What are the Bach Partitas for keyboard, and what are their BWV numbers?

The Partitas, BWV 825–830, are a set of six keyboard suites composed by Johann Sebastian Bach. These suites are collections of musical pieces, typically dances, intended for keyboard instruments.

When were the Bach Partitas first published individually, and when were they collected into a single volume?

The Partitas were published individually beginning in 1726. They were later collected together and published as *Clavier-Übung I* in 1731.

What distinction does *Clavier-Übung I* hold among Bach's published works?

*Clavier-Übung I*, which comprised the six Partitas, holds the distinction of being the first set of Johann Sebastian Bach's works to be published under his own direction.

How do the Partitas compare in composition timeline to Bach's other keyboard suites like the English and French Suites?

The Partitas were among the last of Bach's keyboard suites to be composed. They were written after the six English Suites (BWV 806-811) and the six French Suites (BWV 812-817), as well as the Overture in the French style (BWV 831).

What is the approximate period during which Bach composed the six partitas for keyboard?

The six partitas for keyboard were composed between the years 1725 and 1730 or 1731.

What is known about the autograph manuscripts of Bach's Partitas?

The original handwritten manuscripts, known as autograph manuscripts, of the Partitas are no longer extant, meaning they have been lost over time.

What is a sometimes-used alternative title for Bach's Partitas, and why is it considered a publishing convenience?

The Partitas are sometimes referred to as the *German Suites*. This title is considered a publishing convenience because it was applied later, in the 19th century, and does not reflect any inherent German character within the music itself.

How do the Partitas differ structurally from Bach's earlier English Suites?

The Partitas are notably more free-ranging in their structure compared to the English Suites. For example, while each English Suite begins with a strict prelude, the Partitas feature a variety of different opening movements.

What types of opening movements can be found in Bach's Partitas, contrasting with the English Suites?

Unlike the consistent prelude found at the beginning of each English Suite, Bach's Partitas feature diverse opening styles. These include movements like an ornamental Overture and a Toccata.

What was Bach's original intention regarding the number of Partitas in the *Clavier-Übung* series?

Bach originally intended to publish seven Partitas. He advertised this plan in the spring of 1730, upon the publication of the fifth Partita, stating that the collected volume would include two more such pieces.

How did Bach's publication plans for the *Clavier-Übung* evolve over time?

Bach's initial plan for seven Partitas in *Clavier-Übung I* was revised. Ultimately, Part I (published 1731) contained six Partitas, while Part II (published 1735) included two larger works: the Italian Concerto and the Overture in the French style.

Which two larger keyboard works were published as *Clavier-Übung II*?

*Clavier-Übung II* contained the Italian Concerto, BWV 971, and the Overture in the French style, BWV 831.

What is significant about the Overture in the French style, BWV 831, in the context of Bach's keyboard works?

The Overture in the French style, BWV 831, is an eight-movement partita and is the largest keyboard work of its kind ever composed by Bach. It was originally written in C minor but was transposed down a half step to B minor for publication to complete the tonal scheme of *Clavier-Übung* Parts I and II.

What are the keys of the six Partitas, and how do they relate to each other sequentially?

The keys of the six Partitas are B♭ major (BWV 825), C minor (BWV 826), A minor (BWV 827), D major (BWV 828), G major (BWV 829), and E minor (BWV 830). These keys form a sequence based on increasing intervals: a second up (B♭ to C), a third down (C to A), a fourth up (A to D), a fifth down (D to G), and a sixth up (G to E).

How does the key sequence established in the Partitas continue into *Clavier-Übung II*?

The key sequence continues into *Clavier-Übung II* with the Italian Concerto, which moves a seventh down (from E minor to F major), and the Overture in the French style, which moves an augmented fourth up (from F major to B natural).

What is the potential symbolic significance of the key sequence used across *Clavier-Übung I* and *II* in relation to Bach's name?

The sequence of keys used in *Clavier-Übung* I and II is believed to be complete, potentially referencing Bach's name. It begins with B♭ (German notation 'B', the first letter of his name) and ends with B♮ (German notation 'H', the last letter of his name), while also incorporating A and C.

What are the movements of Partita No. 1 in B♭ major, BWV 825?

