Bach Violin Sonata No.2 BWV 1003 A minor 巴哈 無伴奏 小提琴 奏鳴曲 第2號 バッハ ヴァイオリン ソナタ 第2番 Score Sheet 譜 【Kero】
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Bach Violin Sonata No.2 BWV 1003 in A minor
巴哈 無伴奏 小提琴 奏鳴曲 第2號 A小調
巴哈 无伴奏 小提琴 奏鸣曲 第2号 A小调
Bach Sonata para violín n.º 2 en la menor, BWV 1003
バッハ ヴァイオリン ソナタ第2番 イ短調 BWV1003
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Bach #Violin #Sonata
00:00 I Grave
04:12 II Fuga
12:33 III Andante
18:09 IV Allegro
The sonatas and partitas for solo violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterly and expressive works ever written for solo violin.
The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded.
The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.
The surviving autograph manuscript of the sonatas and partitas was made by Bach in 1720 in Köthen, where he was Kapellmeister. As Christoph Wolff comments, the paucity of sources for instrumental compositions prior to Bach's period in Leipzig makes it difficult to establish a precise chronology.
The sonatas each consist of four movements, in the typical slow-fast-slow-fast pattern of the sonata da chiesa. The first two movements of each sonata are a prelude and a fugue. The third (slow) movement is lyrical, while the final movement shares the similar musical structure as a typical binary suite movement. Unlike the sonatas, the partitas are of more unorthodox design. Although still making use of the usual baroque style of allemande, courante, sarabande, and gigue, with some omissions and the addition of galanteries, new elements were introduced into each partita to provide variety.
The goal of producing a polyphonic texture governed by the rules of counterpoint also indicates the influence of the first surviving works of this kind for solo violin, Westhoff's partitas for solo violin composed in 1696. The virtuoso violinist Westhoff served as court musician in Dresden from 1674 to 1697 and in Weimar from 1699 until his death in 1705, so Bach would have known him for two years. The repertoire for solo violin was actively growing at the time: Heinrich Ignaz Franz Biber's celebrated solo passacaglia appeared c.1676; Westhoff's collections of solo violin music were published in 1682 and 1696; Johann Joseph Vilsmayr's Artificiosus Concentus pro Camera in 1715, and Johann Georg Pisendel's solo violin sonata was composed around 1716; and finally, Georg Philipp Telemann published 12 Fantasias for solo violin in 1735.
Bach sonatas and partitas for solo violin
Sonata No. 1 in G minor, BWV 1001
Partita No. 1 in B minor, BWV 1002
Sonata No. 2 in A minor, BWV 1003
Partita No. 2 in D minor, BWV 1004
Sonata No. 3 in C major, BWV 1005
Partita No. 3 in E major, BWV 1006
Sonata No. 2 in A minor, BWV 1003