Copyright © 2011 Digital Violin Archive Project
of Chimei Museum All Rights Reserved.
Music Appreciation
- / German-Austria Music /
- George Friderick Handel《Sonata for Violin and Basso Continuo in D Major, Op. 1, No. 13》
- Johann Jakob Walther《Scherzo D’Augelli con il Cuccu from Hortulus Chelicus》
- Franz Schubert《Moments musicaux Op.94 No.3》
- Johannes Brahms《Waltz, Op.39, No.5》
- Johann Sebastian Bach《Menuet in G Major》
- Paradis,《Sicilienne》
- Robert Schumann《Abendlied》
- Karl Maria von Weber《Adagio》
- Karl Maria von Weber《Rondo》
- Felix Mendelssohn《Fruhlingslied》
- Ludwig van Beethoven《Menuett in G Major》
- Johannes Brahms《Walzer》
- Karl Maria von Weber《Larghetto》
- George Friderick Handel《Passacaglia》
- Johann Sebastian Bach《Chaconne》
- Ludwig van Beethoven《Romance for Violin and Orchestra in G major, Op. 40》
- Max Reger《Romance in G major》
- Johannes Brahms《Hungarian Dance No.2》
- Franz Schubert《Serenade from The Swan Song》
- Max Bruch《Romance for Viola and Orchestra in F Major, Op. 85》
- Felix Mendelssohn《Son Songs without Words, Op.62, No.1》
- Paul Hindemith《Viola Sonata for viola and piano op.11, No.4, Mov. 1》
- Robert Schumann《Fantasy Pieces》
- Fritz Kreisler《Liebesleid》
- Fritz Kreisler《Liebesleid》
- Johann Baptist Strauss《An der schönen, blauen Donau, Op.314》
- Johann Strauss I《Radetzky March》
- Johannes Brahms《Akademische Fest-Ouvertüre》
- Johannes Brahms《Hungarian Dance No.5》
- Felix Mendelssohn《Auf Flügeln des Gesanges Op.34 No.2》
- Franz Schubert《Ave Maria》
- Lugwig van Beethoven《Symphony No.5, mov. 1》
- Franz Joseph Haydn《"Empero"Strings Quartet in C,Op.76-3r" ,mov. 2》
- Wolfgang Mozart《Symphony No. 40, K. 550, mov. 1》
《Chaconne》
Johann Sebastian Bach (1685-1705)
This is the last movement of Bach’s second violin partita from the Sonatas and Partitas for solo violin. The movement is in the key of d minor and a 3/4 time signature. It includes nearly all of the techniques used when playing the solo violin. This grand piece it is often selected to be performed by itself because the music is so technically challenging for the performer. The harmonies of the first four measures are the main foundation for all the subsequent variations. Full of capricious variations, it begins with a majestic and solemn introduction, and then an eerie main melody unfolds in which rapid clusters of notes frolick around like fairies and demons until finally slow chord sequences appear. It feels like unstable weather shifting back and forth between overcast and clear skies. It starts in d minor, but eventually modulates to D major. After all 25 variations are complete it finally returns to d minor for the ending, which is when it returns to the solemnity of the beginning.