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JOHANN SEBASTIAN BACH (1685 – 1750)

BACH: THE SONATAS AND PARTITAS FOR SOLO VIOLIN - Roman Totenberg

BACH: THE SONATAS AND PARTITAS FOR SOLO VIOLIN - Roman Totenberg

An historic performance of Bach's greatest works for violin, performed by Roman Totenberg, utilizing his renowned bowing technique.

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Violin Sonata No. 1 in G Minor, BWV 1001: I. Adagio - Fuga
11:35
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Violin Sonata No. 1 in G Minor, BWV 1001: II. Siciliana
3:41
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Violin Sonata No. 1 in G Minor, BWV 1001: III. Presto
4:16
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Violin Partita No. 1 in B Minor, BWV 1002: I. Allemande
10:57
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Violin Partita No. 1 In B Minor, BWV 1002: II. Courante
7:38
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Violin Partita No. 1 In B Minor, BWV 1002: III. Sarabande
6:28
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Violin Partita No. 1 In B Minor, BWV 1002: IV. Tempo di Bourrée
8:49
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Violin Sonata No. 2 in A Minor, BWV 1003: I. Grave - Fuga
13:58
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Violin Sonata No. 2 in A Minor, BWV 1003: II. Andante
6:37
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Violin Sonata No. 2 in A Minor, BWV 1003: III. Allegro
6:18
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Violin Partita No. 2 In D Minor, BWV 1004: I. Allemande
5:03
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Violin Partita No. 2 In D Minor, BWV 1004: II. Courante
2:56
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Violin Partita No. 2 In D Minor, BWV 1004: III. Sarabande
4:45
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Violin Partita No. 2 In D Minor, BWV 1004: IV. Gigue
4:25
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Violin Partita No. 2 In D Minor, BWV 1004: V. Chaconne
16:23
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Violin Sonata No. 3 in C Major, BWV 1005: I. Adagio - Fuga
4:04
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Violin Sonata No. 3 in C Major, BWV 1005: II. Largo
5:42
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Violin Sonata No. 3 in C Major, BWV 1005: III. Allegro assai
3:37
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Violin Partita No. 3 in E Major, BWV 1006: I. Preludio
2:24
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Violin Partita No. 3 in E Major, BWV 1006: II. Louré
2:19
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Violin Partita No. 3 in E Major, BWV 1006: III. Gavotte en Rondeau
1:33
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Violin Partita No. 3 in E Major, BWV 1006: IV. Menuet I
2:00
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Violin Partita No. 3 in E Major, BWV 1006: V. Menuet II
17:47
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Violin Partita No. 3 in E Major, BWV 1006: VI. Bourrée
3:24
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Violin Partita No. 3 in E Major, BWV 1006: VII. Gigue
5:37
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Totenberg BACH liner notes
For many generations the six J. S, Bach Sonatas and Partitas for Violin Alone have been a paramount and unique source of study and musical enjoyment for violinists all over the world. Contrary to general belief, there were other outstanding baroque composers who wrote lovely music for unaccompanied violin. Among these were Pisendel, Geminiani, and Biber whose Pasacaglia may have been a prototype for Bach’s Ciaconne. It was Bach, however, who through the genius of his inventiveness and mastery of the idiom, was able to overcome the limitations of a melodic string instrument and thereby create the illusion of true polyphony. Musicological research has introduced much new understanding into performance practices of these compositions. This new insight has brought to light the element of improvisation which we find in the earlier Italian com posers. Improvisatory practices were clearly explained in the English publication of Geminiani’s Art of Violin Playing (1751), and later we find a whole chapter de voted to ornamental techniques in Leopold Mozart’s School of Violin Playing (1756). Many essays on the art of playing viols, consorts, and violin have taught us the numerous possibilities of interpreting chords on string instruments. It is through such research that the standardized version of 19th century performances has become a thing of the past.
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