< Previous Partita II BWV 1004 GIGA q . = 72 The character of this dance is simple and rustic and one can image peasants tapping their feet rapidly on the upbeat and first beat, which can be conveyed with a quick and vigorous bow (q . = 72) using the middle of the bow « à la corde » and a supple wrist for quickness. It is composed of a series of ascending or descending sequences of repetitive motives that can be highlighted by dynamics that follow their shape. Constant tempo, especially in the many stepwise passages where one tends to accelerate. Partita II BWV 1004 CHACONNE q = 60 Finally we arrive at the « Everest of violinists »! A musical monument second to none that develops a 4 bar theme over a long series of varied structures, building an original musical saga in a tryptique: first part, D minor; second part D major; third part, D minor. An Ancient dance of Spanish origin and moderate pace, the tempo advised by Enescu remains stable (q = 60) from beginning to end, regardless of the major technical differences 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 note anacrusis, so as to differentiate the choreographic weight of the first and second beats, just as it appears in the manuscript of Bach himself. This first exposition must be expressed with a good amount of bow and very « à la corde », giving a sense of the magnitude of what is to follow. But the first variation that begins at measure 9 is played at a more moderate mf, allowing for the possibility of the long crescendo to come. Similarly, we will find the marking p at measure 17 for a similar gesture. This method of beginning each variation p allows us to follow the upward curve of the musical phrasing that usually ends forte. This avoids a colorless monotony and holds the attention and emotion of the listener. Just as changes in volume depend on the phrasing, the vibrato, which must always animate the left hand, intensifies or subsides according to the temperament that characterizes each performer. It is in this that interpretations differ. The variation that begins at measure 25 is a more intense expression that animates its 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 define through different sonorities. It then develops melodically through various keys, and we will bring out the accidentals, sharps or flats, by slight inflections up to its conclusion in measure 48. Here again each artist expresses himself according to his temperament. From measure 49-57, the author, by sequences of repetitive phrases whose successive designs we will bring out through the bowing indicated by Enescu, leads us to the ornate and very rhythmic inversion of the theme. Measure 57 begins a particularly energetic variation with a very masculine rhythm, exchanges between the bass and soprano and very dynamic arpeggios at the end. At measure 65 the variations begin accelerating, and the alternation between legato and martelé must not alter the regularity of the tempo in the least. Be especially careful not to speed up on the finely balanced thirty-second notes. Working progressively with the metronome is very useful! The intonation will benefit along with the clarity of the long stepwise phrases. Measure 77 returns to a temporarily calmer section where we can, within a p dolce, be more expressive, especially between 81 and 85 with their diminished and augmented intervals so dear to JS Bach (and we must respect Enescu’s fingering). 85 is the beginning of a very long sequence of rapid notes of many various shapes. First are four legato almost all stepwise notes (watch out for intonation!), and from 89 bariolage in various formulas (carefully observe their bowings!). As usual we will try to remain p as long as possible... (apart from a slight crescendo from 101 to 105 where we return to p). The true crescendo only begins at 114 and ends at 121 on dazzling (but controlled) cadenza that leads to the grandiose restatement of the theme in its original tempo! After this exalting tempest in D minor conveyed through all kinds of arpeggiated bariolages, adorned with intervals both dramatic or calming and leading to the dazzling appearance of the opening theme, comes the second part of the D major triptych (133), reflecting the author’s brilliant expertise of contrast. Enescu visualized this episode as a ray of sunlight passing through a window, landing on the tranquil hands of an organist playing... a sweet counterpoint whose D major tonality provides a beneficent calming for both interpreter and listener! While keeping the same tempo with a dynamic subito p the motion of the left hand suddenly stops and it is relaxed and barely undulating, providing a rest necessary... but short-lived, because from measure 141 rhythmic activity begins; a passage of ascending eighth notes still rather calm, played « louré dolce »… At measure 149 sixteenth notes reanimate the atmosphere through various ascending and descending repetitive phrases that grow increasingly agitated and from measure 161 will bring out in an obsessive manner the note A, repeating it three times at first p. After a long crescendo that ends at 169 this A is relentlessly repeated not three but four times, and contradicted by a response in double stops, which eventually gives this variation a Mephistophelian character that we can achieve with more and more energetic accents. This new and changing ascent leads to a very expressive episode (at 177) to be played sustained and very « à la corde », reaching out over 3 and 4 note chords with a vibrato more and more present. Measure 201 the apotheosis of this second part of the triptych bursts with arpeggiated chords in D major! Use the entire bow, fff. After a breath, the length of which will be an agonizing suspension between the first and second beat of measure 209, we literally plunge into the D minor chord that opens the dramatic third part of this work, to which a compelling interpretation must give a Shakespearean dimension... This D minor chord must be played fp and highly contrasted both in volume and expression which moves suddenly from the greatest exaltation, ff, to the most profound despair as dark as deepest night, pp. All the chords in this variation should be attacked in a supple manner and practically arpeggiated, with more vibrato and very soft. Measure 217 is the quiet beginning of a long, slow ascent through varied and increasingly expressive phrases. At measure 227 we arrive at a kind of cadential break, almost AD LIBITUM, and we find ourselves at measure 229 at the beginning of a section described by George Enescu as like the famous fresco by Michelangelo named «Mater Dolorosa». We will play here with similar bowing on each note of the melodic line, thinking about the especially painful aspect of this masterpiece. And we finally arrive at the last variation of arpeggios, a progression of increasingly thick harmony leading to the final CODA in measure 248 which itself leads to a final glorious restatement of the theme... for which we would be happy to be able to grasp another three violins and five bows to have enough force to express what we feel at such a moment !!! Next >