The Accompaniment In Unaccompanied Bach: Interpreting The Sonatas And Partitas For Violin

Paperback | September 26, 2016

byStanley Ritchie

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Known around the world for his advocacy of early historical performance and as a skilled violin performer and pedagogue, Stanley Ritchie has developed a technical guide to the interpretation and performance of J. S. Bach's enigmatic sonatas and partitas for solo violin. Unlike typical Baroque compositions, Bach's six solos are uniquely free of accompaniment. To add depth and texture to the pieces, Bach incorporated various techniques to bring out a multitude of voices from four strings and one bow, including arpeggios across strings, multiple stopping, opposing tonal ranges, and deft bowing. Published in 1802, over 80 years after its completion in 1720, Bach's manuscript is without expression marks, leaving the performer to freely interpret the dynamics, fingering, bowings, and articulations. Marshaling a lifetime of experience, Stanley Ritchie provides violinists with deep insights into the interpretation and technicalities at the heart of these challenging pieces.

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Known around the world for his advocacy of early historical performance and as a skilled violin performer and pedagogue, Stanley Ritchie has developed a technical guide to the interpretation and performance of J. S. Bach's enigmatic sonatas and partitas for solo violin. Unlike typical Baroque compositions, Bach's six solos are uniquely...

Stanley Ritchie is Distinguished Professor of Music at the Jacobs School of Music at Indiana University. He is a leading exponent of Baroque and Classical violin playing and recipient of the Early Music America's highest award, the Howard Mayer Brown Award for Lifetime Achievement in Early Music.

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Format:PaperbackDimensions:136 pages, 11 × 8.5 × 0.68 inPublished:September 26, 2016Publisher:Indiana University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0253021987

ISBN - 13:9780253021984

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Extra Content

Table of Contents

Foreword / Mauricio Fuks
Acknowledgements
Introduction
1. Principles of Interpretation
Notation
Polyphony
Harmony
Metre
Dynamics
Inequality
Fingering
Note Length
Bow Direction
Articulations
Ornamentation

2. Dance Forms
Allemanda
Bourée/Borea
Ciaccona
Corrente
Gavotte
Gigue/Giga
Loure
Menuet
Sarabanda/Sarabande
Siciliana
Double
Preludio

3. Analytical Methods and Exercises
G-Minor Adagio
G-Minor Fuga
D-Minor Allemanda

4. The Improvisatory Movements
G-Minor Sonata: Adagio
A-Minor Sonata: Grave

5. The Fugues
G-Minor
A-Minor
C-Major

6. The Ostinato Movements
Partita II: Ciaccona
Sonata III: Adagio

7. The Dance-like Movements
Bourée and Borea
Tempo di Borea
B-Minor Corrente
D-Minor Corrente
Gavotte en Rondeau
The Giga
The Gigue
The Loure
The Menuets
The Sarabande and Sarabanda
The B-Minor Sarabande
The D-Minor Sarabanda

8. The Virtuoso Movements
G-minor Sonata: Presto
B-Minor Corrente - Double
The A-Minor Finale
The C-Major Allegro assai
The E-Major Preludio

9. The Philosophical Movements
The Allemanda
B-Minor Partita
D-Minor Partita

10. The Lyrical Movements
The Siciliana
A-Minor Sonata: Andante
The C-Major Sonata: Largo

11. Right-hand Technique
Polyphony
Chordal Technique
Martelé and Spiccato
Sautillé
Bariolage
Ondeggiando

12. Left-hand Technique
The Role of Vibrato
Half-Position
Choice of Fingerings
Intonation
Tuning

Last Words
Bibliography

Editorial Reviews

"In this book the Nestor of American historically informed players offers a practical guide to the possibilities of translating the past in the present." -Reinhard Goebel, conductor and founder of Musica Antiqua Köln