Three Sonatas and Three Partitas
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Product ID: BA4 5116
By Johann Sebastian Bach
Publisher:
Bärenreiter
Arranger:
Violin Solo
Genre:
Baroque
Line Up:
Violin (Solo: Violin)
Level: 3-5
Performance Score
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About this item
Without any doubt J.S. Bach’s cycle of the three Sonatas and Partitas
BWV 1001-1006 represents one of the pinnacles of classical European
music. According to C.P.E. Bach a contemporary voice stated that there
was „nothing more accomplished in order to become a good violinist“ than
his father’s works. The cycle reflects the entire harmonic and
polyphonic musical universe of Bach’s time, so masterfully composed that
it can be rendered within the limited framework of but a single
instrument – the violin.
The new publication of the Sonatas and
Partitas BWV 1001-1006 (BA 5256) constitutes a complete revision of our
older edition (BA 5116). The musical text has been edited by Peter
Wollny and represents the most up-to-date state of research as published
in the New Bach Edition – Revised (NBArev), volume BA 5937-01. The
edition is mainly based on Bach’s unusually clear autograph which is
considered among the most beautiful manuscripts by the composer. All
relevant secondary sources have been taken into consideration in order
to clarify ambiguities. These include five contemporary copies,
including one by Anna Magdalena Bach, and four manuscripts from the late
18th and early 19th centuries.
The musical text has been newly
engraved with a clear and generous layout, whereby page turns and
pagination have been retained from the previous edition. This allows the
straightforward navigation between a copy of the previous and this new
edition. The detailed Preface (Ger/Eng) provides information on the
genesis of the Sonatas and Partitas, their context and the sources.
Instrumentation
Violin Solo
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Composer
Johann Sebastian Bach (1685-1750)
Johann Sebastian Bach (21 March 1685, – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France.
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