Piece 1 (800-1600)

Composer: Clément Janequin (1485-1558)

Tittle: La Gurre (1528)

Original text and English translation:

https://smartandsoulfulmusic.wordpress.com/2016/05/26/thems-fightin-words-
day-4-the-battle-by-clement-janequin/

Part I Part I

Escoutez, tous gentilz Galloys, Listen, all you gallant noblemen,

La victoire du noble roy Françoys. To the victory of the noble King

Francois.
Et orrez, si bien escoutez,
And you shall hear, if you listen well,
Des coups ruez de tous costez.
Clouts hurled from every side.
Phiffres soufflez, frappez tambours.
Fifes, blow; strike, drummers;
Tournez, virez, faictes vos tours.
Turn, spin, make your turns.
Avanturiers, bon compagnons
Soldiers, good comrades,
Ensemble croisez vos bastons.
together cross your batons [ready your
Bendez soudain, gentilz Gascons. guns?]
Band together quickly, noble Gascons.
Nobles, sautez dens les arçons.
Noblemen, jump in your saddles,
La lance au poing, hardiz et promptz
Comme lyons The lance in your fist, daring and swift
Like lions!
Haquebutiers, faictes voz sons !
Harquebusiers [heavy-portable-gun-
Armes bouclez, frisques mignons. ners], make your sounds.
Buckle your arms, elegant minions.
Donnez dedans ! Frappez dedans !
Strike them, hit them
Alarme, alarme !
Alarm! alarm!
Soyez hardiz, en joye mis.
Be daring, be joyful
Chascun s’asaisonne.
Let everyone spruce up. (make yourself
La fleur de lys, Fleur de hault pris, nice)
Y est en personne. The fleur de lis, Flower of high prize,
Is here in person [King François]
Suivez Françoys, Le roy Françoys.
Follow François, The King, François.
Suivez la couronne.
Follow the crown.
Sonnez, trompetttes et clarons,
Let trumpets & clarions resound
Pour resjouyr les compagnons,
to delight our comrades,
Les cons, les cons, les compagnons.
Our com-, our com-, our comrades.

Part II
Part II
Fan fan, fre re le le lan fan feyne. Fa ri
ra ri ra. Fan fan, fre re le le lan fan. Fa ri ra ri ra.
A l’estandart tost avant.
Quickly rally to the colors/flag
Boutez selle, gens d’armes à cheval.
Into the saddle, men at arms
Fre re le le lan fan feyne
Fre re le le lan fan [etc.]
Bruyez, tonnez bombardes et canons.
Roar & thunder, bombards and cannons.
Tonnez, gros courtaux et faulcons,
Thunder, burly courtauds (non-battle
Pour secourir les compaignons, horses) and falcons,
To help our comrades,
Les cons, les cons, les compagnons.
Our com-, our com-, our comrades.
Von, von, pa ti pa toc, von, von.
Von von, pa ti pa toc [clippety-clop]
Ta ri ra ri ra ri ra reyne
Ta ri ra [etc.]
Pon pon pon pon
Pon, pon [etc.]
La la la … poin poin … la ri le ron
la la la … poin poin … la ri le ron
France courage, courage.
France, have courage.
 Donnez des horions.
Deal your blows
Chipe, chope, torche, lorgne.
Squeeze them, catch them, wipe them
pa ti pa toc, tricque trac, zin zin out, stare them down.
Pa ti pa toc [etc.]
Tue! à mort: serre.
Kill them, put them death,
Courage, prenez, frapez, tuez.
Courage, take, strike, kill them.
Gentilz gallans, soyez vaillans.
Be valiant, you noble, brave men.
Frapez dessus, ruez dessus
Strike them down, hurl yourselves at
Fers émoluz, chiques dessus. Alarme, them.
alarme! Freshly cast blades, stab them. Alarm,
alarm!
Courage prenez, après suyvez, frapez,
ruez. Take courage, pursue, strike, hurl.
Ils sont confuz, ils sont perduz.
They’re muddled, they’re lost.
Ils monstrent les talons.
They’re showing their heels.
Escampe toute frelore la tintelore.
Let all the weaklings flee the field,
Ilz son deffaictz. armor tinkling.
They are defeated.
Victoire au noble roy Françoys.
Victory to the noble King Francois!
Escampe toute frelore bigot.
Let all the feeble troublemakers flee the
field.

