Sonatas and partitas for solo violin (Bach)

The Sonatas and Partitas for solo violin ( BWV 1001-1006 ), the original title " Be solo. a Violino senza Basso accompagnato. " are six works by Johann Sebastian Bach, which waive any accompaniment. The compilation includes three sonatas and three partitas - Bach used in his fair copy of the generic names "Sonata" and " Partita ". Another unusual feature is the polyphonic writing that creates a sophisticated polyphony on a single instrument.

Formation

Bach wrote the fair copy in 1720, during his time as Kapellmeister in Köthen. Nevertheless, it is now believed that at least some early versions already (ie 1708-1717 ) originated in Weimar. Show style comparisons indicate that all compositions have been developed in the more than six years from 1714 to 1720 and then summarized in the calligraphic handwriting.

Music for unaccompanied violin was not exactly common in the 17th and 18th centuries, but no real rarity. Bach possibly took the 1696 printed Six Suites for solo violin by Johann Paul von Westhoff as a model, he certainly knew personally, as both members of the Weimar court orchestra were. Bach's friend Johann Georg Pisendel wrote a solo sonata, but in which the direction of influence is unknown.

Who was the musician who performed the sonatas and partitas for solo violin for the first time, is unknown. There was speculation that it was the violin virtuoso Johann Georg Pisendel or Jean -Baptiste Volumier been Joseph spit, the concertmaster of the orchestra in Köthen, was adopted. Since the Weimar as the Köthen prevailed need for virtuoso violin music, it is natural to think of Bach himself as a performer - he was certainly not without reason in 1714 appointed concertmaster. Analog virtuoso concert transcriptions for harpsichord and organ solo, it is easy to imagine that he wrote concert pieces for your own use here. The careful handwriting with their thoughtful music sites can also think of practical use.

Construction

Bach chose not for the obvious arrangement in ascending order of keys (such as g - a - h - C - d - e ), but this varied in favor of an alternating sequence of the two genera.

The sonatas follow the form of a Sonata da Chiesa, so each consist of four sets in the episode " slow, fast, slow, fast ." The first set represents a free Prelude with improvisatory character; it is followed by a more or less strict, always four -part fugue in duple time. Bach has these two sentences apparently regarded as belonging together; this follows from the statement, turn the page quickly (VS = volti subito ), in two cases from the time signature of the following block at the end of the first and in two cases the dominant conclusion of the prelude. It then follows each a quiet, vocal middle movement, usually in the same key, in which Bach made ​​to the final movement in a similar way in the score for quick connection. This provides each represents a virtuoso last dance in triple meter

The first two are based on the Partitas in Germany by Johann Jakob Froberger established sequence of movements ( Allemande - Courante - Sarabande - Gigue ); but replaces the first sentence the conclusion by a Bourrée and lets each set followed by a free variation; the second adds a fifth set of a chaconne. The third Partita represents a later, much freer form of the suite

Effective history

Individual blocks machined Bach later for lute, harpsichord or organ ( see below).

Were published in the print the Sonatas and Partitas for the first time in 1843 by Ferdinand David. Parts of it were first recorded in 1903 by Joseph Joachim phonograms, the complete set was first taken up by the young virtuoso violinist Yehudi Menuhin mid-1930s. In concert, these works were known primarily by Ferdinand David, who occasionally afforded also by Felix Mendelssohn Bartholdy added improvised piano accompaniment. Inspired by this composer Robert Schumann similar piano accompaniments.

Johannes Brahms created a piano arrangement of the D minor Chaconne for the left hand, Ferruccio Busoni version for both hands eventually became the most famous and virtuosic piano version. Both preceded by two transcriptions for solo piano and for orchestra by Joachim Raff, the other transcribed records from the Partitas for piano. Already Bach's pupil Johann Friedrich Agricola had in 1775 reported: " Its author, she played himself often on the clavichord, and added harmony so much about bey, when he was needful. "

Since the beginning of the 20th century. , In the course of the publications from Arnold Schering, and particularly by Albert Schweitzer JS Bach, there are efforts, the Sonatas and Partitas for solo violin, and the suites for solo cello to be interpreted with a round arch, which allows one to play chords on stringed instruments.

