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JOHANN SEBASTIAN BACH (1685 – 1750)
Bach: Six Partitas, BWV 825-830 - Vladimir Feltsman
Bach: Six Partitas, BWV 825-830 - Vladimir Feltsman
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Partita No. 1 in B-Flat Major, BWV 825: I. Praeludium
1:54
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Partita No. 1 in B-Flat Major, BWV 825: II. Allemande
2:08
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Partita No. 1 in B-Flat Major, BWV 825: III. Courante
2:07
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Partita No. 1 in B-Flat Major, BWV 825: IV. Sarabande
3:51
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Partita No. 1 in B-Flat Major, BWV 825: V. Menuet 1 & 2
2:41
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Partita No. 1 in B-Flat Major, BWV 825: VI. Gigue
1:19
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Partita No. 2 in C Minor, BWV 826: I. Sinfonia
4:51
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Partita No. 2 in C Minor, BWV 826: II. Allemande
4:50
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Partita No. 2 in C Minor, BWV 826: III. Courante
1:47
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Partita No. 2 in C Minor, BWV 826: IV. Sarabande
3:21
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Partita No. 2 in C Minor, BWV 826: V. Rondeau
1:31
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Partita No. 2 in C Minor, BWV 826: VI. Capriccio
2:34
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Partita No. 3 in A Minor, BWV 827: I. Fantasia
1:50
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Partita No. 3 in A Minor, BWV 827: II. Allemande
3:14
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Partita No. 3 in A Minor, BWV 827: III. Courante
2:20
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Partita No. 3 in A Minor, BWV 827: IV. Sarabande
3:08
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Partita No. 3 in A Minor, BWV 827: V. Burleska
1:34
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Partita No. 3 in A Minor, BWV 827: VI. Scherzo
1:13
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Partita No. 3 in A Minor, BWV 827: VII. Gigue
2:29
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Partita No. 4 in D Major, BWV 828: I. Ouverture
6:03
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Partita No. 4 in D major, BWV 828: II. Allemande
7:15
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Partita No. 4 in D major, BWV 828: III. Courante
2:52
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Partita No. 4 in D major, BWV 828: IV. Aria
1:24
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Partita No. 4 in D major, BWV 828: V. Sarabande
4:21
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Partita No. 4 in D major, BWV 828: VI. Menuet
1:05
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Partita No. 4 in D major, BWV 828: VII. Gigue
3:10
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Partita No. 5 in G Major, BWV 829: I. Praeambulum
2:18
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Partita No. 5 in G Major, BWV 829: II. Allemande
3:58
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Partita No. 5 in G Major, BWV 829: III. Courante
2:04
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Partita No. 5 in G Major, BWV 829: IV. Sarabande
3:31
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Partita No. 5 in G Major, BWV 829: V. Passepied
1:12
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Partita No. 5 in G Major, BWV 829: VI. Gigue
1:16
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Partita No. 5 in G Major, BWV 829: VII. Tempo di Minuetto
3:05
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Partita No. 6 in E Minor, BWV 830: I. Toccata
8:03
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Partita No. 6 in E Minor, BWV 830: II. Allemande
3:11
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Partita No. 6 in E Minor, BWV 830: III. Courante
4:01
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Partita No. 6 in E Minor, BWV 830: IV. Air
1:38
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Partita No. 6 in E Minor, BWV 830: V. Sarabande
5:21
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Partita No. 6 in E Minor, BWV 830: VI. Gigue
1:42
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In 1726, Bach had announced in a Leipzig newspaper the publication of a large Suite with Prelude. This Suite was followed by others published separately until all six of them appeared in 1731 as a collection in a single volume. Bach himself engraved and printed his Partitas at his own cost, marking them as Opus 1. The title reads, "Clavier-űbung. Consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Menuets and Other Gallantries Composed for the Pleasurable Diversion of Music Lovers." The fact that Bach marked the Partitas as Opus 1 does not mean that it was his first composition, but simply that it was the first work he had published. "Clavier-übung." ("Keyboard Exercises") would be expanded in time to include three more volumes. The second book contains an Italian Concerto and a French Overture, the third book contains works for organ, and the fourth book includes the Goldberg Variations. The "Clavier-übung" collection represents the most popular musical forms, genres and styles of keyboard music of that time. The Partitas represent the Gallant Style, which means, predominantly, French; the Italian Concerto represents the Grand Italian Style, Tutti-Soli-Ritornellos; the French Suite is an expanded model, a blend of Partita and Orchestral Sus and the Goldberg Variations are a highly contrapuntal German experiment.

Feltsman’s imaginative and creative ornaments and embellishments consistently delight and surprise. Notice, for example, the uncommon sense of musing and introspection in the Prelude of the C minor Partita, the rhapsodic briskness of the B flat’s Sarabande or the effectively brusque rolled chords and trills in the D major’s Courante and Aria. You may not get painstaking dynamic gradations or micro-managed contouring of lines in the manner of pianists as disparate as Schiff and Tureck but you won’t find many piano versions of the Bach Partitas where joyous musicality, communicative immediacy and fervent commitment emerge to Feltsman’s consistent degree.
--Gramophone Magazine
11/29/2024

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