Ravinia 2026 Issue 2

Bach compiled his volume of six works for solo violin while in Köthen ( – ), although some scholars have proposed an earlier starting date during his Weimar years ( – ). e title page of his autograph manuscript reads: “Six solos for violin without an accompanying bass. First book by Joh. Seb. Bach. .” ree pieces are titled sonatas and the others are called partitas. Bach arranged these in alternat- ing fashion, sonata followed by partita. e sonatas contain the four movements of the church sonata form, in slow–fast–slow–fast or- der; the partitas are suites of dance movements. ese technically demanding works remained unpublished, yet not entirely unknown, during Bach’s lifetime. Emanuel boasted in : “One of the greatest violinists told me once that he had seen nothing more perfect for learning to be a good violinist, and could suggest nothing better to anyone eager to learn, than the said violin solos without bass.” e sonatas and partitas require an astound- ing range of string techniques, many seemingly exceeding the violin’s traditional capabilities. All three sonatas contain fugues that weave to- gether several independent melodies simulta- neously. Other movements contrast single-line writing with full four-note chords. In essence, Bach translated polyphonic keyboard textures to a lone string instrument. Over the past century, scholars and performers have confronted these technical issues in var- ious ways. One school considered their poly- phonic style unprecedented and unplayable in Bach’s time. Arguing against this position is the fact that several other German compos- ers had previously written similarly intricate violin works, namely, Johann Paul von West- ho , Heinrich Ignaz Franz von Biber, Johann Jakob Walther, and Johann Georg Pisendel, whose solo-violin sonata may have been Bach’s direct model. In all likelihood, a handful of Johann Sebastian Bach by Jakob Ihle (c. 1720) exceptionally skilled performers accepted the challenge of the unaccompanied sonatas and partitas, a conclusion supported by the ex- istence of multiple manuscript copies made during the composer’s lifetime. e Partita No. in D minor, BWV , con- tains all the movements of the Baroque dance suite. e rst is an Allemande , a moderate du- ple-meter dance originating in Germany. Cou- rante , a th-century Italian courtship dance in triple meter, typically involved improvised cho- reography. e stately Sarabande began in Lat- in America and Spain as music accompanied by dancing and singing. It was later transplant- ed to Italy through guitar literature. e tempo of the Sarabande di ered in various regions of Europe. In Italy, England, and Spain, a faster tempo was preferred, whereas the French and Germans favored a slower tempo. e Gigue is a two-part dance in compound meter. ere are con icting proposals regarding the origin of the dance. It is most o en associated with the “jig” of the British Isles, although the term may have been derived from the continental word for violin, which survives today in the German word “Geige.” More likely, however, is a connection with the verb “giguer,” meaning “to frolic or jump.” e nal movement, the Chaconne , is not a regular suite member. e chaconne originated as a dance in South America at the end of the th century, but soon made its way to Spain and Italy. Chaconne melodies varied slight- ly in di erent locales. Generally, they served as a repeating fundamental bass part in both instrumental and vocal works. When French composers adopted the dance, it took on a slower, more stately nature. German compos- ers favored this character in their imposing chaconne variations for organ, harpsichord, and other solo instruments. e chaconne’s rhythm emphasizes the second of three beats in each measure, frequently by means of a dotted rhythm. Numerous later musicians—among them Johannes Brahms, Ferruccio Busoni, Joseph Joachim, Arno Landmann, and John Williams—have adapted this movement to the piano, organ, and guitar. –Program notes © Todd E. Sullivan AUGUSTINHADELICH Augustin Hadelich is known for phenomenal technique, insightful and persuasive interpreta- tions, and ravishing tone, appearing extensive- ly on the world’s foremost stages. He has per- formed with every major American orchestra as well as the Berlin, Vienna, and London Phil- harmonics, Bavarian Radio Symphony, Royal Concertgebouw Orchestra, and many other em- inent ensembles. Later this summer, Hadelich holds a multifaceted residency at the Lucerne Festival, including concerto performances with the festival orchestra and Berlin Philharmonic, sonatas with pianist Seong-Jin Cho, and a folk/ bluegrass program with ddlers Mark and Mag- gie O’Connor. Over the past year, Hadelich was Artist-in-Residence with the Boston Symphony, and he guested with the New York Philharmon- ic, Cleveland and Philadelphia Orchestras, and Chicago, Pittsburgh, Houston, St. Louis, San Diego, and New World Symphonies, as well as with Ottawa’s National Arts Center Orchestra and at the Aspen and Grant Park Festivals. His international engagements included the BBC, Czech, and Munich Philharmonics; Bamberg, Barcelona, São Paulo, and Vienna Symphonies; Concertgebouw, Gewandhaus, and Tonhalle Orchestras; and Accademia Nazionale di Santa Cecilia, among other ensembles. In addition to the packed orchestral schedule, he gave recitals across the US, Europe, and Asia. Hadelich’s ro- bust discography includes a Grammy-win- ning performance of Dutilleux’s violin concerto L’Arbre des songes and two Grammy-nominated recordings as a Warner Classics artist: Bach’s Sonatas and Partitas, and Bohemian Tales with Dvořák’s concerto. His latest album, American Road Trip with pianist Orion Weiss, highlights Beach, Ives, Copland, Perkinson, and many more American composers. Hadelich achieved a career breakthrough winning the Indi- anapolis Violin Competition, going on to re- ceive an Avery Fisher Career Grant in , Borletti-Buitoni Trust Fellowship in , and Instrumentalist of the Year honors from Musical America in . He has been on the Yale School of Music faculty since . Augustin Hadelich was a Steans Institute fellow at Ravinia in , previously returning to the festival in for a chamber program and in as a soloist with the CSO. RAVINIA.ORG • RAVINIAMAGAZINE 71 SUXIAOYANG(HADELICH)