JS Bach - Sonatas & Partitas - Educational Edition

7/21/2019 JS Bach - Sonatas & Partitas - Educational Edition

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;# 3%5')#' (2' %(50&% %&)3 753)4 (** &)3 *).#6 ,-%& (3 ( 0$#(% <#$.-$7#$ ")%& &)3reection on all the technical problems posed by these particularly dicult works, but

#3<#4)(**+ .$-7 %&# <-)2% -. 9)#" -. %&# ,$)**)(2% 4-7<-3#$ %&(% &# "(36 52'#$3%(2')20(3 "#** "&(% %&)3 753)4 #@<$#33#' .$-7 %&# 0$#(%#3% 753)4)(2 -. (** %)7#A BC D(4&?

It was rst and foremost necessary for Georges Enescu to transmit to future0#2#$(%)-23 %&# "#(*%& -. &)3 $#3#($4&6 ($%)3%)46 45*%5$(* (2' %#4&2)4(*6 %&(% &# &('carried out and tested through his own magnicent career as a violinist alongside%&# 4($##$ "&)4& 7(%%#$#' 7-3% %- &)76 4-7<-3#$:

Once Georges Enescu returned to France in 1947 and decided to give lessons again, Ihad the opportunity to take them for ve years, after which he oered me the uniqueopportunity to give a recital of the Sonatas with him at the piano! It was the chance-. ( *).#%)7#:

During those ve years, I had collected an enormous amount of his teachings,#3<#4)(**+ $#0($')20 "&(% &# 4-23)'#$#' %&# #33#2%)(* -. 753)4(* 45*%5$#A BC D(4&?

I could not imagine at the time that the treasure he had passed to me, and to all his3%5'#2%3 E"&-7 &# 7-'#3%*+ 4(**#' &)3 =4-**#(05#3>?F6 "-5*' 3#$9# 7# (** 7+ *).#(3 ( 753)4)(2::: ,#4(53# )% )3 -2*+ %&$-50& #@<#$)#24# %&(% "# 52'#$3%(2' "&(% )3

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It is no coincidence that all the great artists playing these instruments have spent%&#)$ *)9#3 3%5'+)20 (2' <*(+)20 %&#3# <)#4#3 %&$-50&-5% %&#)$ 4($##$3::: )2'##'$##')%)20 %&#7 )2 %&#)$ -"2 7(22#$: D5% %&-50& /#-$0#3 12#345 <*(+#'6 %(50&%6(2' $#4-$'#' %&#7 -.%#2::: %&#$# )3 52.-$%52(%#*+ 2- #')%)-2 $#9#(*)20 &)3 <$#4)3#)2')4(%)-23 (2' &)3 (,52'(2% 4-77#2%3?

H2# 3&-5*' ,# ("($# -. %&# &($'3&)<3 %&(% .(4#' &)7 (% %&# %)7#I &# "(3 -9#$ 3)@%+ years old and suered from a serious disease of the spinal column, and he had lost(% %&# 3(7# %)7# (** &)3 <-33#3)-23 (2' &)3 ,#*-9#' &-7#*(2'A J-7(2)(?



During the 55 years that followed, I continued thinking about the precious fruits ofthe education that I had received from this great master, learning how to pass on inmy turn what I had received, passing on to each of my students the information that!" !$% &"'"()*+,- &./"' 0) 1" .' )(%"( 0) !",2 0!"1 *'%"(+0$'% $'% .'0"(2("0 0!"+"2."3"+4

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0!" ("+*,0+ )90$.'"% 0!()*&! $ +0(.30 $22,.3$0.)' ): .':)(1$0.)' $'% 3)11"'0$(-gathered by patience and erce determination!

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@!.+ +.'&," .'%.3$0.)' .+ "++"'0.$,444 9*0 .+ ')0 .' $'- "%.0.)'4 ?*0 8!"' $ -)*'&student (or teacher!) approaches these works for the rst time, they cannot have

0!.+ A')8,"%&" .''$0",-444 B',- ,$0"( "72"(."'3" 8.,, "/"'0*$,,- $,,)8 0!"1 0) 1$A"their own interpretation and personal changes, having rst understood the essential:)*'%$0.)' 0!$'A+ 0) 2()/"' +)*(3"+4

It is the precious inheritance received by George Enescu that justies the title!"#$%&'()%* !"'&'() that I have chosen.

