山大紀要13

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1 Urtext Urtext JOHSEBBACH SECHS SONATEN UND PARTITEN FÜR VIOLINE SOLO GHENLE VERLAG MÜNCHEN

2 pp pp pp pp requiem

4 Choral GeorgesEnesco David Feodorovich Oistrakh RostropovichMstislav Leopoldovich

5 TOSHIBA EMI TOLW ToscaniniArturo LvBeethoven Violin Concerto in D major Op David Oistrakh violin Victor VICX Minnesänger MartinLuther

6 Das Wohltemperierte Clavier Teil Das Wohltemperierte Clavier Teil Inventio Sinfonia Etüde Vorschule zur Schule der Geläufigkeit DieSchulederGeläufigkeit Kunst der Fingerfertigkeit aus gewahlte Etuden Etüden aus Gradus ad Parnassum Etudes de Virtuosite naturalauflösungszeichen Carl Czerny Johann Baptist Cramer

7 Hans Guido Freiherr von Bülow Muzio Clementi Moritz Moszkowski Ignaz Moschles Dionys Weber Joseph Christoph Kessler MUSICA NOVA Fryderyk Franciszek Chopin

8 Ballade Pasage

9 Motif

10 Komm heiliger GeistHerre GottChoral Wer mich liebter ruft seinen SchafenKantate andare PrestoAllegro

11 fortepiano Sequenz Allegro assai Ecksätze Friedrich Hermann He Joachim / Moser J Lucien Capet Ca Adolf Busch B Carl Flesch F Jan Hambourg Ha

12 Mario Corti Co Walther Davisson D Tadeusz Wronski W Ivan Galamian G Henryk Szeryng Sz Max Rostal R Wolfgang Schuneiderhan Sc Adagio down bow up bow slur f R JCaCoFW D HGSc SzB

13 fffortissimo pppianissimo pf

14 Gerhard Bosse

15 Szigeti on the Violinp cis c h b a h c cis a

16 Cesura p f p crescendo decrescendo ffsempre f accent f

17 Episode slidehalf

18 position k p

19 b b f b c h gis ff mp f p p

21 shift cisdisgisais mf mf f

23 h c f e dis e d e f al riverso UmkehrungReprise p mf

24 tenuto

25 mpmfmp f p mf f ff

26 Coda

27 e f c h ff mf f ff mp p arpegio f b mfmpmfmp p p mf f p ff sf f

29 f p pmfmp mf p f p accent f f p p f p p f p mpmfmff f

33 Johann Sebastian BACH Sonaten & Partiten für Violine solo Friedrich Hermann Breitkopf & Härtel Page J. S. BACH Six Sonatas & Partitas J. Joachim / A. Moser International Music Company Page J. S. BACH SONATES A VIOLON SEUL LUCIEN CAPET EDITIONS SALABERT Page Joh. Seb. BACH SONATAS AND PARTITAS ADOLF BUSCH

34 N. Simrock Page BACH SONATEN UND PARTITEN CARL FRESCH EDITION PETERS Nr Page Johann Sebastian BACH SONATAS & PARTITAS for solo violin Jan Hambourg Ox ford University Press Page J. S. BACH SONATE E PARTITE per Violino solo MARIO CORTI EDITIONE DE SANTIS ROMA Page Johann Sebastian BACH Drei Sonaten und Drei Partiten für Violine solo Walther Davisson Edition Breitkopf Page SEI SOLO A VIOLINO SENZA BASSO ACCOMPAGNATO T. Wronsky PWM EDITION Page J. S. BACH SONATAS AND PARTITAS FOR VIOLIN SOLO I. Galamian Internationa l Music Company Page BACH Sonaten und Partiten für violine solo H. Szeryng SHOTTO Page BACH Sonaten und Partiten für violine allein M. Rostal EDITION PETERS Nr. Page JOH. SEB. BACH SECHS SONATEN UND PARTITEN FÜR VIOLINE SOLO WOLFGANG SCHNEIDERHAN G. HENLE VERLAG Page Szigeti on the Violin Joseph Szigeti Dover PublicationsInc Page