Essay:

Clément Janequin's La Gurre, one of the representative pieces of the Parisian chanson

genre of the Mid-late Renaissance, is in my opinion a very good exception to this

genre. Parisian chanson is more courtly, musically more simple and more

homophonic, as in the case of Claudin de Sermisy's Tant que vivray, a very expressive
piece. La Gurre, however, is more aggressive in style, and in a way “abandons” these

characteristics that are unique to Parisian chanson.

This is a Parisian chanson that describes the course of a war that was ultimately won,

as the title of the chanson, La Gurre, suggests. Who were the warring parties in this

war? There is no direct historical evidence for this question, but a simple logical

inference can be made that this is a description of the famous Battle of Marignano.

If we read the lyrics of the text carefully, we will find several occurrences of the

words, for example, at the beginning of part 1 of the piece, measure 10-14, “La

victoire du noble roy Françoys.” meaning to the victory of the noble King Francois.

Although the lyrics mention King Francois's opponents several times, they do not

once specify the names of the opponents, as in measure 120-121 of part 2, “Ils

montrent les talons. By logical inference, we know that François I came to the throne

in 1515, and this work was first published in 1528 by Attaingnant, a famous French

publisher at the time, so it must be that the war depicted in this work took place in the

period between 1515 and 1528. Unfortunately, the Battle of Marignano was the only

victory of François I during his 32-year reign, and it was Venice and France that won

against the Duchy of Milan and the Old Swiss Confederacy.

The reason why Janequin chose to publish this work thirteen years after the Battle of

Marignano is not known; Janequin, at that time, he was made curé of St Michel de
Rieufret, a position he had held since 1526, but the shortage of money was a recurring

problem throughout his life. this seems to be the only description of him from this

period that can be found.1

Structurally, La Gurre differs considerably from the typical Parisian Chanson example

Tant que vivray in that La Gurre is not strophic. the piece is formally divided into two

parts, part 1 and part 2, with part 1 describing the scene from the departure of the

French soldiers until they go into battle, and part 2 describing the scene on both sides

of the engagement. This piece is a through composed example, adapting to the

changing needs of the plot and scene. But it is worth noting how Janequin avoids the

lack of hierarchy that would result from long lyrics, and it is Janequin's transcendent

use of meter change in each part that separates the music into small sections in one

piece, Giovanni Gabrieli's In ecclesiis, but this is a 1615 example. An example of this

point, in part 1, measure 43, the meter change from quadruple to triple, the lyrics

before the meter change from quadruple to triple.

triple, the lyrics before are depicting soldiers preparing for battle, “Phiffres soufflez,

frappez tambours. Tournez, virez, faites vos tours.” The lyrics after measure 43 are

like cheering and encouragement for the soldiers, “Avanturiers, bons compagnons...La

lance au poing, hardis et promptz Comme lions...” This section continues until the end

of measure 76. It goes without saying that a meter change is necessary here, if we

compare the feeling of the quadruple meter, the triple meter is more moving, less

1
Brown, Howard Mayer, and Richard Freedman. "Janequin, Clément." Grove Music
Online. 2001; Accessed 9 Dec. 2024.
https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.00
01/omo-9781561592630-e-0000014127.
tension, more suitable for powerful emotional expression.

From Harmony's point of view, it is simple from hearing, just like classical Parisian

chanson, which always has a nice cadence at the end of the phrase. However, from the

polyphony point of view, in general, Parisian chanson is known for its homophonic

and simple style. The use of mass of imitations in this example is relatively special for

the style of Parisian chanson. It reminds me about the Ars perfecta style of the Ave

Maria... virgo Serena of Josquin. Like the beginning of Ave Maria, the beginning of

La Gurre's measure is also a “perfecta” style. Like the beginning of Ave Maria, the

starting measure of La Gurre is also an imitation that brings the four voices in turn;

there is also the use of paired imitation in La Gurre, like in measure 43-52, where

superius and contra tenor make the first group of paired imitation, then, tenor and bass

follow as the first group of paired imitation, and then, tenor and bass follow as the

first group of paired imitation. then, tenor and bass follow as the second group.

Another point that should be mentioned in La Gurre is the use of sound imitation.

Their use is concentrated in Part 2, where they are used to vividly portray the sounds

of war conflicts. the biggest example starts from the measure 60-97.