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>02 8312-+1- $%?020-016 34 -.% 3+04541 40* 6475(541 89 :3 ;42' -.$3'6.3'- .02life as a musician-composer-performer-teacher thus underwent the lasting eect of-.02 0/+6%$,@ +1( %?%$, ?+&'+:&% ;0%8% 34 -.02 /31'/%1- -3 -.% .'/+1 2;0$0- %?3A%(

43$ .0/ + ;$%802% ;3%-08 ?02031 -.+- (%%;&, /+$A%( .02 ;%$231+& 01-%$;$%-+-031 +1(therefore his teaching. I cannot forget the particular eect that marked his face and.02 /'208+& (%/312-$+-031 +- -.% ;0+13 9.%1 .% 9+1-%( -3 83//'108+-% + ;+$-08'&+$01-%$;$%-+-031<

That of the rst opening !*4<(+, such a majestic Cathedral gate, this fabulous-$%+2'$% 34 -.% .'/+1 /01( -.+- +$% -.%2% 3+04541 40* 6475(541 -.+- 43&&39@ 9+2;+$-08'&+$&, 2-$0A016<

Every time I happen to pass by the majestic door of Notre-Dame de Paris, the sameemotion seizes me by the throat as when I interpret this sacred work... or teach it!



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I honestly think that this evocative power left a particular mark above all on the

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They felt that their artistic life would be inuenced and enriched in a profound way. >" 4%() $'6 04 ("0 482+"(9"+ 7" #'22&"6 '(4%. 7) 0$" 8%342."00'7(" 1"142)/ '%6 0$"%carry out the years of work that we would have to fulll in order to approach as close'+ ,4++&7(" 0$'0 ("9"(<

Regarding this rst work, one must above all follow with great precision the rhythmic#4%0482+ +4 #("'2() "?,2"++"6 7) 0$" $'%6 43 0$&+ 6"1&.46 5$4 5'+ &0+ '80$42<

It is commonly known as a written improvisation... and it is. But that of JS Bach andnot just any performer who dares to take it up.If we carefully observe the details of its rhythms, precise to the hundred twenty-"&.$0$ %40"/ 5" 18+0 2"#4.%&@" 0$'0 5" $'9" %4 142" 2&.$0 04 #$'%." ' %40" 9'(8"0$'% 04 #$'%." ' 6"0'&( 43 ' 18#$ '61&2"6 A"172'%60 42 ' B&#$"('%."(4<

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>" 18+0 0$"2"342" +0'20 7) 02)&%. 04 8%6"2+0'%6 "9"2) 6"0'&( #4%9")"6 7) 0$" '80$42and not spare any time or trouble in nding the exact phrase.

This requires a lifetime, but what enrichment for the one who glimpses the innite 7"'80)<





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In measures 83/84, the theme appears in the bass of 4 note chords, and it is musically

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Enescu indicates these dynamics as precisely as ngerings and bowings.

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D-+- =&-2'3 4&-7 */7 ,/ ->05$(& */7 ,/ 05$6 ,*- 9$22 96 2-$+'*(&) "/+ ,*- 2/3&%of the bassoon (lighter bow near to the ngerboard) and that of the 2 oboe or ute(closer to the bridge) indicating also ngering which favored this contrast, hence

some of them were made somewhat more di cult but eective..... by the choice of2,+(&);

The concentration of mind and will to do so ultimately make this eect possible and E-+6 .32('$5;

F//% 53'41 "/+ ,*(2 !,),/,01 is one of the most di cult pieces... thus often required(& '/.0-,(,(/&2; G3, (,2 9-$3,6 .$4-2 ,*- 7/+4 -$2(-+H





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Second, we must highlight the sequence of phrases indicated here by these beginning'-2 ,-2 "**>$ 89*:9 */ /. 80; *1<=*2, 0/; */-2++3<-*./, .+ -21<.:90/>2,?

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The rst Dance is an ,22%)3'4% ? -/ @*41(. -4#8#. ($ ,"* .(1* $688*$,$3It is in moderate tempo or even a little slower and its 32nd notes are lightly(''*.,*+ 4*)(,#>* ,- ,"* +-,,*+ AB," .-,*3

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Keep the same tempo until the end despite the exibility of the phrasing.