Individual works

Sonata I in G minor, BWV 1001

• C Adagio in G minor
• Fuga (Allegro ) ¢ G minor
• Siciliana 12/8 in B flat major
• Presto 3/8 in G minor

Details in the design of the joint such as their extensive appendix to the final implementation suggest as Year 1714, probably immediately after Bach's appointment as concertmaster in early March. The Presto could be a first reflection of the music of Antonio Vivaldi and would be dated in this case is about to start 1715.

Bach worked the joint later for Lute (BWV 1000, also in G minor ) and for organ ( BWV 539, in D minor ).

Opening of Presto

Partita I in B minor, BWV 1002

• Allemanda c B minor - Double ¢ B minor
• Corrente 3/4 in B minor - Double 3/4 Presto in B minor
• Sarabande 3/4 in B minor - Double 9/8 in B minor
• Tempo di Borea ¢ B minor - Double ¢ B minor

It has already been mentioned that this Partita the typical final Gigue replaced by a Bourree - this connects them to the suite for solo flute in A minor, BWV 1013 - lack of time certainly einordbarer comparable rates falls dating is not easy.; Partita probably written tend after the Partita II ( D minor ), but certainly before Partita III ( E major ).

Sonata II in A minor, BWV 1003

• Grave c A minor
• Fuga 2/4 in A minor
• Andante 3/4 C major
• C Allegro in A minor

Again, the design of the joint was used with their frequent Quint case sequences and the ritornellverarbeitenden interludes for a chronology of the work; therefore it would be built around 1716.

Bach later edited the complete works for piano ( BWV 964, in D minor ).

Partita II in D minor, BWV 1004

• Allemanda c d minor
• Corrente 3/4 in D minor
• Sara Banda 3/4 in D minor
• Giga 12/8 in D minor
• Ciaccona 3/4 in D minor

The total absence of descending fifths sequences has led to the suggestion that it could be here to be the earliest work of the series. The final Chaconne whose scope is beyond the scope of the remaining work, could then well have been added later by Bach.

This final rule represents the best-known example of music history for a chaconne in the free variations on a multi-measure, repeated run bass figure. The set includes 32 variations (if you two that use only half the bass run, as a count ) and receives a further structuring the fact that Ten Variations in E flat major from the center.

Sonata III in C major, BWV 1005

• Adagio 3/4 C major
• Fuga ¢ ( Alla breve ) in C major
• C Largo in F major
• Allegro assai 3/4 C major

The da capo conditioning of the joint and its clear proportions make a formation towards the end of the Weimar period, probably close to the time Violin Concerto in E major.

Bach worked the full sonata for piano later ( in G major, BWV 968 ).

Partita III in E major, BWV 1006

• Preludio 3/4 in E major
• Loure 6/4 E Major
• Gavotte en rondeaux ¢ E major
• Menuet I 3/ 4 E- flat major - Minuet II 3/4 in E major
• Bourrée 2 in E major
• Jig 6/8 E major

The work concludes on a virtuoso Prelude to a free series of dance movements; Such a set of consequences could result from the influence of the first two books of Pièces de clavecin by François Couperin. Featuring the classic, four-movement principle German Piano Suite Partita this only has the jig together as the final movement. The mixture of clear four-and eight-stroke groups with irregularly built arcades make a creation at the beginning of the year 1719, thus already in Köthen, accept - the last of the six plants.

As part of the general revision of his violin literature to the pianoforte Bach Preludio used later in Leipzig as the input set for a wedding cantata Lord God, ruler of all things ( BWV 120a); it was thereby transposed to D major and supplemented by an accompanying orchestra of strings with two colla parte out oboes, three trumpets and timpani; the solo voice is performed here by the organ. Since this version of a clock is shorter, it is believed that it dates back to an earlier form of BWV 1006. A short time later, the rate would got its place as Eingangssinfonia 1731 resulting Cantata 29 We thank you, God, we thank you.

Regardless, he has the same set for another instrument, probably sounds processed ( BWV 1006a ).