< Previous Sonata I BWV 1001 FUGA q = 76 George Enescu considered this Fugue as a model of its kind and JS Bach himself later transcribed it for organ. Enescu’s interpretation is clear from the notational point of view, but technically it is very difficult for the instrument. The initial theme with its 4 repeated notes is easy to spot, but the chords that often state the theme require considerable attention to be played correctly. The «architectural» construction of each exposition begins, almost always, by single notes that become two and then three notes. These then become 4 note chords thus creating a natural crescendo that grows until its cadence which is followed by a divertimento that is itself interrupted by the return of the theme. In measures 83/84, the theme appears in the bass of 4 note chords, and it is musically necessary to attack these chords from the top notes to bring out the bass. These chords must be played fortissimo. But this work is so well constructed that each rise of the theme is accompanied by a natural crescendo, even if it is not in the manuscript. Enescu made one follow the natural evolution of the phrases with dynamics that emerged logically. Therefore they are included in this Educational Edition. Enescu indicates these dynamics as precisely as fingerings and bowings. The tempo q = 76 remains unchanged apart from a subtle relaxing at the end of phrases and the immediate resumption at the recapitulation. 10 11 12 Sonata I BWV 1001 SICILIANA e = 80/86 Of a dancing character in moderate tempo, this piece must keep its loosely swinging rhythm in a “danceable” tempo, that is to say not to slow down too much. The tempo here suggested by Enescu is e = 80/86, with, as always, the relaxations at end of a phrase, but an immediate resumption of tempo with the following phrase. Another important feature of this work is the three part contrapuntal writing: 1 bass and 2 sopranos which implies the choice of sonorities appropriate to the imagined instruments playing together: 1 bassoon + 2 oboe or 2 flutes. Here Enescu knew how to explain how to play the bass by searching for the sound of the bassoon (lighter bow near to the fingerboard) and that of the 2 oboe or flute (closer to the bridge) indicating also fingering which favored this contrast, hence some of them were made somewhat more difficult but effective..... by the choice of string. The concentration of mind and will to do so ultimately make this effect possible and very musical. Good luck, for this Sicilian is one of the most difficult pieces... thus often required in competitions. But its beauty makes the work easier! Sonata I BWV 1001 PRESTO e = 208 This last movement, which concludes the First Sonata, is played very fast as indicated by its title, but above all not as a « Perpetuo mobile » in the pursuit of a world speed record! First, we must «understand» the rhythm indicated in measures of 3/8, which is its basic structure. Second, we must highlight the sequence of phrases indicated here by these beginning and end hooks which in no way implies any interruptions or tempo changes. This is more precisely a punctuation which translates into pulses of slight bow pressure where indicated. Overall this creates a musical structure that rightly avoids the banality of notes too rapid and devoid of artistic sense. Likewise the dynamics indicated follow the ascending or descending melodic curves of this strongly conclusive work. Next >