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Its large opening 4 note chords must be resolved using a wide vibrato on the upper/0,($3

The response is made with a soft dynamic from the upbeat to the fth measure,

and develops through a crescendo to forté following the rise of the phrase, briey#/,())+4,(. 5* & 5)#(1 4#&/0 /+&/-(6 5(10)( -0/-7+.#/2 10),83

!"( $(-0/. 4&),6 1)09 ,"( .0+57( 5&)6 '#20)0+$7* )($+9($ ,"( .('(7049(/, 01 ,"(previous conclusion and the large chords require a large sound until the upbeat ofmeasure 29, which alternates question/response !" ) " ) # until measure 38 which)(,+)/$ ,0 " 3

Again a few exchanges piano/forte, and a "$%&'(('!$ -0/-7+$#0/:

This very dicult work requires careful work on the accuracy and sound quality of its-"0).$6 ;"#-" .($4#,( ,"(#) 10+) $#9+7,&/(0+$ $0+/.$ $"0+7. /0, &44(&) &22)($$#'(0) -)+$"(.3</7* &/ &,,&-= ;(77 -0/,)077(. 5* ,"( (&)6 10770;(. 5* "#2" 50; $4((. -&/ (/$+)( &4)04() (>(-+,#0/3

The rather lively tempo of this peasant dance in 2/2 (72 to the half note) must bemaintained to the end, whatever the diculties.

It is often required in auditions for major orchestras to test the ear of candidates as

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Its *,-./0 #$ & '&)#&,#0/ ;"0$( (/()2*6 ;"#-" $"0+7. )(-&77 ,"&, 01 ,"( ?0+))8(6 ;#77 5( (>4)($$(. ,")0+2" & 123,45 67289:7 ;8320/7 <4 2:0 ;<66/0 ,= 2:0 .,> 3

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It is no coincidence that Bach chose the indication GRAVE for this ()*+,-./*(,) "# "$% 0)- 1,)2*2& '$() "%*+ *%,%*) "# "$% )-#. "%+/# 012 /0*"(34-0*-5 +%2("0"(6%3$0*03"%* "$0" () )# ,0* ,*#+ "$0" #, "$% 0-+#)" *#+01"(3 (+/*#6()0"(#1 0" "$% #-23(, #, "$% 45* 1,)2*2&7%*% .% %1"%* 2(*%3"-5 (1"# "$% 2%%/-5 *%-(8(#4) 012 9%-(%6(18 $%0*" #, "$() )49-(+%04"$#* :; <03$& '$() /08% #, +4)(3 +05 9% 9#"$ "$% +#)" 3#1"%+/-0"(6% 0123%-%9*01" 0 $4+01 9%(18 $02 %6%* 3#13%(6%2 4/ "# "$0" "(+%&

Only Beethoven was able to nd such peaks in certain slow and meditative passagesof his string quartets.

This very slow work requires perfect control in the location, pressure, and placementof the bow on the string to nd the sounds that music alone is able to use to translate"$% (11%*+#)" ,%%-(18) #, "$% $4+01 )#4- /#12%*(18 $() "*08(3 ,0"%& <%-(%6%* #* 1#"=

.% 301 1#" 9% (1)%1)("(6% "# "$() +%-#2(3 -(1% (1"%*)/%*)%2 .("$ 2*0+0"(3 3$#*2)012 +5)"(30- (+/4-)%) "#.0*2) 0 5%0*1(18 ,#* )0-60"(#1= 94" .$(3$ %12) )4)/%12%2#1 "$% >#+(101"&&& .$(3$ -%02) "# "$% ,#--#.(18 6.3.78&&& .$#)% #/%1(18 "$%+%contrasts with its simplicity the metaphysical message that has just been made.

69!# e ' //

?) .("$ 0-- 6.3.75= (" 9%8(1) .("$ "$% )433%))(6% %1"*013% #, %03$ 6#(3% #, which we must slightly accent rst thrust. The theme cell consists of an anacrusis#, ".# )(@"%%1"$ 1#"%) ,#--#.%2 95 )%6%1 %(8$"$ 1#"%)& '$% 2%6%-#/+%1" 3#1"(14%)in various ways until the rst 7:(5,-7 "$0" 0**(6%) (1 +%0)4*% AB 012 .(-- (")%-,2%6%-#/ 41"(- +%0)4*% CD .$%*% "$% "$%+% *%"4*1) (1 "$% )#/*01# 6#(3%&Meanwhile it is important to point out that on the last note of measure 39, when the

"$%+% %1"%*) (1 "$% 90)) "$% 3$#*2) +4)" 9% 0""03E%2 ,*#+ "$% "#/ F.$(3$ () 414)40-and thus quite dicult at rst) in order to bring out the bass.

