The term “partita” originally referred to a set of variations. However, during the Baroque it became a synonym for suite. Bach used it in this sense in his colossal collections of six partitas for harpsichord (1726-1730, published as Clavierübung) and three for violin (1720), all made up of six or seven movements, most of which were based on dance rhythms. These works, presented as mere practical exercises but of extraordinary artistic quality, represented the genre at its peak, before it went on to be related to orchestral music at the end of the eighteenth century, only to disappear a short time later.
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