Here are two of the characteristics of modernism in the performance of classical music as put forth by Taruskin in his book Text and Act:  It is text-centered, hence literalistic. It is impersonal, hence unfriendly to spontaneity. The publication of durchgesehene kritische Gesamtausgaben revised critical complete editions in the second half of the nineteenth century sowed the seeds of a tendency which has achieved its full flowering in the second half of the twentieth century. Impersonal Taruskin sums up the impersonalism of early music nicely: The impersonalism of Early Music has resulted in performances of unprecedented formal clarity and precision. The more closely they did so, complained Busoni, the closer performers were persuaded they could achieve perfection. Busoni maintained that performers were obligated to use their own inspiration to turn the rigid signs back into emotion and to make the work manifest.
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Transcription of the Chaconne by Johannes Brahms for piano with left hand only, performed by Martha Goldstein Problems playing these files? See media help. Johannes Brahms, in a letter to Clara Schumann in June , said about the ciaccona: On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings.
If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind. Carl Reinecke transcribed the piece for piano duet.
The earliest version for organ is by William Thomas Best. In the preface to his transcription, John Cook writes: "The Chaconne is sublimely satisfying in its original form, yet many will agree that a single violin is only able to hint at the vast implications of much of this music … It is perhaps not unreasonable to suppose that Bach would have chosen the organ, had he transcribed the Chaconne himself, as the instrument best suited to the scale of his ideas … A good performance on the violin may be taken as the best guide to interpretation on the organ — the two instruments are not without their points in common, and both were beloved of Bach.
This has been published by the Hofmeister Musikverlag in Leipzig. Marc Pincherle , Secretary of the French Society of Musicology in Paris, wrote in "If, insofar as certain rapid monodic passages are concerned, opinion is divided between the violin and the guitar as the better medium, the guitar always triumphs in polyphonic passages; that is to say almost throughout the entire work.
The timbre of the guitar creates new and emotional resonance and unsuspected dynamic gradations in those passages which might have been created purely for the violin; as for instance the variations in arpeggi.
Many guitarists today prefer to play the Chaconne directly from the violin score. The Chaconne has also been arranged for harpsichord by Pieter-Jan Belder and for violin plus four voices by Christoph Poppen and the Hilliard Ensemble.
Literature[ edit ] In Joseph C. Mastroianni published Chaconne The Novel. Milo, abandoned by the father who introduced him to Chaconne, studies in Spain for four years to master the piece.
The Story Behind Bach’s Monumental Chaconne
Transcription of the Chaconne by Johannes Brahms for piano with left hand only, performed by Martha Goldstein Problems playing these files? See media help. Johannes Brahms, in a letter to Clara Schumann in June , said about the ciaccona: On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind. Carl Reinecke transcribed the piece for piano duet.
The Story Behind Bach’s Monumental Chaconne
Shortly after his birth, his parents returned with him to their home in Jaen, but later the infant was given into the care of his childless aunt and uncle in Villacarillo, 20 miles east of Linares. As Segovia expressed it in his autobiography: "This was the first musical seed to be cast in my soul. When violin lessons proved unsatisfactory, he received a little, inadequate guitar tuition from an itinerant guitar player. His practising, despite family opposition, became ever more intense, while Granada and its Alhambra Palace profoundly impressed upon him the "beauty of life and art". Thus began a process of self-education in which Segovia was to be "both my teacher and my pupil". Around he gave his first recital, making his debut at the Centro Artistico in Granada.
Bach, Busoni, Segovia, and the Chaconne