Chaconne, extraite de la Partita n° 2 en ré mineur (Johann Sebastian Bach) Editeur: Norbert Müllemann Doigtés: Marc-André Hamelin Commentaire: Francis Bowdery Qui ne connaît pas la Chaconne de Jean-Sébastien Bach, le morceau qui clôt sa Partita en ré mineur pour violon solo Les compositeurs tentèrent sans cesse de s’approprier pour d’autres instruments ce morceau exceptionnel. L’arrangement le plus connu est certainement celui de Ferruccio Busoni. Sans trop s’éloigner de l’original de Bach, Busoni adapta aux possibilités de l’instrument à clavier la virtuosité du violon, parvenant ainsi à créer un morceau pour piano qui tire profit, de manière tout aussi géniale, des ressources offertes par le piano moderne. En plus des sources traditionnelles, nous avons, pour notre édition Urtext, examiné pour la première fois de manière si approfondie un rouleau pour piano, sur lequel on entend Busoni lui-même. Les doigtés sont de la plume de nul autre que Marc-André Hamelin. Pages: 43 (VIII, 35), Dimension 23,5 x 31,0 cm N° d'article HN 557 · ISMN M-2018-0557-3
SKU: GH.GE-11464
ISBN 979-0-070-11464-6. A4 inches.
Work note by the composer: When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone. The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work. Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line. The work is divided in three parts. I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other. The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end. II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere. III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible! Benjamin Staern
