By Kolb T.
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45 But with the exception of use of Kreisler’s arrange- 24 Bach’s Works for Solo Violin ment (probably as an encore piece), solo performances seem to have been the rule since the 1840s. Joachim always performed the solo works without accompaniment, setting the standard for performances of the works from then until modern times. Even though they may not have been performed much in concert, Robert Schumann’s accompaniments are important evidence of how a major nineteenth-century musician heard these works.
This is especially true when a prelude simply animates a series of harmonies by repeating one pattern over and over. ” The arpeggiation pattern in Example 2-1 recurs twice for each harmony until close to the very end. Other pattern-preludes from the Well-Tempered, such as that in C minor (shown in Example 2-2), are more varied with tempo and texture changes, imitating a more rhapsodic improvisation. The Adagio of the C-major solo-violin sonata is yet another patternprelude. Using a very simple pattern — dotted-rhythm neighbor notes — it activates one or two notes of each harmony in what would otherwise have been a block-chord texture.
1–9 as they recur to form mm. 14–22. Especially pronounced is the harmonic, melodic, and rhythmic intensiﬁcation of the ﬁnal cadence. The diatonic supertonic chord of m. 7 (B∫/D/E/G) recurs in m. 20 as a chromatic Neapolitan (C/E∫/A∫), arpeggiated with nonharmonic tones to include a dramatic augmented second (A∫ –B) as the end of the measure sweeps through the entire registral range of the movement from its lowest note (the open G string) to its very highest (B∫ in m. 21). The diatonic dominant pedal of m.
Amazing Phrasing by Kolb T.