J.S. Bach Partita In Dm (part1)

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J.S. Bach Partita In Dm (part1)

The Partitas, BWV 825--830, are a set of six harpsichord suites written by Johann Sebastian Bach, published from 1726 to 1730 as Clavier-Übung I, and the first of his works to be published under his direction. They were, however, among the last of his keyboard suites to be composed, the others being the six English Suites, BWV 806-811 and the six French Suites, BWV 812-817.
These six suites for harpsichord are the last set that Bach composed and the most technically demanding of the three. They were composed between 1725 and 1730 or 1731. As with the French and English Suites, the autograph manuscript of the Partitas is no longer extant.
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. This title, however, is a publishing convenience; there is nothing particularly German about the Partitas. In comparison with the two earlier sets of suites, the Partitas are by far the most free-ranging in terms of structure. Unlike the English Suites, for example, each of which opens with a strict Prelude, the Partitas feature a number of different opening styles including an ornamental Overture and a Toccata.
Although each of the Partitas was published separately, they were collected into a single volume (1731), known as the Clavier-Übung I (Keyboard Practice), which Bach himself chose to label his Opus 1. 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. This intention is further signalled by the spread of keys, which follows a clear structure, B-Flat - c, a - D, G - e, leaving F as the logical conclusion. The Italian Concerto, which is in the key of F and was published in the Clavier-Übung II, likely originated therefore as one of the Partitas before expanding beyond the dictates of the Suite form.
The Sonatas and Partitas for solo violin (BWV 1001--1006) are a set of six works composed by Johann Sebastian Bach. They are also called the Sonatas and Partias for solo violin, in accordance with Bach's original terms: "Partia" was common in German-speaking regions during Bach's time, whereas the Italian "Partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard at that time. The set consists of three sonatas da chiesa, in four movements, and three partitas (or partias), in dance-form movements.
The set was completed by 1720, but was only published in 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded.
The Sei Solo -- a violino senza Basso accompagnato, as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as an archetype for solo violin pieces for the following generations of composers including Eugène Ysaÿe and Béla Bartók.
Bach started composing these works around 1703, while at Weimar, and the set was completed by 1720, when Bach was a Kapellmeister in Köthen. He was almost certainly inspired by Johann Paul von Westhoff's partitas for solo violin, since he worked alongside Westhoff at Weimar, and the older composer's pieces share some stylistic similarities with Bach's. Solo violin repertoire was actively growing at the time: Heinrich Ignaz Biber's celebrated solo passacaglia appeared c.1676, Westhoff's collections of solo violin music were published in 1682 and 1696, Johann Joseph Vilsmayr's Artificiosus Concentus pro Camera in 1715, and finally, Johann Georg Pisendel's solo violin sonata was composed around 1716. The tradition of writing for solo violin did not die after Bach, either; Georg Philipp Telemann published 12 Fantasias for solo violin in 1735.
The tradition of polyphonic violin writing was already well-developed in Germany, particularly by Biber, Johann Heinrich Schmelzer, and the composers of the so-called Dresden school -- Johann Jakob Walther and Westhoff. Bach's Weimar and Köthen periods were particularly suitable times for composition of secular music, for he worked as a court musician. Bach's cello and orchestral suites date from the Köthen period, as well as the famous Brandenburg concertos and many other well-known collections of instrumental music