Bach J.s. - Sonatas And Partitas Bwv 1001-1006 For Violin Solo (notated And Annotated Version)

SKU: HL.48185556

UPC: 888680854584. 9.0x12.0x0.146 inches.

J.S. Bach: Violin Sonatas & Partitas arr. for Treble Recorder Solo by J.C. Veilhan - Volume 2.<p/>Contains 3 Partitas: BWV1002, BWV1004 and BWV1006..

SKU: HL.48185496

UPC: 888680838065. 9.0x12.0x0.154 inches.

J.S. Bach: Violin Sonatas & Partitas arr. for Treble Recorder Solo by J.C.Veilhan - Volume 1.<p/>Contains 3 Sonatas: BWV1001, BWV1003 and BWV1005..

SKU: HL.50514886

SKU: CF.BF115

ISBN 9781491150993. UPC: 680160908493. 9x12 inches.

Johann Sebastian Bach’s (1685—1750) SixSonatas and Partitas have captivated violinistsfor centuries. Rachel Barton Pine—havingspent decades studying the music of Bach,his contemporaries, and his predecessors—now offers this unparalleled edition completewith detailed historical notes, performancesuggestions, and downloadable study materialsincluding a new Urtext edition and a speciallyprepared manuscript. Pine’s interpretationis informed by thorough historical study, which has been polished byyears of performance insight, but also encourages those studying Bach’srepertoire to craft their own unique interpretation of these timelessmasterpieces. This edition closely follows Pine’s critically acclaimed 2016recording “Testament: Complete Sonatas and Partitas for Solo Violin byJ.S. Bach” (Avie 2360) making it an invaluable resource for any student,teacher, or performer enthralled with J.S. Bach’s long standing legacy.Ms. Pine holds the distinction of being the only American and youngestperson to win the gold medal at the J.S. Bach International ViolinCompetition in Leipzig, Germany, 1992.
here is no one right way to play Bach. More thanalmost any repertoire, each individual’s interpretation isas unique as their personality. Though I have spent decadesstudying Bach’s music as well as that of his contemporariesand predecessors, my final rationale for artisticdecisions is often taste and instinct. Every violinist whoundertakes a lifetime’s journey with this incredible repertoireis continually discovering new ideas. Thus, theopinions on the following pages may evolve over time.However, everything in the sheet music closely follows my2016 recording “Testament: Complete Sonatas and Partitasfor Solo Violin by J.S. Bach” (Avie 2360), which I trulyfeel represents the culmination of my exploration intothese extraordinary works.In choosing to present this edition, my hope is thatyou will find useful solutions to challenges of fingering,bowing, and polyphony, and helpful information aboutphrasing. I have also included additional dynamic suggestionswith the hope that trying these ideas will help inspireyou to discover your own. All of these markings aredesigned to work with a baroque violin and baroque bow,a modern violin and baroque bow, or a modern violinand modern bow. While the information in this editionis unusually dense, there is much that I did not include,such as lifts, breaths, articulations, whether to play on oroff the string, metronome markings, details of timing,and emphases other than hemiolas.I offer this book to you in the spirit of Bach: “SoliDeo Gloria.”.

SKU: BO.B.3388

English comments:
A Bach for string quartet is another evocation of the past, in this case of J.S. Bach's works for violin. Written in 2004, it is a recreation of two of the most important movements in the series of Sonatas and Partitas: The Adagio of the third Sonata and the Prelude of the third Partita (BWV 1005 and 1006, respectively). Jordi Cervello was a violinist and, as such, it should come as no surprise that he once again makes use of compositions written for his instrument. The Adagio, here in common time (the original by Bach is in three-four time), keeps up the constant rhythmic figure of the dotted quaver and semi-quaver throughout the movement, with a calmness that is shrouded in mystery. The second movement, Preludiando, retains the same lively spirit as the original, but explores different moods. Moments of calm, vigour and even some dramatic points give it a new dimension thanks to the fact that it is written for a quartet and to Cervello's original treatment of harmony and counterpoint.

Co mentarios del Espanol:
A Bach para cuarteto de cuerda es otra evocacion del pasado, en este caso de la obra para violin de J.S. Bach. Escrita el ano 2004, se trata de una recreacion de dos de los movimientos mas importantes de la serie de Sonatas y Partitas: El Adagio de la tercera Sonata y el Preludio de la tercera Partita (BWV 1005 y 1006 respectivamente). Jordi Cervello fue violinista y, como tal, no debe sorprender que una vez mas se sirva de material compositivo procedente de su instrumento. El Adagio, aqui en compas de cuatro (el original de Bach es de tres) conserva en todo el movimiento la constante figura ritmica de corchea con puntillo y semicorchea, dentro de un clima sereno pero rodeado de misterio. El segundo movimiento, Preludiando, conserva el mismo espiritu vivo del original, pero recorriendo diferentes estados de animo. Momentos de calma, de vigor e incluso dramaticos dan nueva dimension gracias a la escritura cuartetistica y al original tratamiento armonico y contrapuntistico de Cervello. A Bach se estreno en La Pedrera de Barcelona dentro del ciclo Celebracions de la Fundacio Caixa de Catalunya en el ano 2006 con el Quarteto Prometeo.

