Partita No. 4 for Keyboard in D Major

Partita No. 4 is all about grandeur and intimacy: beginning with a majestic “Ouverture” and followed by the longest and most personal movement of the set. This French-style “Ouverture” starts with a slow, stately section marked by arresting flourishes and jerky rhythms, leading to a vigorous fugue full of intrigue and surprises—where one can almost hear the instruments of the orchestra in their busy, imitative dialogue. The “Allemande” is one of Bach’s most celebrated, its melancholic harmony and long singing phrases exquisitely sustained by Bach’s elaborate filigree writing. The reverie is broken by a chirpy “Courante”, full of rhythmic hijinks—a cheeky mood which continues with the off-beat antics of the following “Air”. A personal touch returns in the highly decorated “Sarabande”, before surrendering to the latest fashions of the “Menuet”. As usual, Bach ends with a scurrying “Gigue”, whose fugal theme sounds delightfully ungainly until rounded out by the left hand. 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.