The movements of Partita No. 1 in B♭ major, BWV 825, are: Praeludium, Allemande, Corrente, Sarabande, Menuet I–II–I, and Giga.

What are the movements of Partita No. 2 in C minor, BWV 826?

The movements of Partita No. 2 in C minor, BWV 826, are: Sinfonia (Grave adagio – Andante), Allemande, Courante, Sarabande, Rondeaux, and Capriccio.

What are the movements of Partita No. 3 in A minor, BWV 827?

The movements of Partita No. 3 in A minor, BWV 827, are: Fantasia, Allemande, Corrente, Sarabande, Burlesca, Scherzo, and Gigue.

What are the movements of Partita No. 4 in D major, BWV 828?

The movements of Partita No. 4 in D major, BWV 828, are: Ouverture, Allemande, Courante, Aria, Sarabande, Menuet, and Gigue.

What are the movements of Partita No. 5 in G major, BWV 829?

The movements of Partita No. 5 in G major, BWV 829, are: Praeambulum, Allemande, Corrente, Sarabande, Tempo di Minuetta, Passepied, and Gigue.

What are the movements of Partita No. 6 in E minor, BWV 830?

The movements of Partita No. 6 in E minor, BWV 830, are: Toccata, Allemanda, Corrente, Air, Sarabande, Tempo di Gavotta, and Gigue.

What does the image caption describe regarding the first partita's publication?

The image caption describes the title page of the first partita, indicating it was printed in 1726 by Balthasar Schmid in Nuremberg, Germany.

What does the second image caption illustrate about Bach's manuscripts?

The second image caption illustrates an autograph manuscript from 1725 containing an Allegro for solo harpsichord. This piece was part of an earlier version of Bach's sixth sonata for violin and harpsichord (BWV 1019a) and was later adapted as the *Corrente* in the sixth partita, BWV 830.

What does the third image caption depict in relation to the Partitas' publication history?

The third image caption shows the final page of the Gigue from Partita No. 6, BWV 830, as it appeared in the first edition published in 1731.

What is the *Clavier-Übung*?

The *Clavier-Übung*, which translates to 'Keyboard Practice', is a collection of keyboard works by J.S. Bach. The six Partitas form the first volume, *Clavier-Übung I*.

What does the text suggest about the technical difficulty of the Partitas compared to other Bach suites?

The text indicates that the six partitas for keyboard are the most technically demanding among Bach's three major sets of keyboard suites, which also include the English Suites and the French Suites.

What is the BWV designation for the *Overture in the French style*?

The *Overture in the French style* is designated BWV 831.

What is the BWV designation for the *Italian Concerto*?

The *Italian Concerto* is designated BWV 971.

What is the relationship between the *Overture in the French style* (BWV 831) and the Partitas?

The *Overture in the French style*, BWV 831, is an eight-movement partita and was published in *Clavier-Übung II*. It is considered by some to be the 'seventh partita' Bach initially planned before revising the publication structure.

What does the term "Clavier-Übung" translate to?

The German term "Clavier-Übung" translates to "Keyboard Practice" in English.

What is the significance of the "Partitas for keyboard" entry in the "Compositions for organ, keyboard and lute" navbox?

This entry highlights the six Partitas, BWV 825–830, as a significant part of Bach's keyboard repertoire, listing them alongside other major collections like the English Suites, French Suites, and The Well-Tempered Clavier.

What is the BWV range for the six Partitas?

The six Partitas are catalogued within the BWV (Bach-Werke-Verzeichnis) system from BWV 825 to BWV 830.

How are the Partitas sometimes referred to, and why is this designation potentially misleading?

The Partitas are sometimes called the *German Suites*. However, this designation is considered a publishing convenience from a later era and does not imply that the music itself possesses uniquely German characteristics.

What types of instruments are mentioned in the "Notable recordings" section for performing the Partitas?

The "Notable recordings" section lists performances of the Partitas on clavichord, harpsichord, piano, and guitar.

Who is credited with the first recording of the Partitas on clavichord, and when was it released?

Richard Troeger is credited with the first recording of the Partitas on clavichord, which was released in the year 2000.

Which renowned harpsichordist made early recordings of the Partitas around 1935 or 1936?

Wanda Landowska made recordings of the Partitas on harpsichord around 1935 or 1936.

