Partita No. 6 for Keyboard in E Minor

The “Toccata” that begins Partita No. 6 is the longest and most substantial introductory movement of the six Partitas. The outer sections have an improvisatory flare, full of rhetorical questions, whimsical swirls of notes, and repeated “sighing” phrases. In the middle Bach writes a long fugue, beginning with another “sighing” idea which soon picks up energy as the theme is divided between the two hands. The regular “walking” bass line of the next two movements gives them an Italian flavour: the shy “Allemande” graced by poignant melodic inflections, the showy “Corrente” with an insistently off-beat and flashy right hand. After a palate-cleansing “Air”, we return to the improvisatory freedom of the opening in a “Sarabande” which ranks as one of Bach’s most emotional and personal creations. The chirpy “Tempo di Gavotta”—really an earthy Italian giga—comes as a rude awakening. At the very end of the Partitas, Bach challenges performers with a “Gigue” which can be played either as written, accentuating its angularity, or closer to the style of a traditional jig (in triple metre). 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.