[French]

Von, von, pa ti pa toc, von, von.

Ta ri ra ri ra ri ra ri ra reyne

Pon pon pon pon pon

La la la ... poin poin ... la ri le ron

It is very interesting, because from the audience aspect, we seem really can hear

weapons striking each other, and Janequin uses a lot of imitation to create this effect

in this section. In the actual performance, from measure 63, there is a huge

accelerando start, pushing the emotion and speed to never-before-reached heights.

measure 93-97 tenor repeatedly shouts “France! France!” is leading to a powerful

ending for this section.

Essay in origin Chinese version (translate by DeepL,

https://www.deepl.com)

Clément Janequin 的 La Gurre, 是 Mid-late Renaissance 时期 Parisian chanson 这个流派

的代表作之一，在我看来，这也是一个非常好的这个流派的例外。通常来说，Parisian chanson 通常都 more courtly， 音乐
上来说也 more simple 和 more homophonic style，比如说 Claudin de Sermisy 的 Tant que
vivray，一首非常 expressive 的作品。但 La Gurre， 风格上更加的 aggressive，并从某种程度来说“放弃了”这些属
于 Parisian chanson 独有的特征。

这是一首描述最终获胜的战争过程的 Parisian Chanson，这一点从这首 chanson 的标题 La gurre 的释义便可看出。而

这场战争的交战双方究竟是谁？这个问题没有直接的历史材料能够证明，但是通过一个 simple 的逻辑推断也可以证明这是描述著名的
Battle of Marignano。

假如我们仔细阅读文本的歌词，我们会发现出现了多次例如乐曲 part 1 的开头，measure10-14 这样的歌词，“La victoire

du noble roy Françoys.”意为 To the victory of the noble King Francois. 虽然歌词提到多次
King Francois 的对手，却没有一次明确对手的名字，例如 part 2 的 measure 120-121，“Ils montrent
les talons.”意为 They’re showing their heels. 根据逻辑推断，我们知道弗朗索瓦一世是 1515 年即位的，而这
首作品于 1528 年，由当时法国著名的出版商 Attaingnant 首次出版这个作品，所以想必这首作品中所描述的战争发生在 1515-
1528 年之间。Unfortunately，Battle of Marignano 是弗朗索瓦一世在其 32 年执政期间唯一的胜利，由此可见是
威尼斯和法国打赢了米兰公国和旧瑞士邦联。

Janequin 选 择 在 Battle of Marignano 发 生 的 13 年 之 后 发 表 这 个 作 品 的 原 因 ， 我 们 无 从 得 知 ， 当 时 的

Janequin，he was made curé of St Michel de Rieufret ，他从 1526 年开始拥有这个职位，但
shortage of money was a recurring problem throughout his life。这似乎是目前可找到的唯一
关于他在这个时期的描述。（引用 groove）
从结构上来说，La Gurre 与典型的 Parisian Chanson 例子 Tant que vivray 有很大的不同在于，La Gurre
is not strophic。全曲从形式上分成了 part 1 和 part 2 两个部分，part 1 描述了从法国士兵从出发到上战场前的场景，
而 part 2 描写了交战双方在战场上的厮杀场景。This piece is a through composed example, 顺应了剧情
和场景的变化的需要。但值得一提的是，Janequin 如何规避掉了因为歌词太长的无层次感，是 Janequin 在每个 part 中超越时代的
meter change 运用，to separate music into small sections。在音乐史学习中，我们第一次注意到
meter change in one piece，是 Giovanni Gabrieli 的 In ecclesiis, but 这是一个 1615 年的例
子 了 。 a example of this point, in part 1, measure 43, the meter change from
quadruple to triple ， the lyrics before 是 描 绘 士 兵 们 准 备 打 仗 的 动 作 的 ， “ Phiffres soufflez,
frappez tambours. Tournez, virez, faites vos tours.” 而 measure 43 之后的歌词就像是在为士
兵们加 cheering and encouragement ，“Avanturiers, bons compagnons…La lance
au poing, hardis et promptz Comme lions…” 这个 section 直到 measure 76 结束。毋庸置疑，
这 里 的 meter change 是 必 要 的 ， 假 如 我 们 对 比 quadruple meter 的 感 受 的 话 ， triple meter 更 加 的
moving，less tension，更适合有力量的情感表达。

