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The work for Solo Violin BWV 1001-1006 by Johann Sebastian Bach (1685-1750) originally titled (Sei Solo - a Violino senza basso accompagnato), was published long after his death in 1802 by Nikolaus Simrock in Bonn (Germany), by Fortunately, the sources that are preserved today are those of the autograph manuscript itself and in good condition, it is archived in the Berlin State Library (Mus. Sra. Bach P 967). The urtext version presented for Viola was only adapted, edited, and transcribed by Roisber Narvaez. Transposing in an interval of a perfect 5th descended was essential for the adaptation of the viola, for that reason, C-clef prevail the most part of the time as possible to facilitate the study and reading of the player, except those acute sections where it needs to use the G-clef. This printed version tries to capture and reproduce the original intention of the Baroque composer as faithfully as possible and without adding or changing the musical content, however, some spelling and rhythmic errors have been corrected throughout the work to facilitate the interpretation of the viola player. Some suggestions by the editor have been placed in square brackets.La obra para Violín Solo BWV 1001-1006 de Johann Sebastian Bach (1685-1750) titulada originalmente (Sei Solo - a violino senza basso accompagnato), fue publicada mucho después de su muerte en 1802 por Nikolaus Simrock en Bonn (Alemania), por fortuna, las fuentes que se conservan en la actualidad son las del propio manuscrito autógrafo y en buen estado, se encuentra archivada en la Biblioteca Estatal de Berlín (Mus. Sra. Bach P 967). La versión urtext presentada para Viola solo fue adaptada, editada y transcrita por Roisber Narvaez. Transportar en un intervalo de 5ta justa hacia abajo fue indispensable para la adaptación a la viola, por tal motivo, la clave de do prevalece la mayor parte del tiempo como sea posible para facilitar el estudio y lectura del ejecutante, salvo aquellas secciones agudas donde es preciso utilizar la clave de sol. Esta versión impresa intenta capturar y reproducir la intención original del compositor barroco lo más fiel que sea posible y sin añadir o cambiar el contenido musical, sin embargo, se han corregido algunos errores ortográficos y rítmicos a lo largo de la obra para facilitar la interpretación al ejecutante de viola. Se han colocado entre corchetes algunas sugerencias por el editor.
Composed by Johann Sebastian Bach (1.685-1.750) URTEXT Adaptation for viola, edited and transcribed by Roisber NarvaezThroughout history numerous musicians have had discrepancies between arcades, articulations, notation and phrasing for the execution of the six Solo Cello Suites BWV 1007-1012 by Johann Sebastian Bach who wrote around 1720 during his performance as a chapel master in the court of Cöthen. It is quite certain that the Suites were intended to form a second part of a collection or a larger complex of which the first part is composed of the work Sonatas and Partitas for solo violin, BWV 1001-1006, dated in 1720 with the Bach's own hand. The absence of an autograph copy of the composer does not make it possible to have an accurate answer on how the work should be interpreted accurately, caused by the inequality between the four existing manuscripts:1: a copy prepared by his wife Anna Magdalena between 1727 and 1731.2: a copy prepared by Johann Peter Kellner in 1726.3: a copy prepared by two anonymous written in the middle of the 18th century.4: an anonymous copy dating from the end of the 18th century.This has given players the opportunity to contribute musical ideas about the Suites. However, this version presented for Viola, is based on the manuscript of Anna Magdalena Bach 1727-1731.
Includes a full facsimile of the original manuscript of Johann Sebastian Bachs Sonatas and Partitas for Violin Solo (BWV1001-1006) transcribed for the classic guitar by Croatian cellist Walter Depalj and fingered by Istvn Rmer. Written for the advanced guitarist in standard notation only.
This book examines the nature of musical performance. In it, Dorottya Fabian explores the contributions and limitations of some of these approaches to performance, be they theoretical, cultural, historical, perceptual, or analytical. Through a detailed investigation of recent recordings of J. S. Bach’s Six Sonatas and Partitas for Solo Violin, she demonstrates that music performance functions as a complex dynamical system. Only by crossing disciplinary boundaries, therefore, can we put the aural experience into words. A Musicology of Performance provides a model for such a method by adopting Deleuzian concepts and various empirical and interdisciplinary procedures. Fabian provides a case study in the repertoire, while presenting new insights into the state of baroque performance practice at the turn of the twenty-first century. Through its wealth of audio examples, tables, and graphs, the book offers both a sensory and a scholarly account of musical performance. These interactive elements map the connections between historically informed and mainstream performance styles, considering them in relation to broader cultural trends, violin schools, and individual artistic trajectories. A Musicology of Performance is a must read for academics and post-graduate students and an essential reference point for the study of music performance, the early music movement, and Bach’s opus.
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.
PrefaceThe 24 Caprices by Niccoló Paganini were written between 1802 and 1817 for Violin solo. The URTEXT version presented for Viola solo, was adapted, edited, and transcripted by Roisber Narvaez, starting from the manuscript and the first editions printed when the composer was still alive. Transposing in an interval of a perfect 5th descended was essential for the adaptation of the viola, for that reason, C-clef prevail the most part of the time as possible to facilitate the study and reading of the player, however, those passages or high register excerpts that are not in conjunct motion were written in G-clef, as long as the height of the notes surpasses the B5, sections that moves in conjunct motion in an ascending movement that reaches or surpasses the C5 are also in G-clef. The octave (8ve) superior line in C-clef has been exclude, and in its place, the notes were written in their real height register in G-key in order to provide better comfort. Also, some suggestions and possible solutions of the editor were placed in parenthesis, as well as: ligature, articulations and accidental notes. One of the aspects of this edition is that the fractionals-stem bars has been placed in a straight - horizontal pattern to avoid overload of visual noise. In case of caprice number 6, it has remained the original writing of the autograph. In spite of being an Urtext unfingered edition, the only ones that can be found are the proper ones of the composer and it offers and spacious design that allows to add fingerings and personal bowings.
This edition of the Bach Cello Suites is appealing to both the scholar and the performer. The genesis of this edition was the alignment of the relevant manuscripts for easy comparison and study using a line-by-line layout. It has resulted in the ultimate scholarly approach to the study of these manuscripts and has led to many discoveries concerning notes, trills, dots, dynamics, and rhythm. In the scordatura version of "Suite No. 5," pitch names are given above the notes for the re-tuned top string, clarifying confusing elements in the notation. Fingerings and bowings in this edition reflect those used on the DVD set of Starkweather's performance of the suites (item number 730150). Reference to the manuscript edition makes it possible to visually assess the ambiguity of many of the slurs and to reach one's own conclusions.
Nearly a century after its initial publication, Carl Flesch's Scale System remains one of the foremost scale books for violin. This comprehensive collection of exercises features the 24 major and minor scales, with emphasis on both double-stops and arpeggios. With Flesch's exercises, the intermediate player will progressively master intonation, shifting, rhythm, string crossing, bow speed and pressure, and tone production. Initially published as a supplement to Book 1 of The Art of Violin Playing, Flesch's Scale System has become the principal scale study for serious violinists. Carl Flesch (1873-1944) was born in Hungary and began playing the violin at age seven. He was a famous chamber musician, instructor, and solo performer, who mastered repertoire ranging from Baroque to contemporary works.