Utwory na płycie:

• Suite III B minor - III. Ouverture
• Suite III B minor - III. Allemande
• Suite III B minor - III. Courante
• Suite III B minor - III. Sarabande grave
• Suite III B minor - III. Gavotte
• Suite III B minor - III. Menuet sérieux
• Suite III B minor - III. Gigue
• Suite II D major - II. Ouverture
• Suite II D major - II. Allemande
• Suite II D major - II. Courante
• Suite II D major - II. Sarabande
• Suite II D major - II. Gavotte
• Suite II D major - II. Menuet
• Suite II D major - II. Passepied
• Suite II D major - II. Gigue
• Suite II D major - I. Ouverture
• Suite I A major - I. Allemande
• Suite I A major - I. Courante
• Suite I A major - I. Sarabande
• Suite I A major - I. Gavotte
• Suite I A major - I. Menuet
• Suite I A major - I. Gigue
• Suite IV E minor - IV. Ouverture
• Suite IV E minor - IV. Allemande
• Suite IV E minor - IV. Courante
• Suite IV E minor - IV. Sarabande
• Suite IV E minor - IV. Gavotte
• Suite IV E minor - IV. Gavotte - Double (early)
• Suite IV E minor - IV. Menuet (early)
• Suite IV E minor - IV. Menuet
• Suite IV E minor - IV. Gigue
• Suite V F major - V. Ouverture
• Suite V F major - V. Allemande
• Suite V F major - V. Courante
• Suite V F major - V. Sarabande
• Suite V F major - V. Gavotte
• Suite V F major - V. Menuet en Rondeau
• Suite V F major - V. Gigue
• Suite VI F minor - VI. Ouverture
• Suite VI F minor - VI. Allemande
• Suite VI F minor - VI. Courante
• Suite VI F minor - VI. Sarabande
• Suite VI F minor - VI. Gavotte
• Suite VI F minor - VI. Menuet sérieux (early)
• Suite VI F minor - VI. Menuet
• Suite VI F minor - VI. Gigue
• Suite VII D major - VII. Ouverture
• Suite VII D major - VII. Allemande
• Suite VII D major - VII. Sarabande
• Suite VII D major - VII. Gavotte
• Suite VIII D minor - VIII. Loure
• Suite VIII D minor - VIII. Passepied
• Suite VIII D minor - VIII. Bourée en Rondeau

Suite III B minor
Suite II D major
Suite I A major
Suite IV E minor
Suite V F major
Suite VI F minor
Suite 'VII' D minor
Suite 'VIII' D minor

Bach model Dieupart completely redefined: Bob van Asperen dispels false facts in Dieupart?s biography and does away with inadequate editions of music. After intensive research, he presents for the first time sensational evidence about the life of Dieupart, who did not die impoverished in London, as previously assumed, but rather enjoyed a peaceful retirement in France. Even more important are the insights about the genesis of the original scores and the conclusions Bob van Asperen draws from them with regard to a proper performance of the works.

J.S. Bach was obviously an admirer, quoted an exceptional amount from the suites in a number of his own works, and wrote out copies of them himself unequivocal proof of the quality of this music, which can possibly now be heard for the first time on a recording as it was originally conceived.

Also to be heard, in addition to the well-known cycle of six suites, are two newly discovered works. In the very extensive booklet text, the world-famous harpsichordist himself elucidates the biography and work of the important Frenchman.