Six Partitas

Track Listings

1. EntrŽe

2. Rondeau

3. Polonoise

4. Menuet

5. Dr™le

6. Entrada

7. Aria

8. Menuet

9. Polonoise

10. Scherzo

11. Cantabile

12. Gaiement

13. Polonoise

14. Menuet

15. RŽjouissance

16. Larghetto

17. Presto

18. Polonoise

19. Menuet

20. Scherzo

See all 30 tracks on this disc

Editorial Reviews
Album Description
Adam FALCKENHAGEN (1697-1754)
SIX PARTITAS for Solo Lute, Op.2 (1742)
John SCHNEIDERMAN, lute

Tracks:

Partita No. 1 In B Flat Major, BWV 825: Praeludium
Partita No. 1 In B Flat Major, BWV 825: Allemande
Partita No. 1 In B Flat Major, BWV 825: Corrente
Partita No. 1 In B Flat Major, BWV 825: Sarabande
Partita No. 1 In B Flat Major, BWV 825: Menuet I - Menuet II - Menuet I da capo
Partita No. 1 In B Flat Major, BWV 825: Giga
Partita No. 2 In C Minor, BWV 826: Sinfonia: Grave adagio - Andante - Allegro
Partita No. 2 In C Minor, BWV 826: Allemande
Partita No. 2 In C Minor, BWV 826: Courante
Partita No. 2 In C Minor, BWV 826: Sarabande
Partita No. 2 In C Minor, BWV 826: Rondeaux
Partita No. 2 In C Minor, BWV 826: Capriccio
Partita No. 4 In D Major, BWV 828: Ouverture - Allegro
Partita No. 4 In D Major, BWV 828: Allemande
Partita No. 4 In D Major, BWV 828: Courante
Partita No. 4 In D Major, BWV 828: Aria
Partita No. 4 In D Major, BWV 828: Sarabande
Partita No. 4 In D Major, BWV 828: Menuet
Partita No. 4 In D Major, BWV 828: Gigue

Tracks:

Partita No. 3 in A Minor BWV 827: Fantasia
Partita No. 3 in A Minor BWV 827: Allemande
Partita No. 3 in A Minor BWV 827: Corrente
Partita No. 3 in A Minor BWV 827: Sarabande
Partita No. 3 in A Minor BWV 827: Burlesca
Partita No. 3 in A Minor BWV 827: Scherzo
Partita No. 3 in A Minor BWV 827: Gigue
Partita No. 5 in G Major BWV 829: Praeambulum
Partita No. 5 in G Major BWV 829: Allemande
Partita No. 5 in G Major BWV 829: Corrente
Partita No. 5 in G Major BWV 829: Sarabande
Partita No. 5 in G Major BWV 829: Tempo di Minuetta
Partita No. 5 in G Major BWV 829: Passepied
Partita No. 5 in G Major BWV 829: Gigue
Partita No. 6 in E Minor BWV 830: Toccata - (Fugue)
Partita No. 6 in E Minor BWV 830: Allemande
Partita No. 6 in E Minor BWV 830: Corrente
Partita No. 6 in E Minor BWV 830: Air
Partita No. 6 in E Minor BWV 830: Sarabande
Partita No. 6 in E Minor BWV 830: Tempo di Gavotta
Partita No. 6 in E Minor BWV 830: Gigue

Amazon.com

Sometimes it helps not to specialize. As Angela Hewitt expands her horizons beyond Bach, her Bach, paradoxically, has ripened tenfold, as revealed in this magnificent set of partitas. One listens in vain for a single slip-up in timing or voicing. Articulation is marvelously varied, but never for the sake of variety itself. More to the point, the music's dancelike subtexts bring out a more deeply felt, emotionally three-dimensional music-making than encountered in Hewitt's previous Bach efforts. This gifted pianist has come into her own. Hear her. --Jed Distler

Customer Reviews:

Another Amazing Angela Album.......2007-07-19

Ms. Hewitt has once again managed to blow us away with another stunning perfect interpretation of Bach's Partitas. This is an excellent record for anyone learning Bach (especially those having problems with phrasing and counterpoint) or simply for enjoyment.

Good work without much personality.......2005-07-12

This was one of the first collections of Bach's Partitas I purchased on CD, having been promoted by British critics. Hewitt's playing in this music is linear, inoffensive, crystalline and lacking in personality. These are good performances but I don't believe this pianist is the final word in this music. The sound on these full priced CDs is fine.

I've tested a number of individual performances (Argerich, Pires, Wolf Harden, Anderszewski,others) and complete sets (Glenn Gould, Richard Goode, Andras Schiff, Roselyn Turek and Christopher Sager on piano and Igor Kipnis & Trevor Pinnock on harpsichord, Richard Troeger on clavichord) and have found some of the same shortcomings in all the sets or CDs recorded individually. A newer set by Craig Sheppard has gotten universally good reviews by U.S. critics; I haven't heard it.

In particular, Gould can be impatient and is poorly recorded part of the time. Sager is the epitome of blandness and Goode is not far behind. Turek is a unique voice in Bach and anything she does should be given utmost consideration. Her recordings of the Partitas contain all her typical characteristics -- deliberate approach, heightened elocution and near new discovery of the counterpoint. However, her approach is not always dynamic and will not suit all tastes.

On harpsichord, Pinnock's recordings are fascinating but don't wear well over time because they all sound so much alike. Only Kipnis, it seems to me, understands the difference between each Partita and how to project those differences in Bach's individual voice and humanity. Of the sets I've tested, his comes closest to portraying the unique qualities of the each of the six Partitas. Troeger's clavichord recording is a disaster -- slavishly metrical, unimaginative and ugly sounding.

