![]() Further transcriptions are by John Cook, Wilhelm Middelschulte, Walter Henry Goss-Custard (1915–55), and Henri Messerer (1838–1923). The earliest version for organ is by William Thomas Best. Since Bach's time, several transcriptions of the piece have been made for other instruments, particularly for the piano (including those by Ferruccio Busoni, Alexander Siloti, Joachim Raff, and Rudolf Lutz), and for the piano left-hand (by Johannes Brahms, Paul Wittgenstein, and Géza Zichy).įelix Mendelssohn and Robert Schumann each wrote piano accompaniments for the work.Ĭarl Reinecke transcribed the piece for piano duet. Raymond Erickson has identified approximately two hundred transcriptions and arrangements of Bach's Ciaccona. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind." Johannes Brahms in a letter to Clara Schumann described the piece, "On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. It's a spiritually powerful piece, emotionally powerful, structurally perfect." He played the piece busking in L'Enfant Plaza for The Washington Post. Violinist Joshua Bell has said the Chaconne is "not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. Yehudi Menuhin called the Chaconne "the greatest structure for solo violin that exists". Professor Helga Thoene suggests that this partita, and especially its last movement, was a tombeau written in memory of Bach's first wife, Maria Barbara Bach (who died in 1720), though this theory is controversial. Performance time of the whole partita varies between 26 and 32 minutes, depending on the approach and style of the performer. The final movement is written in the form of variations, and lasts approximately as long as the first four movements combined. Manchester Guardian (20454): 1.Except for the ciaccona, the movements are dance types of the time, and they are frequently listed by their French names: Allemande, Courante, Sarabande, Gigue, and Chaconne. ^ "The Hallé Concerts: Fifty Fourth Season, 1911–12: Eighteenth Concert Thursday Next ".Lost in the Stars: The Forgotten Musical Life of Alexander Siloti. ^ a b c d e Barber, Charles (2004), "The Transcriptions", The Alexander Siloti Collection: Editions, Transcriptions and Arrangements for Piano Solo, Carl Fischer, L.L.C., pp. 11–13, ISBN 0-8258-4730-3.^ BWV 855 The Well-Tempered Clavier Part I Fuga X at MuseScore website.^ BWV 855 The Well-Tempered Clavier Part I Praeludium X at MuseScore website.Das Wohltemperierte Klavier I (NBA V/6.1), Bärenreiter, 1989. Bach Werke Verzeichnis: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. ^ (BWV 2a) Alfred Dürr, Yoshitake Kobayashi (eds.), Kirsten Beißwenger. ![]() Gutheil of Moscow, and was performed by Siloti in public for the "first time" (according to an announcement in the Manchester Guardian) in February 1912. The date of the arrangement is uncertain: it was first published by A. It has been performed by many pianists, most famously Emil Gilels. The chords in the left hand are arpeggiated however according to Siloti's daughter Kyriena (to whom the work was dedicated ), he would omit the arpeggiation on the first pass and restore it on the repeat in order to heighten the effect of the left-hand melody. Siloti also adds a repeat of the entire work, in order to allow for a change of voicing where the melody in the left hand is emphasized. It transposes Bach's original down from the original E minor into B minor, with the steady sixteenth note figuration that was originally given by Bach to the left hand being instead assigned to the right hand. This arrangement has been described as "perhaps Siloti's most tender and perfect" transcription.
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