Bach's Works for Solo Violin


Book Description

J.S. Bach's sonatas and partitas for solo violin have been central to the violin repertoire since the mid-18th century. This engaging introduction to these works is the first comprehensive exploration of their place within Bach's music, focusing on their structural and stylistic features as they have been perceived since their creation. Combining an analytical study, a historical guide, and an insightful introduction to Bach's style, this book will help violinists, scholars, and other listeners develop a deeper personal involvement with many aspects of these wonderful pieces.




Bach's Solo Violin Works


Book Description

Long admired for his interpretation of Bach's six 'Sonatas and Partitas' for unaccompanied violin, Jaap Schroder provides a detailed but informal guide to their performance."




Bach: Three Sonatas and Three Partitas for Solo Violin


Book Description

Dr. Lawrence Golan's edition of Bach's masterpieces for solo violin combines the authenticity and accuracy of a Scholarly Urtext Edition with the practicality and helpfulness of a Performing Edition. A facsimile of Bach's autograph manuscript was used in the preparation of this edition and the composer's intentions have been preserved to the last detail. of particular note is the fact that all stems have been beamed together as they appear in the autograph manuscript. This is of great importance when making interpretive decisions regarding dotted rhythms. Helpful fingering and bowing suggestions are provided by the editor, but are clearly distinguished from Bach's original notation, allowing the performer the freedom to accept or reject any given suggestion. the volume comes complete with Dr. Golan's essay Performing Bach: Dotted Rhythms and Trills in the Sonatas and Partitas for Solo Violin, which also includes scholarly discussions of vibrato, fingerings, bowing styles, and ritardandos in Baroque music. the inclusion of this comprehensive study of Baroque performance practices makes this edition a must for any violinist interested in performing the Bach Sonatas and Partitas in an historically informed manner.




A Musicology of Performance


Book Description

This book examines the nature of musical performance. In it, Dorottya Fabian explores the contributions and limitations of some of these approaches to performance, be they theoretical, cultural, historical, perceptual, or analytical. Through a detailed investigation of recent recordings of J. S. Bach’s Six Sonatas and Partitas for Solo Violin, she demonstrates that music performance functions as a complex dynamical system. Only by crossing disciplinary boundaries, therefore, can we put the aural experience into words. A Musicology of Performance provides a model for such a method by adopting Deleuzian concepts and various empirical and interdisciplinary procedures. Fabian provides a case study in the repertoire, while presenting new insights into the state of baroque performance practice at the turn of the twenty-first century. Through its wealth of audio examples, tables, and graphs, the book offers both a sensory and a scholarly account of musical performance. These interactive elements map the connections between historically informed and mainstream performance styles, considering them in relation to broader cultural trends, violin schools, and individual artistic trajectories. A Musicology of Performance is a must read for academics and post-graduate students and an essential reference point for the study of music performance, the early music movement, and Bach’s opus.




Sei Solo: Symbolum?


Book Description

One of the jewels in the crown of Johann Sebastian Bach's sacred music is its use of astonishingly subtle and complex allegorical and representational devices. But when similar devices appear in the context of one of Bach's untexted, secular, instrumental collections such as the Six Solos (sonatas and partitas) for violin, the question arises whether he might be intending to embed discernible theological significances there as well, thus infusing the secular with the sacred. Such designs would be reasonably plausible within Bach's musical, cultural, and religious context. Shute carefully investigates the extent to which musical features of the Six Solos that seem to invite theological parallels might indeed have been intended to do so. Although the precise extent of Bach's intentions cannot be ascertained with certainty, the degree of correlation among strong potential signifiers would seem to suggest that they, and many other features of the Six Solos, are best explained as the product of extensive theological-allegorical designs on Bach's part, like those evident in his texted vocal music.