I continue to cling to individual favorites (see my past reviews) including Elena Kuschnerova's fabulous performance of the titantic Partita No. 6, Gould's remarkable performance of Partita No. 4 and the unbelieveable performance of the Partita No. 1 by Dubravka Tomsic, included in a dirt cheap CD that I called "Best Bach CD on the Planet" in my Amazon review. It is a crime more people don't know about this remarkable CD, which is available for $4.98.

I hope a piano set arrives someday that mimics some of the individual creativity from Kipnis with the drama of Kuschnerova and uncanny musical understanding of Tomsic. Until that time, I wouldn't recommend you spend the better part of $30 for this collection, although this one better than overrated groupings by Richard Goode and Andras Schiff.

One woman and a piano..........2004-03-31

I first heard Angela Hewitt playing Bach on the radio, and immediately sought out a recording. This is what I ended up with, and months later it is still revealing new riches. The music, of course, is vast and rich, and Hewitt breathes life into every note. This is not the cold mathematical playing that some advocate for Bach (and that his music survives), this is Bach that sings and dances, contemplates and exults. Try this out if you want to hear how one slender woman, a piano, and a long dead composer can collaborate to create an entire world.

Superb Performances of Sublime Music.......2003-07-12

It is amazing that Bach's Partitas are the first compositions that he published, though he had written hundreds of others before them. It is also sobering that he had to pay for their publication, as he did for many of the 12 works that were published in his lifetime. [About 1080 compositions have survived, but it is thought that Bach probably wrote about 2000.]

These pieces are among the best of Bach's keyboard works and are played beautifully by Angela Hewitt. I enjoy hearing them played on harpsichord, too, but when they are played on the piano, I want the performer to treat it like a piano as Ms Hewitt does.

Tracks:

Sonata I In G Minor, Bwv 1001 / Sonate No.1 En Sol Mineur, Bwv 1001
Partita I In B Minor, Bwv 1002 / Partita No.1 En Si Mineur, Bwv 1002
Sonata Ii In A Minor, Bwv 1003 / Sonate No.2 En La Mineur, Bwv 1003
Partita Ii In D Minor, Bwv 1004 / Partita No.2 En Re Mineur, Bwv 1004
Sonata Iii In C Major, Bwv 1005 / Sonate No.3 En Do Majeur, Bwv 1005
Partita Iii In E Major, Bwv 1006 / Partita No. 3 En Mi Majeur, Bwv 1006

Customer Reviews:

Wow!!.......2007-04-01

James Ehnes, who I had never heard of previously, was the solo violinist when I went to the Montreal Symphony Orchestra. He was playing a piece from Bach's 3rd Symphony, I believe. My date and I were blown away by James. He was absolutely amazing, that's as close as I can get to describing. A few days later, I found a few of James' CDs and picked this particular album because it is Bach. It's wonderfully beautiful and still amazing. I highly recommend it to anyone who loves the violin or Bach. If you love both, even better. If you get the chance to do so, see and hear James live. Truly truly...wow!

..........2006-07-27

This may not be a particularily well-known recording of Bach's unaccompanied violin works, unlike the epic recordings by Milstein and Heifitz, but James Ehnes truly presents a mature reading that is worthy of comparison.
James Ehnes plays with a very rich tone. He truly gets to the core of the sound and the digital recording quality really helps to bring this out. One cut that is particularily well-played in my opinion is the fugue from the C major Sonata. Despite the difficult double/triple stop patterns, Ehnes plays with perfect intonation and makes it seem effortless. The amount of control that he has over his instrument is incredible. He is able to phrase even the most difficult passages beautifully.

Partitas 1 2 & 3 - 70th Anniversary Edition

Average customer rating:

Partitas 1 2 & 3 - 70th Anniversary Edition
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006FIAO
Release Date: 2002-09-03

Average customer rating:

too much noise
Peerlessly executed
Most enjoyable classical guitar album I've ever purchased.
What devides the reviewers???
WOW

Bach: The Six Sonatas and Partitas

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

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Bach: Lute Suites (Guitar Arrangement)/ Galbraith
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In Every Lake the Moon Shines Full
Essencia Do Brasil

ASIN: B000009SDY
Release Date: 1998-08-04

Tracks:

Sonata No. 1, BWV 1001, In A Minor [Orig.G Minor]: Adagio
Sonata No. 1, BWV 1001, In A Minor [Orig.G Minor]: Fuga
Sonata No. 1, BWV 1001, In A Minor [Orig.G Minor]: Siciliano
Sonata No. 1, BWV 1001, In A Minor [Orig.G Minor]: Presto
Partita No. 1, BWV 1002, In B Minor: Allemanda
Partita No. 1, BWV 1002, In B Minor: Double
Partita No. 1, BWV 1002, In B Minor: Corrente
Partita No. 1, BWV 1002, In B Minor: Double
Partita No. 1, BWV 1002, In B Minor: Sarabande
Partita No. 1, BWV 1002, In B Minor: Double
Partita No. 1, BWV 1002, In B Minor: Tempo di Bourree
Partita No. 1, BWV 1002, In B Minor: Double
Sonata No. 2, BWV 1003, In B Minor [Orig. A Minor]: Grave
Sonata No. 2, BWV 1003, In B Minor [Orig. A Minor]: Fuga
Sonata No. 2, BWV 1003, In B Minor [Orig. A Minor]: Andante
Sonata No. 2, BWV 1003, In B Minor [Orig. A Minor]: Allegro
Partita No. 2, BWV 1004, In E Minor [Orig. D Minor]: Allemanda
Partita No. 2, BWV 1004, In E Minor [Orig. D Minor]: Corrente
Partita No. 2, BWV 1004, In E Minor [Orig. D Minor]: Sarabanda
Partita No. 2, BWV 1004, In E Minor [Orig. D Minor]: Giga
Partita No. 2, BWV 1004, In E Minor [Orig. D Minor]: Ciaccona (Chaconne)
Sonata No. 3, BWV 1005, In D Major [Orig. C Major]: Adagio
Sonata No. 3, BWV 1005, In D Major [Orig. C Major]: Fuga
Sonata No. 3, BWV 1005, In D Major [Orig. C Major]: Largo
Sonata No. 3, BWV 1005, In D Major [Orig. C Major]: Allegro assai
Partita No. 3, BWV 1006, In E Major: Preludio
Partita No. 3, BWV 1006, In E Major: Loure
Partita No. 3, BWV 1006, In E Major: Gavotte en Rondeau
Partita No. 3, BWV 1006, In E Major: Menuet I
Partita No. 3, BWV 1006, In E Major: Menuet II
Partita No. 3, BWV 1006, In E Major: Bourr
Partita No. 3, BWV 1006, In E Major: Gigue

