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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Viola7 other versions | ||||
| Style : | Baroque | ||||
| Key : | D minor | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 25 Jul 2017 Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time. Alongside Paganini's 24 Caprices for solo violin and Bach's six cello suites, his Partitas and Sonatas (three apiece) for solo violin stand out among their comparatively few siblings as magnificent music written for an unaccompanied stringed instrument. And while they also represent the zenith of polyphonic writing for a non-keyboard instrument, Bach's sonatas and partitas were also crucially important in the development of violin technique. With their colossal scope, huge technical demands, and musical complexity, and notwithstanding their awesome intellectual intensity, these creations greatly transcended anything that had preceded them, including the Partitas for solo violin by von Westhoff (1696), and various comparable solo works by Biber, Pisendel, and others. It seems most probable that either the Dresden virtuosi Pisendel or Volumier, or even more likely the Cöthen Konzertmeister Spiess, would have been the first players to attempt these exceptionally challenging works, all of which sound as if they were written for an age of instrumental virtuosity that still lay far in the future. The sonatas are restricted to four movements (slow-fast-slow-fast, as with the early sonata da chiesa), one of which is a fugue. The Partitas are generally more extended, and of unorthodox formal design (as perhaps is implied by their more wide-ranging generic title), and by the more exploratory, improvisatory feel of the music even as they consist of sequences of Baroque dances. The awesome and eloquent Partita No. 2 in D minor, BWV 1004, seems for the most part to follow the conventional outline of the Baroque suite, opening with an earnest and purposeful Allemanda unexpectedly free of chordal multiple-stopping. There follow a Corrente and a Sarabanda, whose brief coda furnishes the link with the succeeding Giga. However, this work concludes with the most labyrinthine and intellectually powerful single movement ever devised for an unaccompanied string instrument. This is Bach's famous Chaconne (originally "Ciaccona"), a colossal arched series of 64 stunning variants upon the stark, open-ended four-measure phrase heard at the beginning. Two monumental outer sections in the minor enclose a major-key central episode, and this great structure encompasses every aspect of violin-playing technique and contrapuntal ingenuity that would have been known in Bach's day. The Chaconne, whose duration exceeds 15 minutes (and is thus longer than the rest of the work put together) is often performed as a free-standing movement. Source: AllMusic (http://www.allmusic.com/composition/partita-for-solo-v iolin-no-2-in-d-minor-bwv-1004-mc0002384523). Although originally written for Solo Violin. I created this Arrangement of the Partita No. 2 in D Minor (BWV 1004) and transposed to G Minor for Viola. Sheet central : | 6 Sonates et partitas pour violon seul (135 sheet music) | | |||
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