Bach: Partita No. 6 in E minor, BWV 830 / 2024 Remastered (recording of the Century: Glenn Gould)

Full Album available // Bach: Partitas Nos. 1-6, BWV 825-830 by Glenn Gould
00:00 Partita No. 6 in E minor, BWV 830: I. Toccata (2024 Remastered, New York 1957)
09:53 Partita No. 6 in E minor, BWV 830: II. Allemande (2024 Remastered, New York 1957)
11:58 Partita No. 6 in E minor, BWV 830: III. Courante (2024 Remastered, New York 1957)
14:17 Partita No. 6 in E minor, BWV 830: IV. Air (2024 Remastered, New York 1957)
15:01 Partita No. 6 in E minor, BWV 830: V. Sarabande (2024 Remastered, New York 1957)
18:41 Partita No. 6 in E minor, BWV 830: VI. Tempo di Gavotta (2024 Remastered, New York 1957)
19:32 Partita No. 6 in E minor, BWV 830: VII. Gigue (2024 Remastered, New York 1957)

Piano: Glenn Gould
Recorded in 1957, at New York

Excerpt from the notes written by Angela Hewitt © 1997: "With Partita No. 6 in E minor, Bach offers us one of his greatest masterpieces—a prodigious work of the grandest scale, in which he lets us feel his incredible strength of character, his confidence, his warm heart, and his deep faith. Here, Bach no longer writes to please but composes at the highest intellectual and emotional level. The work opens with a toccata, where identical outer sections frame an extended fugue. The opening measure and the fugue subject use the “sigh” motif (a descending appoggiatura) to add expressiveness. Maintaining the same basic tempo throughout the toccata creates a sense of unity (which seems to be Bach’s intention, as the material from the first page reappears later in the final episode of the fugue). The allemande, with its poignant chromaticism, is followed by a remarkable courante. Fingers can take a nearly physical pleasure in executing its playful syncopations with delicacy, speed, and brilliance. A brief air, with a surprising second ending, precedes the sarabande—surely one of Bach's greatest creations. At first sight (or listen), this movement may seem baffling, and it takes time to uncover the texture beneath the abundance of notes and grasp its emotional power.

To me, Bach stands alone in this sarabande—alone, communing with his creator in a dialogue that is by turns sorrowful, hopeful, passionate, and, at times, exalted (the brief, wonderful modulations to major keys in measures 7, 8, and 30 break the darkness with flashes of light). Moving directly from the depths of Bach’s inner universe (and thus our own) to the tempo di gavotta can be experienced as a shock, and we can only marvel at how Bach immediately begins to dance—even in a minor key. This is not a true gavotte but more like an Italian giga in 12/8. Here, and in the concluding gigue, the performer faces the issue of potentially altering the note values. Playing the sixteenth notes to align with the triplets gives the tempo di gavotta more weight (similar to shortening the first two notes in the right hand). There are two very different ways to play the gigue fugue. One is to perform it in triple meter, creating something closer to a traditional gigue; the other is to strictly adhere to what was written, emphasizing the angularity of the passage. I choose this second approach, convinced that the fugue subject loses its strength if altered, and also to create a greater contrast with the preceding gavotte. Bach truly surpasses himself in this final gigue, which demands from the performer the most extreme mental virtuosity. At a lively tempo, the austere counterpoint can still be made to dance. Even if, among the six Partitas, my preference goes to the allemande of the one in D major, I can only say of this last partita, “Hats off!” "

Other Album available // Brahms: 10 Intermezzi by Glenn Gould

[classicalmusicreference]

Full Album available // Bach: Partitas Nos. 1-6, BWV 825-830 by Glenn Gould
00:00 Partita No. 6 in E minor, BWV 830: I. Toccata (2024 Remastered, New York 1957)
09:53 Partita No. 6 in E minor, BWV 830: II. Allemande (2024 Remastered, New York 1957)
11:58 Partita No. 6 in E minor, BWV 830: III. Courante (2024 Remastered, New York 1957)
14:17 Partita No. 6 in E minor, BWV 830: IV. Air (2024 Remastered, New York 1957)
15:01 Partita No. 6 in E minor, BWV 830: V. Sarabande (2024 Remastered, New York 1957)
18:41 Partita No. 6 in E minor, BWV 830: VI. Tempo di Gavotta (2024 Remastered, New York 1957)
19:32 Partita No. 6 in E minor, BWV 830: VII. Gigue (2024 Remastered, New York 1957)

Piano: Glenn Gould
Recorded in 1957, at New York


Excerpt from the notes written by Angela Hewitt 1997: "With Partita No. 6 in E minor, Bach offers us one of his greatest masterpieces—a prodigious work of the grandest scale, in which he lets us feel his incredible strength of character, his confidence, his warm heart, and his deep faith. Here, Bach no longer writes to please but composes at the highest intellectual and emotional level. The work opens with a toccata, where identical outer sections frame an extended fugue. The opening measure and the fugue subject use the “sigh” motif (a descending appoggiatura) to add expressiveness. Maintaining the same basic tempo throughout the toccata creates a sense of unity (which seems to be Bach’s intention, as the material from the first page reappears later in the final episode of the fugue). The allemande, with its poignant chromaticism, is followed by a remarkable courante. Fingers can take a nearly physical pleasure in executing its playful syncopations with delicacy, speed, and brilliance. A brief air, with a surprising second ending, precedes the sarabande—surely one of Bach's greatest creations. At first sight (or listen), this movement may seem baffling, and it takes time to uncover the texture beneath the abundance of notes and grasp its emotional power.

