i. Preludio
ii. Loure
iii. Gavotte en Rondeau
iv. Menuets (I and II)
v. Bourrée
vi. Gigue

Bach’s Sonatas and Partitas for solo violin were composed at Cöthen in 1720 (the date on Bach’s beautifully written fair copy of the set), at about the same time as the Cello Suites. The three Sonatas follow the pattern of the sonata da chiesa, with four movements, alternating slow and fast, while the three Partitas are suites of dances. Even though they were not published until 1802, Bach’s contemporaries recognized his superlative achievement in these pieces. Carl Philipp Emanuel Bach wrote that his father ‘understood to perfection the possibilities of all stringed instruments. This is evidenced by his solos for the violin and violoncello without bass. One of the greatest violinists once told me that he had seen nothing more perfect for learning to be a good violinist.’ Which violinist Bach may have had in mind when he first wrote the pieces is not known. The E major Partita – the last of the six solos – is the most exuberant of the set, starting with a brilliant Preludio in continuous rapid notes (Bach later rearranged this thrilling material for orchestra, as the introduction to his Cantata No. 29, Wir danken Dir, Gott). The dances that follow include an elegant ‘Loure’, a memorably melodic ‘Gavotte en Rondeau’, two contrasting Minuets, a lively ‘Bourée’ and an exultant ‘Gigue’ that recaptures the flamboyant mood of the Preludio.