The six Partitas (BWV 825-830) are part of Bach's Clavier-Übung, but were published singly, beginning in 1726 with this B flat major effort. A new partita appeared each year thereafter until 1731, when the whole collection was issued. Each of the six is a suite containing allemandes, sarabandes, minuets, and various other dances and numbers. The B flat major Partita consists of seven short movements, the first being a praeludium, a moderately paced piece so typical of Bach's music in its stately confidence, serene joy, and deftly wrought contrapuntal writing. There follow an allemande, corrente (courante), sarabande, and gigue which comprise the standard sequence of dances that make up a partita. Actually, Bach inserted two brief minuets between the sarabande and gigue.

While this partita and the four that followed appeared after 1726, all were written during that year, a year that saw publication of the B flat major piece first. Bach published a new partita each year until 1731, when all six appeared together. Each of these works consists of dances -- typically an Allemande, Courante, Sarabande, and Gigue -- and other pieces, forming a whole that could just as easily have been called a suite. They generally show Bach's lighter side, though there is a fair share of serious music here, too. All the partitas have seven movements except for this C minor effort, which comprises six. Another unusual aspect is its exclusion of a Gigue at the close, where Bach substituted a Rondeau and Capriccio.

This suite opens with a Sinfonia which, speaking of serious music, achieves a depth of expression to rival much of Bach's more profound keyboard music. It is in three sections, the first ponderous and dramatic, the succeeding two having progressively faster tempos. The theme in the second section has a soothing serenity in its animated nonchalance, while the final part is lively and light in its variant of this theme, and brims with Bach's deft counterpoint and rhythmic subtlety.

The Allemande that follows is somewhat subdued but features an undercurrent of contrapuntal activity with many delicious details that often come refreshingly to the foreground. The remaining four numbers are much shorter and lighter in expressive content. Best among them may be the ensuing Courante, a sunny, graceful piece whose contrapuntal elements seem to blend rather than conjure, imply rather than articulate.

The ensuing Sarabande is slow, almost hymn-like in its solemn yet soothing manner. The lively Rondeau that follows is jumpy and full of playfulness, while the closing Capriccio is meatier, both in its muscular first section and in the inversion of material from the opening that comes in the latter half. It is also quite a challenging finale for the performer.

Source: Allmusic (http://www.allmusic.com/composition/partita-for-keyboa rd-no-2-in-c-minor-bwv-826-bc-l2-mc0002390429).

Although originally written for Harpsichord. I created this Arrangement of the Capriccio from the Partita in C Minor (BWV 826 No. 6) for Piano.