Amazon.com

While many guitarists carry single movements from Bach's solo violin sonatas and partitas in their repertoires, Paul Galbraith has transcribed the entire set for his custom-made eight-string instrument. The arrangements are wrought with skill, and employ subtle textural filling and intriguing segues between certain movements. Yet Galbraith's glitchless, fur-tipped fingers coddle these works to where Bach's harmonic daring, rhythmic momentum, and emotional contrasts vanish into smooth oblivion. Great guitar playing and gorgeous sonics, yes, but essentially Bach-lite. --Jed Distler

Customer Reviews:

too much noise.......2006-12-26

Good music and excellent performance.But there are too much backgroud noise, especially hear the music using headphone.I could not accept that because it is a solo instrument music not a orchestra music which is ok to ignore.

Peerlessly executed.......2006-12-05

I'll add my voice to the chorus praising this recording. Between Paul Galbraith's technical mastery of the works and the extended compass of his eight-string guitar, magic occurs. This recording unlike most classical guitar recordings save his later recording of the Bach Lute Suites, which is also quite amazing. The added high notes and (more importantly) the additional low notes bring a depth and richness to the music which is somewhat lacking in standard classical guitar, sans scordatura.

If you like this recording, check out Elliot Gibbons' Mysterious Barricades, recorded on a 13-string 'archguitar.' He also plays Bach, as well as works by Couperin, Sanz, and de Visee, and the extended compass of the instrument allows for a very rich experience, with wonderful basses providing structural oak under Bach's lovely melodies.

Most enjoyable classical guitar album I've ever purchased........2005-12-11

I am not a music critic, nor am I an expert on Bach. My only credential for commenting on this album is that I have played classical guitar, albeit at an amateur level, for over forty years. Since I spend a great deal of time reading and writing, I'm always pleased to find a purely instrumental album that can tweak my creative neurons without intruding to the extent of redirecting my thoughts (unlike Beethoven or some of JS Bach's heavier compositions).

This album is simply lovely. Galbraith's artistry is remarkable. Add to this the surprising richness of his custom 8-string guitar (one above and one below the usual six strings), which extends the bass range beyond that of a 6-string guitar, and allows him to play higher notes closer to the end of the neck, increasing the resonance. The result, like that of Rachmaninov's oversized hands on the piano, generates a freshness that is not possible on a 6-string guitar.

Although I've heard a couple of short extracts from this composition performed by other guitarists, I have to confess that I was generally unaware of the complete work until stumbling into this album. Listening to all 32 tracks played in succession is a delight.

I would of course recommend this to those who love classical music. Beyond that, I think most listeners of "New Age" music would find this comfortable and vaguely familiar. As an introduction to classical music in general, and to JS Bach specifically, it would be hard to find a recording with a less bombastic baroque flavor.

What devides the reviewers???.......2005-12-04

I am totally fascinated by the split in how reviewers value this record. To me: Yes it is meditative, leading to inner quietness, the centre. To me that is precisely why it is so awesome. A true and veritable interpretation of Bach! That is what is so good about it. Not an understatement, but certainly not over the top or sentimental or overdoing it, but instead: still ... I'm totally impressed, This is the only CD that I have really found worth playing since I discovered it 5 years ago. It cannot be, but born out of love. Going even so far as to creating a new - modified - instrument with 8 strings - so as to allow to play the these Sonatas and Partitas as one whole. That goes pretty far. But it has proven worth it. And YES, I can follow the intuition that Galbraith developed that these suites were originally conceived as a single piece, and that it is an instrumental gospel. I am not a Christian, but very happy with this interpretation. I find it far from without emotion. To me it is very very spiritual as well as emotional, but at a rather high level (requiring the ability to abstract). Someone was complaining about breathing. I don't think it is like in tennis; it is rather the fingers moving over the strings, it doesn't bother me too much, part of the deal.

WOW.......2005-10-07

Wow,can this guy play. You know you're a serious guitar player when you play a guitar that has 8 strings. Good stuff in this album plus you get two CDs, you can't beat it. Highly recommended.

