2003.09.02 16:57
J. S. BACH CHACONNE FROM PARTITA II, BWV 1004 - 제3부
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ANALYSIS
Bach 's Chaconne stands apart from the traditional form customary at the time. The monumental size and the deceptively simple harmonic language and rhythmic patterns makes of this piece a landmark on its own. Every note, its value and relation to the rest, is crafted onto a work of art as precise and inexplicably simple as it is beautiful and brilliant.
This is one of the most studied and analyzed pieces by Bach. It is not and exaggeration to assert that a thorough and exhaustive analysis of this piece brings sufficient material for a dissertation on its own.
The following analysis is just a series of approximations from different perspectives that help to understand the basic features of the Chaconne in order to produce an initial edition and a satisfactory performance.
According to Dr. Robert U. Nelson, there are twelve points that describe a chaconne piece in general: (*14)
1. The chaconne is invariably in triple meter.
2. Also quite common is the division of the set into sections, usually three, in
opposing modes rather than contrasting keys, although the latter is also
encountered.
3. The accented second beat of the old chaconne is carried over from the original dance form.
4. Stock themes, based on or derived from ascending or descending tetrachords, were much used.
5. The harmonic structure is invariably as important as the theme itself as a basis for variation, although there is no fixed practice of either rigid conformity to, or departure from, the original harmonies.
6. In some of the chaconnes based on the descending tetrachord, the ascending tetrachord is substituted as a basis for variation in one or more variations.
7. Pairing of couplets is a common practice.
8. Transpositions of the ostinato from the original voice to some other are common.
9. Contrapuntal devices, such as imitation and pedal point, are widely used.
10. Sequential treatment of figuration ideas is prominently featured in variations based on the tetrachord.
11. Increased rhythmic movement is a prominent feature of the chaconne.
12. Other musical forms are often suggested by returning to the original or related settings.
--------------------------------------
(*14) ; Robert U. Nelson. The Technique of Variation: A Study of the Instrumental Variation from Antonio de Cabez? to Max Reger. (Berkeley: University of California Press, 1962), 152. 20
In particular, Bach's Chaconne is a set of strophic variations divided into three parts. Part I has 133 measures, part II 76, and part III has 48. The proportions are approximately 8:4:3.
Modeled on the French orchestral chaconne, Bach reverses the usual order of mode: minor-mayor-minor, although he uses the customary key of D. The major mode provides Bach with a means of formal contrast. The very use of the major mode fosters a more peaceful mood by giving a simpler chord material: more simple triads and fewer secondary dominants.
Rhythmically, Part II is more relaxed (see table in page 24). The shortest note value is 16th notes, in contrast to the long passages of thirty-second notes in Parts I and III.
The sarabande rhythm, which appears briefly to frame parts I and III, is a prominent feature of Part II. Regarding thematic content and texture, Part II is simpler than parts I and III. There is no more than one tetrachord used within a variation. There are fewer themes in upper voices. The polyphonic devices of voice-exchange and imitation of Part I are absent here. The fact that Part II is simpler than the outer parts by no means implies that it is anti-climatic. In fact, 21 the calm beginning of the section gradually gains in intensity and leads to a peak in variation 22 through 24 (mm. 177~200).
Bach uses the dotted (sarabande) rhythm as an underground seminal pulse that is maintained almost throughout. In the original, some variations this 'pulse?is almost, if not completely, imperceptible. However, the process of transcription and the performance practice of this piece lead to very interesting discoveries (see in The Present Transcription for Guitar, page 30). This dotted rhythm is typical also of the contemporary French passacaglia, the sarabande and fol? (see in: The Chaconne and Related Dance Forms: Historical Relationships, starting in page 4).
Although the traditional accented second beat, derived from the initial anacrusis, is evident from the first measure and for a while thereafter, it disappears in measure 24 and does not reappear until the close of the first section. In Part II, and in the concluding part III, the accented second beat is used in several successive variations, and them temporarily abandoned.
