Regarding Vitali Chaconne

December 29, 2008 at 04:35 AM ·

What seems to be giving you the most trouble? 

December 29, 2008 at 12:51 PM ·

 Just plain understanding the piece, basically.. Thanks

December 29, 2008 at 06:20 PM ·

Hi Ralph and Roxanne,

This will give you a plain basic understanding of the form; this describes the composer.

The piece as performed today is undoubtedly a Romantic makeover, with virtuosic elements (have fun!) thrown in. In my copy of the sheet music Leopold Charlier is mentioned as the arranger.

Hope this helps,

Bart

December 30, 2008 at 02:47 AM ·

Have you listened to the Heifetz recording on a deleted CD? Here is one source:

http://www.amazon.com/Bach-Concertos-Mozart-Sonata-K-454/dp/B000003FIZ/ref=sr_1_1?ie=UTF8&s=music&qid=1230605110&sr=1-1

December 30, 2008 at 02:52 AM ·

Or you could just listen here for free http://www.youtube.com/watch?v=97xlBipnzG8

December 30, 2008 at 02:52 AM ·

Or you could just listen here for free http://www.youtube.com/watch?v=97xlBipnzG8

December 31, 2008 at 12:52 AM ·

Yes I think Heifefz's and Friedman's interpretation are one of the best for this peice. I believe you can get Friedman's interpretation for free here: http://music.download.com/erickfriedman/3600-8267_32-100614451.html

January 1, 2009 at 01:52 PM ·

Joseph Fuchs once told me that the original composition was still out there and that he'd played (and maybe recorded) it. 

Of course, he was incredibly unhelpful in offering information on where one could find this edition or if it was in print.  It was enough for him that we knew that he had seen it.

January 6, 2009 at 05:22 AM ·

I've been playing this piece for about a month, and I also have to perform it by March along with two other pieces. I personally believe Heifetz's interpretation lacks the emotion that Sarah Chang applies to the piece. The only real difficulty with the piece comes on the part with the train tracks onto the octave runs. Just keep in mind to the entire piece is a giant phrase.

January 9, 2009 at 05:23 AM ·

Greetings,

>Just keep in mind to the entire piece is a giant phrase.

Rather like Salman Rushdie I suppose....

Cheers,

Buri

January 9, 2009 at 06:19 AM ·

     First, I agree with what Buri said, about the phrase-like statement that is this Chaconne. The tough thing I found in playing this piece is that it never stops. Many of the variations aren't all that difficult, but you have to string all of them together into a coherent musical statement, with scarecely a rest inbetween. It's not unlike Paganini's 24th Caprice, but only a little deeper in emotional content (in my opinion).

     You've probably already realized most of this by now. As for technical suggestions: I think the overarching approach, for me, would be bow distribution. "Wow", you're saying, "isn't that what I'm always supposed to think about?" In this piece in particular it is of primary importance, I believe, because many times the melody presented in it's different variations will sing better in certain parts of the bow, etc. But that's on the most basic level. Controlling how much bow you use on a given note or phrase, as well as what part of the bow you use, will give you the option of choosing exactly the sounds and colors you want to use to shape the piece from beginning to end. So my primary advice would be to really figure out the bowing in an intimate way, distribution, balance, evenness, everything. If you can do that, the piece is mostly finished in terms of technique.

     Left hand doesn't present too many problems, but watch out for the keys used, half position, fifths-- fingering is often in fifths in a number of the variations. For the double stops make sure you proceed slowly for intonation, make sure you are getting the "hidden tone" ( which is the other part of the chord or a lower octave of one of the notes being stopped) that will sound when you have both tones in tune with eachother.

     If you have the Charlier-Auer edition, the variation at 18 can present problems. Consider bowing the triple stop sforzandos down bow, or up bow---experiment to see which works best for you. For the variation with the 16th notes, then 3rds, then leaps to octaves (before #18 in the same edition), try practicing shifts by going to the double stop notes seperately (seperate the fingers), then play them together, and for the octaves pay special attention to the Bottom Note, as it will fill out the sound and "absorb" the top note, and for this reason playing it perfectly intune can replace actually playing both notes in the event that you blow the top one on the shift. Directly following that variation is a variation in octaves with triplet rhythm. For this variation, practice without the bowing, playing the octaves as quarter notes and really defining the intervals as you shift up and down.

     For the last two variations (triplets and then 16th notes) make sure you control the buildup to the final statement of the theme. You want to start soft and push and pull the rhythm ever so slightly, getting louder in a gradual crecendo. Don't get too carried away with the phrasing in terms of rhythm or it will destroy the effect, and temper the crecendo so that you don't hit the 16th notes as loud as you can play---save that passion for the final statement of the melody.

     On the last note, take two bows if you want, or try one. Your teacher may prefer one, but I think two bows is more than appropriate,

     FINALLY (I know I'm so done by now right?) in preparing this piece for a performance one must once again take into mind the fact that it does not stop. The variations just KEEP COMING. Your job is to string them together in a brilliant and inspiring way. So, while you may practice the variations alone, (which you should), you also have to devote a significant amount of time to playing the whole thing all the way through, or doing Full Run-throughs. This was the biggest struggle for me. I had to discipline myself to go straight through, no stopping and fixing stuff. Like Buri said, it's one huge phrase, and it cannot be interrupted. Once you have learned the whole piece, your preparation should reflect such a suitable view of the piece.

     fiddlinmatt

January 9, 2009 at 06:21 AM ·

For everyone else:

I know I'm long winded, but now I won't have to say anymore, unless they ask, which they probably won't LOL...        :-)

January 9, 2009 at 06:23 AM ·

For everyone else:

I know I'm long winded, but now I won't have to say anymore, unless they ask, which they probably won't LOL...        :-)

January 9, 2009 at 06:27 AM ·

Greetings,

actually it wasn@t ne who said it wa sone huge phrase....;)

Cheers,

Buri

January 16, 2009 at 08:10 AM ·

well you're the one I saw so there!  :-)