Alfred Dörffel Video
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Please consider subscribing for more score videos! Listen to more of Bach's Cello Suites, as well as transcriptions for viola, with the scores in this playlist: (http•••) Performed live by Colin Carr, at the Isabella Stewart Gardner Museum in Boston, MA. 00:00 1 - Prelude 03:40 2 - Allemande 07:42 3 - Courante 10:52 4 - Sarabande 15:17 5 - Bourrées 1 & 2 19:10 6 - Gigue The score used in this video is the Alfred Dörffel edition. It is in the public domain, and was downloaded from imslp.org. The audio used was also downloaded from imslp.org. It has been generously distributed under a Creative Commons 3.0 license. Hey, I’m a music student who designs these videos in my little free time to help my studies, and hopefully to help you too. If you have any recommendations I’d love to hear from you! Feel free to message me on Twitter (@altoclefchannel) or comment and email any suggestions you have - so long as they are out of copyright in the UK and US I'll do my best to add them to my upcoming schedule! Also, if you enjoyed this video, and are able to, I'd be very grateful if you can donate to my channel, at (http•••) - Thank you for watching! :)
Johann Sebastian Bach Arthur Grumiaux Jascha Heifetz Mock Alfred Dörffel Breitkopf 1720 1821 1879 1905
Please support my channel on (http•••) Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for instrumental compositions such as the Cello Suites and Brandenburg Concertos; keyboard works such as the Goldberg Variations, The Well-Tempered Clavier and the Toccata and Fugue in D minor; and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music. Sonata for solo violin No. 3 in C major, BWV 1005 (1720) 1. Adagio 2. Fuga. Alla breve 3. Largo 4. Allegro assai Arthur Grumiaux, violin The first two sonatas and the three partitas of J.S. Bach's six sonatas and partitas for solo violin make considerable demands on performers. However, the Sonata for solo violin No. 3 in C major, BWV 1005 is in a class by itself; it is so challenging a piece on every front that even the usually unflappable Jascha Heifetz used to break out in a cold sweat and suffer nervous bow-shakes when playing it, and it is a work of such consummate mastery, so perfectly planned and balanced, that any flaw in the performance sticks out like a sore thumb. In all fairness, Bach has gone beyond the bounds of reason in this grand Sonata / the violinist is asked to play music that might give a harpsichordist a headache (indeed, Bach arranged the Sonata's first movement for harpsichord) / but the music is so rewarding that all the toil is worth it in the end. Surely this satisfaction comes in part from the unreal, some have even said mystical, effect of a single string instrument producing such rich, dense music without the benefit of any real bass capability. Like each of the other two sonatas in the solo violin volume, the C major Sonata has four movements. They are: Adagio, Fuga, Largo, and Allegro assai. Whereas the opening movements of the previous two solo violin sonatas are written in highly embellished, mock-improvisational style, that of the third sonata lacks ornamentation altogether. Instead it evolves from a single, repeating dotted rhythm / one harmonic layer is added and then another, the steady pulsation being interrupted only twice (once near the beginning and once near the end) for the purpose of expanded and enriching major cadences. The Fuga, which, like all the solo violin fugues, is actually a fugue/Baroque concerto hybrid, ranks among the longest fugues, measure-wise, ever created by any composer for any instrument or ensemble. The subject is derived from the chorale "Komm, heiliger Geist" and is turned upside-down midway through the fugue. The splendid Largo in F major has achieved some fame outside the Sonata, while the Allegro assai finale is the same kind of fleet-footed binary-form piece that closes each of the other two solo violin sonatas. Editor: Alfred Dörffel (1821–1905) Publisher Info.: Bach-Gesellschaft Ausgabe, Band 27 Leipzig: Breitkopf und Härtel, 1879. Plate B.W. XXVII. Copyright: Public Domain
Johann Sebastian Bach Arthur Grumiaux Alfred Dörffel Breitkopf 1003 1720 1817 1821 1828 1879 1905
