Ciaccona, Partita No. 2 in D Minor for Violin. BWV 1004/5
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- 게시일 2024. 04. 25.
- Probably no work of music is so burdened by performing tradition as the great Ciaccona for unaccompanied violin by J.S. Bach, the finale of his Partita No. 2 in D minor. Although Bach finished the work in 1720, it was only in the 1840s that the work began to be presented in concert. By then familiarity with French court and theatrical dances had been lost, and violins, bows and string playing itself had drastically changed since Bach's day. Thus, the interpretive tradition that developed, and continues, was shaped by the aesthetics and ideals of the Romantic movement.
With the rise of the new discipline of dance history and the early music movement, we are now able to see that Bach's Ciaccona has many features most associated with the French theatrical dance known as the passacaille: minor mode; descending tetrachord; pairings of 4-bar phrases; large-scale division into minor-major-minor sections; and so on. Passacailles were grand, usually celebratory production numbers within French baroque operas. The passacaille, of moderate tempo, was contrasted with the other large-scale French theatrical dance, the chaconne, which was a fast dance normally in major mode.
Bach's title Ciaccona may seem puzzling. However, since chaconne became an umbrella term applicable to both forms, Bach may have conceived this movement as a chaconne in this broader sense. Moreover, he probably called the movement Ciaccona rather than Passacaille or Passacaglia because the Italian term passacaglia meant for him organ variations over a pedal basso ostinato (as in his monumental Passacaglia in C minor for organ) and because he chose to Italianize all the movement titles in the D minor partita, from Allemanda to Ciaccona.
The performance that follows takes seriously the fact that Bach's Ciaccona has the form and character of a French theatrical passacaille and thus it is informed by the dance style just as much as any Courante, Sarabande, or Minuet. Played by violinist MikYung Kim and danced in part by Julie Iwasa to 18th-century passacaille choreography, the performance restores a baroque musical tradition lost since the 18th century.
CREDITS:
MikYung Kim, violin
Julie Iwasa, choreographer and dancer
Raymond Erickson, artistic director and producer
Recording engineer: Rick Krahn
Audio editor: DaHong Seetoo
Videographer and video editor: Christer Gomes
Choreography based on dance treatises by Guillaume Pécour (1704 and 1713) and Anthony L'Abbé (1714).
Special thanks to Edward Smaldone (Director, Aaron Copland School of Music), Thomas Lee, Andrew Saderman, Justin Trincarico
Recorded in LeFrak Concert Hall, The Aaron Copland School of Music, Queens College, CUNY,
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Bravissimo!
Extremely interesting interpretation. Unique and phenomenally preformed.
However - dancing seems disjointed from the piece. The greatest structure ever written for solo violin should perhaps have more conceived and thought out choreography.
I agree that the performance was brilliant; it didn't need a visual dance. The dancer, however, was rather light on her feet but, yes, disjointed from the piece. Also, I found her constant smile distracting.
Si vede che gli orientali non sanno cos'è la prassi esecutiva
Ma questi si drogano??