< Previous Sonata II BWV 1003 ANDANTE e = 63 As always JS Bach knows how to alternate moments of tension, like those of this Fugue rich in development and ending with a dazzling cadence on a brief but triumphant coda, with the calm provided by the Andante. Enesco compared the accompaniment to « footprints in the snow ». The particular difficulty of this piece is to bring out the upper melodic line, emphasizing it a bit more than the accompaniment, but discreetly. Be sure to sustain the melody without interrupting it with over accented bowing, and giving enough breathe to the sonority by lengthening the bow much more towards the fingerboard. The left hand should be expressive, with a restrained vibrato on every note. ALLEGRO h = 40 (BACH ) (q = 80/84) This last movement in turn brings a final contrast to the quiet prayer that has just taken place. This is a brilliant Allegro - about q = 80/84 - whose dynamics, alternating f and p, are the author’s own and must both be very clear. As usual in these movements, rapid and with bariolage on all the strings, one uses little bow length with an ultra flexible right wrist and an almost immobile forearm. Naturally the tempo must remain constant and without inappropriate accelerandi. Partita II BWV 1004 Partita II BWV 1004 ALLEMANDE q = 66 Unlike the Allemande of the first Partita in B minor, this one is more melodic than polyphonic. We must therefore follow the upward or downward gestures with levels of dynamic and phrasing that match. We must also take into account its inner divisions to reveal the phrasing. Being the opening of such an important Suite as it contains the Chaconne, considered the « Everest » of violinists, it must be given the appropriate scope by adopting from the start a large sonority in terms of volume and phrasing, that is to say, a present but discreet vibrato on every note and long bow strokes “à la corde”. Follow the dynamics indicated by Enescu. Keep to his tempo evenly : q = 66 44 Partita II BWV 1004 COURANTE q = 112 This brisk Italian dance should be played at q = 112, with a lively bow since we alternate between passages of legato eight note triplets and dotted eights – sixteenth notes separated by a slight pause of the bow. Be precise with the sixteenth note anacrusis of each section, playing it short but with great energy. Maintain the tempo from start to finish. Partita II BWV 1004 SARABANDE q = 44 This Sarabande is one of Bach’s most compulsory pieces for all competitions due to the technical and musical difficulties that must be solved. First its tempo – rather slow – requires a compromise that does not make us forget that this is, as its title suggests, a dance in which one must feel the rhythm and not an Adagio or even a Largo as we hear too often. Thus q = 44 is what Enesco advises to keep steadily throughout, and precisely resume after the end of each phrase. The melodic line, which stays on top throughout, should appear seamless, especially after the chords (for example at the beginning between the first and second beats), but also during the changes of bow direction that must be inaudible so as not to interrupt the melody. Finally, perfect intonation is paramount. Next >