The Complete Partitas

Abstract

The first Partita is the least ambitions in its plan: it begins with a contrapuntal praeludium, and its sequence of Allemande, Courante, (Here in triplet rythyms), Sarabande and Gigue is augmented only by pair of minuets – the second, and simpler, acting as a trio to the first. The gigue is notable for its virtually single-line texture, created by interplay between the constantly crossing and uncrossing hands. The Second Partita begins with a Sinfonia in three progressively faster sections, and in place of a final Gigue has Rondeaux and a virtuoso Capriccio. The second half of the Capriccio begins as free inversion of the opening – a ploy which Bach also uses in several of his gigues. The opening movement of the Third Partita is called Fantasia, a title which in organ music usually indicates a very free patch-work structure, but which here signifies a strict tow-part invention. The Sarabande here is a surprise, its static harmonies and triplet rythyms suggesting the up-to-date style gallant of the generation of Bach’s sons. Between it and the Gigue come a Burlesca, with some unexpected harmonies, and a lively Scherzo – an interesting anticipation of a title (the Italian for “joke”) which came into widespread use only in the Classical period.