35 Summary Yoshiharu KOHNO :A study on How to Play J. S. Bach s Sonata No.3 for violin solo in C major BWV 1005 By studying the Unaccompanied Violin Sonata No in C major BWV1005 by J. S. Bach, it is possible to have glimpses of the composer s image as an individual person through his lifestyle. This is none other than the image of Bach maintaining to the very end of his life his rhythm between the ordinary as a human made of flesh and blood and the extraordinary as a superhuman musician, and I find myself reaching a state filled with love and respect for him. In1720, Bach who was thirty-five years old with four children lost Maria Barbara, his wife of thirteen years and, towards the end of the following year, remarried Anna Magdalena, a young soprano singer sixteen years younger than him, and he was to be blessed with a total of thirteen children in his lifetime. This dramatic light and darkness symbolizes the main stream of the Zyklus consisting of six pieces, and this paper attempts to identify the blessings brought by Bach s improved fortune within the contents of his work. The two preceding sonatas with the same form and structure are also covered in this paper, and by contrasting these three sonatas, I shed light on the characteristics of this third sonata. Strictly speaking, a contrast with Partita No, which includes a Chaconne that makes up the climax of the Zyklus, might have produced a more striking contrast. In fact, in my previous study, I interpreted this Partita No as the essence of a requiem, and developed my theory as close as possible to the significance of this work. Adversity makes a man wise. For Bach, the many gem-like masterpieces produced later on must have indeed been the blessings borne by such adversity. There was also the soothing presence of Anna Magdalena, always by his side to assist him like sunlight pouring through the green leaves of trees. Without her devotion, the majority of Bach s works would not have attained their level of perfection, for it is said that she copied his scores by hand and made fair copies of them all so earnestly, and she had trained herself to such an extend that it is difficult to distinguish her handwriting from his. Essentially, she was a wonderfull and fervent supporter of Bach s, indispensable not only for his private life but also for his creative work. No doubt, it was this very bond of love which must have fostered the aspects of human warmth flowing out from the innermost depth of this piece of work. On the other hand, it is hard to find words to explain what was extraordinary about Bach as a superhuman musician, yet we know, even from the limited studies carried out so far, that his creativity encompassing all elements of expression, such as composition method, sence of tonality, sence of rhythm, etc., is indeed astonishing. As for the style of rendition, it is categorized into bowing, fingering, and dynamics, according to which I compiled my own version of the score of the very long fugue, by grouping it into subdivisions, while also adopting the interpretations seen in other scores for the convenience of the players and researchers. Also taking into account the

36 diversity in the style of rendition as illustrated in the reference score, I strived to find significance in the limited number of unusual interpretations, rather than in the many common points. Furthermore, my personal version which I boldly presented in important places is founded on my original interpretations and contrivances. Just as in my previous paper, I feel as if I have accomplished the core of my study this time, with only Partita No remaining of this research of mine, yet I intend to continue devoting myself so as to complete my studies on Zyklus. I sincerely hope that this subtle view on Bach can be shared by the numerous fellows researchers involved in the same study. Lastly, I wish to mention that this rendition was presented in public in the First Evening of Recital of All Six Unaccompanied Sonatas and Partitas for Violin by J. S. Bach held on Friday, April 25th, 1997, from 630 p.m., at the Bunshoukan Hall of Yamagata Prefecture as well as in the First Day of the Recital of All Unaccompanied Sonatas and Partitas by J. S. Bach in Commemoration of the 100th Anniversary Since the Church s Foundation and the 250th Anniversary Since Bach s Death in the hall of theyamagata Catholic Church, on Saturday, May 13 th, 2000, from 4 p.m. Section of music Education, Faculty of Education

2003年度山大紀要

2003年度山大紀要 Urtext Urtext JOHSEBBACH SECHS SONATEN UND PARTITEN FÜR VIOLINE SOLO GHENLE VERLAG MÜNCHEN Preludio Loure Gavotte en Rondeau Menuet Bourée Gigue Preludio BWV pp pp pp pp pp p JOHANN SEBASTIAN BACH Drei