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The Sonatas and Partitas for solo violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are also called the Sonatas and Partias for solo violin, in accordance with Bach's original terms: "Partia" was common in German-speaking regions during Bach's time, whereas the Italian "Partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time.〔Ledbetter, David. ''Unaccompanied Bach, Performing the Solo Works. ''New Haven and London: Yale University Press, 2009.〕 The set consists of three sonate da chiesa, in four movements, and three partitas (or partias), in dance-form movements. The set was completed by 1720, but was only published in 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's ''Sonatas and Partitas'' are an essential part of the violin repertoire, and they are frequently performed and recorded. The ''Sei Solo – a violino senza Basso accompagnato'', as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók. == History of composition == Bach started composing these works around 1703, while at Weimar, and the set was completed by 1720, when Bach was a Kapellmeister in Köthen.〔Wolff 2002, 133.〕 He was almost certainly inspired by Johann Paul von Westhoff's ''partitas for solo violin'', since he worked alongside Westhoff at Weimar, and the older composer's pieces share some stylistic similarities with Bach's. Solo violin repertoire was actively growing at the time: Heinrich Ignaz Franz Biber's celebrated solo passacaglia appeared c.1676, Westhoff's collections of solo violin music were published in 1682 and 1696, Johann Joseph Vilsmayr's ''Artificiosus Concentus pro Camera'' in 1715, and finally, Johann Georg Pisendel's solo violin sonata was composed around 1716. The tradition of writing for solo violin did not die after Bach, either; Georg Philipp Telemann published ''12 Fantasias for solo violin'' in 1735. The tradition of polyphonic violin writing was already well-developed in Germany, particularly by Biber, Johann Heinrich Schmelzer, and the composers of the so-called Dresden school – Johann Jakob Walther and Westhoff. Bach's Weimar and Köthen periods were particularly suitable times for composition of secular music, for he worked as a court musician. Bach's cello and orchestral suites date from the Köthen period, as well as the famous Brandenburg concertos and many other well-known collections of instrumental music. In the list of Bach's chamber works, the violin solos form part of a small group, as there is the supposed 'libro secundo' of the 6 suites à Violoncello solo, with a single partita for flauto traverso solo, in a-minor, placed directly after the cello suites in the Schmieder catalogue: bwv 1013. So there exist in all 13 varied sonatas and partitas in the 'senza Basso' group. In both major manuscripts the important specification is written clearly: for violin/violoncello solo, 'senza Basso accompagnato'. Bach himself underwrote the practice of Basso Continuo as the Fundament of Music, which was the common denominator in all artistic music in his time. A solo sonata for violin would naturally have the continuo players and parts implied, here Bach himself tells us that Basso Continuo does not apply. The norm was set by Corelli's important solo sonatas of 1700 (op. 5) which may have been accompanied in a variety of ways, but here the Basso Continuo is the natural accompaniment to the 'solo' violin. Written is the bass line, with numbers and incidentals to point to desired harmonies that are to be worked out by the harpsichordist or lute player, to which a low register bowed or blown instrument can be added to double the left hand bass line. This was a given, the 'senza Basso' pieces are the exception in that they challenge the player to realise various layers wherein some notes and patterns are the accompaniment of other parts, so that a polyphonic discourse is written into the music. Arpeggios over several strings, multiple stopping and opposing tonal ranges and particularly very deft bowing are exploited to the full to make all the voices speak from one bow and four strings, or five, or from a single flute. It is not known whether these violin solos were performed during his lifetime or, if they were, who the performer was. Johann Georg Pisendel and Jean-Baptiste Volumier, both talented violinists in the Dresden court, have been suggested as possible performers, as was Joseph Spiess, leader of the orchestra in Köthen. Friedrich Wilhelm Rust, who would later become part of the Bach family circle in Leipzig, also became a likely candidate.〔Rust's grandson, Wilhelm Rust, eventually became one of the editors of the Bach-Gesellschaft〕 Bach himself was an able violinist from his youth, and his familiarity with the violin and its literature shows in the composition of the set and the very detailed autograph manuscript, as does incidental fingering in the text. According to his son Carl Philipp Emanuel Bach, "in his youth, and until the approach of old age, he played the violin cleanly and powerfully". 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sonatas and partitas for solo violin (Bach)」の詳細全文を読む スポンサード リンク
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