Which famous pianist recorded the Partitas multiple times, including a notable 1980 recording?

Glenn Gould recorded the Partitas on piano, with sessions taking place between 1957–1963 and a subsequent recording made in 1980.

What is the relationship between the Partitas and *Clavier-Übung I*?

The six Partitas, BWV 825–830, collectively form *Clavier-Übung I*, representing the first volume of Bach's 'Keyboard Practice' collection published under his own direction.

What other collections of keyboard suites by J.S. Bach are mentioned in the "See also" section?

The "See also" section lists the English Suites, BWV 806-811, and the French Suites, BWV 812-817, as related keyboard works by Bach.

What does the term "BWV" refer to in the context of Bach's works?

BWV stands for Bach-Werke-Verzeichnis, which is the German term for 'Bach Works Catalogue'. It is the standard numbering system used to classify and organize the compositions of Johann Sebastian Bach.

Which movements are included in Partita No. 4 in D major, BWV 828?

Partita No. 4 in D major, BWV 828, includes the following movements: Ouverture, Allemande, Courante, Aria, Sarabande, Menuet, and Gigue.

What is the significance of the title page printed by Balthasar Schmid in 1726, as shown in the image?

The title page printed by Balthasar Schmid in 1726 is significant because it represents the first publication of the first partita, marking the initial release of this collection of keyboard suites.

Who recorded the Partitas on guitar, and which specific partita was recorded?

Judicaël Perroy recorded Partita No. 2 on guitar, with the recording released by Naxos Records in 2011.

What are the movements of Partita No. 6 in E minor, BWV 830?

The movements of Partita No. 6 in E minor, BWV 830, are: Toccata, Allemanda, Corrente, Air, Sarabande, Tempo di Gavotta, and Gigue.

How does the structure of the Partitas' opening movements differ from the English Suites?

While the English Suites consistently begin with a prelude, the Partitas offer a greater variety in their opening movements, including styles such as an Overture or a Toccata.

What is the name of the collection that includes the six Partitas, and what does its title mean?

The six Partitas are included in the collection titled *Clavier-Übung I*. The title *Clavier-Übung* translates from German to 'Keyboard Practice'.

Besides the Partitas, what other major keyboard works are listed in the 'Compositions for organ, keyboard and lute' navbox?

Other major keyboard works listed include the Inventions and Sinfonias (BWV 772–801), English Suites (BWV 806–811), French Suites (BWV 812–817), The Well-Tempered Clavier (Books 1 and 2), Toccatas (BWV 910–916), and the Goldberg Variations (BWV 988).

What is the significance of the key sequence in Bach's *Clavier-Übung* series, potentially relating to his name?

The key sequence across *Clavier-Übung I* and *II* is thought to be complete, starting with B♭ (German 'B') and ending with B♮ (German 'H'), potentially forming a musical signature related to Bach's name (B-A-C-H).

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Historical Context

Publication and Opus 1

The six Partitas for keyboard, BWV 825–830, represent Johann Sebastian Bach's final collection of keyboard suites. While composed between approximately 1725 and 1731, they were among the last of his suites to be published. Bach initiated their publication individually, beginning in 1726 with Partita No. 1, printed by Balthasar Schmid in Nuremberg. These were later consolidated and published together in 1731 as Clavier-Übung I (Keyboard Practice, Part I). This marked a significant milestone, as it was the first time Bach published works under his own direction, designating the collection as his Opus 1.

Compositional Timeline and Naming Conventions

The Partitas were composed later than the six English Suites (BWV 806–811) and the six French Suites (BWV 812–817). The designation "Partitas" itself reflects a departure from the more conventional suite structures of the earlier sets. Although sometimes referred to as the "German Suites" by 19th-century tradition, this title is a publishing convenience and does not denote inherent German stylistic characteristics. Unlike the English Suites, which consistently open with a prelude, the Partitas exhibit a greater structural freedom, featuring diverse opening movements such as an ornamental French Overture and a Toccata.

