Chaconne, arpeggios and the sixteenth notes
I need help. I'm not quite sure how to do the arpeggios in the Chaconne, or the 16th notes section in measures 229-244. I would like any help you can give me.
If you listen to old recordings, you'll notice that pretty much everyone did it differently. The recently departed Ivry Gitlis went totally wild with it and pretty much ignored the rhythym on the page altogether. His version is my (and many others') favourite. My advice is, play around with it and perform it however the heck you want.
The arpeggio thing is definitely not "all there on the page," which is why there are so many different approaches. One approach is to treat the word "arpeggio" to mean "simile," which is to say, you keep playing those chords broken into 1/32nd notes as the first two sets are written. I would think that you should at least be able to do that before you play it like "Orange Blossom Special." My approach is to take Bach at his word and interpret "arpeggio" to mean something different than the 1/32nds (since Bach never wrote a single thing that wasn't essential), and I play the arpeggio passages in 1/32nd triplets, which conveniently allows you play 3- and 4-note chords in the same texture. I think it is clear from these sections that Bach did not intend for the texture to change when there are triple- and quadruple-stops adjacent to each other, as around mm 102-106. I like the accelerando effect in the beginning, going into the triplets, too. I do the second arpeggio section this way from the beginning, because Bach wrote it that way, and he obviously intended the second part to be an echo of the first.
Thank you both, Cotton and Paul. And yes, it is a godawful racket playing high on the D and G. I'll go and look at someone playing that part, then play it like it's easy. Because it 'totally' is. ha
As to repeating patterns: That pattern that Bach gives for measure 89 (the open D as the bass of the chord and the two upper notes on G and A) can only last for the first three measures of that arpeggio section. And even so you have to cheat a little and play the second chord of the second of those measures on G and D in 5th position, extending the fourth finger to play the g. After those three measures the pattern changes: The bass note is now the open G. If you keep bowing as before (maintain the technical pattern) the first 32nd of every chord will now be the bass note and the middle note will be the one that gets repeated (probably undesirably).
The Galamian edition (which my teacher has me using for this piece) has (in the non-manuscript main part) a sort of working out of most of the arpeggio parts in a way that reflects the performing tradition, at least of his time. I have been surprised at the number of different ways of arpeggiating indicated there (and a few more that my teacher has had me add as well, some of which I recognized from recordings as soon as he demonstrated). The general idea inasmuch as I understand it appears to be that when the kind of movements the chords are making underneath changes character, the method of arpeggiation often also changes, for contrast. Of course this becomes quite important when so much of the piece is arpeggiated.
Szeryng provides directions on how to realize them in his edition. Check the bottom of that page for the different patterns.
Delayed Reply, 1/17/21, from E. Matesky, rare Carrier of Heifetz-Milstein Legacy of Violin Playing & Teaching (#9)
@Francis Browne and @Jason Broander ~ (#10)
Ask Augustin 47 - Arpeggio passages in Bach