by Rebecca Cochran
 
Bach’s Partitas (or suites) for harpsichord (BWV 825-830) were published under his own direction from 1726-1730. Though technically demanding, Bach dedicated these works to “music lovers, for the delight of their spirits.”
 
The keys of these six Partitas (B-flat major, C minor, A minor, D major, G major, E minor) are not as random as they may, at first, seem. They actually form a careful sequence of ascending and descending intervals, starting with the key of B-flat, representing the first letter (in German) of Bach’s name. The progression continues, moving up a second (B-flat to C), down a third (C to A), up a fourth (A to D), down a fifth (D to G) and, finally, up a sixth (G to E).
 
And, somehow, despite the technical demands and somewhat formulaic method of key selection, the Partitas represent some of Bach’s most free-ranging and expressive works for keyboard.

Enjoy this video of pianist, András Schiff in a live performance of Partita No. 2 in C minor (BWV 826).

by Rebecca Cochran
 
We flutists are fortunate to have the privilege and challenge of studying and performing a solo work by Bach, the Partita in A minor (BWV 1013). Musicologists are not entirely certain as to the date that it was composed, but it is assumed it was sometime after 1723.
 
Karl Straub discovered the sole surviving manuscript of this work in 1917. An organist and choral conductor, Straub was active in Leipzig in the early 1900’s. He held the post of organist at the Thomaskirche, where Bach reigned a century and a half earlier.
 
The work’s original title is Solo Pour la Flûte Traversière. Twentieth century editors are probably responsible for renaming it Partita in A minor. One cannot help but think that Bach could have composed this work with a particular French virtuoso flutist in mind.

by Rebecca Cochran
 
The immensely talented young mandolinist, Chris Thile is in the process of recording the Bach Violin Partitas and Sonatas. The first volume was released on Nonesuch Records in 2013. Thile’s interpretations sound, refreshingly, as if he is making things up as he goes. I think Bach would wholeheartedly approve!
 
Here’s a treat: Chris Thile live at the Alberta Rose Theatre in Portland, Oregon on 10/2/2013. Here he performs the complete suite of Bach's Partita No. 1 in B minor.

by Rebecca Cochran
 
The keyboard Partitas are among the most popular of Bach’s works. They are also some of the most difficult to play.
 
The Partita No. 2 in C minor (BWV 826) is one of my personal favorites. It comprises six movements, including the usual opening sinfonia, and continuing with four customary French-inspired dance movements of the day.

However, rather than closing with a true gigue, the ever-experimenting Bach finishes with a rollicking capriccio, more closely related to the Italian style. True to form, this capriccio relies on fugal techniques, albeit lighter (more capricious?) in character than a “strict” fugue. Bach, in his genius, blends both worlds – the seriousness of a fugue with the light-hearted fun of a gigue!
 
Enjoy this recording of the Capriccio by the preeminent pianist, András Schiff.

by Rebecca Cochran
 
Bach dedicated his six Keyboard Partitas to “music lovers, for the delight of their spirits.” Though I admire all six, the Rondeau from the Partita No. 2 in C minor, BWV 826, is one of my favorite movements from this set.
 
I chanced upon this excerpt via Medici TV and The Masterclass Media Foundation Archives. It features legendary Hungarian pianist and Bach specialist, András Schiff rediscovering this Partita with a talented young student.

Delight your spirits here.

by Rebecca Cochran
 
I just ran across a post from 2009 by Fenwick Smith, former Boston Symphony Orchestra flutist and long-time professor of flute at New England Conservatory. The post is titled, Bach’s Partita for Flute Alone: The Dilemma.
 
In this short post, Smith discusses how the opening movement of Bach’s Partita presents a quandary to the flutist. Just imagine: the year was 1717 and Bach was writing his first piece for the newly invented transverse flute, rather than the recorder. Bach ambitiously opens the Partita with an Allemande, writing 18 measures of continuous sixteenth notes before providing the first pause for a breath. Smith then goes on to explain how we flutists, as we study the architecture and logic of Bach’s music, can eventually learn how to manage our breathing without disrupting the flow of the piece –- no mean feat, I might add!
 
This post reminded me of one of my earliest lessons on the Partita with my teacher and mentor, Louis Moyse, whose editions of the complete Bach Sonatas for flute, including the Partita, are published by Schirmer. My “strategy” consisted of choosing to leave out a note or two as a way to make concessions for the challenges in breathing. I recalled Louis approving of this technique in earlier lessons as I studied works by other composers.
 
During this particular lesson, however, Louis stopped me mid-phrase and let me know, in no uncertain terms, that my strategy of leaving out an occasional sixteenth note would not suffice for the Partita. To this day, I remember his exact words:
 
“One note by Bach is more important than all of the other notes by all the other composers combined!”

by Rebecca Cochran
 
I count myself lucky that Bach wrote so many marvelous works for flute: his Partita in A minor for solo flute, the six Sonatas for flute and keyboard, two Trio Sonatas, numerous cantata movements which feature flute, plus the Orchestral Suite No. 2 in B minor for flute, strings and continuo. Bach also gave us flutists prominent parts in three of the six Brandenburg Concertos and he adapted some of his previous writings into a “Triple Concerto” for flute, violin and harpsichord.
 
Even with all of these Bach gems available to me, I am constantly stealing other of his works and trying them out for myself. For instance, I enjoy working on the Aria from the Goldberg Variations and other keyboard lines such as the treble voice from his two-part Invention No, 8 in F major, and the Bourrée I and II from the English Suite No. 2 in A minor.
 
These works are beautiful, challenging and fun to work on. I’m sure Bach would approve of the thievery that runs rampant amongst all of us devotees. After all, he was in the habit of stealing from himself regularly. Bach was a master at repurposing his own content in fresh, new ways. 
 
A review in The New York Times caught my eye last summer. Rachel Podger, the foremost Baroque violinist, chose to open her recital at the Baryshnikov Arts Center with the Partita in A minor for solo flute, transposed into the key of G minor. (I wish I'd been there.) When it comes to Bach, Ms. Podger told the audience, “You can’t get enough.” I couldn't agree more.

by Rebecca Cochran
 
Yep, you’re right –- I’m not qualified to write about the Chaconne. I’m a flutist, not a violinist. The Chaconne, of course, is the final movement of Bach’s Partita in D minor for solo violin.
 
Supposedly, Bach wrote the Chaconne in memory of his first wife, after he returned from a trip to discover that she had died. Perhaps that explains why, whenever I have had the pleasure of hearing this monumental work, especially live, it conjures up every possible emotion I am capable of feeling.
 
The Chaconne is a good example of the universality of Bach’s music. Loved and considered a challenge by all serious musicians, there are transcriptions of the movement for cello, for flute, for marimba, for guitar, for piano, for organ and probably every other solo instrument. There are also a number of orchestral transcriptions of the Chaconne.
 
One of my favorite writings about the Chaconne is by Arnold Steinhardt, first violinist of the acclaimed Guarneri String Quartet. NPR did a story on Steinhardt and his book, ‘Violin Dreams’: Chasing Bach’s Elusive Chaconne. Listen to the story here.
 
Steinhardt also publishes stories about music in a delightful blog he calls In the Key of Strawberry.
 
Happy listening. Happy reading.