@@henrykwieniawski7233 Amazing how he writes it so cleanly that you can hear notes that aren't even played! I swear... I cry every time. This is truly one of his greatest masterworks, and a miracle of music.
BACH … no more needed to say really..., but, it is my favorite and the most beautiful piece of music that have ever been written for Violin, deep, - the one that brings forgiveness, sorrow, happiness, and enlightment. Thank you Heaves for Bach
Yes, you are right. This Sonata is supposedly meant to be a Pentecostal piece, wheareas the first Sonata is for Christmas and the second one for Passion/Easter.
@@EarlJoseph-violinist really? The 1st sonata sounds sad and melancholic. Adagio is depressing because it’s, well, adagio. Fugue is more catchy but a bit melancholic, maybe because it’s in G minor. Siciliano is like fugue, but slower, and presto doesn’t sound like Christmas at all. You can disagree with me, this is not objective, and all my opinion, but I am curious as to where you got this from, and would like to know the authenticity of this.
@@alixx_legenddark_xx2819 thank you for your reply. It is from a study by Helga Thoene. Infact, if you check out the context of Christmas, It could also be considered as something painful, that God himself had to be born as a human for the sake of humanity. The supporting thesis was the citation of a Christmas cantata. What's also interesting is the use ofe the key signature. It could be thought in Dorian key which again has a positiver context as the later minor key.
Could anyone please explain the last few bars of the fugue at around 14:42? What kind of progression is that, starting from that Ab major chord. Is the next chord F# diminished? Is this something common in baroque? I am asking because I am quite a noob regarding baroque music and I would love some help.
Yes and no. Bach doesn't think in chords. Today we interpret this progression as Ab major, F#dim7, G/C, G7, C. But this music is in essence polyphonic. The bassline e.g. is Ab, A, G, C. The upper melodic line could be heard e.g. as C, F#, G, G. All these horizontal layers together form the "chords" we hear when we listen vertically to this music.
The fugue is surely the most ambitious movement Bach wrote for violin solo, along with the D minor Chaconne. But whereas the chaconne is true violin music, the fugue often seems to shout "I am an organ piece!" For the record, it really sounds great on the organ, with more than a few notes added or doubled.
Everything Bach wrote sounds good on any instrument. None seem to be specific for one. You pretty much can sing them easily as well, look at the Swingle Singers for instance.
I wholeheartedly disagree with the final cadence of the first movement, it’s so insanely perfect but just sounds so wrong to me. We’ll never know how this man knew so much and knew how to write so immaculately.
Bach was the consummate practical musician and almost always respected the limitations of the instruments--with the exception of the solo violin works, which are certainly awkward to execute, and the triple and quadruple stops can sound ugly. C.P.E. reported that his father liked to play the sonatas and partitas on the clavichord, where he could fill out the harmony and counterpoint (and the organ 'fiddle' fugue is certainly superior to the solo violin version). I like to hear Hopkinson Smith's transcriptions for lute, as here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-i89lf9iA_u0.html
I totally disagree. It seems to me that you are not fond of violin sound and you do not know the art of playing the violin. Both the partitas and the sonatas were created by Bach for the violin. Of course there are adaptations, one of which Bach himself did, as you say, but if you listen with the depth of your soul you will see that they are not comparable and for me the organ part is inferior to the Fuga of the first sonata. Despite this, it is clear that their harmony is present, although not fulfilled. With all due respect to the genius of Bach, considering both pieces of music, I dare to write that he wasn't who transcribe it because of its lack of depth and its simplistic mode. It is not a trademark of his organ music pieces and leaves much to be desired, which does not happen in the original version for violin.
I think J.S. Bach was just so damn good, that he expanded the limitations at some points. And don't judge such a work by a recording only. Recording the sound of a violin, especially big chords is not easy. Listening to it live in a great hall or church is what it is meant to be! Still it takes a good player to play that fugue!
@@metanano359 To add to this; the finality of the Fuga makes it seem wrong to start the next movement in the same key. Thus the break in F major for breathing room before the finale. It works so brilliantly too because the Allegro at the end, which sounds rather playful on its own, becomes more of a 'trial to triumph' at the end of such an immense sonata and it just so happens to be as its sounds. It's quite the task to play this work on any instrument.
Here on You Tube there is a really very fine version for two pianos, of the Adagio and the Fugue. More I do not want to tell. Please put in: Adagio and Fugue in C major BWV 2005 version for two pianos, and you can get it.
Ryan Truong If may sound strange because although the ending chord is a C major chord, which is appropriate for the ending, the top note is a G, which is the 5th note of a C major chord and not the root which is C. This creates an "unfinished" sort of feeling, but it makes sense as the fugue is supposed to go directly into the next movement.
The ending chord itself is not unusual, but the preceding chord would naturally lead to having C as the top note. I think the reason is as Sol Kim describes, given that this is not the final movement, but also the way the violin is played to have these open chords and perfect 4th/5th intervals (I'm not sure if that's because it's easier to play or out of aesthetic taste).
I love the fact that he plays with vibrato, baroque musicians did use this technique, but I agree that sometimes he overdoes it. Still by far the best Bach solo violinist I've ever heard. Captivating, rich, alive.