To me, Bach stands alone in this sarabande—alone, communing with his creator in a dialogue that is by turns sorrowful, hopeful, passionate, and, at times, exalted (the brief, wonderful modulations to major keys in measures 7, 8, and 30 break the darkness with flashes of light). Moving directly from the depths of Bach’s inner universe (and thus our own) to the tempo di gavotta can be experienced as a shock, and we can only marvel at how Bach immediately begins to dance—even in a minor key. This is not a true gavotte but more like an Italian giga in 12/8. Here, and in the concluding gigue, the performer faces the issue of potentially altering the note values. Playing the sixteenth notes to align with the triplets gives the tempo di gavotta more weight (similar to shortening the first two notes in the right hand). There are two very different ways to play the gigue fugue. One is to perform it in triple meter, creating something closer to a traditional gigue; the other is to strictly adhere to what was written, emphasizing the angularity of the passage. I choose this second approach, convinced that the fugue subject loses its strength if altered, and also to create a greater contrast with the preceding gavotte. Bach truly surpasses himself in this final gigue, which demands from the performer the most extreme mental virtuosity. At a lively tempo, the austere counterpoint can still be made to dance. Even if, among the six Partitas, my preference goes to the allemande of the one in D major, I can only say of this last partita, “Hats off!” "

Other Album available // Brahms: 10 Intermezzi by Glenn Gould

[mylesjordan]

The combination of Gould and Bach has always appeared to me as two artists, like two birds in totally synchronized flight, who are greater than the sum of their parts. Thank you for the clarity of this remastering, through which that sensation is more palpable than ever. ❤

[classicalmusicreference]

Excerpt from the notes written by Angela Hewitt 1997: "With Partita No. 6 in E minor, Bach offers us one of his greatest masterpieces—a prodigious work of the grandest scale, in which he lets us feel his incredible strength of character, his confidence, his warm heart, and his deep faith. Here, Bach no longer writes to please but composes at the highest intellectual and emotional level. The work opens with a toccata, where identical outer sections frame an extended fugue. The opening measure and the fugue subject use the “sigh” motif (a descending appoggiatura) to add expressiveness. Maintaining the same basic tempo throughout the toccata creates a sense of unity (which seems to be Bach’s intention, as the material from the first page reappears later in the final episode of the fugue). The allemande, with its poignant chromaticism, is followed by a remarkable courante. Fingers can take a nearly physical pleasure in executing its playful syncopations with delicacy, speed, and brilliance. A brief air, with a surprising second ending, precedes the sarabande—surely one of Bach's greatest creations. At first sight (or listen), this movement may seem baffling, and it takes time to uncover the texture beneath the abundance of notes and grasp its emotional power.

To me, Bach stands alone in this sarabande—alone, communing with his creator in a dialogue that is by turns sorrowful, hopeful, passionate, and, at times, exalted (the brief, wonderful modulations to major keys in measures 7, 8, and 30 break the darkness with flashes of light). Moving directly from the depths of Bach’s inner universe (and thus our own) to the tempo di gavotta can be experienced as a shock, and we can only marvel at how Bach immediately begins to dance—even in a minor key. This is not a true gavotte but more like an Italian giga in 12/8. Here, and in the concluding gigue, the performer faces the issue of potentially altering the note values. Playing the sixteenth notes to align with the triplets gives the tempo di gavotta more weight (similar to shortening the first two notes in the right hand). There are two very different ways to play the gigue fugue. One is to perform it in triple meter, creating something closer to a traditional gigue; the other is to strictly adhere to what was written, emphasizing the angularity of the passage. I choose this second approach, convinced that the fugue subject loses its strength if altered, and also to create a greater contrast with the preceding gavotte. Bach truly surpasses himself in this final gigue, which demands from the performer the most extreme mental virtuosity. At a lively tempo, the austere counterpoint can still be made to dance. Even if, among the six Partitas, my preference goes to the allemande of the one in D major, I can only say of this last partita, “Hats off!” "

The challenge of this remastered edition was to give homogeneity to a series of recordings made over a period of 6 years in mono and stereo. The Hi-Res treatment (high resolution) has allowed to give a presence never reached before to Glenn Gould's playing. We are pleased to announce the release of Bach's 6 Partitas, performed by Glenn Gould, in a limited edition of 200 numbered copies on CD. This is a collector's item with a stunning vinyl finish: LINK IN THE VIDEO DESCRIPTION.

[ArturoFernandez-yj]

If this partita doesn't get you to your Real Self I don't know what does...body mind heart and soul all is you

[anigiuran]

Thank you Classical Music for sharing this beautiful Bach ' s music ! 😊😊😊😊😊❤❤❤❤❤

[dejanstevanic]

One can say anything about Gould's Bach, but can't deny his love for playing it. TY

[canman]

This is the finest of the finest performance by Master Glenn Gould.

[ingemayodon]

Merci beaucoup. J'adore Glenn Gould. Pour moi le meilleur interprète de Bach sur piano de ts les temps!
Merci et salutations de Montréal, Qc, Canada

[canman]

The sound is absolutely brilliant. Thanks very much for this great upload.

[danielagliozzi]

Da sempre la mia preferita. La ascolto da trent'anni.

[oscargzlz]

Me pareció haberla escuchado toda mi vida desde el principio del tiempo

[ladystardust]

votre chaine est vraiment experimentale et enrichissante pour moi en mature de musique classic lyric merci ❤

[JWP]

I forgot how totally brilliant this is.

[AndroidSon]

Бах это не моё. Ничего не ложится на душу из Баха.