< PreviousPartita I BWV 1002 BOURRÉE h = 72 This is a very rustic dance of great energy. Its large opening 4 note chords must be resolved using a wide vibrato on the upper notes. The response is made with a soft dynamic from the upbeat to the fifth measure, and develops through a crescendo to forté following the rise of the phrase, briefly interrupted by a brief piano nuance, before concluding forté. The second part, from the double bar, vigorously resumes the development of the previous conclusion and the large chords require a large sound until the upbeat of measure 29, which alternates question/response mf/f/p until measure 38 which returns to f. Again a few exchanges piano/forte, and a fortissimo conclusion! This very difficult work requires careful work on the accuracy and sound quality of its chords, which despite their four simultaneous sounds should not appear aggressive or crushed. Only an attack well controlled by the ear, followed by high bow speed can ensure a proper execution. The rather lively tempo of this peasant dance in 2/2 (72 to the half note) must be maintained to the end, whatever the difficulties. It is often required in auditions for major orchestras to test the ear of candidates as well as their steadiness of tempo when performing. DOUBLE h = 72 Its Double is a variation whose energy, which should recall that of the Bourrée, will be expressed through a strong détaché martelé in the middle of the bow. The dynamics indicated should recall those of the Bourrée. Sonata II BWV 1003 Sonata II BWV 1003 GRAVE e = 44 It is no coincidence that Bach chose the indication GRAVE for this introduction to the 2nd Sonata. This term refers to the slow tempo and particularly meditative character that is so far from that of the almost romantic improvisation at the Adagio of the 1st Sonata. Here we enter directly into the deeply religious and believing heart of this sublime author JS Bach. This page of music may be both the most contemplative and celebrant a human being had ever conceived up to that time. Only Beethoven was able to find such peaks in certain slow and meditative passages of his string quartets. This very slow work requires perfect control in the location, pressure, and placement of the bow on the string to find the sounds that music alone is able to use to translate the innermost feelings of the human soul pondering his tragic fate. Believer or not, we can not be insensitive to this melodic line interspersed with dramatic chords and mystical impulses towards a yearning for salvation, but which ends suspended on the Dominant... which leads to the following Fugue!... whose opening theme contrasts with its simplicity the metaphysical message that has just been made. FUGA e = 77 As with all Fugues, it begins with the successive entrance of each voice of which we must slightly accent first thrust. The theme cell consists of an anacrusis of two sixteenth notes followed by seven eighth notes. The development continues in various ways until the first episode that arrives in measure 45 and will itself develop until measure 61 where the theme returns in the soprano voice. Meanwhile it is important to point out that on the last note of measure 39, when the theme enters in the bass the chords must be attacked from the top (which is unusual and thus quite difficult at first) in order to bring out the bass. The same process recurs in measures 91 and 99 and then 272 and 281. As always we will avoid monotony by bringing out the indicated nuances, which follow the upward or downward changes of phrasing. We must pay special attention to maintaining the original tempo e = 77, which should be strictly resumed after the end of each phrase, and of which we can sometimes - but not always - expands the ending when it occurs after a long development. Good luck! Next >