Dr. Lawrence Golan's edition of Bach's masterpieces for solo violin combines the authenticity and accuracy of a Scholarly Urtext Edition with the practicality and helpfulness of a Performing Edition. A facsimile of Bach's autograph manuscript was used in the preparation of this edition and the composer's intentions have been preserved to the last detail. Of particular note is the fact that all stems have been beamed together as they appear in the autograph manuscript. This is of great importance when making interpretive decisions regarding dotted rhythms. Helpful fingering and bowing suggestions are provided by the editor, but are clearly distinguished from Bach's original notation, allowing the performer the freedom to accept or reject any given suggestion. The volume comes complete with Dr. Golan's essay Performing Bach: Dotted Rhythms and Trills in the Sonatas and Partitas for Solo Violin, which also includes scholarly discussions of vibrato, fingerings, bowing styles, and ritardandos in Baroque music. The inclusion of this comprehensive study of Baroque performance practices makes this edition a must for any violinist interested in performing the Bach Sonatas and Partitas in an historically informed manner.

The complete six Sonatas and Partitas for solo Violin (BWV 1001-1006) by Johann Sebastian Bach transcribed for guitar in standard notation and tablature. Composed between 1714 and 1720 but not published until 1802, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The pieces often served as archetypes for solo violin pieces by later generations of composers. 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

It is one of Josef Joachim’s great merits, not only to have introduced the following sonatas of Johann Sebastian Bach into the Concert-Hall, but also to have made them loved by the great public. They were almost unknown before Joachim played them with his grand art of interpretation, and brought out all the beauties of this magnificent music. Some parts of these sonatas had been played in public by certain violinists before Joachim’s time, but as the spirit and the technique of these works were quite strange to the performers, the interpretation made a ridiculous impression on the audience. Any success was made quite impossible on account of the want of knowledge in the performers. Then came Joachim and his rendering was a revelation. How be played, and interpreted these sonatas is so well-known, that it is not necessary to mention it. When I completed my studies at the Berliner Hochschule under Joachim’s direction, the study of these sonatas formed one of the most important parts of his teaching. Joachim used the very excellent edition by Ferdinand David, based on Bach’s manuscript, to be found in the Royal Library in Berlin. All the same Joachim changed a great deal in this edition, with regard to the manner of playing, bowing, fingering and marks of interpretation, and I kept to all the alterations made by him. I very often had the opportunity of hearing Joachim play these works at concerts as well as during his classes, and so I was able to observe the fineness of his interpretation down to the smallest detail. As I am publishing the standard works of violin literature in connection with my own teaching, it was a special pleasure to me to revise these Sonatas — which I consider one of the most important works written for the violin — in such a manner, that no doubt may be left as to the best and easiest way of mastering the great and unusual difficulties which they contain. I hope to show by this to all young violin-artists, to whom the study of the following sonatas cannot be too strongly recommended — a sure way to a really perfect and beautiful rendering of the same.

The Sonatas and Partitas for solo violin (BWV 1001–1006) consist of three sonatas da chiesa in four movements, and three partitas in dance-form movements. The set was completed by 1720, but was largely ignored at first. Today, Bach's Sonatas and Partitas are an essential part of the violin repertoire.

J.S. Bach's sonatas and partitas for solo violin have been central to the violin repertoire since the mid-18th century. This engaging introduction to these works is the first comprehensive exploration of their place within Bach's music, focusing on their structural and stylistic features as they have been perceived since their creation. Combining an analytical study, a historical guide, and an insightful introduction to Bach's style, this book will help violinists, scholars, and other listeners develop a deeper personal involvement with many aspects of these wonderful pieces.

This book examines the nature of musical performance. In it, Dorottya Fabian explores the contributions and limitations of some of these approaches to performance, be they theoretical, cultural, historical, perceptual, or analytical. Through a detailed investigation of recent recordings of J. S. Bach’s Six Sonatas and Partitas for Solo Violin, she demonstrates that music performance functions as a complex dynamical system. Only by crossing disciplinary boundaries, therefore, can we put the aural experience into words. A Musicology of Performance provides a model for such a method by adopting Deleuzian concepts and various empirical and interdisciplinary procedures. Fabian provides a case study in the repertoire, while presenting new insights into the state of baroque performance practice at the turn of the twenty-first century. Through its wealth of audio examples, tables, and graphs, the book offers both a sensory and a scholarly account of musical performance. These interactive elements map the connections between historically informed and mainstream performance styles, considering them in relation to broader cultural trends, violin schools, and individual artistic trajectories. A Musicology of Performance is a must read for academics and post-graduate students and an essential reference point for the study of music performance, the early music movement, and Bach’s opus.