The same process recurs in measures 91 and 99 and then 272 and 281. As always .% .(-- 06#(2 +#1#"#15 95 9*(18(18 #4" "$% (12(30"%2 14013%)= .$(3$ ,#--#. "$%4/.0*2 #* 2#.1.0*2 3$018%) #, /$*0)(18&

G% +4)" /05 )/%3(0- 0""%1"(#1 "# +0(1"0(1(18 "$% #*(8(10- "%+/#e ' //= .$(3$ )$#4-2 9% )"*(3"-5 *%)4+%2 0,"%* "$% %12 #, %03$ /$*0)%= 012 #, .$(3$ .% 301 )#+%"(+%) H 94" 1#" 0-.05) H %@/012) "$% %12(18 .$%1 (" #334*) 0,"%* 0 -#18 2%6%-#/+%1"&

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?.1"+/ +/39$217 0,1 $++/39$.531.0 0/ @ 4//0925.0" 5. 0,1 "./& A>

The particular di culty of this piece is to bring out the upper melodic line, emphasizing50 $ <50 3/21 0,$. 0,1 $++/39$.531.06 <=0 75"+2110%'> *1 "=21 0/ "="0$5. 0,1 31%/7'

&50,/=0 5.0122=905.: 50 &50, /812 $++1.017 </&5.:6 $.7 :585.: 1./=:, <21$0,1 0/ 0,1sonority by lengthening the bow much more towards the ngerboard.

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This last movement in turn brings a nal contrast to the quiet prayer that has just taken place.

B,5" 5" $ <25%%5$.0 !::+*;< D $</=0 q = 80/84 - whose dynamics, alternating ! $.7 "6$21 0,1 $=0,/2E" /&. $.7 3="0 </0, <1 812' +%1$2>

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little bow length with an ultra exible right wrist and an almost immobile forearm.

Naturally the tempo must remain constant and without inappropriate accelerandi.







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This brisk Italian dance should be played at q * ++.! #$%& ' ($)*(+ ,-# .$/0* #*'(%*1/'%* ,*%#**/ 2'..'3*. -4 (*3'%- *$3&% /-%* %1$2(*%. '/5 5-%%*5 *$3&%. 6 .$7%**/%&

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Maintain the tempo from start to nish.





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!"#$ !*+*,*-./ #$ &'( &) *+,"-$ .&$/ ,&.012$&34 0#(,($ )&3 +22 ,&.0(/#/#&'$due to the technical and musical diculties that must be solved.

First its tempo – rather slow – requires a compromise that does not make us forget/"+/ /"#$ #$5 +$ #/$ /#/2( $166($/$5 + .*-0/ #' 7"#," &'( .1$/ )((2 /"( 3"4/". +'8 '&/+' ".*123 &3 (9(' + 4*+13 +$ 7( "(+3 /&& &)/(':

!"1$ q )-- #$ 7"+/ ;'($,& +89#$($ /& <((0 $/(+8#24 /"3&16"&1/5 +'8 03(,#$(24 3($1.(+)/(3 /"( ('8 &) (+," 0"3+$(:

!"( .(2&8#, 2#'(5 7"#," $/+4$ &' /&0 /"3&16"&1/5 $"&128 +00(+3 $(+.2($$5 ($0(,#+224after the chords (for example at the beginning between the rst and second beats),

=1/ +2$& 813#'6 /"( ,"+'6($ &) =&7 8#3(,/#&' /"+/ .1$/ =( #'+18#=2( $& +$ '&/ /&#'/(3310/ /"( .(2&84:

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!"# %"&'&%(#' )* ("+, -&.%# +, ,+/01# &.- '2,(+% &.- ).# %&. +/&3# 0#&,&.(,tapping their feet rapidly on the upbeat and rst beat, which can be conveyed with

a quick and vigorous bow (q. % ./4 2,+.3 ("# /+--1# )* ("# 5)6 7 8 1& %)'-# 9 &.- &supple wrist for quickness.

It is composed of a series of ascending or descending sequences of repetitive motives("&( %&. 5# "+3"1+3"(#- 5: -:.&/+%, ("&( *)11)6 ("#+' ,"&0#;

<).,(&.( (#/0)= #,0#%+&11: +. ("# /&.: ,(#06+,# 0&,,&3#, 6"#'# ).# (#.-, ()&%%#1#'&(#;







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5 670"8$% 61#76)#, 0)81#9 ,1 #1#) ,-$, 9)+)%1:0 $ ; <$* ,-)6) 1+)* $ %1#= 0)*")0of varied structures, building an original musical saga in a tryptique: rst part, Dminor; second part D major; third part, D minor.

