Miriam Fried discusses the performance history of Bach’s Sonatas and Partitas for solo violin, highlighting how interpretations have evolved over time. While there is no direct record of performances from Bach’s era, it is likely that these works were played in courtly and chamber settings during his lifetime.

After Bach’s death, the works fell into obscurity and were only rediscovered in the 19th century during the Bach revival led by Mendelssohn. Early performances often included added accompaniments, as musicians of the time found solo violin works difficult to understand or present to audiences.

Throughout the 19th and early 20th centuries, performance traditions increasingly reflected Romantic ideals—adding expressive elements such as richer dynamics, sustained tone, and virtuosic embellishments. This led to heavier, more expansive interpretations.

In response, the mid-20th century saw the rise of the historically informed performance movement, which aimed to return to Baroque principles of clarity, lightness, and stylistic awareness. However, Fried emphasizes that this approach, too, is shaped by modern perspectives and should not be seen as absolute.

She points out that Bach himself was flexible and pragmatic, frequently adapting music and instruments, and would likely not have supported rigid or dogmatic interpretations. Ultimately, performers must balance historical knowledge with an awareness that all interpretation is shaped by the time in which we live."