从 Harmony 的角度，it is simple from hearing, just like classical Parisian chanson,
which always has a nice cadence at the end of the phrase. However, 从
polyphony 的 角 度 来 看 ， in general, Parisian chanson is known for its homophonic
and simple style. 大量 imitation 在这个 example 里运用，对于 style of Parisian chanson 来说
显 得 相 对 特 殊 。 it remind me about the Ars perfecta 风 格 的 例 子 ， the Ave Maria… virgo
Serena of Josquin. 就像 Ave Maria 的开头一样，La Gurre 的开头 measure is also imitation 的
形 式 使 四 个 声 部 依 次 进 入 ； La Gurre 中 也 有 paired imitation 的 运 用 ， like in measure 43-
52 ， superius and contra tenor make the first group of paired imitation, then,
tenor and bass followed as the second group。

在 La Gurre 里还有一个 point should be mentioned, 是 lots of sound imitation. 它们的运用主要

集 中 在 part 2 ， 用 于 对 于 战 争 冲 突 场 面 的 声 音 的 生 动 描 绘 。 the biggest example starts from the
measure 60-97:

[French]
Von, von, pa ti pa toc, von, von.
Ta ri ra ri ra ri ra reyne
Pon pon pon pon
La la la … poin poin … la ri le ron

it is very interesting, because from audience aspect, we seems really can hear
兵器相互打击所发出的声音，Janequin 在这个 section 运用了大量的 imitation 来制造这一效果。在实际的演奏中的处理中，
from measure 63, there is a huge accelerando starts, pushing the emotion
and speed 去向从未达到的高度。measure 93-97 tenor 多次高喊的“France！”更是为这一个 section
leading to a powerful ending.

Score:
Part1:
https://cim0-my.sharepoint.com/:b:/g/personal/zxw1146_cim_edu/
Eepj8ktM6spOudig_rhzDkABSVGZJvwh1eDh1ELFeC9GDQ?e=9fl0h4
Part2:
https://cim0-my.sharepoint.com/:b:/g/personal/zxw1146_cim_edu/
ERbjvYlOqLJLvNEwFnF6UjEBfGFbH3uBXp0VoCe8KERUQQ?e=glD7Cg

Score taken from:

Janequin, Clément. Chansons. Paris, A. Leduc, 1898.

Recording Link:
Clément Janequin, La Gurre
Performance by: The Kings Singers/Anthony Rooley/Consort Of Musicke
Album: Madrigal History Tour
Released: 1984
https://open.spotify.com/track/6nqmg63VSOn4jhn5QZHoul?si=_VhC2bD_TC-
7LGFoWKUUQA&context=spotify%3Aalbum%3A3bB0LhF61QmlYfTlNmYDuD
 Piece 2 (1600-1800)

Composer: Johann Sebastian Bach (1685-1750)

Tittle: French Overture, BWV.831 (1735)

Essay

Johann Sebastian Bach published his Clavier übung II for two-manual harpsichord in

1735, containing a total of two of Bach's most famous keyboards works, the Italian

Concerto and the French Overture we are analyzing today, BWV.831. Interestingly,

the earliest version of today's French Overture in d minor is written in c minor (the

BWV.831a today), and there are several possible hypotheses to explain this: the use of

the Italian concerto in F major and b minor is a continuation of the specific key

sequence used for the six partitas in Clavier übung I, which was also used in Clavier

übung II. The Partitas traverse the keys of B-Flat Major, C Minor, A Minor, D Major,

G Major, and E Minor. The addition of the F major and b minor could continue the

sequence.2

Here is the complete pattern of the sequence, the interval relation between each two

keys:

B-flat major - C minor: ascending 2nd

C minor - A minor: ascending 3rd

A minor - D major: ascending 4th

D major - G major: descending 5th

G major - E major: ascending 6th

2
Luke Norell, Interpreting Bach’s Overture after the French Manner on the Modern
Piano (Doctoral document, Indiana University, Jacobs School of Music, 2014).
E major - F major: descending 7th

F major - b minor: ascending augmented 4th (seems as the “end” of the sequence)

The other theory claims that this setting, the contrast between F major and b minor,

highlights the dichotomy between the French and Italian styles more clearly3

Bach never left Germany in his life, and in the era when French and Italian styles

were prevalent, as Court Composer, in order to achieve greater bargaining power with

the Leipzig council, works like French Overture As a Court Composer, Bach, in order

to achieve greater bargaining power with the Leipzig council, would undoubtedly

have had a very good bargaining chip in the form of works in the international style

such as the French Overture.

