Bach Partita No 3

When Bach left the court of the Duke of Weimar and went to Köthen, his musical genius gets more clearly recognised. During 1717, Leopold of Anhalt-Köthen hired Bach to serve as his Kapellmeister, which is the director of music. Prince Leopold's Calvinistic court required church music that is simple and plain in style in it's worship. This caused Bach to take a break from composing organ music and devote himself more on secular music during his employment at Köthen in 1717 to 1723. As a skilled player of string instruments, including the violin, Bach composed numerous secular works that are influenced by the Italian, French and German dance suite traditions. He also wrote much solo music at that time, probably because he was impressed by the fine players at the prince's court. Among these works are the six sonatas and partitas for unaccompanied solo violin. Each of these sonatas and partitas are distinct from each other in terms of personality and features, giving a sense of variety in terms of the violin's personality, tone and colour.

Compared to the other partitas, Partita No. 3 is more exuberant and cheerful. It follows the traditional French dance movements of Loure and Gavotte.
During his life, Kreisler wrote a number of pieces for the violin, some of which were imitations of the style or character of other composers like Pugnani, Tartini and Vivaldi. During that time, this had sparked some controversy among his critics. Kreisler also wrote violin solos for encores, such as such as "Liebesleid" and "Liebesfreud". In most of his compositions, he used the style reminiscent of the lifestyle of pre-war Vienna: coziness, peace of mind and unhurry. These compositions are known for their sweet tone and expressive phrasing, and it is the characteristic warm tone that he produced on the violin that earned him so many devoted