By Johann Sebastian Bach & Abel Carlevaro
A method research and interpretation of J. S. Bach s Chaconne (BWV 1004) provided through the phenomenal virtuoso, composer and instructor, Abel Carlevaro. The transcription is predicated at the unique rating for violin and has been tailored for guitar preserving the unique kind and spirit. Contents comprise sections on common issues, Mechanical features, The tune ranking of the Chaconne, The Manuscript of the Chaconne and word list of Technical phrases.
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At the Teatro Campoamor,” New York Times ( January 11, 1936), 9. 18 Claudio Arrau: The 80th Birthday Recital, West Long Beach, NJ, Kultur, 1987. s e c t i o n o n e a r r au ’s p r e d e c e s s o r s 26 Virtuosity Arrau’s technical development illustrates two approaches to technique. One, through simple rudiments and pianistic calisthenics, is meant to flow seamlessly into a second, higher sphere, where technical complexity—virtuosity—has found its way into the fabric of musical works. Virtuosity can function as a legitimate expression of musical character and feeling, or as an antimusical distraction, an end in itself.
Pedaling. That at the beginning of Beethoven’s G-major Concerto, for instance, never to strike the chord and then put down the pedal, but to have the pedal down already, and then strike the 24 Claudio Arrau and Hilde Somer, “Two Artists Talk,” Piano Quarterly 83 (Fall 1973), 12. s e c t i o n o n e a r r au ’s p r e d e c e s s o r s 20 first chord. . 25 Though these details may indicate something of the specific practices underlying the rhetorical power that contemporaries described in Liszt’s playing: “it was more than eloquence, more than expression.
The vast quantity of etudes and exercises, composed for the development of strength, endurance, and independence and equalization of the fingers, encouraged technical training entirely separate from the study of the repertory that demanded these skills. The preoccupation in pedagogy with technical matters as well as the proliferation of technical difficulties in piano compositions prompted the German pedagogue Adolf Kullak to write in 1861: “A comprehension of the masters is lost in the interest in gymnastics.