Here for your delectation is the SPECTACULAR & RARE----------------BACH: FRENCH SUITES 1, 2, AND 3 LP /FERNANDO VALENTI, HARPSICHORD

The French Suites, 812–817, are six which wrote for the ( or ) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier

The suites were later given the name 'French' (first recorded usage by in 1762). Likewise, the received a later appellation. The name was popularised by Bach's biographer , who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polanaise of the Sixth suite) that are foreign to the French manner. Normally, the swift second movement after the Allemande is usually named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which adds to the suggestiveness that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably lead to the tradition of calling them "French" Suites.

Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The , BWV 831, which Bach published as the second part of , is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, and which are probably spurious.

Fernando Valenti (New York, New York, 4 December 1926 - Red Bank, New Jersey, 6 September 1990) was an American harpsichordist. After studying with and and débuting in 1950, he recorded extensively, especially in the 1950s, and taught for forty years until his death. One of his most-noted students was . His recordings of Bach were highly regarded, and he was regularly mentioned in the pages of by .

NOT TO BE MISSED!! 

FABULOUS COLLECTIBLE!!

HIGHLY RECOMMENDED!!!

This is the WESTMINSTER XWN 18157 MONO LP FROM 1964. The cover has a seam split on the bottom. The record shows a scratch on Side 1 under normal light. Check my feedback to see that I sell exactly as I describe. So bid now for this magnificent, impossible-to-find CLASSICAL MUSIC COLLECTIBLE.

 

 

 

 

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040113

**A NOTE TO PROSPECTIVE RECORD BUYERS** Despite my attempt to keep my ads informative, yet as simple and uncomplicated as possible, I have realized that record purchasers are another “breed” entirely. As a result, I am deluged with questions both bizarre, and occasionally frivolous. I have even received a “warning” prior to shipment to a winning bidder telling me exactly what he expected----or else! I therefore find it necessary to include this explanation of what to expect from me should you choose to buy this or any of my other listed records. To begin, all of these records come from my personal collection. I bought most of them in the 1960’s in new condition—although some came from close-out bins or a nearby radio station. Almost every one has been played only once or twice (except the radio copies) (it is a huge collection—how many times could I listen to them?!) Being a collector, I also took extremely good care of them. On the other hand, I was, and am, completely UNKNOWLEDGEABLE about details that “real” collectors have. To begin with, the term “excellent” describes the fact that I looked at the record under a normal lamp light and did not see obvious flaws. If I notice a scratch, I will mention it. I also will say a cover is “perfect” unless I see obvious tears or major stains. I say “original” because most were purchased 50-odd years ago and I want to distinguish them from newer releases---on the other hand, I have no knowledge of dates of pressings. And now, to the most important part---I have noticed other record sellers posting huge disclaimers discussing the scurrilous practices of some buyers, such as “switching” records that they purchase for others of the same title that they already own that are in considerably worse condition. Or, purchasing a record, and trying to negotiate a lower price after receipt of the merchandise with a threat of negative feedback. I am also sure that there are less-than-honest sellers out there. My position is simply this---my positive feedback speaks for itself----I try to sell exactly what I describe---within the parameters of my own knowledge. If my ad does not include information you require, please ask before you buy and I will try to answer promptly and to the best of my ability. If I cannot—don’t buy! Also, always understand that you are purchasing a used record---records are known to have clicks, pops, distortions, even occasional slight warping. They had these flaws when I purchased them. If it did not affect their play, I was not concerned. I was listening to the music. If you are expecting perfect sound----buy the CD! I even stupidly accepted return of a record that I was told was not an original, only to re-sell it to a collector who said it certainly was an original. I presume the original buyer recorded it, since it was not available on CD. Those days are over for me. If you buy it, you own it. Everything I mail is sent wrapped in bubble pack and special (expensive) record mailers. I aim to please---as my feedback shows---but if you want to see or hear your record before buying, please go to a record store---not ebay. I apologize for having to write this----but I thank you for reading it.