Haussman portrait Johann Sebastian Bach (1685 - 1750) holding a puzzle canon. This portrait by Elias Gottlieb Haussmann is one of the two versions of the only completely authenticated likeness of Bach that is known to have been painted in his lifetime. Haussman was the official portraitist at Leipzig from 1720 and this portrait was painted in 1747 for Bach's admission to the Correspondirende Societät of Lorenz Mizler, an organisation for prominent musicians to correspond with each other about the Musical Sciences. A newly invited member had to present some compositions of which he was proud (Bach presented the Canon Triplex BWV1076 displayed in puzzle form in his right hand) and a portrait in oils. Bach's portrait is apparently the only one of the Society's to survive. Bach's beautiful title page for his autograph copy of the Sonatas and Partias for solo violin. The autograph of the Preludio to the E major Partia. Note the title "Partia" at the top, rather than the more frequently used designation of "Partita". Anna Magdalena Bach made a copy of these six works in 1726, and also designated the works "Partia".. The reason that on this recording we call the sonata da camera suites for solo violin "Partia" rather than the more usual "Partita", is simply because this is the title that Johann Sebastian uses for all three of the works for solo violin in the French Suite form in his 1720 manuscript. It is also the title for each of the works in Anna Magdalena Bach's copy of 1726. An earlier work for Harpsichord is termed Partie, as though he was writing in French, but, as we chose to use all his own spellings for the movement titles, we thought we should respect his work titles as well. The Loure, the second movement of the E major Partia in its violin version. The Loure in the lute version of the E major Partia. We show these two different versions of the Loure from the E major Partita, in the 1720 violin version and the 1740 lute version, to show the extra added appoggiature that Bach has included in the later version, that is perhaps for lute or perhaps for Lautenclavicymbel - the gut-strung keyboard instrument that Bach is known to have possessed. Both manuscripts are in his autograph. The lute version is written one octave lower than the violin version and spread across two staves in one of Bach's conventional way of writing for the keyboard: the upper stave is in the soprano clef (a C clef with the bottom line of the stave sounding middle C), while the lower line is in the conventional Bass clef CD Back Cover Movements and their timings. Benedict Cruft plays all the repeats, which was seldom done in the period of recording onto LPs, as for some of the works they would then have exceeded the maximum available length for each side of around 28 minutes. One critic compared Cruft's timings with the ones given on the back cover of the CD transfer of the great Nathan Milstein recording, and concluded from this that Cruft must be playing all the movements much slower than Milstein. In some cases he does play movements slower, but in other cases he plays movements quite a bit faster, but, as Milstein often was not able to make the second repeat, his CD cover lists timings for these movements that are considerably shorter than Cruft's.