Partita No. 1 for Keyboard in B‑Flat Major

Partita No. 1 was the first to appear in print (1726), though it was probably the third or fourth to be composed. Bach obviously wanted to begin his Opus 1 with something accessible and attractive, and the First Partita is certainly the most approachable of the six. Its opening “Praeludium” delicately elaborates rising and falling scales and recalls similar preludes in The Well-Tempered Clavier (F-sharp major, A-flat major, B major). The “Allemande” is a helter-skelter—unstoppable in its momentum, though not intended as a high-speed showpiece. Both the “Corrente” and first “Menuet” follow this lead with continuous, uninterrupted figuration. The “Sarabande” unfolds with great dignity and lots of written-out ornamentation, under which the traditional rhythm, with its second-beat stress, is clearly audible. The final “Giga” returns to the busy, unbroken flow of the earlier dances, with the witty addition of some hand-crossing, in which the leaping left hand plays both melody and bass. About J.S. Bach’s Partitas Bach published his Six Partitas for Keyboard individually between 1726-30, and then together as his Opus 1 in 1731—forming the first part of his Clavier-Übung (Keyboard Practice). The Partitas are keyboard suites built around the traditional sequence of dances—allemande, courante, sarabande, gigue—but distinguished by differing opening movements and novelties added toward the end of each suite. Variety was the guiding principle throughout, not only to appeal to the public but also allowing Bach to display his full stylistic range: stretching the boundaries of well-known dance forms so that no two are quite alike. The Partitas established Bach’s reputation as a keyboard composer—not for fledgling fingers, but for serious players.