Description : J.S. Bach's sonatas and partitas for solo violin have been central to the violin repertoire since the mid-18th century. This engaging introduction to these works is the first comprehensive exploration of their place within Bach's music, focusing on their structural and stylistic features as they have been perceived since their creation. Combining an analytical study, a historical guide, and an insightful introduction to Bach's style, this book will help violinists, scholars, and other listeners develop a deeper personal involvement with many aspects of these wonderful pieces.
Description : One of the jewels in the crown of Johann Sebastian Bach's sacred music is its use of astonishingly subtle and complex allegorical and representational devices. But when similar devices appear in the context of one of Bach's untexted, secular, instrumental collections such as the Six Solos (sonatas and partitas) for violin, the question arises whether he might be intending to embed discernible theological significances there as well, thus infusing the secular with the sacred. Such designs would be reasonably plausible within Bach's musical, cultural, and religious context. Shute carefully investigates the extent to which musical features of the Six Solos that seem to invite theological parallels might indeed have been intended to do so. Although the precise extent of Bach's intentions cannot be ascertained with certainty, the degree of correlation among strong potential signifiers would seem to suggest that they, and many other features of the Six Solos, are best explained as the product of extensive theological-allegorical designs on Bach's part, like those evident in his texted vocal music.
Description : Long admired for his interpretation of Bach's six Sonatas and Partitas for unaccompanied violin, Jaap Schröder, a leading international soloist, here provides a detailed but informal guide to their performance. Bach’s sublime solo violin works have long been central to the baroque music repertoire. No serious violinist can avoid studying them, and few concert artists can resist the temptation of performing them. This is a book for advanced students and performers. Using it is an experience akin to a master class conducted by a uniquely accomplished practitioner. The text is devoted almost entirely to practical matters—bowing, phrasing, ornamentation, tempi, and so on. Schröder strongly recommends the use of a baroque violin and, especially, baroque bow, but his interpretive insights and suggestions are equally applicable to modern violinists.
Description : The Keyboard Music of J.S. Bach provides an introduction to and comprehensive discussion of all the music for harpsichord and other stringed keyboard instruments by Johann Sebastian Bach (1685-1750). Often played today on the modern piano, these works are central not only to the Western concert repertory but to musical pedagogy and study throughout the world. Intended as both a practical guide and an interpretive study, the book consists of three introductory chapters on general matters of historical context, style, and performance practice, followed by fifteen chapters on the individual works, treated in roughly chronological order. The works discussed include all of Bach's individual keyboard compositions as well as those comprising his famous collections, such as the Well-Tempered Clavier, the English and French Suites, and the Art of Fugue.
Description : This unique compilation of piano trios features 15 popular chamber works suitable for practice, performance, conservatory use, and special functions. Includes separate inserts for cello and violin parts and a 96-page piano reduction. Contents: Sérénade by Charles-Marie Widor; Four Bavarian Waltzes, Op. 20 by Ernst Frank; Intermezzo, ("Forget-me-not"), Op. 22 by Allan Macbeth; Serenade by Hermann Kotzschmar; Kamenoi Ostrow (Cloister Scene), Op. 10, No. 22 by Arthur Rubinstein; Prelude to Act III of Kunihild by Cyrill Kistler; Largo from Xerxes by George Frideric Handel; Meditation (Ave Maria) by Johann Sebastian Bach/Charles Gounod; Danse Macabre, Op. 40 by Camille Saint-Saëns; Love Song (Stances) by Ange Flégier; Slavonic Dance, Op. 72, No. 8 by Antonín Dvořák; Prize Song from Die Meistersinger by Richard Wagner/August Wilhelmj; Pastel-Menuet by Henn Paradis; Reverie (Extase) by Louis Ganne; and Pas des Amphores, Op. 37 by Cécile Chaminade.
Description : Volume I of this work is translated here by a team of distinguished theorists. It includes analyses of keyboard works by Bach, Scarlatti, Chopin, Beethoven and Handel and solo violin music by Bach, as well as more general essays on aspects of Schenkerian theory. Volume 2 (1926) and Volume 3 (1930) were published in 1995/6. Long awaited in English translation, this edition will also be invaluable to scholars for the editorial annotations and elucidations provided by Dr Drabkin and his translators.