This French Overture, the tittle for the whole work seems not precisely. It is not as

one piece placed before the ballet's official performance as, for example, Jean-

Baptiste Lully's French Overture, but more like a combination of the structure of the

traditional Bach French Suite. The only difference between the two seems to be the

replacement of the Allemande at the beginning of the suite with an Overture, and the

addition of an Echo after the usual ending movement Gigue. it is much longer than the

traditional French Suite, but more like his Orchestral Suite, there are eleven

movements in all, and they are ordered as follows:

3
Frederick Neumann, “The Question of Rhythm in the Two Versions of Bach’s French
Overture, BWV 831,” in Studies in Renaissance and Baroque Music in Honor of Arthur
Mendel, ed. Robert L. Marshall (Kassel: Bärenreiter, 1974), 184
1. Overture

2. Courante

3. Gavotte I/II

4. Passepied I/II

5. Sarabande

6. Bourrée I/II

7. Gigue

8. Echo

Today we are going to analyze the Overture first, the overture mainly followed the

traditional French overture, which is generally being separate in three parts. The

structure of “slow-fast-slow” is similar to the ABA form, in which the first and last

sections use nearly identical material. It is worth mentioning that in Lully's Overture,

the first A section is significantly longer than the second A section; but in Bach's

Overture, the two A sections are almost equal in length. In terms of overall length,

Bach's Overture is also much longer than Lully's Overture.

From the first section of Lully's Overture, we can see that over dotting is a feature of

French overture, and the use of this feature seems to be more complex in Bach's

Overture section 1 (measure 1-20). Bach places different kinds of embellishments on

dotted notes, such as the moderent been put on the F of the measure 1, the short trill

on the A sharp of measure 8. Plus, Bach puts a number of These embellished arpeggio

markings on the chords (these markings even appear in the earliest c minor versions),
such as the down beat of measure 1, the third beat of measure 15. These

embellishments add to the overall splendor of the music. Besides, Bach also uses a lot

of counterpoint, quick 32nd notes to connect these dotted rhythms, some of which are

patterned in verse (measure 2, 2nd beat), some in scale (measure 18, beat 2). These

make this slow section as moving as possible, while ensuring that it fulfills the

naturally solemn feel of the French Overture.

The second section (measure 21-143), a fast section in contrast to section 1, is a true

Fugue section, with a more pronounced opposition between voices than in Lully's

Overture. It must be said that one of the features of Bach's work is the large number of

tonal variations in small passages made possible by constantly different modulations.

In the FIRST episode, measure 32-43, the shift from G major - A major - b minor - G

major - e minor is experienced; or for example measure 89-97, a group that follows

the very traditional Circle of Fifths, i.e. from A major - e minor - b minor - f sharp

minor. the final exposition (measure 123-143) is also very noteworthy, in this section,

especially measure 123-134, where it seems that the theme, which enters every two

measures, is like a force of continuous propulsion, accumulating more and more

ability and tension, from measure 134 onwards releases, demonstrating the

accumulated energy, and the last time the theme enters at 140, it leads directly to the

next section.

Essay in origin Chinese version (translate by DeepL,

https://www.deepl.com)
J.S.Bach 于 1735 年出版了他的为 two-manual harpsichord 而作的 Clavier übung II，一共包含了两首
Bach 非常出名的键盘作品 Italian Concerto 和我们今天要分析的 French Overture, BWV.831。非常有意思的
是，今天的 d 小调 French Overture 最早的版本（BWV.831a）是 written in c minor，有几个可能的假说来解
释这一情况：F major 的 Italian concerto and b minor 的使用是延续了在 Clavier übung I 中为六首
partitas 使用的 specific key sequence，The Partitas traverse the keys of B-Flat
Major, C Minor, A Minor, D Major, G Major, and E Minor. 而 F major 和 b minor 的加入
正好能够 continue the sequence.（引用文章）

The compelete pattern of the sequence, the interval relation between each
two keys:
B-flat major - C minor: ascending 2nd
C minor - A minor: descending 3rd
A minor - D major: ascending 4th
D major - G major: descending 5th
G major - E major: ascending 6th
E major - F major: descending 7th
F major - b minor: ascending augmented 4th (seems as the “end “of the
sequence)