SKU: GI.G-10291

ISBN 9781574635317.

Alth ough many of the greatest composers from the Baroque, Classical, and Romantic periods did not write for marimba, their works are still available and are perfectly suited for this instrument. Many of these works were written for violin and contain bowings and fingerings that assist in the stylistic interpretation for violin but do not apply to marimba. To that end, Tammy Chen has arranged a collection of outstanding pieces that work perfectly for marimba. To aid the performer in developing a musical interpretation of these master works, she added stylistic markings including phrasing, articulations and musical directives. Below are the compositions included from the Violin Sonatas and Partitas by one of the world’s greatest composers, Johann Sebastian Bach. Giga from Partita No. 3 Double #1 from Partita No. 1 Giga from Partita No. 2 Presto from Sonata No. 1 Allegro from Sonata No. 2 Allemanda from Partita No. 2 Preludio from Partita No. 3 Allegro Assai from Sonata No. 3 Menuetto I. from Partita No. 3 Menuetto II. From Partita No. 3 Corrente from Partita No. 1 Bourrѐe from Partita No. 3 Bourrѐe from Partita No. 1 Gavotte en Rondeau from Partita No. 3 Corrente from Partita No. 2 Largo from Sonata No. 3 Double #2 from Partita No. 1 Double #4 from Partita No. 1 Sarabanda from Partita No. 2 Double #3 from Partita No. 1 Fuga from Sonata No. 1 Andante from Sonata No. 2 Cantabile from Sonata No. 1 Siciliano from Sonata No. 1 Ciaccona from Partita No. 2 Learn more about this new resource from the authors in this short video below:  .

SKU: BT.PWM7985010

In her four-movement Sonata Bacewicz obviously refers to the Baroque music , the virtuoso trend of the music for strings of that epoch, as proven by the kind of narrative as well as Bach-like ostinatos and figurations, textural devices such as lyrical double stops or bourdons with open strings, a based-on-fifths-plan of repetitions in the second movement and the like. (...) All this makes the Sonata an original commentary on a composition on which it feeds and to which it owes a great deal (i.e. a cycle of the Partitas and Sonatas for solo violin by J. S. Bach), depriving the music of Arcadian illusions while preserving its musicianly dash instead, an indisputable violin quality of sound and energy, which is exclusively the energy of the material, without any extramusical references. [M. G siorowska, op. cit.].

SKU: ST.C360

ISBN 9790570813605.

Gavo tte en Rondeau from Violin Partita No.3 (BWV 1006).

Paper, daylight and candles were often in short supply during Bach�??s very busy lifetime but simply to view the autograph score in his hand of the Sonatas and Partitas for solo violin is to be bound into a spell by the beauty, skill and extempore furiosity of the script. The cycle has been described as a miracle of implied harmony and rich harmonic textures, �??its freshness and maturity, its depth, its beauty, its response to all moods�?� informing a work of humanity and genius unparalleled in all the literature for solo violin.

The present arrangement of the Gavotte en Rondeau from Partita No. 3 (BWV1006) is based on Rachmaninoff�??s intricate harmonisation for piano. �??Ruht Wohl�?? from the St. John Passion (BWV 245). In the final Chorus from the St. John Passion, Bach imbues the popular dance-forms of the Sarabande and Minuet with a spiritual theme of atonement and reconciliation. The three ritornelli stand like pillars in a palindromic structure whose unbroken melodic line and flowing counterpoint represent a �??timeless continuance�??. The original scoring is light and transparent, and transfers appropriately to a choir of cellos without the loss of any counterpoint. Prelude Op. 25 No 3 by Rachmaninoff. Throughout his career as a composer and virtuoso pianist, this Prelude was one of Rachmaninoff�??s favourite pieces and he dedicated it to his teacher Alexander Siloti. A powerful structure is built up from a small rhythmic motif, reminiscent of Tchaikovsky�??s representations of fate or Shostakovich�??s of looming state power. This is contrasted with a lyrical middle section and a final phrase marked leggiero in which the music flies off into the air like a bird.