L’intégrale des 6 Sonates et Partitas pour le violon seul (BWV 1001–1006) Partie 2

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Date/Heure
Date(s) - 03/10/2020
19:30 - 20:30

Lieu
Salle Bourgie, Musée des beaux-arts de Montréal

Catégories

• Musique baroque
• Musique classique
• Musique classique

Types

Classification de l'ensemble/soliste none

Artistes de l'évènement
Laura Andriani, violon

Prix
No Information

Site Web de l'évènement
https://ideesheureuses.ca/events/bach-solo-violon/

Page Facebook de l'évènement

Numéro de téléphone
514-285-2000, option 3

Les Idées heureuses profite du déconfinement pour programmer deux collectionsmagistrales, d’une grande intensité, composées par J.S. Bach (1685–1750). Les sixsolos pour le violon (vers 1722) et les six solos pour le violoncelle (vers 1720)seront interprétés par deux musiciennes clés de très grand talent de l’Ensemble desIdées heureuses : Laura Andriani et Elinor Frey.Qualifiés d’œuvres d’une importance capitale par Forkel, le biographe de Bach, lecompositeur présente ces deux ensembles de morceaux pour le violon et levioloncelle seuls, sans soutien harmonique, les traitant comme des instrumentspolyphoniques, avec un résultat hautement spirituel. Il s’agit d’un tour de forced’écriture musicale de la part du compositeur et d’un exploit d’interprétationmusicale pour les interprètes.

Les Idées heureuses presents two works of capital importance – as characterized
by Bach’s first biographer Forkel: Six solos for the violin (c. 1722) and Six solos for
the cello (c. 1720).
These two major collections were composed while Bach was director of chamber
music for Prince Anhalt-Coethen. Bach was particularly happy during this period of
his life, and he wrote some of his greatest instrumental works during this time.
It is often forgotten that Bach received his early musical training from his father on
stringed instruments. It was also as a violinist that he secured his first position in an
orchestra in 1703. According to his son C.P.E.: “In his youth, and until a rather
advanced age, he played the violin with purity and precision, and thus kept the
orchestra in better order than he could have done from his harpsichord. » And
again: « He understood perfectly the possibilities of all stringed instruments. His
works for violin and cello alone bear witness to this.”
Both collections will be presented in integral within two different concerts played on
the same day.