In this way Bach avoids rhythmic monotony and actually intensifies the effect of the traditional chaconne rhythm by highlighting it.(*15)
---------------------------------------------
(*15) ; Byron Cantrell, "Three B's - Three Chaconnes.?Current Musicology, 12. 22
There has been a great debate that has endured for more almost two centuries about the nature of the theme. Schweitzer thinks that the theme is the opening 8-bar melody in the top voice. Spitta gives no less than five themes: some are explicitly stated in the bass, others are extracted from figuration. Robert Erikson believes that the Chaconne is a fine example of the
type of piece organized by chord progression, not melodic basso ostinato. Cedric Thorpe Davie asserts that "here, as in many chaconnes, the variations are as much upon the simple noble harmonies which accompany the bass at the outset as upon the bass itself. Reinhard Oppel concluded that the theme of Bach's Chaconne is a descending tetrachord." (*16)
-------------------------------------------------
(*16) ; Sister Felicitas Curti, "J. S. Bach's Chaconne in D minor: A Study in Coherence and Contrast,?in The Bach Chaconne for Solo Violin, A Collection of Views, edited by Jon F. Eiche (Urbana, IL, 1985), 76.
Evidence, however, points to the tetrachord as Bach's "theme.?Beneath the surface, at a level abstracted from the actual notes, lies the unifying factor of the Chaconne. Underlying the chord-progressions and the various bass melodies is a descending tetrachord, a traditional chaconne bass. The tetrachord appears in several forms (Ex. 5).
Ex. 5
Sometimes the tetrachord is stated explicitly, especially in the chromatic and inverted forms. More often, it is in a deeper level of abstraction. It often appears prominently either as the first note of every measure (Ex. 6); or in the form of a frequently recurring bass theme derived from it (Ex. 7).
Ex. 6
Ex. 7
Bach uses different harmonic progressions as elements of variation. Four of them are quite predominant:
Developing a model of analysis that is compatible with the present performer's edition of the Chaconne is a challenging task. From Schweitzer to Curti the points of view diverge enormously. This is the question: is the tetrachord theme the ultimate answer about basic structure or there is another solution? It is possible to speculate that there is indeed a fourmeasure theme that is included in a two-period phrase: antecedent and consequent (Ex. 8). From now on, the term 'Theme?refers to this eight-measure phrase.
Ex. 8
However, Bach sometimes extends this eight-measure phrase by using pedal points not only upon the bass, but also in top-middle voices. Such are the case of variation 18, mm. 149~160, and variation 27, mm. 229~240. The obvious reason for these four-measure extensions is that of tension builders since they break with the eight-measure pattern by extending the usual time allowed for the dominant. Other times Bach only uses either a variation of the antecedent or consequent for a single four-measure variation, like in variation 26, mm. 225. Bach features another technique that is used very often: Bach states a variation of the antecedent or the consequent followed by the diminution. Examples are variation 3, mm. 25~32 and variation 7, mm. 57~64.
Although the traditional Chaconne's rhythmic characteristic is of an increasing
movement, Bach is successful in keeping the flow for 257 measures doing exactly the opposite. There is an evident arch form, not only rhythmic but also regarding the number of voices used, thus implying a three part sub-structure within every main section. For instance, Part I has elements of contrast and return: the sarabande rhythm gives way to increasingly shorter notevalues, to reappear at the end. The number of voice parts starts with four, is reduced in the middle, and ends again with four. The bass and soprano melodies of the beginning also disappear, to return at the end of Part I. The following charts are based on Curti's analysis: (*17)
--------------------------------------------------
(*17) Ibid, 80.
Part I, D minor :
Part II, D major :
Part III, D minor :
There may be a suggestion of rondo form: The division into three sections and the use of variants of the antecedent and consequent to finish parts I and III. These overall structural pillars give greater cohesiveness to such and extended work and conveys a sense of musical unity and coherence to the listener and the performer. Further examination of these fragments shows that there are direct and subtler connections between them, both through motivic development and chord progressions (Ex. 9).
Ex. 9
From the former example, it is easy to observe that:
1. a) and b) have similar top lines.
2. b) and c) have similar chord progressions.
3. Bass lines of a) and c) begin, and all three end similarly.
4. Hemiola rhythm appears in top or inner voices in all three.
Another issue regarding analysis is whether the Chaconne is an integral part or an appendix to Partita II. Spitta writes: "It is longer than all the rest of the suite put together, and must not be considered as the last movement of it, but as an appended piece; the suite proper concludes with the guigue." (*18) However, there is enough evidence to think otherwise.
