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Fried Miriam, Bach, Partita No.2 in D minor

Sequence published on 12/2/21
Composer : Johann Sebastian Bach
Year of composition : 1720
Artistic period : Baroque
Musical category : Partita
Academy : Academy October 24 to 31, 2021
Master(s) : Miriam Fried
Student : Emilia Sharpe
Instrument(s) played :

"Johann Sebastian Bach was the greatest harmonizer of all time" Miriam Fried

About the Violon class of Johann Sebastian Bach's work on the Partita_No.2_in_D_minor BWV 1004

Master class de Violon, Johann Sebastian Bach | Partita_No.2_en_Ré_mineur

"At the beginning, the student plays the Allemande of this partita, and the master indicates that since it is a first movement, it is an invitation to listen. Regarding the character in particular, she emphasizes that it is somber, it is not a functional dance, and that it works more like an overture.
Then, the master talks about certain rhythmic aspects to take into account, and certain contrasts, and that in this piece nothing is an accident, everything is intentional, including the different patterns.

"Later, they work on the different bowings, and on the need to complete the sentences, which are generally determined by harmony. In this sense, the master affirms that “Johann Sebastian Bach was the greatest harmonizer of all time."" On sound, she highlights the importance of resonance, which is achieved via vibrato.
Undoubtedly, it is a very interesting class in which the bases for a technically correct and expressive interpretation of a key piece for the violin are worked on.

What we learn in this Violon Master class

-The allemande works as an oberture
-Importance of resonance
-In the baroque style where vibrato is an ornamentation
-The right arm must move naturally
-Violin playing may be hard, but it's not dangerous

About Johann Sebastian Bach work

"The sonatas and partitas reflect Bach's skill as a performer and composer. Only someone involved with the violin as a performer could know its possibilities and limitations so well. The works demonstrate a level of technical and musical mastery that previous composers had not come close to and, in fact, remain one of the pinnacles of violin literature. The genres chosen by Bach allow musical variety of astonishing scope, ranging from densely crafted counterpoint to graceful court dances composed in a style marked by rhythmic and melodic invention underpinned by complex harmonic shifts. The partitas offer a sequence of dance-inspired movements, including dances rarely found in Bach."
This partita begins with an Allemanda which, at first glance, may seem a bit lacking in genius. This movement, along with the Corrente that follows and the subsequent Giga, advances in a single continuous melodic line with the harmony provided by multiple stops is almost totally absent. The Sarabanda, on the contrary, with its richly chord passages gives the impression, to a certain illusory point, of greater complexity. The ending Ciaccona is built on a noble and declamatory theme on which Bach develops sixty-four continuous variations, exploring a dazzling and intricate range of harmonic possibilities.
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