5# 5#8")#, 9$#8) 12 >:$#"0- 1*"="# $#9 619)*$,) :$8)? ,-) ,)6:1 $9+"0)9 <& /#)087*)6$"#0 0,$<%) @q ( .,) from beginning to end, regardless of the major technicaldierences between the many variations, which are linked together without respite.

In the exposition of the theme Enescu did not repeat the chord on the eighth noteanacrusis, so as to dierentiate the choreographic weight of the rst and second

beats, just as it appears in the manuscript of Bach himself.

This rst exposition must be expressed with a good amount of bow and very « à la81*9) 3? ="+"#= $ 0)#0) 12 ,-) 6$=#",79) 12 (-$, "0 ,1 21%%1(A

But the rst variation that begins at measure 9 is played at a more moderate !" ?$%%1("#= 21* ,-) :100"<"%",& 12 ,-) %1#= 8*)08)#91 ,1 816)A

Similarly, we will nd the marking # $, 6)$07*) BC 21* $ 0"6"%$* =)0,7*)A

D-"0 6),-19 12 <)="##"#= )$8- +$*"$,"1# # $%%1(0 70 ,1 21%%1( ,-) 7:($*9 87*+) 12,-) 670"8$% :-*$0"#= ,-$, 707$%%& )#90 21*,)A D-"0 $+1"90 $ 81%1*%)00 61#1,1#& $#9-1%90 ,-) $,,)#,"1# $#9 )61,"1# 12 ,-) %"0,)#)*A

E70, $0 8-$#=)0 "# +1%76) 9):)#9 1# ,-) :-*$0"#=? ,-) +"<*$,1? (-"8- 670, $%($&0animate the left hand, intensies or subsides according to the temperament thatcharacterizes each performer. It is in this that interpretations dier.

D-) +$*"$,"1# ,-$, <)="#0 $, 6)$07*) FG "0 $ 61*) "#,)#0) )H:*)00"1# ,-$, $#"6$,)0its melody: lengthen the bow and vibrate on every note. The following, measure 33,

begins with a division between the soprano and bass voices, which we can denethrough dierent sonorities.

It then develops melodically through various keys, and we will bring out the

accidentals, sharps or ats, by slight inections up to its conclusion in measure 48.

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!"#$ &'( )&* +")&,#&, )$+'&- .')*$ -/ ) 0'12 '341'$$#0' '4#$/*' 5)- 6778 -/ 9' 4.)2'*sustained and very « à la corde », reaching out over 3 and 4 note chords with a

0#91)-/ :/1' )&* :/1' 41'$'&-;

Measure 201 the apotheosis of this second part of the triptych bursts with arpeggiated

chords in D major! Use the entire bow, f ;

After a breath, the length of which will be an agonizing suspension between the rstand second beat of measure 209, we literally plunge into the D minor chord that/4'&$ -"' *1):)-#+ -"#1* 4)1- /< -"#$ (/1=> -/ ("#+" ) +/:4'..#&, #&-'141'-)-#/&:?$- ,#0' ) @")='$4')1')& *#:'&$#/&;;;

!"#$ A :#&/1 +"/1* :?$- 9' 4.)2'* !" )&* "#,".2 +/&-1)$-'* 9/-" #& 0/.?:' )&*'341'$$#/& ("#+" :/0'$ $?**'&.2 <1/: -"' ,1')-'$- '3).-)-#/&> > -/ -"' :/$-41/</?&* *'$4)#1 )$ *)1= )$ *''4'$- &#,"-> "";

B.. -"' +"/1*$ #& -"#$ 0)1#)-#/& $"/?.* 9' )--)+='* #& ) $?44.' :)&&'1 )&* 41)+-#+)..2)14',,#)-'*> (#-" :/1' 0#91)-/ )&* 0'12 $/<-;

Measure 217 is the quiet beginning of a long, slow ascent through varied and#&+1')$#&,.2 '341'$$#0' 4"1)$'$; B- :')$?1' CC7 (' )11#0' )- ) =#&* /< +)*'&-#).

