Grinberg played Partita No. 4 in D major (1728) by the famous composer JS Bach. Bach was a prolific composer, composing over 1,000 keyboard compositions, and is revered for the musical complexity and stylistic innovations of his work. The partita played was one of his six partitas, which are stylized dance suites. Like Scarlatti's sonatas, Bach's partitas were originally composed for keyboard practice; they were not intended to be executed. Also similar to the Scarlatti sonatas, Bach's partita was cast in the popular Baroque binary form. The Partita had a spontaneous structure; each movement started with a different structure. The partita opened with a French overture. The first movement had a slow, dotted rhythm, while the second movement featured a livelier rhythm with imitative polyphony, a texture favored in Baroque compositions. There were then two dance suites, a moderately paced Allemande in quadruple meter, followed by a Courante, which is paced in triple meter for a livelier rhythm. Like Scarlatti, Bach's musical works were also creative and inventive, making them somewhat ahead of their time. After the two dance suites, Bach adds an unusual additional movement called “Air” which takes the form of a space. The three remaining dance suites were a Spanish Sarabande, the same dance suite used by Handel in his Chaconne in G major. The Sarabande uses a chromatic scale with dissonant harmonies, which we heard a lot in the Baroque era. Next came a French minuet, cast in triple measure. Later in the Classical period, every symphony and string quartet would include a minuet as a moderate third movement. The fourth and final movement of the Partita was an exhilarating jig in which Bach creatively reversed the subject. Although it is a particularly long piece, Bach's rhythmic vitality and creativity made this work very festive and enjoyable to listen to..