------------------------------------------------
(*18) ; Spitta, Phillip. Johann Sebastian Bach, His Work and Influence on the Music of Germany, 1685-1750, trans. Clara Bell and J. A. Fuller-Maitland (London: Novello, 1899), 564.
Indeed, the four preceding movements are standard movements in a Baroque suite. The comparative length of the Chaconne is in fact disproportionate:
However, this is not exceptional in Bach's work: three of the six solo violin Sonatas and Partitas have long movements. Both Sonata II and Sonata III include a movement, in both cases a fugue that is longer than the other movements put together. Yet, it is very clear that these fugues are essential to the Sonatas.
Physical evidence in the manuscript supports the idea of the Chaconne as an integral part of the partita: After the Chaconne Bach continues with the opening Adagio of the following Sonata III in the same page (see the reproduction of the manuscript, page 59).
Further analysis proves that there is a musical relationship between the movements of Partita II. There is a "signature?that opens all the movements: The bass motion from d to c# and back to d (Ex. 10).
"As the Chaconne is an essential part of the Partita, so the Partita is part of a larger plan involving the six solo violin pieces. Several of Bach's large-scale works show his predilection for symmetrical cyclic organization, such as, for example, the Mass in B minor, The Musical
Offering, or the Clavier?ung, Part III." (*19)
There is also another fact regarding the Chaconne as an integral part of the Partita and the six solos as a whole: The Chaconne falls in the Golden Section, the ancient Greek architectural theory of perfection.
----------------------------------------------------
(*19) ; Sister Felicitas Curti. Op. cited, 84.
Bach 's Chaconne stands apart from the traditional form customary at the time. The monumental size and the deceptively simple harmonic language and rhythmic patterns makes of this piece a landmark on its own. Every note, its value and relation to the rest, is crafted onto a work of art as precise and inexplicably simple as it is beautiful and brilliant.
This is one of the most studied and analyzed pieces by Bach. It is not and exaggeration to assert that a thorough and exhaustive analysis of this piece brings sufficient material for a dissertation on its own.
The following analysis is just a series of approximations from different perspectives that help to understand the basic features of the Chaconne in order to produce an initial edition and a satisfactory performance.
According to Dr. Robert U. Nelson, there are twelve points that describe a chaconne piece in general: (*14)
1. The chaconne is invariably in triple meter.
2. Also quite common is the division of the set into sections, usually three, in
opposing modes rather than contrasting keys, although the latter is also
encountered.
3. The accented second beat of the old chaconne is carried over from the original dance form.
4. Stock themes, based on or derived from ascending or descending tetrachords, were much used.
5. The harmonic structure is invariably as important as the theme itself as a basis for variation, although there is no fixed practice of either rigid conformity to, or departure from, the original harmonies.
6. In some of the chaconnes based on the descending tetrachord, the ascending tetrachord is substituted as a basis for variation in one or more variations.
7. Pairing of couplets is a common practice.
8. Transpositions of the ostinato from the original voice to some other are common.
9. Contrapuntal devices, such as imitation and pedal point, are widely used.
10. Sequential treatment of figuration ideas is prominently featured in variations based on the tetrachord.
11. Increased rhythmic movement is a prominent feature of the chaconne.
12. Other musical forms are often suggested by returning to the original or related settings.
--------------------------------------
(*14) ; Robert U. Nelson. The Technique of Variation: A Study of the Instrumental Variation from Antonio de Cabez? to Max Reger. (Berkeley: University of California Press, 1962), 152. 20
In particular, Bach's Chaconne is a set of strophic variations divided into three parts. Part I has 133 measures, part II 76, and part III has 48. The proportions are approximately 8:4:3.
Modeled on the French orchestral chaconne, Bach reverses the usual order of mode: minor-mayor-minor, although he uses the customary key of D. The major mode provides Bach with a means of formal contrast. The very use of the major mode fosters a more peaceful mood by giving a simpler chord material: more simple triads and fewer secondary dominants.
Rhythmically, Part II is more relaxed (see table in page 24). The shortest note value is 16th notes, in contrast to the long passages of thirty-second notes in Parts I and III.
The sarabande rhythm, which appears briefly to frame parts I and III, is a prominent feature of Part II. Regarding thematic content and texture, Part II is simpler than parts I and III. There is no more than one tetrachord used within a variation. There are fewer themes in upper voices. The polyphonic devices of voice-exchange and imitation of Part I are absent here. The fact that Part II is simpler than the outer parts by no means implies that it is anti-climatic. In fact, 21 the calm beginning of the section gradually gains in intensity and leads to a peak in variation 22 through 24 (mm. 177~200).
