| Summary: | The French Overture, BWV 831, is rarely performed, being one of the most misunderstood
keyboard works by J. S. Bach. Pianists' frequent criticism arises because the work fails to be measured in
the same flamboyant and virtuosic style of the Partitas. It is often discarded for being too long and
containing too many simplistic dances. However, J. S. Bach did not intend for this work to continue the
compositional ideas from Clavierübung I, but rather to present an idiomatic keyboard version of the
orchestral overture suite in the French manner. This genre came into being in Germanic lands at the
beginning of the XVIIIth-century. In many movements from BWV 831, Bach presented the most salient
characteristics of French style, with which he was familiar from his early teenage years in Luneburg.
During the XXth-century, an explosive amount of research was devoted to the performance
practice issues of early music. The existence of an earlier C minor version of the French Overture, BWV
831a, has been a particularly important puzzle piece in the controversial issue of over-dotting. Through
an examination of contemporary treatises, current scholarly articles and comparative score reading, many
suggestions regarding meter, tempo, phrasing, articulation, dynamics and affect are presented in this
paper in general discussion; specific application to the particular problems within the movements of BWV
831 are also presented herein. The fact that this suite is often performed on the modern piano should not
obstruct performers from seeking the most appropriate, historically informed interpretation. Furthermore,
since the modern instrument is fully capable of presenting the core gestures of the style, the ideas within
this discussion may contribute to a more enriching, meaningful performance of this work and like others.
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