It is world famous and remains mysterious: The Partita for Solo Violin No. 2 in D minor (BWV 1004) by Johann Sebastian Bach - the partita with the famous “Ciaccona” (also known as Chaconne). Gidon Kremer plays in front of the gleaming gold altar of the Church of St. Nikolaus in Lockenhaus, Burgenland. The recording dates from 2006.
(00:00) Allemanda
(04:17) Courante
(06:42) Sarabande
(10:13) Gigue
(14:16) Chaconne (Ciaccona)
With the Violin Partita No. 2 in D minor, Johann Sebastian Bach (1685 - 1750) left a riddle for posterity, since the strikingly asymmetrical structure of this suite has always been somewhat of a mystery. The Partita No. 2 begins with the usual four suite movements Allemande, Courante, Sarabande, Gigue and culminates in a “Ciaccona”, which is so expansive that it is about as long as the previous movements put together.
The Ciaccona is also peculiar in its form. It is based on a sombre figure in the bass voice - repeated a total of 32 times, as if circling around itself - while the melody moves freely across just as many variations. Bach’s take on the Ciaccona, which is traditionally a rather cheerful dance in a major key, is a complex set of variations beginning in D minor, shifting into major for ten variations at its heart, before switching back into minor. The multifaceted variation technique turns the Ciaccona into a glitteringly colorful piece of music, in which, however, the subdued minor character predominates.
The origin story of the Partita No. 2 could give a clue as to why it is so unusual: After a long period of official travel, Bach had returned home to Köthen in 1720 to learn that his wife had passed away (and had already been buried) during his absence. Researchers disagree as to whether his second partita, and in particular its fifth movement, the Ciaccona, is a testament to Bach’s personal grief.
But regardless of what is known about the circumstances in which the Partita No. 2 was created: Its fifth movement is among the key works of music history. Renowned violinist Yehudi Menuhin has said of Bach’s Ciaccona that it is the greatest form in existence for solo violin. From a technical standpoint, the Ciaccona is one of the most difficult pieces in the violin oeuvre. The profound, virtuoso piece was disregarded for a long time before being “rediscovered” by Robert Schumann, who added piano accompaniment. Since then, Bach’s Ciaccona has been transcribed a good 200 times for numerous instruments.
© Gidon Kremer, finkernagel&lück medienproduktion, EuroArts Music International
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