The partitas are one of Bach’s best works. In fact, it was the first work that he chose and sent to a publisher in his lifetime. He didn’t send the French Suites, didn’t send the English Suites, but sent the partitas.

The partitas are a combination of what Bach learned writing the French Suites. It also takes elements from both “French” and “English” inspiration, with movements including the “bourrée” or “French Overture”.

Summary of his Partitas

Bach’s first partita is a serene and glimmery piece with the vibes of autumn or spring. You can almost smell the fresh floral smells in the chilly air, surrounded by greenery. The Allemande starts you off walking through this world that Bach creates, with gentle and glimmery dialogue of the ruffles in the bushes and the chirps of the birds. Then Bach ups the pace with the Courante, almost as if you are now jogging. After the magnificent Saraband and 2 Minuets, Bach ends with a glorious and speedy Gigue that makes you just want to hold your heart as you sink down into the couch!

The Second Partita is has similar vibes, except more like Autumn. Starting after the French Overture of the Sinfonia, we walk through the windy, airy, and chilly but serene world with the leaves blowing beside us. The allemande then repeats these variations on beautiful progressions, just making you fall in love with the music. After the courante, Sarabande, and rondeau, we end with the energetic and powerful Capriccio, with a strong mazurka-like rhythm.

The third partita starts with a darker and faster fantasia, while still maintaining the serenity of the previous two. It’s slightly more serious, but just as beautiful. After the allemande and playful courante, it hits us once again with a more serious and somber Sarabande. This movement sounds more like winter instead of spring or autumn. The third partita end with the fast and engaging Gigue, less playful than the ending of the previous two.

Then comes the Fourth Partita, which is much more vivid, hopeful, energetic, and lively. The French Overture gives a sense of majesty and hope that is unparalleled in the rest of the partitas. The allemande is sweet and savory. The courante follows the same rhythm and theme as the Overture, further cementing this theme of majesty and hope. After the playful Aria and Sarabande that also evoke feelings of autumn, the Gigue reiterates the theme of the allemande and overture once again. Overall, this is one of the most thematic Partitas out of the 6.

The 5th partita is probably my least favorite one. It’s playful but quite repetitive in its themes. For that reason, I don’t like listening to it a lot.

The 6th partita is by far the most epic one out of the 6. It starts out with the serious, dark, but epic Toccata. It evokes feelings of such power and grace at the same time. Yet, it has a lot of dark and somber undertones. The Toccata then evolves into a Fugue after the first minute, with a slithery subject that complements the first part of the Toccata. Here, Bach takes much much more freedom than he does in Well Tempered Clavier and most of his Organ works by developing this theme much less polyphonically, but much more thematically. At the end of the Toccata, the initial theme is reiterated once again, except in a more powerful and epic way. The Toccata is by far the longest movement out of any partita, and it certainly deserves the time allotted to it. The Allemanda is extremely relevant of the one in the 2nd partita, except a bit less serene and more serious. The current is actually one that evokes feelings of running, as it’s quite fast and playful at times. The Air also perfectly transitions from the courante to the more serious Sarabande. The Scaraband links back to the beginning of the toccata, except in a much slower but just as outspoken manner.Then Bach gives us the Tempo di Gavotta, a little bit more playful. Finally, the Gigue with a Fugue just as epic as the one he gave us in middle of the Toccata. The Chord structure is also deeply reminiscent of the Toccata. The Fugue cumulates in a run that is also used in the Toccata, summing up the 6th partita and and the entire collection in an epic way.

Recommended recordings:

1. Andras Schiff, 2009

Probably one of the best recordings on the piano itself. This album was recorded live by Schiff in 2009. In this album he truly takes his glimmery tone to the next level. You can hear it physically glimmering off the piano, similar to the sound of flowing water. This is especially fit for the 1st, 2nd, and 6th partita. He also takes many liberties that he usually doesn’t take in his albums of the French suites and the well tempered clavier. It’s much more spontaneous. My favorite of all time.

2. Angela Hewitt(Second Cycle)

Angela Hewitt makes a more romantic interpretation of the partitas. She wonderfully captures the autumn feelings of the 1st, 2nd, and 3rd partita. One of the best interpretations.

3. Trevor Pinnock

Famed british harpsichordist, anything he plays is great

4. Zhu Xiaomei

More introspective version of the partitas. Zhu has this tranquility to her that no other pianist in the world has. A deep calmness and feeling that everything’s gonna be okay, paired with this lao-wan-tong style playfulness to lighten things up. Wonderful interpretation, from one of my favorite pianists.

5. Christopher Rousset

Anything he plays on the harpsichord is also gold.