Partita For Violin Solo

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The sonatas and partitas for solo violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time.[1][page needed] The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterly and expressive works ever written for solo violin.[2]
The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded.
The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.
The surviving autograph manuscript of the sonatas and partitas was made by Bach in 1720 in Köthen, where he was Kapellmeister. As Wolff (2002) comments, the paucity of sources for instrumental compositions prior to Bach's period in Leipzig makes it difficult to establish a precise chronology; nevertheless, a copy made by the Weimar organist Johann Gottfried Walther in 1714 of the Fugue in G minor for violin and continuo, BWV 1026, which has violinistic writing similar to that in BWV 1001–1006, provides support for the commonly held view that the collection could have been reworked from pieces originally composed in Weimar.
The goal of producing a polyphonic texture governed by the rules of counterpoint also indicates the influence of the first surviving works of this kind for solo violin, Johann Paul von Westhoff's partitas for solo violin composed in 1696. The virtuoso violinist Westhoff served as court musician in Dresden from 1674 to 1697 and in Weimar from 1699 until his death in 1705, so Bach would have known him for two years.[3][4] The repertoire for solo violin was actively growing at the time: Heinrich Ignaz Franz Biber's celebrated solo passacaglia appeared c.1676; Westhoff's collections of solo violin music were published in 1682 and 1696; Johann Joseph Vilsmayr's Artificiosus Concentus pro Camera in 1715, and Johann Georg Pisendel's solo violin sonata was composed around 1716; and finally, Georg Philipp Telemann published 12 Fantasias for solo violin in 1735.
It is not known whether these violin solos were performed during Bach's lifetime or, if they were, who the performer was. Johann Georg Pisendel and Jean-Baptiste Volumier, both talented violinists in the Dresden court, have been suggested as possible performers, as was Joseph Spiess, leader of the orchestra in Köthen. Friedrich Wilhelm Rust, who would later become part of the Bach family circle in Leipzig, also became a likely candidate.[5] Bach himself was an able violinist from his youth, and his familiarity with the violin and its literature shows in the composition of the set and the very detailed autograph manuscript, as does incidental fingering in the text. According to his son Carl Philipp Emanuel Bach, "in his youth, and until the approach of old age, he played the violin cleanly and powerfully".
Upon Bach's death in 1750, the original manuscript passed into the possession, possibly through his second wife Anna Magdalena, of Johann Christoph Friedrich Bach. It was inherited by the last male descendant of J. C. F. Bach, Wilhelm Friedrich Ernst Bach, who passed it on to his sister Christina Louisa Bach (1762–1852).
Four other early manuscripts also exist. One, originally identified as an authentic Bach autograph from his Leipzig period, is now identified as being a copy dating from 1727–32 by Bach's second wife Anna Magdalena Bach, and is the companion to her copy of the six suites Bach wrote for solo cello. Another copy, dated July 3, 1726 (the date is on the final page), made by one of Bach's admirers Johann Peter Kellner, is well preserved, despite the fact that the B minor Partita was missing from the set and that there are numerous deviations and omissions. These differences may have come from an earlier source or composing copy, and not necessarily copying errors on Kellner's part. This view is supported by Zoltán Szabó. The three manuscripts are in the Berlin State Museum and have been in the possession of the Bach-Gesellschaft since 1879, through the efforts of Alfred Dörffel. Two other eighteenth century manuscripts, both by unidentified copyists, have also survived.
The first edition was printed in 1802 by Nikolaus Simrock of Bonn. It is clear from errors in it that it was not made with reference to Bach's own manuscript, and it has many mistakes that were frequently repeated in later editions of the 19th century.