break, almost AD LIBITUM, and we nd ourselves at measure 229 at the beginning/< ) $'+-#/& *'$+1#9'* 92 D'/1,'$ E&'$+? )$ .#=' -"' <):/?$ <1'$+/ 92 F#+"'.)&,'./&):'* GF)-'1 A/./1/$)H; I' (#.. 4.)2 "'1' (#-" $#:#.)1 9/(#&, /& ')+" &/-' /< -"':'./*#+ .#&'> -"#&=#&, )9/?- -"' '$4'+#)..2 4)#&<?. )$4'+- /< -"#$ :)$-'14#'+';

And we nally arrive at the last variation of arpeggios, a progression of increasinglythick harmony leading to the nal CODA in measure 248 which itself leads to a nal,./1#/?$ 1'$-)-':'&- /< -"' -"':';;; </1 ("#+" (' (/?.* 9' ")442 -/ 9' )9.' -/ ,1)$4another three violins and ve bows to have enough force to express what we feel at$?+" ) :/:'&- JJJ

















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e ' /, <,1*0, 0,%33= /'(+.(+2 (+ 0(.> () %) &**3 %) &%+ <,??? @+,)&: &*49%0,8 /',0,9,/(/(A, 0'=/'4(& )/0:&/:0, /* /', &*3:4+) *1 /', B%0/',+*+?

The performer of this dicult prelude (one of many dicult pieces in this collection*1 /,&'+(&%3 %&'(,A,4,+/)> *1 3:)' &'*08) &*+)/%+/3= 4*8:3%/(+2 10*4 .,= /* .,=Cshould not let show any eort and let the most tranquil ecstasy prevail.

It is necessary then to be an absolute master of polyphonic technique.

D+3= ,E/,+)(A, -*0. 1*&:),8 *+ <*/' /', 20,%/,)/ %&&:0%&= *1 /', *1/,+F):</3,(+/,0A%3) %+8 /', 4%(+/%(+(+2 *1 %+ (49,0/:0<%<3, /,49*C %) -,33 %) ):993,+,)) (+the bow changes, can overcome these technical diculties. But at the moment of9,01*04%+&, (/ () /', 9'0%)(+2 /'%/ -(33 <,&*4, /', *<A(*:) 90(4%0= &*+&,0+5

G,0, %2%(+C *+, 4:)/ %3-%=) ),,. /* <0(+2 *:/ /', 4,3*8= <= 1%A*0(+2 <*- 90,)):0,*+ /', 0,3,A%+/ )/0(+2?

In measure 18 one must invert the chords to bring out the bass.

In measures 20 and 22-23 it is the middle voices which must be brought out, as wellas in 27, 28, 29, etc.

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!" $%&' &'( &$) *+(,%)-" !'(')*. &'%" )/( "&0+&" $%&' 0 "%1*2( &'(1( )3 0/upbeat and 4 measures in C major that Georges Enescu played « martelé léger » in&'( 1%442( )3 &'( 5)$. $'%6' '( &(+1(4 7 48&06'8 49)+:-( ;. 0/4 $'%6' $%22 5( -"(4&'+)-:')-&. 1)+( )+ 2("" ! < )+ #=

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measure 10 where the soprano and then the bass voice enter. These four voiceseventually develop the theme together until measure 20 where we arrive at G major.

Here begins the rst episode based on the initial thematic cell, until the return of&'( &'(1( 0& 1(0"-+( AB %/ &'( 50"". $'%6' $( $%22 "&+%,( &) 5+%/: )-& 5@ %/,(+&%/:&'( 6')+4"=

In measure 30 we will emphasize the middle voice until 34 where the motive will4(,(2)* %/ 0 C4%,(+&%""(1(/&D ,0+%(4 %/ &-+/ %/ (06' ,)%6(= E( 1-"& 5+%/: )-& (06'(/&+0/6( $%&' 0 "2%:'& (1*'0"%"=

?'%" 4%,(+&%""(1(/& $%22 (,)2,( &'+)-:' ,0+%)-" +(*(&%&%,( *'+0"(". 0"6(/4%/: )+4("6(/4%/:. -/&%2 &'( +(&-+/ )3 &'( )*(/%/: &'(1( %/ 1(0"-+( FA $'(+( %&" 1)&%,("0+( 4%"&+%5-&(4 &'%" &%1( 3+)1 ,)%6( &) ,)%6( 02&(+/0&(2@=

It is up to the performer to bring out these passages by emphasizing the proper voice. This requires great concentration.

