison, where she studied with Huguette Dreyfus.
In 2012–2016 she served as Deputy Dean of the Department of Instrumental Studies and Musical Education and as a coordinator of the Concert Bureau at the Bialystok branch of the Fryderyk Chopin University of Music in Warsaw. She is currently a Professor at the Fryderyk Chopin University of Music and Head of its Interdepartmental Faculty of Early Music. For twenty years she was a member of the Il Tempo Early Music Ensemble which focused on instrumental and vocal-instrumental music from early Baroque to the Classical period.