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For this Partita there were six individual movements announced in the recital program: sinfonia, allemande, courante, sarabande, rondeau and capriccio. Sinfonia part is a kind of introduction, or prelude for the following four individual parts. “A partita is made up of popular Baroque instrumental dances” and thus, next four parts naturally were stylized as different dances of 16-17th centuries, and named after them (The Bach Partitas). The last part, capriccio is a flexible academic form of music, which in case of this Partita was also composed by Bach in a style of Baroque dance.
At the beginning of this Partita, a piano served to convey a melody and a rhythm in turns. Naturally, a melody was played by Pavey right hand, while rhythmically accompanied by a left one and was absolutely distinguishable, until the very technical end of a first part. There were a lot of short notes, so Pavey tried not only to play them right, but play them light. Yet I noticed, how focused on a technique Pavey was when playing some fast parts of this Partita. Compering to other music performed that night, Pavey’s Bach sounded most full of notes, most technically, but less complicated. Though melody did sound distinguishable, it was sounding very inseparably from dance rhythms, even in the most “free” capriccio part. I think it was the most academic sounding part of a recital and most successfully performed by Pavey.
When Pavey started performing a second piece of music, - Sonata in E Major, Op. 109 by Ludwig van Beethoven, - he revealed how more independent a piano sounded in 1820 when Beethoven composed this Sonata, comparing to Baroque piano. It no longer required a dance activity. Pavey used piano to convey Beethoven’s specific idea, which was highly lyrical and emotional. Sometimes it was undistinguishable where the rhythm was, because more attention was paid on a melody development. While developing melody,
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