Bach Partita II, Corrente
Allemanda, I understand wholeheartedly--it's what got me to love Bach in the first place. Sarabanda and Giga, I understand--they're both pretty straightforward to me. Adagio Prelude from First Sonata, I get--in fact, it's probably my favourite Bach work so far.
But Corrente--I don't know what it is about it. I just can't seem to understand how to go about it. I've checked out Hilary, Milstein, Szeryng, and Midori (and quite recently Chung) and I think it's a fantastic piece. I sat down with a pencil and the score with the recordings playing trying to mark up the score to get a feel of the phrases and how each player went about bringing out the important stuff (duration? variance in tempo? pauses? base tempo? bow changes? ornaments?) but when I go to work, I feel like a small child in a forest full of penguins.
Corrente was the piece my teacher suggested I laid off and we went to work on Adagio from Sonata I, but now that I need two mvts of Bach (neither she nor I think it's prudent to attempt to learn the Fuga in three-four months) I am sort of forced to go back to it. Did anyone have difficulty in playing the Corrente? Have you succeeded?
I was successful, but I don't know how to help you.
Here's some food for thought:
Is it that you need two contrasting movements? Either Sarabande or Giga would work when paired with the Allemande.
"I was successful, but I don't know how to help you."
Can't help you I'm kind of in the same boat. I played all the other movements but this one is still odd to me.
Dear Ms Ella Mr Adrian and Ahmed,
Thing is, yes it's a dance and yes it's easy to danse to it but there are no liberties to be taken with the tempo. I felt like i had to play it like Milstein (ARTICULATION MANIAC) not like a violin piece.
Dear Mr Ahmed,
A way I may try to work through phrasing difficulties is by purposefully changing the bowing to in your mind connect different notes together.
Something to remember about bowings is that what works for Szeryng or Milstein won't necessarily work for you. Those guys can divide nine notes up into 1-8, 1-8 and make it sound good, in either direction! My teacher took my Herrmann edition and completely re-bowed it for this movement (as he does quite often with Bach). Also practicing under tempo will help your intonation and a lot of other technical problems but it won't give you the overall feel of the piece.
The 'watching the dance' suggestion is a good one - it worked for Arnold Steinhardt. He was having a similar problem with execution. Until one of his older teachers, really too old to play them well, danced them for him! (OK, I might be misremembering this, but regardless, it's a great story!)
Along with the Giga, the Corrente seemed to me the most "dance-like" section of the second partita, you know according to our contemporary standards etc. (yet I am no serious dancer)
Thank you everyone for your wonderful suggestions! (: I'll keep you all updated!!
This discussion has been archived and is no longer accepting responses.