Partitas Bach (Frederick Charlton)

7/27/2019 Partitas Bach (Frederick Charlton)

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In 1720 ohannSebastirnBachwrrote ix compositionsor unaccompaniediolin. Of thesesix workr' threeer€ sonrtrs rnd thre€ ere partitas. Thesonst{sare seriouscompositionsn

the four movement"church sonata" style,with second movementshat arevery complexfugues' written with incredible ingenuity. The last movementof each of the sonatgs s, withsomeadaptations, transcribablc or the contrabass.The first three movementsof eech sonata,especially he fugues,are simply not playableon the bass,unless so many modificationaremadeas o ruin the musical ntentionsof thecomposer, owever, he three partitassr€ muchlighter' dancelikesuites tha! in most instances,end themselves uite nicely o contrabasstranscription.

Bachrs violoncello suit€s have become staples or the seriousbassis! yet the violin piecesare too often neglectedby bassplayers. While the cellosuiter havefar fewer stoppedchordsthan the partites, the few chordg hat are in the

cello suitesare usuallybasedon fifthsn ixthsand sevenths,which require signilicant modilications in arranging forihe bars. And while theviolin partitas havesimilarly structured chords, theyalso have numemus compactchords.chords based hsterd on seconds,hirds and fourths, which can be very difiicult and evenimpossible n the violoncello.Bul because he contrabasss tuned n fourths. hesesamemorecompactchordsare very transcribable or the bass.

To excecute he complex chordsof thesepiecesrequiresmuch bow-hand control andlinesse. A more desirabletonecan be achievedby sweeping rom one noteof the chord to thenert. Rather thon trying to makeall ofthe notesofa chord soundat the same ime on theinstrumenl let the rcom or hall be the resonaterhat ties all the notesof the chord togethen

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Somewords ahout the chords n thescpreces:

In arranging hesepieces, he writer has employedsweral different chordal tcchnics o achieve he harmoniccompleoriginal. Thereare avariaty ways of achieving his. Th€ first way (exampleA) is with hue triple- andqusdruple-stopschords where all the notes stoppedcanb€ 8t the same ime or are open-strings. owever, on a bowed nstnrmenl mostand certainly all quadruple-stopsmustbe rolled or broken sul tastq in any numberofways dependingon theperfomeds

The chordswdtten with gracenotesarenot true triple- andquadruple'stops,ut thepreformers goalshouldbeto makelike triple- andquadruple-stops.Chordswith duplicetenotes i€d together,as n examplesB and C, are writen this way tothe performer o briefly sustain he first noteof the chord with second oteand he secondwith thethird eic. So, the sofrhe duplicate notes s alwaysplayed n the sameway or placeas he first note. ExampleB is a three notechord usingFirst the openD is playedand sustained riefly wirh theF on rhe A string, then lreF is sustainedwiih A on the D string.

A string s used or onenote oftlte chord and heD string for two. ExampleC is a four note chordusing wo strings. Tstring s playedand sustainedwith the openG and then hc G with the Bb on theD string and theEon the G stringaregether. In exampleD adifferent technique s required. Altborgh all four strings areused in executing this chord, itisquadruple-stopbeceuseall four notescannotbe sto,ppedt the same ime. Instead, lis chordmustbeplayedas wo setsstops, changing positionbetweenthem. ExampleE is similar to orampleD in orecution of the chond,exc€pt hat t canall in oneposition. ExampleF showschords hat useharmonicshat areplayed n a lowerposition. Fl shows he execr-rchords.

All chcds in the Ciacconaand othermovernentsenbeg(ecut€dn oneof lhe methodsas shown.

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Footnotes:

( ' l ) _I n$ cnotq *lhich is vorc€d his *ay as n lbe origibrl itrsl€{d ofthe bcuer souDdns:

\|as Fobably l|litl,en irl this rlanD€r to avoid !'ar"Ikl ARhsb.tw€en ilald thc folo\ ing B flst chord, foi although Bsch would sonrelimes\r4ite parald fifths, they w€'e usllaly falrly wel di8uis.d rtrd becdtainlv \rould not baie *ritten srch obvious Msllel ffths as this:

So,withdueEsleat tosEds B&lL th€ tran8€rhasput n prhl Uleorigitrslchold ruc$r€ adr.Houev6, thcr|e'fofslcr nsyFef6 tous lhe voicitrS fchord(r/ in Site oftbc pnralel ifflls, becruse fthe rgbtrr ofthe contabass lt the$rFris soud ofthis chord.Thc aame ituation@cus h E€&$r€s7, 12?and251.

Th. dltirc s.ttion fron K until O are aI aipeggiat€d chords*{ich stati on the lovr(f slring goiDg o UrchiSb€r sting ad bacl again. Note dnt in some ngbces the lastnoc ofm trpeSSio is play€d on thc ssmestng a5 he 6rn note ofthe n xt lrpeggio. On tbec ec$ioos (mcas.96, 104 ad I 16) lhe FforDtq mu$ cmss t\ro stings to

8o ftom on€ chord lo dle ne's. Forofiteh, in each of thes instanc€s, he sond {Ilte88io is begunwith a hsrmonic.

Me€su€s 236 thtough 240 arE very drfiicult to s(ecute. The be$ wry to lercn this Fssag€ is to firJ urstlr th. cightlHrote doqn bcats(as dtown below)ard th€i bcgi! to inteSect tbe 16tb noreoff-bc5t A hEmonics.

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Partitas Bach (Frederick Charlton)