J.S. Bach's Three Sonatas for Solo Violin exhibits formal coherence on three levels: first, through every movement; second, through the four movements in every Sonata; and third, through the three Sonatas in the set. The first issue has been treated in my previous thesis concerning the first statement and its development throughout the movement; this thesis will discuss the latter two subjects. The Fuga in each Sonata becomes the central movement due to its exceptional musical weight. The other movements surround the Fuga functionally: the first movement as a prelude, the third as a tension-reliever, and the fourth as a brilliant finale. Not only do the general figures on the surface support the function, the formal activities in each movement do as well. At the same time, the formal congruity between the four movements is observed in the choice of tonality, sectionalization, uses of motives, etc. After an analysis of each Sonata's formal character based on the coherent compositional scheme, a meta-analysis is possible to determine the characteristics that shape the Three Sonatas as a whole. This thesis provides analyses of each movement, each sonata, and the entire set of Three Sonatas, concentrating on how the set is bound closely together through formal correspondences. Its chapter arrangements are: I. Introduction, II. Position and Function of Each Movement, III. Coherence and Individuality of Each Sonata, IV. Musical Characteristics of the Set of Three Sonatas as a Whole, and V. Summary and Conclusion.

Bach's Three Sonatas for Solo Violin (BWV 1001, 1003, and 1005; 1720) have a movement scheme of slow-fast-slow-fast in which the movements are organized in a united sense. Centering the intensive second fugal movement, the first serves as a prelude, the third as a tension-relieving movement, and the fourth as a brilliant finale. Most of the slow (first and third) movements suggest an analytical interest with their through-composed nature, while the fast ones are structurally more explicit. Furthermore, another distinction can be made between the first and third movements according to function and correspondingly different characters: the prelude movements are improvisatory and free, and the third movements are melodious and relaxing. These characterizations are supported through figural and formal aspects, thus on both surface and structural levels. This thesis is primarily concerned with the formal attributes of the slow movements for their functions. A closer observation reveals the structural frame of seemingly through-composed forms. The prelude movements show more ambiguity and complexity, yielding appropriate tension for the free virtuosity. On the contrary, the third movements exhibit more regularity with a binary concept for a comfortable and easy atmosphere. Each group of movements not only pursues its function, but also offers a contrast to the neighboring fugue movement that is strict and intensive. The contrast is achieved in opposite ways, however, resulting in considerable differences between the first and third movements. The content of this thesis is based on a detailed analysis of each slow movement, focusing on the functional contributions, organized by the first- and third-movement groups. Its chapter arrangement is: I. Introduction, II. First Movements, III. Third Movements, and IV. Summary and Conclusion.

Classical guitarists---both students and professional performers---require the same high-quality editions that their pianist colleagues have come to expect from Alfred Music. Our Classical Guitar Masterworks Editions continue the Alfred Music tradition of providing carefully edited, beautifully presented music for practice and performance. This edition of J. S. Bach's masterpieces for solo violin, artfully transcribed for classical guitar by renowned performer, recording artist, and pedagogue Nicholas Goluses, is an essential addition to any classical guitarist's library. Including a thoughtful, scholarly preface on the art of transcribing Bach for the guitar, drawn from Goluses' doctoral dissertation, studying this edition will be edifying for any serious classical guitarist. Goluses' approach to putting these pieces on the guitar, and his thoughtful fingerings, will help overcome the complexities of playing this important and challenging music.

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.

Includes biographical notes, historical notes and performance notes with illustrations.

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.