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  2. Partita No 2 for violin and bass/cello (BWV ) (pdf)
  3. Violin partita No. 2 in D minor

Courante III. M M Buy Now Medium soft. Produces a full-bodied sound that still affords a degree of clarity. M M Buy Now Medium. The most versatile mallet of the series. An all-purpose marimba mallet. M M Buy Now Medium hard. Provides excellent clarity throughout the full range of the marimba. Welcome to Vic Firth. This site uses cookies. To find out more about how we use cookies and how you can change your settings, read our privacy policy. So, why "Bach on Fire"? The title actually has nothing at all to do with igniting the corpse of a long dead composer on fire.

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  • Violin Partita No. 2 in D minor Complete by Bach/Liberzon?

Here are some examples copied from a dictionary: 2a. Burning intensity of feeling; ardor. Passion, syn. Luminosity or brilliance, as of a cut and polished gemstone. Liveliness and vivacity of imagination; brilliance. Why did you pick those ten? Having studied early, historic concert programming extensively, I decided to pick ten of my favorite selections and arranged them in an order that I felt would make the cd a true concert in its entirety. I know you use a German bow. But in general, can you tell us something about your special technique? As for the Bach partitas, I do employ many non-standard ways of executing the chords.

He was one of the most famous violinists of the late 19th century. His use of vibrato varied from very little to none at all — at the height of the Romantic Period! Joachim was the favourite violinist of Brahms and many other composers. He performed the premier of the Brahms Violin Concerto to rave reviews…with practically no vibrato! I almost did five years ago but the violin soloist ended-up going to jail shortly before the performance on unrelated charges. But as for special techniques, different styles demand different techniques. Do you have any other reviews that we could read?

Here are some of the reviews I have received: After hearing a recording of Bach's famous Chaconne performed by Frederick Charlton, the late great bassist David Walter said of his playing: "A real tour de force!


Fine sound, fine chops, an intelligent, romantic approach to this Gibraltar of a piece. If I said years ago that I didn't know how you did it, it still goes for now. You're amazing. On this recording, he has compiled ten movements from J. The transpositions that he chose work in making the music lay as well as possible on the bass… At the peak of this CD is the Ciaccona from the Partita no.

Charlton as soloist for their open house in There was a silence that took over the crowd as he weaved his way through a repertoire of compositions he has dedicated his life to perfecting. Frederick went into great detail in explaining certain hurdles he had to overcome in transposing and perfecting these great works.

It was a phenomenal experience to see this master in action.

Partita No 2 for violin and bass/cello (BWV ) (pdf)

This is how Mr. Simpson begins an interview with Frederick, that can also be found on the website:. This work is, in a word, astounding. His fond regard for the past and vision for the future of the double bass is inspiring. And now he has recorded the epic minute piece or more accurately, he has finally mastered it. One of 10 tracks on his new CD Bach on Fire, the Chaconne has been such an inspiring and challenging work for the musician that Charlton has recorded it on each of his three CDs.

The third time seems to be the charm in this case, as Charlton's rendering of the ever-shifting piece is subtle, hypnotic and graceful. And his experience with the movement CD invests it with such precise musical detail that it seems to pour directly through the instrument from his soul. The Partitas become mournful and serene in the deep, reflective tones of the contrabass.

Most rewarding are the lilting Gavotte en Rondeau from Partita No. The partitas and sonatas for solo violin have in the past been arranged for a wide variety of contexts, from solo instrument lute, guitar to full symphony orchestra. According to the liner notes, Charlton began working on the partitas when he was a teenager and over the next thirty-plus years performed all of the various movements to critical acclaim.

The present versions, arranged for contrabass, are an octave and a fifth to an octave and a sixth lower than the original. Hardly: Bach himself is known for constantly revisiting his canon and for arranging various movements for other solo instruments, in lower keys — in some instances a full two octaves lower than the original violin version.

Violin partita No. 2 in D minor

Gavotte en Rondeau from Partita 3 will be recognizable to many, a playful excursion. Allemanda takes things a notch down in terms of tempo, but up in terms of register. Charlton skillfully explores the upper ranges of the instrument, without the result ever sounding strained or forced. What is remarkable is that Charlton does not attempt to make the bass sound like a necessarily clumsy violin or even like a violoncello.

The and-a-half minute Ciaccona Partita 2 is, in some ways, the centerpiece of this collection, an immensely demanding piece that is rich in moods and textures and which Charlton negotiates with astonishing aplomb and — importantly — feel: a captivating performance. A stunning achievement! This is the culmination of some 30 years work of transcription and performance; a monumental undertaking. From a Bass playing perspective it is enlightening to hear these Bach compositions performed so ably on the instrument. The technical challenges posed in playing Bach are extreme; difficult interval leaps, complex harmonic progressions, double stopped passages.

Intonation is so crucial to clearly distinguish the harmonic movement in Bach. The sound on the Bass must be kept light and nimble to prevent the music from sounding ponderous. It is difficult enough on an instrument tuned in fifths; it is compounded on a Bass tuned in fourths. Added to this is the physical endurance and concentration required.

Some of the movements are long Ciaccona from Partita No. All these challenges emphasize the heights Mr. Frederic Charlton is critically acclaimed, and rightly so. Bach, Frederick has single-handedly raised the bar in solo bass performance for the new millennium. For the celebration of the final days of this major exhibit and to toast its safe journey to Vienna, the Museum provided a unique live musical experience in the Grand Foyer before and after tours of the exhibit.

People were intrigued, not typically seeing the bass as a solo instrument, and Frederick was particularly engaging. We found Frederick to be not only an extremely accomplished performer, but also to be very knowledgeable in the era of Bach — many museum goers approached him between pieces to speak with him about the music, adding to the interactive experience of the day.

We are inviting Frederick Charlton back next year to once again entertain our guests. I highly recommend Mr. Charlton for any upcoming event, and to appeal to any age audience. A perfect, impeccably intelligent approach to these works A sweet and yet grand sound. I have finally found a truly fine contrabass CD that is quite different from the rest!

Charlton, in publishing the first-ever, sheet-music version of the Bach unaccompanied violin partitas for double bass, did you have to make many changes?

  1. Partita for Violin No. 2 (Bach) - Wikipedia!
  2. Violin Partita No. 2 in D minor arranged for guitar by Bach/Liberzon;
  3. Compositions in D minor?
  4. VOCES DEL ALMA I (Spanish Edition).
  5. Violin Partita No.2 in D minor, BWV 1004 (Bach, Johann Sebastian);
  6. I had to make many changes to the original violin versions to make them work on bass. When transcribing chords written for an instrument tuned in fifths to an instrument tuned in fourths as with guitar or bass , sometimes a note has to be added. Can you tell us where your works are available? Yes I do. The pieces I have composed or arranged that feature a solo contrabass are all available online at www. Do you have anything more to add?