One of the most famous performers of the Sonatas and Partitas was the violinist and composer Georges Enescu, who considered this work as "The Himalayas of violinists" and recorded all the sonatas and partitas in the late 1940s. One of his students (Serge Blanc) collected the notes of his master Enescu regarding sonority, phrasing, tempo, fingering and expression, in a now freely distributed document.[6]
The sonatas each consist of four movements, in the typical slow-fast-slow-fast pattern of the sonata da chiesa. The first two movements of each sonata are a prelude and a fugue. The third (slow) movement is lyrical, while the final movement shares the similar musical structure as a typical binary suite movement. Unlike the sonatas, the partitas are of more unorthodox design. Although still making use of the usual baroque style of allemande, courante, sarabande, and gigue, with some omissions and the addition of galanteries, new elements were introduced into each partita to provide variety.
Aside from the surviving transcriptions BWV 964 and 968, two different sources also indicate that Bach and his circle performed the Sonatas and Partitas on keyboard instruments, rather than on the violin. Music theorist, instrument maker and organ player Jakob Adlung writes (Anleitung zu der musikalischen Gelahrtheit, Erfurt, 1758), regarding the keyboard works by Bach – ”They are actually violini soli senza basso, 3 Sonatas and 3 Partitas, which are well suited for performance on the keyboard”.[7] Johann Friedrich Agricola, who co-wrote Bach's obituary, reports that ”Their composer often played them himself on the clavichord, and added so much harmonies to them, as he found necessary”.[8]
Adagio
Fuga (Allegro)
Siciliana
Presto
Though the key signature of the manuscript suggests D minor, such was a notational convention in the Baroque period, and therefore does not necessarily imply that the piece is in the Dorian mode. The second movement, the fugue, would later be reworked for the organ (in the Prelude and Fugue, BWV 539) and the lute (Fugue, BWV 1000), with the latter being two bars longer than the violin version.
Allemanda – Double
Corrente – Double (Presto)
Sarabande – Double
Tempo di Borea – Double
This partita substitutes a bourrée (marked Tempo di Borea) for the gigue. Each movement is followed by a variation (double in French).
Allemanda
Corrente
Sarabanda
Giga
Ciaccona
In the original manuscript, Bach marked 'Segue la Corrente' at the end of Allemanda. The Chaconne, the last and most famous movement of the suite, was regarded as "the greatest structure for solo violin that exists" by Yehudi Menuhin.[9]
The opening movement of the work introduced a peaceful, slow stacking up of notes, a technique once thought to be impossible on bowed instruments. The fugue is the most complex and extensive of the three, with the subject derived from the chorale Komm, heiliger Geist, Herre Gott. Bach employs many contrapuntal techniques, including a stretto, an inversion, as well as diverse examples of double counterpoint.
Preludio
Loure
Gavotte en rondeau
Menuet I
Menuet II
Bourrée
Gigue
^ Ledbetter 2009
^ Menuhin, Yehudi. 2001. Unfinished Journey, new edition. London: Pimlico. ISBN 978-0-7126-6809-5. p 236
^ Wolff 2002, p. 133
^ Bach 2001, p. VIII
^ Rust's grandson, Wilhelm Rust, eventually became one of the editors of the Bach-Gesellschaft.
^ "Sonatas & Partitas : Educational Edition".
^ Schulze, Hans-Joachim (1972). Bach-Dokumente, Dokumente zum Nachwirken Bachs. 1750-1800. Volume III. Kassel: Bärenreiter Verlag. p. 124. ISBN 3761802498.
^ Schulze, Hans-Joachim (1972). Bach-Dokumente, Dokumente zum Nachwirken Bachs, 1750-1800. Volume III. Kassel: Bärenreiter Verlag. pp. 292, 293. ISBN 3761802498.
^ Menuhin, Yehudi (1976). Unfinished Journey. p. 236.
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Hilary Hahn - J.S. Bach: Partita for Violin Solo No. 1 in B Minor, BWV 1002 - 4. Doubl...
