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DUX presents here the six Bach's suites for harpsichord, called "French Suites", in a new beautiful interpretation.
This series of works, highly appreciated by experts and music lovers, has survived to our times in numerous copies prepared by the students and epigones of the Master from Leipzig. He himself probably did not even plan to create such a cycle, nor did he use its current name. These works were initially to serve as a study of the genre to improve the artistic taste and the harpsichord performance, among others, of the second wife of the composer – Anna Magdalena Bach. The French performance style, which became popular in this part of Europe in the time of Bach, was well-known to the composer thanks to his extensive musical contacts. The form of suite, consisting of a series of stylized court dances, perfectly suited the harpsichord texture, and the result were artistic and at the same time light compositions, corresponding to the tastes of both 17th-century connoisseurs and today’s lovers of beautiful music.

DUX presents here the six Bach's suites for harpsichord, called "French Suites", in a new beautiful interpretation.

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"If you want to speak French, you must be prepared to think French as well as to speak it."

A versatile musician and music producer. Alessandro's preference for board instruments was clear when as a child he began to play as a self-taught pianist.

The six French Suites, BWV 812–817 were written for the clavier (harpsichord or clavichord) by Johann Sebastian Bach between 1722 and 1725. They were later given the name "French" by Bach's biographer J.N. Forkel, who wrote that "one usually calls them French Suites because they are written in the French manner" - despite the fact that only a few of the movements are in the French style (the courantes of the first and third suites, for example). Bach employed dance movements that are foreign to the French manner, such as the Polonaise of the Sixth suite.