“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, Kapellmeister to the Prince of Saxony and Weissenfels, and Director Musices in Leipzig. Opus 1. Published by the composer. 1731.”

In 1726, Bach began publishing his own works. This was about three and a half years after he took up his post in Leipzig. Bach's plan for publication was meticulous and thorough. For the genre, he chose the gallant suite, which was the latest trend at the time. The scale had to be substantial and satisfying to himself, not as lengthy as the English Suites nor as delicate as the French Suites, with accessible content, yet enhancing the reputation of Bach, who was known as a keyboard virtuoso. For the target audience, he envisioned general individuals who would play them in private settings such as homes and salons, rather than as repertoire for public performances. He then published one piece sequentially almost every year to gauge sales, and finally reissued all six pieces together in 1731. Regarding the title, he did not try to be eccentric; following Kuhnau, his predecessor at St. Thomas Church in Leipzig, he named the suites Partita in an Italian style. Furthermore, he 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 paradigms.

Despite being published, this collection leaves complex issues regarding revisions. Bach continuously refined his own works, especially his keyboard compositions, and his pen did not falter even for published works. The earlier versions published in separate fascicles already differ from the collected edition of 1731. Furthermore, the 1731 edition that Bach kept in his possession underwent additional revisions. 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.

Each of the six pieces is given a different opening movement. The structure of the suites is more varied than that of the French Suites, with some deviations from convention in the types and arrangement of the inserted dances. While the movement structure and musical language are extremely diverse, the sense of unity within the compositions is further enhanced by the correlation of the opening sections, 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 typically French or English respectively, no typical German characteristics can be found in the Partitas either.

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

5. G major (7 movements): Praeambulum, Allemande, Courante, Sarabande, Tempo di Minuetta, Passepied, Gigue / BWV829 / 1730

“Praeambulum” is a title that, in Bach's usage, refers to a prelude, with no clear stylistic distinction from “Prelude” or “Praeludium.” It is likely that this term was chosen to give a different name to the opening movement of each of the six Partitas.

“Tempo di Minuetta” means “in the tempo of a minuet.” The overall time signature is 3/4, but it is written in a way that makes it appear like 6/8. Since the cadential sections always revert to 3/4, a hemiola effect is created. This movement is an example of the further refinement of Baroque keyboard suites, which are stylized dances, and has become a complete character piece.