Tsubasa Ariyoshi played Chaconne in D minor for solo viola, originally composed by Johann Sebastian Bach for solo violin (Partita No. 2 in D minor, BWV 1004), in a soulful manner.Her heartfelt performance struck my heart and I felt like she played better than Itzhak Perlman.
(20/10/2018)
Johann Sebastian BACH (1685–1750)
Sonatas and Partitas for Solo Violin, BWV 1001-1006
Sonata No. 1 in G minor, BWV 1001
Partita No. 1 in B minor, BWV 1002
Sonata No. 2 in A minor, BWV 1003
Partita No. 2 in D minor, BWV 1004
Sonata No. 3 in C major, BWV 1005
Partita No. 3 in E major, BWV 1006
The Partita in D minor, which ends with the monumental Chaconne, a use of the traditional Baroque dance-variation form that has attracted subsequent transcribers and arrangers, opens with the usual German dance, the Allemanda, followed by the customary Corrente, Sarabanda and Gigue, four movements that came to provide a traditional frame-work for the dance suite, here complete in itself, before the extended virtuosity of the great Chaconne.
Bach Partita Nº 2 in D minor BWV 1004
by Itzhak Perlman
https://youtu.be/6PT6BzGQP0w
Tsubasa Ariyoshi played Chaconne in D minor for solo viola, originally composed by Johann Sebastian Bach for solo violin (Partita No. 2 in D minor, BWV 1004), in a soulful manner. Her heartfelt performance struck my heart and I felt like she played better than Itzhak Perlman.
(20/10/2018)
Bach Sonata No.2 in A minor BWV 1003
by Itzhak Perlman
https://youtu.be/6PT6BzGQP0w
BACH, J.S.: Sonatas and Partitas for Solo Violin, BWV 1001-1006
https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.570277-78&catNum=570277&filetype=About%20this%20Recording&language=English
Johann Sebastian BACH (1685–1750)
Sonatas and Partitas for Solo Violin, BWV 1001-1006
Sonata No. 1 in G minor, BWV 1001
Partita No. 1 in B minor, BWV 1002
Sonata No. 2 in A minor, BWV 1003
Partita No. 2 in D minor, BWV 1004
Sonata No. 3 in C major, BWV 1005
Partita No. 3 in E major, BWV 1006
The Partita in D minor, which ends with the monumental Chaconne, a use of the traditional Baroque dance-variation form that has attracted subsequent transcribers and arrangers, opens with the usual German dance, the Allemanda, followed by the customary Corrente, Sarabanda and Gigue, four movements that came to provide a traditional frame-work for the dance suite, here complete in itself, before the extended virtuosity of the great Chaconne.