Bach, the Harpsichord, and the Sarabande

The Sarabande from Bach’s Partita No. 2. is a deeply intimate and beautiful movement, and one of my favorites within this partita.

The term sarabande originally comes from a Spanish dance and is known for its slow, sensual character, with a distinctive emphasis or step on the second beat.

So, when playing it on the piano, should we always emphasize the second beat?

I discussed this with Mr. Cosmo and he said we should be aware of this characteristic, but never exaggerate it or make it predictable. I therefore try to find moments where a slight rubato on the second beat feels natural—for example, after the repeat in this video (see if you can spot it), or at the ends of certain sections where the right-hand melody resolves on the second beat. In these places, I think the character of the dance can be felt most clearly.

Overdoing it, or applying the emphasis too constantly, would not be effective. However, since this movement is titled as a “dance,” it is important to maintain that element while allowing it to evolve with subtle variation.

In this video, after the repeat, I also use the una corda pedal. Of course, Bach did not have access to the una corda on his instruments. Instead, the harpsichord produces sound when a quill (plectrum), traditionally made from a real bird feather and mounted in a wooden part called a jack, plucks the strings. With the use of a device known as the buff stop, a soft material is brought into contact with the strings, allowing the tone color to change to a gentler, more muted sound. By employing this mechanism, Bach was able to create an effect comparable to what we would call the una corda on the modern piano.

The harpsichord has many such fascinating mechanisms, all of which makes its sound world especially rich and intriguing!

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