< PreviousPartita III BWV 1006 PRELUDE q = 103/110 This beautiful and very famous Prelude is the first movement of this third and final Partita for solo violin. This etude is so motivating that even the laziest student becomes a hard worker. JS Bach himself thought enough of it to later transcribe it for organ, on which it is also often played. All the great violinists are proud to play it alone or with the superb suite of six French Dances that follow. Enescu played it q = 103/110 and above all not in “perpetual motion” with a succession of shapeless notes at an insane speed... which we hear so often. Instead the rhythmic structures and the contrasting nuances indicated by the composer himself are there to force the performer into the greatest discipline concerning tempo (which should never vary) and phrasing (which emerges so clearly in the writing). We should not be afraid to follow the upward or downward phrases with dynamics that underline them. Even if they are not indicated, the writing itself heavily implies it. One must study very carefully - and at a slow tempo - the bowing of the bariolage, rather difficult to apply with the arms and above all the wrist, which must remain as free as possible, even if it paralyzes you well before the end of the work! One must have the greatest clarity of bow over the strings, giving it little length in the middle, a precise point of contact on the string (judging the most favorable place by ear) and ensuring its parallelism with the bridge. An excellent performance will depend on these precise techniques! Above all, it is not a sprint... contemptible! We are in Bach’s domain. Partita III BWV 1006 LOURÉ q = 69 As with all great artists, what prevails here is the obvious contrast in tempo and atmosphere. This slow dance of French origin is expressed with a gentle melody and must be played with a calm vibrato, present on every note. The characteristic of this dance is to give a slight inflection on every eighth pickup and even on sixteenths in measures 6 and 7, 17, 19 and 22. Although these dances were not written to be choreographed we must not overlook the style that the author chose and keep a danceable tempo and rythm. Again, the nuances shown by Enescu are desirable for the colors they bring to the interpretation. Trills are slow and should not exceed two or three beats. GAVOTTE EN RONDEAU h = 74 An elegant court dance, it is very popular with musicians and often required in competitions for its test of musicality and style. The alternation of the theme « refrain » and the couplets indicates the chosen title. We must respect the first repeat before the first couplet that begins mf, but the development will be p with short and elegant bow strokes near the tip (hence its characterization by Enesco as a “dance of polished shoes”). The refrain is played léger martelé mf towards the tip of the bow (especially not spiccato) and always ends p, except the last time where on top of the crescendo we can add a little rallentando. The couplets are each in a different key and begin f in contrast to the p end of the refrain. Take time to breathe, but always return to the same tempo and maintain an elegant dance like agility. MENUETS q = 108/112 Like the Gavotte the Minuet is a French-born court dance that needs gentleness and elegance in its interpretation. So we will use the top of the bow with a light and elegant martelé at a dynamic moderate, but still contrasting according to the phrasing. At measure 18 we will take advantage of the legato phrases to add a little more expression without the left hand by extending the bow further. At measures 19 and 21 we will slightly accent the sixth eighth-note and emphasize the development of phrase with a crescendo; 29 will be p before ending f. Respecting the repeats we will connect the second Minuet in the same tempo. It will make its difference through a gentler pace, more cantabile than rhythmic. Again we must observe both repeats before returning to Minuet I playing it fully but this time without a repeat. BOURRÉE h = 84 A highly rhythmic popular French dance of rustic character, very musically successful in the Suites. Strongly mark the pickup and following downbeat. Give full value to the quarter notes that follow the legato eighths and follow the contrast in dynamics indicated by the composer. Play both repeats. GIGUE q . = 59 A rather fast and energetic folk dance where one strikes one’s heels, which requires a lot of clarity in its interpretation, particularly on the anacrusis. Here again we will respect the contrasting dynamics and play both repeats. This short and brilliant piece is both the conclusion of the 3rd Partita in E major and of this awesome musical monument, the 6 Sonatas and Partitas for Solo Violin by JS Bach. Next >