Johan Sebastian Bach 1685-1750
Sonatas and Partitas for solo violin (Performed on a Mandolin)
Sonata No.1 in G minor, BWV1001
1 I: Adagio 3:56
2 II: Fuga (Allegro) 4:59
3 III: Siciliana 2:29
4 IV: Presto 2:27
Partita No.1 in B minor, BWV1002
5 I: Allemanda 5:14
6 II: Double I 2:04
7 III: Corrente 2:43
8 IV: Double -Presto 3:00
9 V: Sarabande 2:12
10 VI: Double 1:13
11 VII: Tempo di Bourree 2:24
12 VIII: Double 2:17
Partita No.2 in D minor, BWV1004
13 I: ALLemanda 3:17
14 II: Corrente 2:03
15 III: Sarabanda 2:31
16 IV: Giga 3:00
17 V: Ciaccona 13:54
Sonatas & Partitas
Bach was not the first or the last composer who wrote works for unaccompanied instrument, but he raised the medium to heights never before dreamt of and never equaled since.
The challenge of sustaining the listener's interest for any length of time on a one-line melody instrument is formidable enough in itself. To combine this with a spiritual range and embrace some of the most gigantic structures, like the fugues and exhibit the polyphony on a melodic instrument is little short of miraculous.
Each of the present works was composed, when Bach was in the service of Prince Leopoled of Anhalt-Cöthen.
Bach did write on the piece any remark or dedication for a specific violinist and the entire subject remains a matter of speculation, but one thing is certain: whoever he was, he was clearly a first class virtuoso and an artist of exceptional discernment.
In addition to their purely musical value, each of these works poses a great technical challenges: to maintain a sovereign command of tone color, precision of articulation, intonation and tempo throughout
Any work. In one aspect at least the challenge is greater today than in Bach's time. Changes in the shape of the bow, the positioning and the shape of the bridge and the frequent substitution of metal strings have made it much harder to play two or more notes together (double stopping) without a grating stridency of tone which can be as painful to the listener as it is taxing for the player.
However, performing the work on a mandolin neutralizes most of the technical problems. On a Mandolin there aren't any intonation problems, there is an ability to play "double stops" and four note-chords without any subdivisions and the ability to use the natural sustain sound of the instrument to keep sustaining the chords in balance, without an artificial emphasis on one of the notes.
The Sonata in G minor is written in the four-movement slow-fast-slow-fast sequence of the Sonata da chiesa (church sonata).The first two movements are linked rather in the manner of a prelude and a fugue, the latter continually alternating between strict counterpoint and single-line passage-work. The third movement release the tension and provide welcome tonal relief while the finale share the symmetrical plan of the traditional binary suite movement.
The Partita in B minor is a suite in all but name. After every obligatory movement in the structure of the traditional suite come a Double movement that has the same harmonic structure and represent a kind of variation to the movement before.
The second partita in D minor, is both the most unconventional and the most famous.
After its four traditional dance movements comes the unique and towering Chaconne, often performed separately and frequently transcribed for piano guitar and in this performance on a mandolin.
Its sixty-four variations are effectively a compendium of eighteenth-century violin technique, but its fame derives from its overpowering musical stature and the sheer immensity of its conception.
Bach left no more noble monument of this kind.
Shmuel Elbaz - Mandolin
Shmuel Elbaz was born in Beer Sheva, Israel in 1966. He graduated from the Rubin Music Academy where he majored in performing and conducting under the tutelage of Dr. Motti Schmit and Prof. Mendi Rodan.He undertook further training in conducting at the Sweelinck Music Academy, Amsterdam, Holland, where he studied with Peter Etvös,
David Porcelain and Roland Kieft.
Shmuel is considered to be Israel's leading mandolinist. He has appeared as a soloist with the Israel Philharmonic Orchestra, the Jerusalem Symphony Orchestra, the Rishon Le-zion Symphony Orchestra, The Beer Sheba Synfonietta, The Tel Aviv Chamber Orchestra, and the Holon Stage Orchestra.
Shmuel lectures at the Haifa University in the faculties of Music and General Studies where he teaches music theory, orchestration and structural hearing.
Shmuel founded The Kerman Mandolin Quartet whose first recording has been widely broadcast and acclaimed in Israel, Europe and the USA.
In August 2003 the Quartet won the first prize in the competition of La Rioja Festival in Spain.
Recording and Mix : Shai
Recorded: Eshel Studio, Tel Aviv, October 2003
Photography: Izidor Lichtman
Production : Shmuel Elbaz
Cover Design : Keren Shavit Studio, Beer Sheva.
Fayerberg Zeev 2120
Beer Sheva, Israel 84260
Web Site: www.mandolin.co.il
2003 The copyright in this sound recording is owned by Shmuel Elbaz.
I would like to warmly thank:
My parents, Josef and Amalia Elbaz, for the great support and love.
My wife Hadar and my lovely daughter Maya that was born during this recordings.
Arik Kerman for making my Mandolin and for encouraging me to record this CD.
To mila kozorovizki, Lev Khaimovich, Ofra Alboher for your excellent musical remarks.