Bach uses the dotted (sarabande) rhythm as an underground seminal pulse that is maintained almost throughout. In the original, some variations this 'pulse?is almost, if not completely, imperceptible. However, the process of transcription and the performance practice of this piece lead to very interesting discoveries (see in The Present Transcription for Guitar, page 30). This dotted rhythm is typical also of the contemporary French passacaglia, the sarabande and fol? (see in: The Chaconne and Related Dance Forms: Historical Relationships, starting in page 4).
Although the traditional accented second beat, derived from the initial anacrusis, is evident from the first measure and for a while thereafter, it disappears in measure 24 and does not reappear until the close of the first section. In Part II, and in the concluding part III, the accented second beat is used in several successive variations, and them temporarily abandoned.
In this way Bach avoids rhythmic monotony and actually intensifies the effect of the traditional chaconne rhythm by highlighting it.(*15)
---------------------------------------------
(*15) ; Byron Cantrell, "Three B's - Three Chaconnes.?Current Musicology, 12. 22
There has been a great debate that has endured for more almost two centuries about the nature of the theme. Schweitzer thinks that the theme is the opening 8-bar melody in the top voice. Spitta gives no less than five themes: some are explicitly stated in the bass, others are extracted from figuration. Robert Erikson believes that the Chaconne is a fine example of the
type of piece organized by chord progression, not melodic basso ostinato. Cedric Thorpe Davie asserts that "here, as in many chaconnes, the variations are as much upon the simple noble harmonies which accompany the bass at the outset as upon the bass itself. Reinhard Oppel concluded that the theme of Bach's Chaconne is a descending tetrachord." (*16)
-------------------------------------------------
(*16) ; Sister Felicitas Curti, "J. S. Bach's Chaconne in D minor: A Study in Coherence and Contrast,?in The Bach Chaconne for Solo Violin, A Collection of Views, edited by Jon F. Eiche (Urbana, IL, 1985), 76.
Evidence, however, points to the tetrachord as Bach's "theme.?Beneath the surface, at a level abstracted from the actual notes, lies the unifying factor of the Chaconne. Underlying the chord-progressions and the various bass melodies is a descending tetrachord, a traditional chaconne bass. The tetrachord appears in several forms (Ex. 5).
Ex. 5
Sometimes the tetrachord is stated explicitly, especially in the chromatic and inverted forms. More often, it is in a deeper level of abstraction. It often appears prominently either as the first note of every measure (Ex. 6); or in the form of a frequently recurring bass theme derived from it (Ex. 7).
Ex. 6
Ex. 7
Bach uses different harmonic progressions as elements of variation. Four of them are quite predominant:
Developing a model of analysis that is compatible with the present performer's edition of the Chaconne is a challenging task. From Schweitzer to Curti the points of view diverge enormously. This is the question: is the tetrachord theme the ultimate answer about basic structure or there is another solution? It is possible to speculate that there is indeed a fourmeasure theme that is included in a two-period phrase: antecedent and consequent (Ex. 8). From now on, the term 'Theme?refers to this eight-measure phrase.
Ex. 8
However, Bach sometimes extends this eight-measure phrase by using pedal points not only upon the bass, but also in top-middle voices. Such are the case of variation 18, mm. 149~160, and variation 27, mm. 229~240. The obvious reason for these four-measure extensions is that of tension builders since they break with the eight-measure pattern by extending the usual time allowed for the dominant. Other times Bach only uses either a variation of the antecedent or consequent for a single four-measure variation, like in variation 26, mm. 225. Bach features another technique that is used very often: Bach states a variation of the antecedent or the consequent followed by the diminution. Examples are variation 3, mm. 25~32 and variation 7, mm. 57~64.
Although the traditional Chaconne's rhythmic characteristic is of an increasing
movement, Bach is successful in keeping the flow for 257 measures doing exactly the opposite. There is an evident arch form, not only rhythmic but also regarding the number of voices used, thus implying a three part sub-structure within every main section. For instance, Part I has elements of contrast and return: the sarabande rhythm gives way to increasingly shorter notevalues, to reappear at the end. The number of voice parts starts with four, is reduced in the middle, and ends again with four. The bass and soprano melodies of the beginning also disappear, to return at the end of Part I. The following charts are based on Curti's analysis: (*17)
--------------------------------------------------
(*17) Ibid, 80.