Average customer rating:

Sergey Schepkin plays Bach: Vital, Intelligent, Earthy, Dancing

The Six Keyboard Partitas Vol. 2

Manufacturer: Ongaku Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001Z2M
Release Date: 1997-05-27

Tracks:

Partita V in G, BWV 829: Praeambulum
Partita V in G, BWV 829: Allemande
Partita V in G, BWV 829: Corrente
Partita V in G, BWV 829: Sarabande
Partita V in G, BWV 829: Tempo Di Minuetto
Partita V in G, BWV 829: Passepied
Partita V in G, BWV 829: Gigue
Partita VI in e, BWV 830: Toccata
Partita VI in e, BWV 830: Allemanda
Partita VI in e, BWV 830: Corrente
Partita VI in e, BWV 830: Air
Partita VI in e, BWV 830: Sarbande
Partita VI in e, BWV 830: Tempo Di Gavotta
Partita VI in e, BWV 830: Gigue
Clavierubung III: Four Duets: Duetto I in e, BWV 802
Clavierubung III: Four Duets: Duetto II in F, BWV 803
Clavierubung III: Four Duets: Duetto III in G, BWV 804
Clavierubung III: Four Duets: Duetto IV in a, BWV 805
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: (Ov)
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Courante
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Gavotte I
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Gavotte II
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Gavotte I Da Capo
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Passepied I
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Passepied II
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Passepied I Da Capo
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Sarabande
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Bourree I
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Bourree II
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Bourree I Da Capo
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Gigue
Clavierubung II: Ov In The French Style (Partita in b), BWV 831: Echo

Album Description

Includes Partitas V and VI plus the Four Duets and the Overture in the French Style.

Customer Reviews:

Sergey Schepkin plays Bach: Vital, Intelligent, Earthy, Dancing.......2007-05-13

The Baroque Era in western classical music is supposedly named for the Portuguese word that means, misshapen pearl. These performances of the JS Bach Partitas set one to thinking, backwards, and forwards.

We first have to cope with the use of the modern piano, instead of say, the harpsichord. If Wanda Landowska made playing Bach on the harpsichord in concert a signal of our ongoing return to original or period instruments, Bach on the modern piano is still very much with us. Liszt encouraged pianists to play Bach, and partly because of his genius, Liszt got away with playing Bach in public when for most music lovers, the old Baroque master was a historical watermark, mainly acknowledged for the pedagogical values of learning to play his music.

The later rediscovery of Bach and Handel had a lot to do with Baron van Swieten in Vienna, plus Mendelssohn's advocacy (would the St. Matthew Passion have been completely lost?), plus later figures like Edwin Fischer, Busoni, Egon Petri (a Busoni student and protege), and above all most recently, Canadian piano genius Glenn Gould.

Thanks to miracles of modern information technology, Glenn Gould's Bach performances have been deftly analyzed, so that his trailblazing piano performance of the Bach Goldberg Variations, first released in about 1955, is now recreated, recorded, and available in state of the art super audio sound. See the Zenph re-performance series soon to appear on the shelves.

Bach kept being resolutely played and programmed by a gaggle of pianists in each successive generation. Then along comes Joao Carlos Martins. He immerses himself in all the keyboard works, and climbs another high peak by way of a much more Romantic manner of Bach playing. Then along comes Sergey Schepkin.

He is just himself. His approach to playing Bach on the piano partly eludes description. You get the brilliant clarity and ski-sloped vigor of Glenn Gould's style, plus a whole contrary dimension of wit, fantasy, earthiness, and emotion - qualities we would otherwise associate mainly with the later Romantic schools of Bach performance.

In Schepkin's hands, the old master comes off sounding like a much closer brother to Domenico Scarlatti - or even Rameau.

The stiff, gruff Lutheran piety so disappointed by earthly life is gone from Schepkin's performances, as it variously was absent from both Glenn Gould and Joao Carlos Martins. Instead we get just bucket-loads of sheer joy, a depth of fantasy and imagination that yet does not distort or violate period practice fundamentals, re-imagined, crafted to the modern piano. Schepkin's magic is partly due to his free and improvisatory way with Baroque ornamentation. He is near as florid as Handel in the operas - or Reinhold Keiser, or C.H. Graun. He brings a vocal, operatic sense of embellishment to the long, winding, intertwining Bach polyphonies. Rather like what violinist Andrew Manze does on his fiddle with this sort of period-informed performance practice.

There is absolutely nothing of the dry, laborious keyboard exercise here. And I have not always been a fan of everybody playing the Bach Partitas.

In addition to the high intelligence and wit, Schepkin manages also to convey a dimension of play, of kaleidoscopic gaming that still remains earthy and folk-loric. At times, the sophistication of this playing will probably remind you of Rameau's courtly, satin-clad harpsichord music. Artifice strangely elaborating the best of untutored, illiterate Nature.

Well, go get this and the first volume discs. After you listen a while, who cares what I say? Very, very highly recommended. Along with Gould and Martins, Schepkin is our main Bach man, shedding all manner of varied lights and genius on the composer as he can be revealed on the cornucopian resources of the modern piano. And these two red book discs of the complete Bach Partitas are only the beginning. Schepkin has recorded a whole lot more. Oh yeah.

Average customer rating:

Mechanical Bach
This Deserves More Than the Five Stars Amazon Allows

J.S. Bach: The Six Keyboard Partitas

Manufacturer: Romeo Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000FI9OMM
Release Date: 2006-05-30

Customer Reviews:

Mechanical Bach.......2006-12-17

This recording is dull. The notes are there but the spirit and beauty are missing. It is mechanical and wrong-footed.

This Deserves More Than the Five Stars Amazon Allows.......2006-08-20

I had never even heard of Craig Sheppard until I heard a sample of a recording from his complete traversal of the Beethoven sonatas, captured live in a series of recitals in Seattle where Sheppard is a professor at the University of Washington. I was bowled over by it and even more so after I got the whole set. (See my review of that set here: Beethoven: A Journey ) I put Sheppard on my list of pianists to watch for, either in recital anywhere near where I'm located or of new releases. Well, this two-CD set of the Bach Partitas is just out and it is a pure joy. In fact, on the basis of this and the Beethoven set I have decided to automatically obtain whatever Sheppard chooses to record. There are only a few pianists who make that list.

