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 statel...(+)
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.
This is the last of the partitas in this set, which as
a group were published in 1731, but appeared
individually, one each year, beginning with the B flat
major first in 1726. Preceded by the diminutive fifth
partita in G major -- about half its size -- the sixth
is probably the longest of the partitas, though
different combinations of observing or ignoring repeats
could make the fourth in D major longer. The sixth is
not only grand in length, however, but in depth of
expression as well, its opening toccata one of the more
profound movements in any of the partitas.
Speaking of size, this toccata is also the longest
movement found in any of the six. It opens with a
somber introduction of dramatic character and moves
onto a livelier section of serious demeanor, whose
music both alternates, and is heard simultaneously,
with the powerful theme from the opening. Bach's
contrapuntal writing here imparts a sense of the
profound, suggesting both serenity and a conflicting
undercurrent. This movement bears more than a vague
resemblance to Bach's famous Toccata and Fugue for
organ, though the more contemplative ending here sets
it apart from that great work.
The ensuing Allemande is elegant and lighter in its
moderate pacing, but not without its subtleties and
profundities. The music turns more animated and even
somewhat dark in a variant that appears midway through.
The Corrente (or Courante, in French) follows, a
livelier piece, generally light and energetic. A brief
Air comes next, bringing a celebratory bustle and
colorful virtuosity.
The gentle Sarabande has a disrupted flow and sense of
yearning throughout, but never allows these darker
undercurrents to overtake the mostly serene manner. The
Tempo di gavotta that follows is lively but subdued in
its jaunty character. The concluding Gigue, written in
8/4 meter -- not a proper Gigue time -- is muscular and
lively in its outer sections, but dark and ominous at
the beginning of the brilliant fugal buildup that
starts midway through. The music swells to triumphant
heights at the end. This may well be the finest of the
Six Partitas in the set.
PARTITION