另外可参考理论称，这样的设定，F 大调和 b 小调的对比 能够更明显的突出法国和意大利风格的对立（引用文章）；

巴赫一生都未曾离开德国，在法国风格和意大利风格极其盛行的那个年代，作为 Court Composer 的巴赫，in order to

achieve greater bargaining power with the Leipzig council, 类似于 French
Overture 这样 international 风格的作品无疑是非常好“筹码”。

This French Overture，the tittle for the whole work seems not precisely. 它并不是像传
统意义上的例如 Jean-Baptiste Lully 的法国序曲那样 as one piece 置于芭蕾舞正式演出前，而更像是结合运用了传统
Bach French Suite 的结构：两者唯二的区别我们似乎可以理解成以 Overture 替代了原本出现在 suite 开头的
Allemande，以及在通常的 ending movement Gigue 之后添加了一个 Echo。从 movements
setting 上来说，it is much longer than traditional French Suite，but more like his
Orchestral Suite，一共有 11 个 movements，它们的排序如下：
1. Overture
2. Courante
3. Gavotte I/II
4. Passepied I/II
5. Sarabande
6. Bourrée I/II
7. Gigue
8. Echo

Today we are going to analyze the Overture first, the overture mainly followed
the traditional French overture, which is generally being separate in three
parts. 遵循“慢-快-慢”的结构，有点类似于 ABA form，即首尾两段使用近乎相同的素材。值得一提的是在 Lully 的
Overture 中，第一个 A section 要明显比第二个 A section 长；但 Bach 的 Overture，两个 A section 却
几乎是等长的。从整体篇幅上来看，Bach 的 Overture 也比 Lully 的 Overture 要长的多。

从 Lully‘s Overture 的 first section 中可知，over dotting 是 French overture 的一个特点，在

Bach 的 Overture section 1 里(measure 1-20)，这一特征的使用似乎更为复杂，Bach 将不同种类的
embellishments 放置于 dotted note 上，例如 the moderent been put on the F of the
measure 1，the short trill on the a sharp of measure 8. 加上 Bach put 了一些
embellished 琶音记号在和弦上（这些标记甚至出现在最早的 c minor 版本），例如 the down beat of
measure 1, the third beat of measure 15. 这些 embellishments 让整个音乐更加的华丽。
Besides，Bach 还使用了大量的 counterpoint，快速的 32th notes 去连接这些 dotted 节奏，它们的
pattern 有些是 verse（measure 2，2nd beat), 有些是音阶(measure 18, beat 2)。这些使得这个
slow section 在保证满足 French Overture naturally 庄严的感觉下，尽可能更加 moving。

Second section (measure 21-143)作为与 section 1 形成对比的 fast section，是一个真正的

Fugue 段落，声部之间的对立性较于 Lully 的 Overture 要更加明显。不得不说，巴赫作品的一个 feature 是通过不断不同的
modulation，使得在小的段落中，大量的调式变化。在 first episode 中， measure 32-43 中，经历了从 G
major - A major - b minor - G major - e minor 的转变；或例如 measure 89-97，这一组遵循非
常传统的 Circle of Fifths，即从 A major - e minor - b minor - f sharp minor。最后的
exposition(measure 123-143)也非常值得一提, in this section，特别是 measure 123-134，似
乎每两个 measure 进入一次的 theme，像是一股持续推进的力量，累计了越来越多的能力和 tension，从 measure
134 开始 release，展示了所积蓄的能量，最后一次 theme 进入在 140，它直接 leading to the next
section。

Score:
Full Score Link:
https://cim0-my.sharepoint.com/:b:/g/personal/zxw1146_cim_edu/
ES_JimLX56RAkceAaG0SxmkB65Aud00BJp4auM7cD55YDA?e=ha5GPS

Score taken from:

Bach, Johann Sebastian. Complete Works, ed. Rudolf Stiglich. Erlangen: Henle Library, 1975.

Recording Link:
Johann Sebastian Bach, French Overture, BWV.831
Performance by: Szilvia Takács
Album: Johann Sebastian Bach French Overture BWV 831
Released: 2022
https://open.spotify.com/album/6ENup4Qet33vb42USPOHVw?
si=oO3NutmsR4WAe8D8bbyM8w