Part I, D minor :
Part II, D major :
Part III, D minor :
There may be a suggestion of rondo form: The division into three sections and the use of variants of the antecedent and consequent to finish parts I and III. These overall structural pillars give greater cohesiveness to such and extended work and conveys a sense of musical unity and coherence to the listener and the performer. Further examination of these fragments shows that there are direct and subtler connections between them, both through motivic development and chord progressions (Ex. 9).
Ex. 9
From the former example, it is easy to observe that:
1. a) and b) have similar top lines.
2. b) and c) have similar chord progressions.
3. Bass lines of a) and c) begin, and all three end similarly.
4. Hemiola rhythm appears in top or inner voices in all three.
Another issue regarding analysis is whether the Chaconne is an integral part or an appendix to Partita II. Spitta writes: "It is longer than all the rest of the suite put together, and must not be considered as the last movement of it, but as an appended piece; the suite proper concludes with the guigue." (*18) However, there is enough evidence to think otherwise.
------------------------------------------------
(*18) ; Spitta, Phillip. Johann Sebastian Bach, His Work and Influence on the Music of Germany, 1685-1750, trans. Clara Bell and J. A. Fuller-Maitland (London: Novello, 1899), 564.
Indeed, the four preceding movements are standard movements in a Baroque suite. The comparative length of the Chaconne is in fact disproportionate:
However, this is not exceptional in Bach's work: three of the six solo violin Sonatas and Partitas have long movements. Both Sonata II and Sonata III include a movement, in both cases a fugue that is longer than the other movements put together. Yet, it is very clear that these fugues are essential to the Sonatas.
Physical evidence in the manuscript supports the idea of the Chaconne as an integral part of the partita: After the Chaconne Bach continues with the opening Adagio of the following Sonata III in the same page (see the reproduction of the manuscript, page 59).
Further analysis proves that there is a musical relationship between the movements of Partita II. There is a "signature?that opens all the movements: The bass motion from d to c# and back to d (Ex. 10).
"As the Chaconne is an essential part of the Partita, so the Partita is part of a larger plan involving the six solo violin pieces. Several of Bach's large-scale works show his predilection for symmetrical cyclic organization, such as, for example, the Mass in B minor, The Musical
Offering, or the Clavier?ung, Part III." (*19)
There is also another fact regarding the Chaconne as an integral part of the Partita and the six solos as a whole: The Chaconne falls in the Golden Section, the ancient Greek architectural theory of perfection.
----------------------------------------------------
(*19) ; Sister Felicitas Curti. Op. cited, 84.
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연주에 대해서...("존 윌리암스 스펙트럼"관련)(어쩌면여^^)
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sadbird 라는 곡..
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"콤파냐 보칼레" 연주회 후기...
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나의 연탄 이중주에 대한 거짓말
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망고레에 대하여~
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공개질문입니다요~
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파가니니의 기타와 바이올린을 위한 대소나타[바이올린이 반주해주는] 좀 올려주세요.
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로드리고의 곡들좀 감상실에 올려주십시오...
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Cuban Landscape with Rain
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★★★ 화음의 진행
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J. S. BACH CHACONNE FROM PARTITA II, BWV 1004 - 제5부(참고문헌)
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J. S. BACH CHACONNE FROM PARTITA II, BWV 1004 - 제4부
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J. S. BACH CHACONNE FROM PARTITA II, BWV 1004 - 제3부
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J. S. BACH CHACONNE FROM PARTITA II, BWV 1004 - 제2부
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J. S. BACH CHACONNE FROM PARTITA II, BWV 1004 - 제1부
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[re] 나누어서 번역할 자원봉사 찾습니다.
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무뇌중 어록중에서.
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[re] 무뇌중 어록중에서.
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[re] 클래식은 리듬이 약하다는 논리에는 이견이 있습니다.
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전체적으로는 공감합니다만 약간...
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바하와 헨델, 바로크
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[re] 바하와 헨델, 바로크 - 약간의 딴지... ^^;
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총평(디게 잼있어요)
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지극히 개인적인.