Publishing Ambitions

Bach initially planned to publish seven Partitas. Upon releasing the fifth Partita, he advertised that the collected volume would include two additional pieces. This plan evolved, culminating in the 1731 publication of the six Partitas as Clavier-Übung I. The subsequent Clavier-Übung II (1735) contained two larger works: the Italian Concerto (BWV 971) and the Overture in the French style (BWV 831). The latter, originally in C minor and later transposed, is an eight-movement work that may represent the "seventh partita" Bach alluded to in 1730, completing a grander tonal scheme across these published collections.

Tonal Structure and Intervals

The Ascending and Descending Sequence

The six Partitas are composed in the keys of B♭ major (BWV 825), C minor (BWV 826), A minor (BWV 827), D major (BWV 828), G major (BWV 829), and E minor (BWV 830). While seemingly arbitrary, these keys form a deliberate sequence based on ascending and descending intervals: a major second up (B♭ to C), a minor third down (C to A), a perfect fourth up (A to D), a perfect fifth down (D to G), and a major sixth up (G to E). This intricate tonal progression was a hallmark of Bach's compositional planning.

Completing the Cycle

This carefully constructed sequence of tonalities continues into the second part of Bach's Clavier-Übung (1735). The Italian Concerto follows with a descending major seventh (E to F), and the Overture in the French style concludes the cycle with an augmented fourth up (F to B♮). This comprehensive tonal scheme, beginning with Bach's "home" key (B♭, represented by 'B' in German notation) and incorporating a logical progression of intervals, demonstrates Bach's profound understanding of musical architecture and his desire to create a unified, systematic body of work.

The Six Partitas: Structure and Movements

Detailed Breakdown

The Partitas are the most technically demanding of Bach's keyboard suites, showcasing a wide array of musical forms and stylistic influences. Each partita comprises multiple movements, typically including standard Baroque dance forms alongside more elaborate introductory or concluding pieces. Below is a detailed enumeration of the movements within each partita:

Partita	Movements
Partita No. 1 in B♭ major, BWV 825	Praeludium Allemande Corrente Sarabande Menuet I–II–I Giga
Partita No. 2 in C minor, BWV 826	Sinfonia (Grave adagio – Andante) Allemande Courante Sarabande Rondeaux Capriccio
Partita No. 3 in A minor, BWV 827	Fantasia Allemande Corrente Sarabande Burlesca Scherzo Gigue
Partita No. 4 in D major, BWV 828	Ouvertüre Allemande Courante Aria Sarabande Menuet Gigue
Partita No. 5 in G major, BWV 829	Praeambulum Allemande Corrente Sarabande Tempo di Minuetta Passepied Gigue
Partita No. 6 in E minor, BWV 830	Toccata Allemanda Corrente Air Sarabande Tempo di Gavotta Gigue

Notable Interpretations

On Clavichord

The intimate and nuanced capabilities of the clavichord have been explored by several distinguished artists, offering a unique perspective on Bach's keyboard writing:

Richard Troeger (Lyrichord Discs, 2000) - Notably the first to record the complete Partitas on clavichord.
Menno van Delft (Resonus Classics, 2018)

On Harpsichord

The harpsichord, the dominant keyboard instrument of the Baroque era, features prominently in numerous acclaimed recordings of the Partitas:

Wanda Landowska (1935 or 1936)
Ralph Kirkpatrick (1958)
Helmut Walcha (EMI, 1962)
Gustav Leonhardt (Deutsche Harmonia Mundi, 1964–70 and Virgin, 1986)
Martin Galling (1964)
Karl Richter (TELDEC Telefunken-Decca, 1960)
Blandine Verlet (Philips, 1978 and Naïve, 2001)
Kenneth Gilbert (Harmonia Mundi, 1985)
Trevor Pinnock (Archiv, 1985 and Hänssler, 1998–99)
Huguette Dreyfus (Denon, 1986)
Scott Ross (Erato, 1988)
Christophe Rousset (L'Oiseau-Lyre, 1992)
Andreas Staier (Deutsche Harmonia Mundi, 1993)
Siegbert Rampe (EMI Music Germany, 2000)
Masaaki Suzuki (BIS, 2001)
Zuzana Růžičková (Supraphon, 1984)
Pascal Dubreuil (Ramée, 2008)
Benjamin Alard (Alpha, 2010)
Peter Watchorn (Musica Omnia, 2013)
Martin Gester (Ligia, 2015)
Mireille Lagacé (Calliope, 2015)
Jory Vinikour (Sono Luminus, 2016)
Colin Tilney (Music and Arts, 2020)
Giulia Nuti (Arcana, 2024)

