The Overture in the French style was originally written in C minor, but was transposed a half step down for publication to complete the tonal scheme of Parts I and II as described below.
The second of these is an eleven-movement partita, the largest such keyboard work Bach ever composed, and may in fact be the elusive "seventh partita" mentioned in 1730. The plan was then revised to include a total of eight works: six Partitas in Part I (1731) and two larger works in Part II (1735), the Italian Concerto, BWV 971, and the Overture in the French style, BWV 831. Unlike the earlier sets of suites, Bach originally intended to publish seven Partitas, advertising in the spring of 1730 upon the publication of the fifth Partita that the promised collected volume would contain two more such pieces. Īlthough each of the Partitas was published separately under the name Clavier-Übung (Keyboard Practice), they were subsequently collected into a single volume in 1731 with the same name, which Bach himself chose to label his Opus 1. Unlike the English Suites, for example, wherein each opens with a strict prelude, the Partitas feature a number of different opening styles including an ornamental Overture and a Toccata. In comparison with the two earlier sets of suites, the Partitas are by far the most free-ranging in terms of structure. This title, however, is a publishing convenience there is nothing particularly German about the Partitas. In keeping with a nineteenth-century naming tradition that labelled Bach's first set of Suites English and the second French, the Partitas are sometimes referred to as the German Suites.
As with the French and English Suites, the autograph manuscript of the Partitas is no longer extant. The six partitas for keyboard form the last set of suites that Bach composed, and are the most technically demanding of the three. Suggestions for further studies -Īppendix : the French overture in musicological discussions.Autograph manuscript (1725) of Allegro for solo harpsichord from first version of Bach's sixth sonata for obbligato harpsichord and violin, BWV 1019a, later incorporated as Corrente in sixth partita, BWV 830. Recurring passages Hidden repetitions -Ĭonclusion. A four-measure phrase A phrase longer than four measures Measures that assume double functions -īourrées I and II : rhythmic figures. Gavottes I and II : unaccented downbeat and accented upbeat. With metric pattern and voice-leading agreement with metric pattern and voice-leading conflict. Metric conflicts 2:3 Metric conflicts 3:2. Courante : the harmonic structure and the ambiguity of meter. Conflicts and interactions among meter, melody, and harmony The change in accentual pattern Large-scale rhythmic process Rhythmic organization in the second "alla breve" section Conclusion. The "alla breve" of Bach's overtures Rhythmic organization in the first "alla breve" section Rhythmic organization in the 6/8 section. The form of the 6/8 section The harmonic structure of the 6/8 section Metric organization. Verticalized melody Augmentation in bass Enlargement in the top voice Bass line becomes melodic figure Motivic aspects of large-scale harmonic structure. Surface repetitions Concealed repetitions.
Overture-suite and Bach The Overture in the French manner Methodology Literature Organization. Includes abstract and autobiographical note.
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