It would be inutile and tedious to follow this measure by measure analysis with0 2%&(+0+@ 4("6+%*&%)/= G/( $') '0" -/4(+"&))4 -* &) '(+( $%22 6)/&%/-( $%&'

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Watch out for the inversion of the theme in measure 201 indicated by the composer'%1"(23=

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7-(. .3/0 8($#$ (. (49:$; 0(1- 1-$ '2$&1$.1 .$2$"(1< &"; (1. 1$48/ (";(#&1(/") 1-$.3/0$.1 (" 4:.(#) 0(33 "/1 $=#$$; e ' ./0-1 4$12/"/4$6

>$ 4:.1 1-$2$5/2$ &;/81 .:913$ ":&"#$. &"; & 9&2$3< &:;(93$ ?(92&1/ &";) 0-$"

they occur, very slow trills of just two beats.

7&@$ 1(4$ 1/ 92$&1-$ 9$10$$" 8-2&.$. 9< /9.$2?("' 1-$ .('". /2(";(#&1("' 1-$ 9$'(""("' /2 1-$ $"; /5 4:.(#&3 8-2&.$.6

A. &30&<.) 1-$ .3/0 1$48/ 0(33 9$ 2$.8$#1$; 52/4 1-$ 9$'(""("' 1/ 1-$ $"; /5 1-(..:93(4$ 4$;(1&1(/"6

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As its title suggests, this is a very happy nale that contrasts with the previousB&2'/6

7-$ ;<"&4(#. ! &"; " &.@$; 5/2 9< 1-$ #/48/.$2) &. 0$33 &. 1-$ ;(?$2.$ 9/0("') 3$'&1/or détaché, attest to the quick and happy character always in the bright tonality ofC major.

C$$8 1-$ 9/0 D E 3& #/2;$ F 0(1- & ?$2< .:883$ 02(.1 ;:2("' 1-$ 9&2(/3&'$.) 0-$2$ /"$#&" 83&#$ &##$"1. 1/ 92("' /:1 1-$ 4$3/;(# /2 2-<1-4(# 3("$ (" 1-(. ?$2< $"1-:.(&.1(#nale!









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?,, *"' 50'(* /#3,#-#$*$ (0' >03). *3 >,(1 #* (,3-' 30 8#*" *"' $)>'0& $)#*' 3+ $#@ A0'-7"B(-7'$ *"(* +3,,384

C-'$7) >,(1'. #* q ( +,./++, (-. (&3/' (,, -3* #- D>'0>'*)(, 23*#3-E 8#*" ( $)77'$$#3-3+ $"(>','$$ -3*'$ (* (- #-$(-' $>''.444 8"#7" 8' "'(0 $3 3+*'-4

Instead the rhythmic structures and the contrasting nuances indicated by the732>3$'0 "#2$',+ (0' *"'0' *3 +307' *"' >'0+302'0 #-*3 *"' 50'(*'$* .#$7#>,#-'

73-7'0-#-5 *'2>3 F8"#7" $"3),. -'/'0 /(01G (-. >"0($#-5 F8"#7" '2'05'$ $3 7,'(0,1#- *"' 80#*#-5G4

H' $"3),. -3* &' (+0(#. *3 +3,,38 *"' )>8(0. 30 .38-8(0. >"0($'$ 8#*" .1-(2#7$*"(* )-.'0,#-' *"'24 C/'- #+ *"'1 (0' -3* #-.#7(*'.= *"' 80#*#-5 #*$',+ "'(/#,1 #2>,#'$#*4I-' 2)$* $*).1 /'01 7(0'+),,1 J (-. (* ( $,38 *'2>3 J *"' &38#-5 3+ *"' &(0#3,(5'=rather dicult to apply with the arms and above all the wrist, which must remain as+0'' ($ >3$$#&,'= '/'- #+ #* >(0(,16'$ 13) 8',, &'+30' *"' '-. 3+ *"' 8309K

I-' 2)$* "(/' *"' 50'(*'$* 7,(0#*1 3+ &38 3/'0 *"' $*0#-5$= 5#/#-5 #* ,#**,' ,'-5*" #-the middle, a precise point of contact on the string (judging the most favorable place

&1 '(0G (-. '-$)0#-5 #*$ >(0(,,',#$2 8#*" *"' &0#.5'4

An excellent performance will depend on these precise techniques!

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JS Bach - Sonatas & Partitas - Educational Edition