In keeping with the principle of adding variety to his six partitas in Part I of the Clavier-Übung, Bach labeled “Ouverture” the first movement of Partita 4. This highlights the internal structure of the movement, which opens in the traditional French overture style (cut time, dotted rhythms, abundant ornaments and dramatic, fast runs up and down the scale) followed by a 3-voice fugato section in an agile 9/8 meter. Unlike the traditional French overture, however, the movement does not loop back or recapitulate the slow section.

The dances follow the standard German order of Allemande, Courante, Sarabande and Gigue, with two inserted “gallanteries” – an Aria after the Courante, and a Minuet between the Sarabande and the closing Gigue.

The extensive Allemande, in a slow and contemplative 4/4 meter, is a showcase of delightful melodic writing. A seemingly unending, wandering melody is supported by two additional voices that provide harmonic support in slower-moving rhythms, with only the occasional borrowing of thematic elements.

After the tranquil Allemande, the Courante re-injects energy with its triple meter and constant dactylic rhythmic patterns, often chained together in upward progressions. The eighth-note pickup, 3/2 meter (as opposed to 3/4) and emphasis on the last 3 quarters of the bar are all characteristics of the French-style Courante.

The first “galanterie” in this Partita is the Aria that comes next, which is a lighthearted and agile movement in 2/4 meter. It features frequent syncopations and long stretches in which the writing slims down to two parts, reminiscent of an Invention.

The Aria leads to the Sarabande, striking for the half note in the second bar of its theme, which creates a fully written-out suspension that takes the expected 2nd beat accent to a whole new level!

The short Minuet that follows (another inserted “galanterie”) uses staccato marks, mordents and appoggiaturas for character, and contrasts triplets on the upper voice with binary patterns on the lower line for rhythmic interest.

An impressive fugal Gigue in 3 parts closes the partita. It features a 6-bar long subject stated by each of the voices (upper, mid and lower), and a second subject for the B section in which the voices enter in reverse order (from low to high).