These two CDs, available for the price of one, contain all six of Bach's keyboard partitas which comprise part I of his Klavierübung. Even though he was 46 when they were printed, they were the first of his works to be published. He published them himself with this inscription, "Keyboard practice consisting of preludes, allemandes, courantes, sarabandes, gigues, menuets and other galanteries, composed for music lovers to refresh their spirits." I must say this recording has done that for me; in fact, I had trouble starting this review because I kept going back and listening some more. It is not that I'm not familiar with the partitas -- I've played much of this music myself -- but Sheppard way with the music gave such delight that I didn't want it to stop. His manner is a genial combination of dancing rhythms, impeccable articulation (and, remember, these are live performances), great variety of touch, pulse and dynamics as well as, best of all, the intelligence, deep musicality and technique to pull this off and make it seem easy.

CD 1 contains, in this order, Partitas 3, 2 & 6; CD 2 has Partitas 5, 1 & 4. I'm not sure why this order was chosen. No matter. I found myself repeating various movements as well as picking and choosing individual movements so the order didn't much matter to me. These works were not meant by Bach to be played in any particular order, or all at once, although there are thematic cross references in the individual partitas.

Sheppard seems able to play in a manner that is somewhere between the ultra-refined style used in Bach by, say, Schiff or Perahia, and the easy, insouciant manner of Angela Hewitt. Certainly he does not use the dramatic staccato manner of Glenn Gould. He has some of the qualities of all these artists and yet makes his own statement, one I find deeply satisfying. There is a sweet musing, almost exalted, coupled with rhythmic aliveness in his playing that no one else brings to these works. The sound of his own Hamburg Steinway is one factor; it is a marvelous instrument. One has the sense that Sheppard, although playing before an audience in Seattle's Meany Auditorium, is so absorbed in the music that he is unconscious of it, and his absorption is coupled with incredible concentration, all at the service of his vision of the music. (By the way, one is not aware that this is a live recording from the sound except for brief applause at the conclusion of each Partita.)

A few highlights: I love the Toccata from the 6th Partita immoderately. It is often played either solemnly or bombastically. Sheppard plays it as an exalted improvisation with little adjustments of tempo and touch that one would expect in such a performance. In Sheppard's performance the fugal latter portion sounds made up on the spot. The concluding Capriccio of the 2nd Partita does indeed sound capricious and Sheppard emphasizes the quirky harmonic twists deliciously. The fugal Gigue of No. 6 sounds the most like Gould of anything here; this is appropriate because the main subject begs to be played staccato. Sheppard plays it at a fast pace and yet articulation is pristine -- a marvelous bravado performance of the movement that concludes the last and most grandiose of the partitas.

I had to restrain myself from getting out of my chair and dancing to the Corrente from the 3rd Partita or marching to the Scherzo of the same work (even though it's in triple time!). The Praeambulum of No. 5 flows like mountain stream -- limpid, refreshing, alive. One of my favorite of all the partita movements is the Tempo di minuetto of No. 5 with its hemiolas that Bach uses to instruct and amuse. Sheppard plays it in a delicate slightly detaché style and manages to surprise us with the metric changes every darn time. This is real musicianship!

I could go on, but I'll stop with my high praise for all of the gigues from the individual partitas. I think it is here that we hear all of Sheppard's virtues undiluted. There is no pecking or stabbing at the piano as one sometimes hears, but there is also no deadening legato. Somehow he manages to keep the rhythms and phrasing alive with minute adjustments of touch and pulse. Amazing!

This set belongs in the collection of anyone who loves these pieces, no matter what other versions they already have.

A most urgent recommendation.

[Note to self: Find and buy Sheppard's recordings of the Goldbergs, the Diabellis and his Scarlatti CD.]

Scott Morrison

Average customer rating:

Six Partitas

Manufacturer: VGo Recordings
ProductGroup: Music
Binding: Audio CD

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ASIN: B0006ZP40K
Release Date: 2004-11-01

Tracks:

Entre
Rondeau
Polonoise
Menuet
Drle
Entrada
Aria
Menuet
Polonoise
Scherzo
Cantabile
Gaiement
Polonoise
Menuet
Rjouissance
Larghetto
Presto
Polonoise
Menuet
Scherzo
Largo
Allegretto
Polonoise
Menuet
Scherzo
March
Menuet
Polonoise
Menuet
Rjouissance

Album Description

Adam FALCKENHAGEN (1697-1754)
SIX PARTITAS for Solo Lute, Op.2 (1742)
John SCHNEIDERMAN, lute

Average customer rating:

Unappealing and unimaginative
A master work, great performance, wrong instrument.
An absolute "must-have"

Bach: Six Partitas / Richard Troeger
Johann Sebastian Bach , and Richard Troeger (performer)
Manufacturer: Lyrichord Discs Inc.
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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J.S. Bach: The Seven Toccatas
J.S. Bach: Inventions; Sinfonias; Little Preludes
Art of Fugue/Violin Transcriptions/Fantasias (Bach on Clavichord Vol. 4)

ASIN: B00000JCG6
Release Date: 1999-06-22

Tracks:

Partita #1 in b flat: Praeludium
Partita #1 in b flat: Allemande
Partita #1 in b flat: Corrente
Partita #1 in b flat: Sarabande
Partita #1 in b flat: Menuet 1; Menuet 2; Menuet 1 (Repeated)
Partita #1 in b flat: Giga
Partita #2 in c: Sinf
Partita #2 in c: Allemande
Partita #2 in c: Courante
Partita #2 in c: Sarabande
Partita #2 in c: Rondeaux
Partita #2 in c: Capriccio
Partita #4 in D: Ov
Partita #4 in D: Allemande
Partita #4 in D: Courante
Partita #4 in D: Aria
Partita #4 in D: Sarabande
Partita #4 in D: Menuet
Partita #4 in D: Gigue

