Clavier-Übung I (Partitas)

"Clavier-Übung, consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, and other modern dances. Composed for the delight of music lovers by Johann Sebastian Bach, Capellmeister to the Duke of Saxony and Duke of Weissenfels and Director Musices in Leipzig. Opus 1. Published by the composer. 1731."

Publication Context

In 1726, Bach began publishing his own works, approximately three and a half years after taking up his post in Leipzig. Bach's publication plan was meticulous and well-thought-out. For the genre, he chose the gallant suite, which was the latest trend at the time. The scale was neither as extensive as the English Suites nor as delicate as the French Suites; the content was straightforward, yet it had to be substantial enough to further enhance Bach's reputation as a keyboard virtuoso, and above all, something he himself could approve of. For the target audience, he envisioned general individuals who would play the pieces in private settings such as homes and salons, rather than as repertoire for public performances. He then proceeded to publish one piece almost every year to gauge sales, and finally, in 1731, he reissued all six pieces together. Regarding the title, he did not resort to eccentricity, but followed Kuhnau, his predecessor at St. Thomas Church in Leipzig, by naming the suites in the Italian style as "Partita." He also borrowed the title "Clavier-Übung" (Keyboard Practice) from Kuhnau's widely known and well-received collection of works. This title "Übung" (practice) is by no means synonymous with 19th-century etudes. It embodies the intention of being intimate works for those who seek solace from music, and of course, as complete musical norms.

Revisions

Despite being published, this collection leaves complex issues regarding revisions. Bach continuously refined his own works, especially his keyboard compositions, and his hand did not falter even with published works. The earlier versions issued as separate fascicles already differ from the collected edition of 1731. Furthermore, the 1731 edition that Bach kept in his possession underwent further corrections. In addition to these, four printed scores containing annotations for improvements have been transmitted, and it is highly probable that one of them belonged to Bach himself. The New Bach Edition (NBA V/1) was published after thoroughly examining all these revisions, but there is still room for discussion today.

Musical Characteristics

Each of the six pieces is given a different opening movement. The structure of the suites is even more varied than that of the French Suites, with some deviations from convention in the types and arrangement of the inserted dance movements. While the movement structure and musical language are extremely diverse, the sense of unity within the compositions is further enhanced by the connections at the beginning of the pieces, the uniformity of the cadential patterns, contrapuntal development, and meticulous motivic work. Here, one can observe the pinnacle of Bach's aesthetic of "diversity and unity."

It should be noted that this collection has sometimes been called "German Suites," but this name does not originate from Bach, nor is it appropriate from a stylistic point of view. Just as the French Suites and English Suites cannot be said to be typical French or English examples, neither can a typical German character be found in the Partitas.

For the standard forms of suites, please refer to the section on the French Suites.

Partita No. 2 in C minor, BWV 826

• 2. C minor (6 movements): Sinfonia (Grave Adagio / Andante / Allegro), Allemande, Courante, Sarabande, Rondeau, Capriccio / BWV826 / 1727

The Sinfonia consists of three parts: a solemn introduction, a steadily progressing middle section, and a two-voice "true fugue." The dotted rhythms at the beginning are reminiscent of a French overture, but if one follows Bach's tempo marking of Grave Adagio, the sound would be even more solemn, or allow the chords to resonate fully.

The inserted dance movement, Rondeau, originates from the form of French songs and poetry from the troubadour era. Just as it was originally sung as an interplay between two parts, Bach's Rondeau also proceeds with imitative exchanges between two voices.

The final movement, Capriccio, occupies the position typically held by a Gigue and is written in three-voice counterpoint. From the very first measure, three voices immediately resound, but the fugue is strict, and in the latter half, an inverted subject is treated.