The Sonatas and Partitas for solo violin BWV 1001-1006 by Bach have long been surrounded by mystery about the real date of composition, the name of the lucky virtuoso who was to play them for the first time, where and exactly how they were to be played. Nevertheless, they are still one of the splendours of the violin repertory, and their magnetic force has always fascinated audiences and attracted the interest of the greatest soloists.
The alternating order of the Sonatas and Partitas suggests that Bach did not write them singly, but in pairs. Two worlds of style come close here: the austere Italian “church sonata”, using strict counterpoint, and the airy French “suite” with its dances.
Sonata no. 1 starts with an Adagio in the form of a fantasia, followed by a fugue. The third movement is a Siciliana in a pastoral mood. The concluding Presto boasts agile virtuoso passages.
Partita no. 1 might be briefly defined as an exultation of the variation. Each of the four dances – Allemanda, Corrente, Sarabanda, Tempo di Borea, meaning a bourée – is followed by a double, in which the variations are rhythmic rather than melodic.
Sonata no. 2, like no.1, sets out with a Grave in fantasia style, followed by a decidedly rhythmic Fugue, then an Andante with its own insistent rhythm, and an Allegro closes with symmetric echo effects.
Partita no. 2 is known for its monumental Chaconne, originally a Spanish dance, in which the violinist is free to exhibit all manner of technical bravura. Before this, though, comes a deeply accented Allemanda, a light Corrente, a pensive Sarabanda, and a brilliant Giga.
The two worlds seem to move further apart in the last pair. Sonata no. 3 is the most austere of the three couples, with its Grave, a monumental Fugue, a singing Largo and a virtually symmetrical Allegro. Partita no. 3, in contrast, is the sunniest. At the outset the Allegro, a sort of perpetual movement, is skilfully written for three strings at two points, so it seems to become polyphonic. Then there are seven dance movements, including the splendid Loure, a Gavotte en rondeau, two completely different minuets, a Bourée with an extraordinarily inspired rhythm and a melodically exuberant Giga.

Carlo Bellora