Download Bach's works for solo violin: style, structure, performance by Joel Lester PDF

By Joel Lester

J.S. Bach's sonatas and partitas for solo violin have had a principal position within the repertoire because the mid-18th century. This attractive advent to those works is the 1st finished exploration in their position inside of Bach's tune, targeting their structural and stylistic positive aspects as they've been perceived through the years. Combining an analytical learn, a ancient advisor, and an insightful advent to Bach's sort, the ebook may also help violinists, students, and listeners boost a deeper own involvement with many features of those marvelous items.

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Extra resources for Bach's works for solo violin: style, structure, performance

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Bach the Performing Copyist In many of these notational matters, Bach was clearly hearing this music as he wrote it. His notation, like that of many other composers, reflects various aspects of the performance he imagined. Every notational detail merits consideration by a performer and analyst, for a sensitive reading of Bach’s notation can slightly part the veils of time to give us a glimpse of his own hearing of these pieces. The Transmission of Bach’s Sonatas and Partitas Manuscripts and Publications Bach’s solo-violin works existed only in manuscripts during their first eight decades.

10 The variety among the Well-Tempered pattern-preludes that are built upon similar thoroughbasses — especially the way Bach transformed the E-minor Prelude from a simple pattern-prelude composition into a composition with a rhapsodic melody — shows how this spirit permeated Bach’s musical imagination as he composed the G-minor Adagio. Thinking of the Adagio as a prelude built upon standard thoroughbass patterns can actually enhance violinists’ expression of the melody. The melody is then heard not so much as a series of fixed gestures, but rather as a continuously unfolding rhapsodic improvisation over a supporting bass.

J. S. Bach, Prelude in C Major, Well-Tempered Clavier, vol. 1, mm. 1– 4 and their underlying harmonies. œ œ &c ‰ œœ œœ ‘ ≈ j. c w & c wwww œ œ ‰ œœ œœ ≈ j ˙œ. œ ww w ww ‰ œœœœœœ ‘ ≈ j ˙œ. œ ww ww w ‘ ‰ œœœœœœ ‘ ≈ j. ˙œ œ ww www The Underlying Harmonic Foundation Whether its pattern is complex or simple, the overall coherence of a pattern-prelude depends on its underlying harmonies and voice leading. The arpeggiations in the C-major Prelude from the Well-Tempered, for instance, activate the chords shown in Example 2-1.

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