JS Bach: Partitas Nos. 1, 3 and 6

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In this second volume of Richard Goode's complete set of Bach Partitas there's the sense of a distinguished lineage, a tradition of Bach piano playing with a Classical-Romantic bent that reaches... — Gramophone Classical Music Guide, 2010 More…

Release Date: 12th Apr 2003
Catalogue No: 7559796982
Label: Nonesuch
Length: 64 minutes

Gramophone Magazine

July 2003

Disc of the Month

Bach, J S: Partita No. 3 in A minor, BWV827

Work length17:06

$7.00

$9.10

Richard Goode

Fantasia

Track length2:03

$1.00

$1.30

Allemande

Track length2:51

$1.00

$1.30

Corrente

Track length2:37

$1.00

$1.30

Sarabande

Track length3:39

$1.00

$1.30

Burlesca

Track length1:54

$1.00

$1.30

Scherzo

Track length0:59

$1.00

$1.30

Gigue

Track length3:03

$1.00

$1.30

Bach, J S: Partita No. 1 in B flat major, BWV825

Work length17:29

$6.00

$7.80

Richard Goode

Praeludium

Track length1:47

$1.00

$1.30

Allemande

Track length3:09

$1.00

$1.30

Corrente

Track length2:39

$1.00

$1.30

Sarabande

Track length5:01

$1.00

$1.30

Menuet 1 and Menuet 2

Track length2:48

$1.00

$1.30

Giga

Track length2:05

$1.00

$1.30

Bach, J S: Partita No. 6 in E minor, BWV830

Work length29:48

$7.00

$9.10

Richard Goode

Toccata

Track length7:10

$1.00

$1.30

Allemanda

Track length3:11

$1.00

$1.30

Corrente

Track length4:38

$1.00

$1.30

Air

Track length1:30

$1.00

$1.30

Sarabande

Track length5:52

$1.00

$1.30

Tempo di Gavotta

Track length1:59

$1.00

$1.30

Gigue

Track length5:28

$1.00

$1.30

Reviews
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Reviews

2010

In this second volume of Richard Goode's complete set of Bach Partitas there's the sense of a distinguished lineage, a tradition of Bach piano playing with a Classical-Romantic bent that reaches back to Harold Samuel via Borowsky, Horszowski, Schnabel and Serkin. Like them (though not specifically in the Partitas) Goode treats line as paramount, stressing counterpoint only where and when it serves an expressive end, as in the First Partita's Allemande. Like Schnabel, Goode can occasionally accelerate a phrase to focus its place in the larger context. The use of crescendo is subtle yet telling (the Corrente) and the way phrases breathe, suggests hours spent focusing on a precise rubato.
This is glorious music, and there's barely a second when you aren't aware of that. Everything flows from the logic of the line, and when perspectives do change (at around 46 seconds into the A minor Partita's opening two-part Fantasia, for example, where the lower voice takes the lead) the option seems inevitable.
Everything essential to the spirit is here: dance and reverie, clarity and form, digital brilliance.
Goode never forces his tone and although he has a secure sense of rhythm – the faster dances trip along rather than rush – there's no hint of the obsessive drive indulged by the post-Gould school. That, too, can be exciting, but Goode's inner explorations of Bach will probably yield longer-term satisfaction. This is an exceptionally fine set.

JS Bach: Partitas Nos. 1, 3 and 6

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