Partita No. 2 for Keyboard in C Minor

The “Sinfonia” with which Bach begins his Partita No. 2 has a strongly orchestral feel. It’s the most original opening movement of the six suites, without precedent in Bach’s keyboard music. There are three brief movements beginning with a dramatic slow introduction (“Grave”) commanding our attention with massive chords, rhetorical pauses and magisterial flourishes. This is followed by a charming, lyrical “Andante” and a final energetic two-part fugue which pits right hand against left. After the standard elegant dances—“Allemande”, “Courante” and “Sarabande”—Bach ends the suite with two unusual movements. First, a “Rondeaux”, unmistakably French in its regular repetition of the jaunty opening, but thoroughly Bachian in the spikey falling sevenths of the main theme. Lastly, in place of the usual gigue, Bach writes a “Capriccio” where the large leaps of the previous movement are expanded to tenths. It’s a finale of great ingenuity and humour—tricky, but one of Bach’s most rewarding pieces to play. About J.S. Bach’s Partitas Bach published his Six Partitas for Keyboard individually between 1726-30, and then together as his Opus 1 in 1731—forming the first part of his Clavier-Übung (Keyboard Practice). The Partitas are keyboard suites built around the traditional sequence of dances—allemande, courante, sarabande, gigue—but distinguished by differing opening movements and novelties added toward the end of each suite. Variety was the guiding principle throughout, not only to appeal to the public but also allowing Bach to display his full stylistic range: stretching the boundaries of well-known dance forms so that no two are quite alike. The Partitas established Bach’s reputation as a keyboard composer—not for fledgling fingers, but for serious players.