The Bach Partitas and Sonatas are must plays for every violinist, whether they are ancient, grumpy old soloists or young musicians who have achieved the technical proficiency to handle the works. These work’s musical depth is profound, and the famous Ciaccona might be the greatest work written for a solo violin. Fortunately since it is played, and studied intensely by every professional violinist (and even most violists), we have a plethora of incredible recordings. Some of the notable ones include Milstein’s, Grumiaux’s, and Heifetz’s (though Heifetz’s recording is extremely unconventional, whereas the other two are more traditional).
(Really weird huh?)
I’ll try and see if I can get a violinist to peruse over the parts that I am re-hosting from IMSLP and talk about the quality of the editions. Additionally, I’ll see if I can get an early music expert to discuss early-music-style recordings.
Bach Partitas & Sonatas:
- Bach Sonata No. 1
- Bach Partita No. 1
- Bach Sonata No. 2
- Bach Partita No. 2
- Bach Sonata No. 3
- Bach Partita No. 3
- Bach Sonatas and Partitas Manucript
Hey, I didn’t know the Bach Chaconne was a Romantic Cadenza!
Yes, I have revered Jascha Heifeiz all my life, but thanks to this video I now see that he was only human and flawed after all!
Did not he know that Baroque music is radically different than Romantic? That vibrato was an ornament and that grace was more important than speed? If Bach could only hear you, you’d both turn over in your graves!
Thank you for the free downloads. Ya got me practicing again. I performed the Chaconne in 1978 or 1979 and won an Honors Recital appearance and it tickles me that my mildly flawed performance was stylistically better than Jascha’s. I suspect that in his day he didn’t have the benefit of early performance practice scholars whereas I did.
Violinist
Baraque Violinist
Treble Viol Player
There is an interesting debate to be had about stylistically correct performances of baroque music. Do we conform to the style of the day so that we may create an accurate interpretation of the composer heard? Or do we play an updated version using current techniques because no one in the past eras of music paid attention to “period playing” themselves. I guess what I’m trying to say is that period playing is the new idea while expressing music in the current style way has always been the norm! That doesn’t change how unique the Heifetz recording is thought. 😛