Please support my channel on (http•••) Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for instrumental compositions such as the Cello Suites and Brandenburg Concertos; keyboard works such as the Goldberg Variations, The Well-Tempered Clavier and the Toccata and Fugue in D minor; and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music. Violin Sonata No. 2 in A minor, BWV 1003 (1720) 1. Grave (0:00) 2. Fuga (3:48) 3 Andante (11:37) 4. Allegro (15:07) Arthur Grumiaux, violin Description by John Palmer [-] According to the manuscripts of Bach's Sonatas and Partitas for Solo Violin, BWV 1001-06, the six pieces were completed in 1720, while the composer was employed at the Cöthen court. At Cöthen, Bach devoted himself primarily to the composition of instrumental music; this period saw the composition of the Brandenburg Concertos, the violin and keyboard concertos, the orchestral suites and the first part of the Well-Tempered Clavier, among other works. Often Bach composed works of each genre in cycles, with six works in each. In the case of the Sonatas and Partitas for Solo Violin, Bach alternated three sonatas with three partitas. The partitas consist of between five and eight dance movements, while the sonatas are in four movements, none of which is a dance except the third movement of the first sonata, in G minor, which is a Siciliana. Throughout these six works there is evidence of not only Bach's knowledge of the technical capabilities of the violin, but also of his ability to create dense counterpoint and effective harmony with one stringed instrument. The solo violin sonatas were first published between 1817 and 1828. A rhapsodic Grave opens the second Sonata in A minor, BWV 1003. At such a slow tempo, the highly ornamented melody seems to meander at will, navigating a course of highly contrasting rhythms and decorative flourishes that release the melodic potential of the minor mode. The overall "free" nature of the Grave makes it sound like a prelude to the ensuing movement. As in all three of the violin sonatas, the second movement, the central point of the piece, is a fugue. Daunting in both size and complexity, the Fugue pushes forward relentlessly, creating a dense contrapuntal web. Bach sets the third movement apart from the others through both an Andante tempo and contrasting key. The writing is more homophonic here, with a calm melody that provides a needed foil to the harsh energy of the preceding Fugue. A lively, lighthearted Allegro, rich with rhythmic and melodic variations, returns to A minor and closes the piece. Editor: Alfred Dörffel (1821–1905) Publisher Info.: Bach-Gesellschaft Ausgabe, Band 27 Leipzig: Breitkopf und Härtel, 1879. Plate B.W. XXVII. Copyright: Public Domain
Johann Sebastian Bach Arthur Grumiaux Blair Johnston Alfred Dörffel Breitkopf 1720 1821 1879 1905
Please support my channel on (http•••) Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for instrumental compositions such as the Cello Suites and Brandenburg Concertos; keyboard works such as the Goldberg Variations, The Well-Tempered Clavier and the Toccata and Fugue in D minor; and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music. Sonata for solo violin No. 1 in G minor, BWV 1001 (1720) 1. Adagio (0:00) 2. Fuga: Allegro (3:48) 3. Siciliano (9:02) 4. Presto (11:28) Arthur Grumiaux, violin Description by Blair Johnston [-] The first work in J.S. Bach's Sei Solo a Violino senza Basso accompagnato, Libro Primo (Six Solos for violin without accompaniment, Book 1, all composed in 1720 / pity that he never fashioned a "Book 2") is also the most frequently played of the lot: the Sonata No. 1 in G minor, BWV 1001. Of the three sonatas in the volume (there are three sonatas and three partitas), the G minor is technically the simplest and also the shortest, making it a good entry-point for the violinist looking to tackle this magnificent volume of music. However, its greater accessibility vis-à-vis the other two sonatas in no way implies that it is somehow a less sophisticated piece of music / indeed, its riches run as deep as those of any of the other pages in the volume, the great Chaconne of BWV 1004 included. Each of the three sonatas for solo violin is set in the slow-fast-slow-fast four-movement pattern of the sonata da chiesa, and in each the second movement is a fugue. In BWV 1001 the movements are: Adagio, Fuga, Siciliana, and Presto. The Adagio is a wildly, but very elegantly, embellished progression of harmonies. All the embellishments / and embellishments mean not only little turns, appoggiaturas, and the like, but also whole melodic gestures, scales, and small arpeggios / are written out quite carefully by Bach / the result is a work that might sound improvised but is most definitely not. The G minor Fuga is the most compact of the three fugues in the volume (and note that these are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was transcribed for lute by Bach at some later time (BWV 1000). The Siciliana is a gentle thing in B flat major; the main melody is played in the lowest register of the instrument while a warm commentary unfolds in the upper register. The Presto finale is a moto perpetuo in sixteenth notes whose 3/8 meter has at times a hint of cross-rhythm to it. Pulisher info: Alfred Dörffel (1821–1905) Publisher Info.: Bach-Gesellschaft Ausgabe, Band 27 Leipzig: Breitkopf und Härtel, 1879. Plate B.W. XXVII. Copyright: Public Domain
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