![]() The idea of studying and practising written finger exercises merely in order to acquire technical dexterity was foreign to Bach and the period in which he lived. The rest of the series include such works as the Italian Concerto, French Overture and the Goldberg Variations not to mention the third part which includes some of Bach’s finest Chorale Preludes for organ. It is interesting to know that the six Partitas formed the first of a four-part series published under the title “Clavierübung” or “Keyboard practice” or “Keyboard studies”. Like the six so-called English Suites and the six Partitas, both written for keyboard, the six cello Suites each start with a substantial Prelude. Considering the period of history in which we are living and the fact that a united Europe and its evolution is a prominent part of our political thinking, it is interesting to note that the form of the Suite is a microcosm of the idea: Allemande from Germany, Courante or Corrente from France or Italy, Sarabande from Spain, the “galanteries” from France, “galanteries” sometimes including Polonnaise from Poland and finally Gigue from Ireland or England. In the cello Suites these were Minuets I & II for Suites I & II, Bourrées I & II for Suites III and IV and Gavottes I and II for Suites V and VI. ![]() ![]() Between the Sarabande and the Gigue the so-called “galanteries” were placed. ![]() Bach are Allemande, Courante, Sarabande and Gigue. The four essential movements of the Suite as used by J.S.
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