Bach: Three Sonatas & Three Partitas for Solo Violin, Bwv 1001-1006


Book Description

Dr. Lawrence Golan's edition of Bach's masterpieces for solo violin combines the authenticity and accuracy of a Scholarly Urtext Edition with the practicality and helpfulness of a Performing Edition. A facsimile of Bach's autograph manuscript was used in the preparation of this edition and the composer's intentions have been preserved to the last detail. Of particular note is the fact that all stems have been beamed together as they appear in the autograph manuscript. This is of great importance when making interpretive decisions regarding dotted rhythms. Helpful fingering and bowing suggestions are provided by the editor, but are clearly distinguished from Bach's original notation, allowing the performer the freedom to accept or reject any given suggestion. The volume comes complete with Dr. Golan's essay Performing Bach: Dotted Rhythms and Trills in the Sonatas and Partitas for Solo Violin, which also includes scholarly discussions of vibrato, fingerings, bowing styles, and ritardandos in Baroque music. The inclusion of this comprehensive study of Baroque performance practices makes this edition a must for any violinist interested in performing the Bach Sonatas and Partitas in an historically informed manner.




Great Instrumental Works of J. S. Bach


Book Description

While many electric bassists study the Bach cello suites at some point, fewer attempt the sonatas and partitas for un- accompanied violin (BWV 1001-1006). Composed around 1720, the sonatas and partitas display rich polyphonic writing, unlike the simpler monophonic cello suites. This collection features a challenging but rewarding transcription of the complete A minor Violin Sonata (BWV 1002), which fits particularly well on the bass. Also included are the well-known gavotte en rondeau from the E major violin partita (BWV1006) and the complete A minor partita for solo flute (BWV 1013), transposed here to D minor. Finally, an arrangement of the familiar chorale Jesu, Joy of Man's Desiring (from BWV 147) takes advantage of the bass's natural and artificial harmonics. Performance notes are included. Written in notation and tablature for the 4-string electric bass.




The Bach Violin Sonatas & Partitas for Guitar


Book Description

The complete six Sonatas and Partitas for solo Violin (BWV 1001-1006) by Johann Sebastian Bach transcribed for guitar in standard notation and tablature. Composed between 1714 and 1720 but not published until 1802, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The pieces often served as archetypes for solo violin pieces by later generations of composers. Sonata No.1 in G minor BWV 1001 Partita No.1 in B minor BWV 1002 Sonata No.2 in A minor BWV 1003 Partita No.2 in D minor BWV 1004 Sonata No.3 in C major BWV 1005 Partita No.3 in E major BWV 1006




The Bach Chaconne for Solo Violin


Book Description

"Facsimile of the autograph manuscript": p. [11-16]




6 Sonatas and Partitas


Book Description

It is one of Josef Joachim’s great merits, not only to have introduced the following sonatas of Johann Sebastian Bach into the Concert-Hall, but also to have made them loved by the great public. They were almost unknown before Joachim played them with his grand art of interpretation, and brought out all the beauties of this magnificent music. Some parts of these sonatas had been played in public by certain violinists before Joachim’s time, but as the spirit and the technique of these works were quite strange to the performers, the interpretation made a ridiculous impression on the audience. Any success was made quite impossible on account of the want of knowledge in the performers. Then came Joachim and his rendering was a revelation. How be played, and interpreted these sonatas is so well-known, that it is not necessary to mention it. When I completed my studies at the Berliner Hochschule under Joachim’s direction, the study of these sonatas formed one of the most important parts of his teaching. Joachim used the very excellent edition by Ferdinand David, based on Bach’s manuscript, to be found in the Royal Library in Berlin. All the same Joachim changed a great deal in this edition, with regard to the manner of playing, bowing, fingering and marks of interpretation, and I kept to all the alterations made by him. I very often had the opportunity of hearing Joachim play these works at concerts as well as during his classes, and so I was able to observe the fineness of his interpretation down to the smallest detail. As I am publishing the standard works of violin literature in connection with my own teaching, it was a special pleasure to me to revise these Sonatas — which I consider one of the most important works written for the violin — in such a manner, that no doubt may be left as to the best and easiest way of mastering the great and unusual difficulties which they contain. I hope to show by this to all young violin-artists, to whom the study of the following sonatas cannot be too strongly recommended — a sure way to a really perfect and beautiful rendering of the same.