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Johann Sebastian Bach‘s French Suite in G Major, written between 1722-25, will open the Daylight Concert of Times Of The Day: Morning, Daylight, Evening. The composer is one of the greatest composers of the genre.

Required movements include the German moderate-tempo Allemande movement, the French-Italian dance with a brisk pulse, the Courante (Italian: Corrente), followed by the Sarabande, a Spanish lyrical slow movement, and concluding with the fast Irish dance, the Gigue. These are required movements, and may be supplemented by additional dances.

In the case of the Suite BWV 816, the additional movements are of French origin, the Gavotte, the Bourrée and the Loure, which are placed between the Sarabande and the Gigue. Sticking to the tonality, the concert features Wolfgang Amadeus Mozart’s Piano Sonata No. 5 after Bach, which is musically similar in subtleties to the work before it. The piece, written in Munich in 1774, bears the catalogue number K. 283. Its first movement is Allegro, a serene opening, followed by the Andante movement with many charming musical ideas, and then the Presto, a fast-paced movement, concludes the sonata.

This is followed by music by Claude Debussy, who counted Mozart among his favorites. The French impressionist composer is as open to the world around him as his great Austrian predecessor. First up is the introductory piece in the Images 1 series. Reflections on the Water dates from 1905. Debussy, like his contemporary Claude Monet in painting, is able to paint the beauty of our world through musical notes.

The final chord of the concert is The Joyful Island of 1904 is the composer’s most enthusiastic piece. Jean-Antoine Watteau’s painting Pélerinage à l’île de Cythère inspired him to leave his experience to posterity in the form of music.

Johann Sebastian Bach’s Chromatic Fantasy and Fugue, written in Köthen in 1721, will be performed as an encore. According to his son Carl Philipp Emmanuel Bach, the ‘fantasy’ genre of music is an ear-catching experience because of its rich and varied world of harmonies. In this case, it is followed by a fugue which perfectly counterbalances the improvisatory nature of the ‘fantasy’ with its strict musicality.

Misi Boros, Yamaha CFX Concert Grand Piano