On Piano

Modern interpretations on the piano offer a different sonic palette and interpretive approach to Bach's keyboard works:

Rosalyn Tureck (1949/50)
Dinu Lipatti (BWV 825, EMI Classics, 1950)
Glenn Gould (Sony 1957–1963; 1980)
Friedrich Gulda (Philips, 1972)
Tatiana Nikolayeva (Melodija 1981)
Jean Louis Steuerman (Philips, 1984)
András Schiff (Decca Classics, 1985)
Maria Tipo (EMI, 1991)
Wolfgang Rübsam (Naxos, 1992)
Risto Lauriala (Alba, 1992)
Maria João Pires (DGG 447 894-2, 1995)
Sergey Schepkin (Ongaku, 1996–97)
Angela Hewitt (Hyperion, 1997)
Richard Goode (Nonesuch, 2003)
Gianluca Luisi (OnClassical, 2005–07)
Martha Argerich (Verbier Festival, 2008)
Murray Perahia (Sony, 2008 and 2009)
Vladimir Ashkenazy (Decca, 2010)
Andres Carciente (Noromusic, 2012)
Igor Levit (Sony, 2014)
Yuan Sheng (Piano Classics, 2017)
Christian Zacharias (MDG, 2021)
Tingshuo Yang (Luxembourg Classics, 2024)

On Guitar

Arrangements for guitar offer yet another dimension to these compositions:

Judicaël Perroy (Partita no.2, Naxos Records, 2011)

Further Exploration

Related Works and Resources

To deepen your understanding of Bach's keyboard oeuvre and compositional output, consider exploring the following:

The Partitas (BWV 825–830)
English Suites, BWV 806–811
French Suites, BWV 812–817
Compositions Printed During Bach's Lifetime
IMSLP: Partitas, BWV 825-830

Scholarly Notes

Key Observations

The autograph manuscript for the Partitas is no longer extant. The collection's title, Clavier-Übung I, was chosen by Bach himself for the 1731 collected edition, signifying its importance as his first published set of suites. The tonal sequence employed across the Partitas and subsequent Clavier-Übung volumes demonstrates Bach's meticulous planning and systematic approach to composition, often linking works through intervallic relationships and completing a comprehensive tonal cycle.

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References

Philipp Spitta, Johann Sebastian Bach: his work and influence on the music of Germany, 1685-1750, Volume 3 (Novello and company, limited, 1899) p. 156.

A full list of references for this article are available at the Partitas for keyboard (Bach) Wikipedia page

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This document has been generated by an Artificial Intelligence system, drawing upon publicly available academic and encyclopedic data. Its purpose is strictly informational and educational, intended for advanced students and scholars of musicology and related fields. While every effort has been made to ensure accuracy and adherence to the source material, the content is based on a specific snapshot of data and may not encompass all nuances or the most current scholarly interpretations.

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Bach's Keyboard Architecture

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Historical Context 🕰️

📜 Publication and Opus 1

🎼 Compositional Timeline and Naming Conventions

📚 Publishing Ambitions

Tonal Structure and Intervals 🗝️

🎶 The Ascending and Descending Sequence

🌐 Completing the Cycle

The Six Partitas: Structure and Movements 🗂️

🎻 Detailed Breakdown

Notable Interpretations 🎧

🎹 On Clavichord

🎻 On Harpsichord

🎹 On Piano

🎸 On Guitar

Further Exploration 📚

🔗 Related Works and Resources

Scholarly Notes 📝

💡 Key Observations

External Resources 🔗

🌐 Further Reading and Scores

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Dive in with Flashcard Learning!

Historical Context

Publication and Opus 1

Compositional Timeline and Naming Conventions

Publishing Ambitions

Tonal Structure and Intervals

The Ascending and Descending Sequence

Completing the Cycle

The Six Partitas: Structure and Movements

Detailed Breakdown

Notable Interpretations

On Clavichord

On Harpsichord

On Piano

On Guitar

Further Exploration

Related Works and Resources

Scholarly Notes

Key Observations

External Resources

Further Reading and Scores

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Academic Disclaimer

Important Notice Regarding Content