Originally written for the harpsichord, Bach’s Partita No. 6 in E Minor, BWV 830 was published in 1731. The partita is written in the typical suite style of a collection of stylistic dances including seven movements. Bach’s collection of partitas, BWV 825–830, were written after both his English and French suites. Partita No. 6 begins with a profound opening in the Toccata movement. It alternates a dramatic soaring melody with rushing improvisatory motives. This partita requires great technical and musical virtuosity to present the elements that Bach would expect from his final partita.
Below are two complete recordings of this wonderful partita:
Tatiana Nikolayeva plays Bach’s Partita No.6 in E minor, BWV 830 with great care and a tender expression. She embraces the subtleties of the partita in a serene manner. The expression of the piece is deep and varies from somber improvisation-like motives to celebratory, virtuosic themes. Nikolayeva’s interpretation tends to be slightly more lyrical and she incorporates the modern capabilities of the modern piano such as moderate use of the sustain pedal. Her articulation is very suitable for the partita and her use of pedal is tasteful. https://www.youtube.com/watch?v=Zjv4ESS2LqY
Glenn Gould plays Partita No. 6 with great vigor and expression. As is typical for Gould, his interpretation is stylistic and inspired, though not necessarily traditional. The musical freedom is all within the realm of a Bach performance, but there is a wonderful amount of individuality that Gould presents in this recording. Both performances of Bach’s Partita No. 6 are beautiful interpretations of this masterpiece.
https://www.youtube.com/watch?v=-bL2qhrGeJA
Thanks for sharing, Nicole! I find that pianists in older recordings tend to have a more unique sound. I think the widespread availability of recordings has cost musicians some of their individuality. I am wondering how I would approach pieces differently if my interpretation was the only I've ever heard.
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