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Tamara Todevska - 1003

1003
Y : 2020
Iliyana Ilieva : ❤️❤️❤️❤️❤️❤️
Jelena Uzelac : 2020???
Dragana Culum : 2003. godina....
Tijana Tanasic : Posvećujem

1003

Provided to YouTube by Mascom EC

1003 · Tamara Todevska

Muzicki festival Budva 2003/2

℗ 2003 Music Star / Mascom

Released on: 2013-07-16

Auto-generated by YouTube.
Mirko Mirko : goriiiiii
Marija Spasojevic : 1003 želja želim ti
tina bambina : <*))/
Olivera mkdn : gladna setaah, pepelaskizam
Olivera mkdn : kaj nas viree vodizam,
ne si pisuvame vekje so dimi3izam

Bach - Violin Sonata No. 2 in A minor, BWV 1003 {Grumiaux}

Johann Sebastian Bach

Violin Sonata No. 2 in A minor, BWV 1003 (1720)

1. Grave
2. Fuga
3 Andante
4. Allegro

Arthur Grumiaux, violin

Description by John Palmer [-]
According to the manuscripts of Bach's Sonatas and Partitas for Solo Violin, BWV 1001-06, the six pieces were completed in 1720, while the composer was employed at the Cöthen court. At Cöthen, Bach devoted himself primarily to the composition of instrumental music; this period saw the composition of the Brandenburg Concertos, the violin and keyboard concertos, the orchestral suites and the first part of the Well-Tempered Clavier, among other works. Often Bach composed works of each genre in cycles, with six works in each.

In the case of the Sonatas and Partitas for Solo Violin, Bach alternated three sonatas with three partitas. The partitas consist of between five and eight dance movements, while the sonatas are in four movements, none of which is a dance except the third movement of the first sonata, in G minor, which is a Siciliana. Throughout these six works there is evidence of not only Bach's knowledge of the technical capabilities of the violin, but also of his ability to create dense counterpoint and effective harmony with one stringed instrument. The solo violin sonatas were first published between 1817 and 1828.

A rhapsodic Grave opens the second Sonata in A minor, BWV 1003. At such a slow tempo, the highly ornamented melody seems to meander at will, navigating a course of highly contrasting rhythms and decorative flourishes that release the melodic potential of the minor mode. The overall "free" nature of the Grave makes it sound like a prelude to the ensuing movement. As in all three of the violin sonatas, the second movement, the central point of the piece, is a fugue. Daunting in both size and complexity, the Fugue pushes forward relentlessly, creating a dense contrapuntal web. Bach sets the third movement apart from the others through both an Andante tempo and contrasting key. The writing is more homophonic here, with a calm melody that provides a needed foil to the harsh energy of the preceding Fugue. A lively, lighthearted Allegro, rich with rhythmic and melodic variations, returns to A minor and closes the piece.

Editor:
Alfred Dörffel (1821–1905)
Publisher Info.:
Bach-Gesellschaft Ausgabe, Band 27
Leipzig: Breitkopf und Härtel, 1879. Plate B.W. XXVII.
Copyright:
Public Domain
summer : 15:00
painstakinglewis : Bruh
Johann Sebastian Bach : I wonder which handsome gentleman wrote this.
Wolf Canyon : I believe Grumiaux took the andante a little too fast but other than that this performance is wonderful.
King1Orius : Everyone talking about fugue and andante im just here vibing with my dude bach

... 

#1003

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