Phone
Tablet - Portrait
Tablet - Landscape
Desktop
Toggle navigation
Performers
Steinway Performers
Albright, Charlie
Anderson, Greg
Arishima, Miyako
Benoit, David
Biegel, Jeffrey
Birnbaum, Adam
Braid, David
Brown, Deondra
Brown, Desirae
Brown, Gregory
Brown, Melody
Brown, Ryan
Caine, Uri
Chen, Sean
Chulochnikova, Tatiana
Deveau, David
Farkas, Gabor
Feinberg, Alan
Fung, David
Gagne, Chantale
Golan, Jeanne
Goodyear, Stewart
Graybil, Matthew
Gryaznov, Vyacheslav
Gugnin, Andrey
Han, Anna
Han, Yoonie
Iturrioz, Antonio
Khristenko, Stanislav
Kim, Daniel
Li, Zhenni
Lin, Jenny
Lo Bianco, Moira
Lu, Shen
Mahan, Katie
Mao, Weihui
Melemed, Mackenzie
Min, Klara
Mndoyants, Nikita
Moutouzkine, Alexandre
Mulligan, Simon
Myer, Spencer
O'Conor, John
O'Riley, Christopher
Osterkamp, Leann
Paremski, Natasha
Perez, Vanessa
Petersen, Drew
Polk, Joanne
Pompa-Baldi, Antonio
Rangell, Andrew
Roe, Elizabeth Joy
Rose, Earl
Russo, Sandro
Schepkin, Sergei
Scherbakov, Konstantin
Shin, ChangYong
Tak, Young-Ah
Ziegler, Pablo
Facebook
Twitter
Instagram
Back 1 step
Johann Sebastian Bach
Johann Sebastian Bach
Partita for Keyboard no 4 in D major, BWV 828
Interpretations
About This Work
Performers
Refine by: Performers
All
Rangell, Andrew
Schepkin, Sergey
Labels
Labels
All
Steinway & Sons
Controls
Cover
Artists
Label
Movements
Andrew Rangell
1.
I. Ouverture
2.
II. Allemande
3.
III. Courante
4.
IV. Aria
5.
V. Sarabande
6.
VI. Menuet
7.
VII. Gigue
Steinway & Sons / 30024
Sergey Schepkin
1.
I. Ouverture
2.
II. Allemande
3.
III. Courante
4.
IV. Aria
5.
V. Sarabande
6.
VI. Menuet
7.
VII. Gigue
Steinway & Sons / 30062
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
About This Work
Bach composed the six partitas in 1726, but issued only the first that year, publishing the others individually, one each year until 1731, when all were issued as a set. These brilliant half-dozen works are easily among Bach's most significant keyboard efforts. Comprised of dances (Allemande, Courante, Sarabande, and Gigue) and other pieces, each partita is a suite divulging much color and often requiring a good measure of virtuosity from the performer. This fourth partita and the sixth are the two longest, each lasting well over 20 minutes when repeats are ignored, and thus a half-hour or likely more when they are observed.
The D major partita opens with a brilliant and lengthy Overture (or Ouverture in the French spelling used by Bach). Its character has been likened to the style of French operatic overtures of the period, not least because of its slow, dramatic opening and succeeding fast section. That section is the heart of the piece -- light and colorful at the outset, then turning more substantive and muscular as thematic development grows amid much deft contrapuntal activity. The ensuing Allemande is no less substantial in size (the first two movements, in fact, comprise over half the length of the entire suite). But the music of the Allemande also contains a good measure of expressive depth in its largely subdued and serene manner. The ensuing Courante is light and jovial, the perfect foil for the serious yet calm character of the preceding piece. The fourth movement features a jaunty Aria, whose counterpoint has a muscularity in its rippling digital flow.
The ensuing Sarabande is sweet and gentle in its slow pacing and augurs a kind of melting lyricism that will flower in the Classical and Romantic periods. A relatively brief Menuet follows, beaming its sunny rays in a graceful and lively but unhurried way. The Gigue, as usual, closes out this partita with fast, brilliant writing. Here the music seems busily to be working its way downward or upward, always with a sense of glee and industriousness, subtly crafted counterpoint abounding.
-- AllMusic.com
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
29DCDCA06272EAEF5ED6A1CF9F2B02DD