J.S. Bach : Partita For Violin Solo No.3 In C Major BWV 1005 - Sigiswald Kuijken
Leonidas Kavakos - Partita for Solo Violin No. 2 in D minor - Bach
Hilary Hahn - Bach, J.S.: Partita for Violin Solo No. 1 in B Minor, BWV 1002: 4. Double (Presto)
Bach: Sarabande for Solo Violin from Partita in D Minor, BWV 1004 - Stringspace
Bach - Violin Partita no. 2 in D minor BWV 1004 - Sato | Netherlands Bach Society
https://m.youtube.com/watch?v=iEBX_ouEw1I
Перевести · 15.11.2018 · Music video by Hilary Hahn performing J.S. Bach: Partita for Violin Solo No. 1 in B …
https://en.m.wikipedia.org/wiki/Sonatas_and_partitas_for_solo_violin_(Bach)
Ориентировочное время чтения: 8 мин
The sonatas and partitas for solo violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become …
The sonatas and partitas for solo violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterly and expressive works ever written for solo violin.

The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded.

The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.
Selected arrangements and transcriptions
https://m.youtube.com/watch?v=PWX_mohRkQ4
Перевести · 29.01.2014 · Faces of Classical Musichttps://facesofclassicalmusic.blogspot.com/•More …
https://m.youtube.com/watch?v=ZWk5RDI6UtA
Перевести · 01.07.2014 · Full concert here http://bit.ly/1xa3dwvSubscribe to our channel for more videos http://ow.ly/ugONZJohann Sebastian BachPartita for Solo Violin …
https://archive.org/details/213PartitaNo.2Chaconne
Перевести · 04.06.2015 · Johann Sebastian BACH (1685-1750) Partitas (Partias) for solo violin. Partita No. 1 in B minor, BWV 1002. Partita No. 2 in D minor, BWV 1004. Partita No. 3 in E Major, BWV 1006. Partita in A minor for Solo …
Why did Bach write a violin partita?
Why did Bach write a violin partita?
In between, in the words of the legendary Bach biographer Philip Spitta, "The overpowering wealth of forms pouring from a few and scarcely noticeable sources displays not only the most perfect knowledge of the technique of the violin, but also the most absolute mastery over an imagination the like of which no other composer was ever endowed with."
www.laphil.com/musicdb/pieces/2657/partit…
Are there dances in Bach's Partita No 3?
Are there dances in Bach's Partita No 3?
The partitas offer up a sequence of dance-inspired movements, including dances rarely found in Bach, such as the Loure of the Partita No. 3, BWV 1006.
www.laphil.com/musicdb/pieces/2657/partit…
Who was the violinist that Bach met in Weimar?
Who was the violinist that Bach met in Weimar?
In Weimar, Bach met the violinist Johann Paul von Westhoff, another member of the court's musical establishment and the author of six partitas for solo violin, published in Dresden in 1696. Westhoff was one of the leading violinists of his day, spoken of by his contemporaries in the same breath as the great Bohemian virtuoso Heinrich Biber.
www.laphil.com/musicdb/pieces/2657/partit…
How many movements are there in a violin sonata?
How many movements are there in a violin sonata?
The sonatas are in four movements, divided according to the definition found in Johann Gottfried Walther's Musicalisches Lexicon (Musical Lexicon, 1723): "The sonata is a piece for instruments, especially the violin, of a serious and artful nature, in which adagios and allegros alternate."
www.laphil.com/musicdb/pieces/2657/partit…
https://www.laphil.com/musicdb/pieces/2657
Перевести · Freedom in Chains: Sonatas and Partitas for Solo Violin, BWV 1003-1006. Johann Sebastian Bach (1685-1750) the composer and keyboard player has become such a towering …
https://en.m.wikipedia.org/wiki/Partita_for_Violin_No._2_(Bach)
Перевести · The Partita in D minor for solo violin (BWV 1004) by Johann Sebastian Bach was written between 1717 and 1720. It is a part of his compositional cycle called Sonatas and Partitas for Solo Violin …
https://en.m.wikipedia.org/wiki/Partita_in_D_minor_for_solo_violin,_BWV_1004
Перевести · The Partita in D minor for solo violin ( BWV 1004) by Johann Sebastian Bach was written between 1717 and 1720. It is a part of his compositional cycle called Sonatas and Partitas for Solo Violin.
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