Tracks:

Partita #3 in a: Fant
Partita #3 in a: Allemande
Partita #3 in a: Corrente
Partita #3 in a: Sarabande
Partita #3 in a: Burlesca
Partita #3 in a: Scherzo
Partita #3 in a: Gigue
Partita #5 in G: Praeambulum
Partita #5 in G: Allemande
Partita #5 in G: Corrente
Partita #5 in G: Sarabande
Partita #5 in G: Tempo Di Minuetta
Partita #5 in G: Passepied
Partita #5 in G: Gigue
Partita #6 in e: Toccata
Partita #6 in e: Allemande
Partita #6 in e: Corrente
Partita #6 in e: Air
Partita #6 in e: Sarabande
Partita #6 in e: Tempo Di Gavotta
Partita #6 in e: Gigue

Customer Reviews:

Unappealing and unimaginative.......2006-07-13

This was the first recording of Bach's Partitas on clavichord, a historic instrument that preceded the more well known (and well liked) harpsichord.

I was skeptical that another period induced performer using this instrument could add much to this repertory. So I eschewed this recording until I could locate it on sale in a discount store.

What strikes me most about Troeger's progression through Bach's great Partitas is this:

1. He is slavishly metrical and almost completely unimaginative. Except for Partita 4, which I will explain shortly, he shows almost no imagination in any of these works.

2. The sound of his instrument, a clavichord, is clangy and becomes nearly unbearable in louder moments, which are many because Troeger shows little repose as he goes through the pages of the music.

3. For a period performer, Troeger does not seem to me to use much Baroque style. His ornaments are few and not as well placed as I've heard on the better harpsichord collections I have heard by Kipnis and Pinnock.

The signature of this collection is the overwhelmingly unappealing sound of his instrument, which is akin to a string guitar being struck by a hammer. When you combine this with Troeger's relatively humorless and lifeless metrical performances, where rubato and vibrato are apparently the enemies, this collection is not very memorable in a positive way.

The one Partita where Troeger differentiates from this pattern is the wonderful Partita No. 4. However, his performance here in terms of tempo, rubato and emotion is an exact duplication of Glenn Gould's performance from the early 1960s. I know what Gould has to say in this music. I've heard other good performance including Weissenberg. I'd like to know what Troeger has to say, too, but he seems only to have what Gould had to say.

As for the reamining pieces, Troeger almost completely misses the mystery, humanity and wonder that other performers (especially pianists like Turek, Gould, Tomsic and others) find in this music. The boxy and thunderous sound of his instrument is often worsened in slow movements by Troeger's tendency to continue pounding away over the gentlest of Bach's messages.

With the exception of the Partita 4, Troeger almost never demonstrates any subtlety in this music. Perhaps that is an outcome of his instrument. If so, it adds to my verdict that no one should again try ot communicate this music on ths particular piece of ancient equipment.

To me, the only saving grace here is Troeger's playing, which is fleet and accurate although regularly burdened by his harsh and extreme slow movements and the indefensibly metrical approach to music that is supposed to dance and be full of life. Combined with the dark and ugly sound of his instrument, I could never recommend this recording to another buyer.

A master work, great performance, wrong instrument........2000-05-07

I feel that Paul Wachowicz gave an excellent review of Bach's most mature keyboard work, The Six Partitas. I, however, didn't walk away with the same feeling. The problem for me is the choice of instrument. The clavichord has such a soft voice. I have a number or recordings of the clavichord and the suggestions for playback are generaly the same, that is, the volume should be set at a level that any external noise will interrupt the sound of the instrument. The clavichord was primary a domestic instrument because it could be played on without disturbing anyone else, say, in the next room or when playing late into the night. These are concert pieces (by Bach's standards) and should be played on a large instument such as a harpsichord or piano to get the full effect of just how modern and ahead of it's time these pieces really are when compared to his contemporaries or even now. I do have to say that this recording of the work does have great effect when played late into the night. However, I feel that if your shopping for a great recording of the Six Partitas, this performance shouldn't be your primary choice, unless of course, you love the soft voice of the clavichord.

An absolute "must-have".......1999-07-27

Throw away your desert island CD list. Should you ever find yourself marooned, these are the only disks you'll need.

There are scant few worthwhile recordings made on this wonderful instrument (Bach's favorite), and with good reason. There are pitfalls aplenty in store for the would-be recording artist bent on rendering something wonderful on the clavichord. In some cases, the player simply isn't up to the task either technically or expressively (a keyboard is a keyboard isn't it? If one can play piano or harpsichord convincingly, surely the clavichord can pose no real challenge! Guess again.). In other cases, the instrument is the culprit. Naive construction or upkeep can render a clavichord virtually unplayable, or at least unlistenable. Lastly, the instrument is unrelentingly difficult to record.

Troeger transcends all of these in a manner I've simply never heard before. The tone is sweet and lyrical, the technique absolutely perfect, the interpretations solid, valid and refreshing. Before hearing his clavichord artistry, I had a regrettable tendency to dismiss the instrument as a baroque novelty. He has changed all that for good. His technique and sensitivity are simply not easily believed. Most of the credit clearly belongs to him, but a good deal must also go to the builder (the great Ron Haas) of this very fine clavichord. The recording engineer and producer also worthy of mention. All know what they're doing.

This is a "must have" for anyone looking to expand their Bach keyboard work CD collection with something new and exciting. By all means, keep your favorite harpsichord and piano versions of the partitas as well. I have a feeling this is the one you'll listen to most often. One can only wonder at the next offering of this incredibly gifted man.