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음악의 호불호에도 객관적 보편타당성이 존재하는가?
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한국적인 것.
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[re] 조선의 힘
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음악에서의 호불호
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.
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무척 혼란스럽습니다. 자중들 하십시오 !!!
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[re] 음악이 살아야 민족이 산다.(펌)
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.
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[re] 음악이 살아야 민족이 산다.(펌)
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[re] 음악이 살아야 민족이 산다.(펌)
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[re] 음악이 살아야 민족이 산다.(펌)
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Agustín Barrios Mangore:The Folkloric, Imitative, and the Religious Influence Behind His Compositions by Johnna Jeong
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[re] ★★★ 조국을 사랑한 바리오스 망고레 ( 글 & 번역 gmland ) 완결판 ★★★
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[re] ★★★ 조국을 사랑한 바리오스 망고레 ( 글 & 번역 gmland ) 완결판 ★★★
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기타-화성학이란 무엇인가? - 예제를 통한 코드의 이해 (2)
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[re] 코드진행님 질문과 답변
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[re] 피날리 가진 분을 위한 피날리 악보 - 별첨
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이곡 제목 뭔지 아시는분?
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Naxos 기타 컬렉션 中 명반은???
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기타-화성학이란 무엇인가? - 예제를 통한 코드의 이해 (1)
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또 질문 있습니다...^0^
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페르시안마켓에 대해서..
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루이스 밀란의 파반느요..
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[re] 루이스 밀란의 파반느요..
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Guitar의 정의 - The Guitar
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[re] Guitar의 정의 - 번역
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[펌] 피아졸라에 관한 글
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멋있게 해석좀 해주세요..
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[re] 2001년 9월 1일자 외국어대 영자신문중에....
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[re] 채소님, 음악에 대한 인용구 번역입니다.
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Music Quotes..
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퐁세의 발레토
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바루에꼬 마스터클래스 실황녹음(BWV996)
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장화음과 단화음의 비밀
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[re] 7화음의 이름
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기타와 가장 잘 어울리는 악기는?
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기타 하모닉스에 관한 물리학적 접근
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트레몰로.
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[re] 트레몰로.
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바루에꼬 마스터클래스 실황녹음(아랑훼즈협주곡)
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바루에꼬 마스터클래스 참관기
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야마시타
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현대음악이란 이런걸 말하는게 아닐까요?
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음악도 분명히 현재의 모습을 반영하는 곡들이 지금가득합니다.
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칼카시 토론을 하면서.......
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정규 소품은 연습곡이 되지 말아야 할 이유가 있을까요?
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토론실에 있는, 저작권에 대한 글들에 관하여
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음악의 예술성과 과학성, 음악과 음학
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코드...
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마누엘 바루에꼬 마스터클래스(前記)
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★ Krystian Zimerman 마스터 클래스 후기 ★
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카르카시 교본에 대하여....제 생각에는...^^;;
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제가 야마시타를 좋아하는 이유는,,,,
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카르카시교본비판에 관하여3
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카르카시교본비판에 관하여2
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제가 생각하는 카르카시.
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[re] '뺑뺑이' 얘기 나온 김에.....
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카르카시교본비판에 관하여
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이것보쇼...
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고수님들이 음악을 들을때요..
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[re] 고수님들이 음악을 들을때요..
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[re] 고수님들이 음악을 들을때요..
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[re] 고수님들이 음악을 들을때요..
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[카르카시비판]수많은 악플과 비판에 맞아죽기를 고대하며...
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고정도법과 이동도법 - 음명과 계명
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아람브라, 화성진행 및 프레이징 (3) - 총론 끝
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아람브라, 화성진행 및 프레이즈 분석과 프레이징 (2)
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[re] 질문입니다..
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아람브라, 화성진행 및 프레이즈 분석과 프레이징 (1)
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좋은 자료를 올리셨네요^^감사
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프레이즈가 뭐지요?
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[re]프레이징을 어떤 수단으로써 어떻게 처리하나? (2) - she님의 질문에 대한 답글.
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[re] 프레이즈는 이 것입니다. (1)
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베토벤시대에 일반서민은 베토벤 만나기 힘들었다.
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요즘 누가 세고비아 듣느냐구요?? ㅠ_ㅠ
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[질문] 난해한 현대음악을 어떻게 들어야 할까요?
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