Bach: The Six Partitas
Average customer rating:

I strongly recommend this recording to you for the music, the performance, the instrument, and the notes

Bach: The Six Partitas

Manufacturer: Wild Boar Records
ProductGroup: Music
Binding: Audio CD

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Bach: English Suites / Edward Parmentier, harpsichord

ASIN: B000005VWN
Release Date: 1993-12-08

Tracks:

Partita I in B flat, BWV 825: Prld
Partita I in B flat, BWV 825: Allemande
Partita I in B flat, BWV 825: Corrente
Partita I in B flat, BWV 825: Sarabande
Partita I in B flat, BWV 825: Menuet I & II
Partita I in B flat, BWV 825: Gigue
Partita II in c, BWV 826: Sinf
Partita II in c, BWV 826: Allemande
Partita II in c, BWV 826: Courante
Partita II in c, BWV 826: Sarabande
Partita II in c, BWV 826: Rondeaux
Partita II in c, BWV 826: Capriccio
Partita IV in D, BWV 828: Ov
Partita IV in D, BWV 828: Allemande
Partita IV in D, BWV 828: Courante
Partita IV in D, BWV 828: Sarabande
Partita IV in D, BWV 828: Aria
Partita IV in D, BWV 828: Menuet
Partita IV in D, BWV 828: Gigue

Tracks:

Partita III in a, BWV 827: Fant
Partita III in a, BWV 827: Allemande
Partita III in a, BWV 827: Corrente
Partita III in a, BWV 827: Sarabande
Partita III in a, BWV 827: Burlesca
Partita III in a, BWV 827: Scherzo
Partita III in a, BWV 827: Gigue
Partita V in G, BWV 829: Preambulum
Partita V in G, BWV 829: Allemande
Partita V in G, BWV 829: Corrente
Partita V in G, BWV 829: Sarabande
Partita V in G, BWV 829: Tempo Di Minuetta
Partita V in G, BWV 829: Passepied
Partita V in G, BWV 829: Gigue
Partita VI in e, BWV 830: Toccata
Partita VI in e, BWV 830: Allemanda
Partita VI in e, BWV 830: Corrente
Partita VI in e, BWV 830: Sarabande
Partita VI in e, BWV 830: Air
Partita VI in e, BWV 830: Tempo Di Gavotta
Partita VI in e, BWV 830: Gigue

Customer Reviews:

I strongly recommend this recording to you for the music, the performance, the instrument, and the notes.......2005-12-27

This set of Bach's six great suites of Partitas is a must have for several reasons. First and always is the music of J. S. Bach. He was so proud of this music that he went to the great expense of having it published. It is for us to understand what a difficult and expensive such publication was in Bach's time, but the notes tell us that a good clavichord could nearly have been purchased for the price of the printed edition, and it sold well. These pieces are all magnificent and delightful. All keyboard players want to play them and renditions such as provided here help every listener to understand the music more clearly with each listening.

There is also the keyboard artistry of Ed Parmentier. He plays with such confidence and intimate knowledge of the music that we can hear each piece with fresh ears no matter how many times we have heard it performed. Parmentier's playing is a great example of why harpsichord playing is different than piano playing. Listen to how he lets the musical rhythm breathe according to the needs of the music to speak to us. Notice the great color in the way he articulates the notes, using every aspect of the way the harpsichord begins, sustains, and ends notes to draw ever greater expression from the music. The tempi also feel very natural and in character for each work. Brilliant and full of virtuosity at times while dense and full of pathos at others.

The instrument also shines here. Parmentier uses all its features: the multiple choirs of strings, the lute stop, and as I said earlier, the full means of articulation available to the sensitive harpsichordist. The notes point out that the instrument is authentic to the point of using quill to pluck the strings. It is recorded carefully to allow us to hear all the action of the harpsichord making its sounds. Some recordings see the action sounds as a negative and suppress too much of the music for my taste.

The notes are almost worth the price of the disk by themselves. Full of information about these works and the recording, they allow the listener to appreciate the music provided here more richly.

A terrific recording of some marvelous playing. I recommend this two disk set highly.

Average customer rating:

Sergey Schepkin plays Bach: Vital, Intelligent, Earthy, Dancing
Schepkin the iconoclast does it again

The Six Keyboard Partitas Vol. 1

Manufacturer: Ongaku
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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The Six Keyboard Partitas Vol. 2
The Goldberg Variations
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Well Tempered Clavier Book 2
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ASIN: B000001Z2L
Release Date: 1997-05-27

Tracks:

Partita I in B-flat, BWV 825: Praeludium
Partita I in B-flat, BWV 825: Allemande
Partita I in B-flat, BWV 825: Corrente
Partita I in B-flat, BWV 825: Sarabande
Partita I in B-flat, BWV 825: Menuet I
Partita I in B-flat, BWV 825: Menuet II
Partita I in B-flat, BWV 825: Giga
Partita II in c, BWV 826: Sinfonia, Grave Adagio
Partita II in c, BWV 826: Sinfonia, Andante
Partita II in c, BWV 826: Sinfonia, [Allegro]
Partita II in c, BWV 826: Allemande
Partita II in c, BWV 826: Courante
Partita II in c, BWV 826: Sarabande
Partita II in c, BWV 826: Rondeaux
Partita II in c, BWV 826: Capriccio
Partita III in a, BWV 827: Fantasia
Partita III in a, BWV 827: Allemande
Partita III in a, BWV 827: Corrente
Partita III in a, BWV 827: Sarabande
Partita III in a, BWV 827: Burlesca
Partita III in a, BWV 827: Scherzo
Partita III in a, BWV 827: Gigue
Partita IV in D, BWV 828: Ouverture
Partita IV in D, BWV 828: Allemande
Partita IV in D, BWV 828: Courante
Partita IV in D, BWV 828: Aria
Partita IV in D, BWV 828: Sarabande
Partita IV in D, BWV 828: Menuet
Partita IV in D, BWV 828: Gigue

Amazon.com

These are among the most accessible of Bach's keyboard works, but they usually sound much better on the harpsichord than on the piano. Previously the main exception to this rule was Glenn Gould, but Sergey Schepkin's performances are even better. The clarity and dexterity of his playing are simply amazing; he seems to breathe life and excitement into every measure of the music. It's rare that a little-known artist comes along and sweeps the field, but Schepkin has done exactly that. For Bach partitas on the piano, he is it. Leslie Gerber

Customer Reviews:

Sergey Schepkin plays Bach: Vital, Intelligent, Earthy, Dancing.......2007-05-13

The Baroque Era in western classical music is supposedly named for the Portuguese word that means, misshapen pearl. These performances of the JS Bach Partitas set one to thinking, backwards, and forwards.

We first have to cope with the use of the modern piano, instead of say, the harpsichord. If Wanda Landowska made playing Bach on the harpsichord in concert a signal of our ongoing return to original or period instruments, Bach on the modern piano is still very much with us. Liszt encouraged pianists to play Bach, and partly because of his genius, Liszt got away with playing Bach in public when for most music lovers, the old Baroque master was a historical watermark, mainly acknowledged for the pedagogical values of learning to play his music.

The later rediscovery of Bach and Handel had a lot to do with Baron van Swieten in Vienna, plus Mendelssohn's advocacy (would the St. Matthew Passion have been completely lost?), plus later figures like Edwin Fischer, Busoni, Egon Petri (a Busoni student and protégé), and above all most recently, Canadian piano genius Glenn Gould.

Thanks to miracles of modern information technology, Glenn Gould's Bach performances have been deftly analyzed, so that his trailblazing piano performance of the Bach Goldberg Variations, first released in about 1955, is now recreated, recorded, and available in state of the art super audio sound. See the Zenph re-performance series soon to appear on the shelves.

Bach kept being resolutely played and programmed by a gaggle of pianists in each successive generation. Then along comes Joao Carlos Martins. He immerses himself in all the keyboard works, and climbs another high peak by way of a much more Romantic manner of Bach playing. Then along comes Sergey Schepkin.

He is just himself. His approach to playing Bach on the piano partly eludes description. You get the brilliant clarity and ski-sloped vigor of Glenn Gould's style, plus a whole contrary dimension of wit, fantasy, earthiness, and emotion - qualities we would otherwise associate mainly with the later Romantic schools of Bach performance.

In Schepkin's hands, the old master comes off sounding like a much closer brother to Domenico Scarlatti - or even Rameau.

The stiff, gruff Lutheran piety so disappointed by earthly life is gone from Schepkin's performances, as it variously was absent from both Glenn Gould and Joao Carlos Martins. Instead we get just bucket-loads of sheer joy, a depth of fantasy and imagination that yet does not distort or violate period practice fundamentals, re-imagined, crafted to the modern piano. Schepkin's magic is partly due to his free and improvisatory way with Baroque ornamentation. He is near as florid as Handel in the operas - or Reinhold Keiser, or C.H. Graun. He brings a vocal, operatic sense of embellishment to the long, winding, intertwining Bach polyphonies. Rather like what violinist Andrew Manze does on his fiddle with this sort of period-informed performance practice.

There is absolutely nothing of the dry, laborious keyboard exercise here. And I have not always been a fan of everybody playing the Bach Partitas.

In addition to the high intelligence and wit, Schepkin manages also to convey a dimension of play, of kaleidoscopic gaming that still remains earthy and folk-loric. At times, the sophistication of this playing will probably remind you of Rameau's courtly, satin-clad harpsichord music. Artifice strangely elaborating the best of untutored, illiterate Nature.

Well, go get this first volume of the Bach Partitas, and maybe the second volume, too.

After you listen a while, who cares what I say? Very, very highly recommended. Along with Gould and Martins, Schepkin is our main Bach man, shedding all manner of varied lights and genius on the composer as he can be revealed on the cornucopian resources of the modern piano. And these two red book discs of the complete Bach Partitas are only the beginning. Schepkin has recorded a whole lot more. Oh yeah.

Schepkin the iconoclast does it again.......2000-08-09

The Partitas are here performed playfully rather than seriously. On the repeats, Schepkin ornaments almost to the degree one would expect from Couperin or Rameau, rolling his chords grandly, using all sorts of dynamics, and making it clear that this music of drama, wit, and emotion. And for the Partitas, it works beautifully - these are among the best of Bach's works, yes, but too often they are played as if the listener were to analyze rather than dance. Here, as in all of Schepkin's playing, it is clear that he takes Wanda Landowska's advice,"You play Bach your way, and I'll play him His way" to heart. Schepkin plays Bach his way, and he is never boring and often moving. This is a recording that makes you want to hear him live - it has a spontaneous quality that you won't heare from much other Bach recordings.

I'm not convinced that Sergei Schepkin's Bach playing is to everyone's taste (and, of course, the same could be said about every recording out there). I don't like his approach to the Goldbergs, and there are some things in the WTC recordings that are a little too mannered for my taste. But for the Partitas, this is a welcome approach; every music student thinking of studying on one of these would be well advised to hear this playing as a counterpoint to Gould's recording.

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1. EntrŽe
2. Rondeau
3. Polonoise
4. Menuet
5. Dr™le
6. Entrada
7. Aria
8. Menuet
9. Polonoise
10. Scherzo
11. Cantabile
12. Gaiement
13. Polonoise
14. Menuet
15. RŽjouissance
16. Larghetto
17. Presto
18. Polonoise
19. Menuet
20. Scherzo