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 Preface

It is common knowledge that the Sonatas and Partitas for Solo Violin of
JS Bach were the daily bread of George Enescu, as they are for any musician who
recognizes their value and necessity to their culture.

He considered these masterpieces as «the Himalayas of violinists» of which he was

one of the greatest of the twentieth century!

He studied and taught this music all his life, both as a great performer with his
reflection on all the technical problems posed by these particularly difficult works, but
especially from the point of view of the brilliant composer that he was, understanding
as well what this music expressed from the greatest musician of all time: JS Bach!

It was first and foremost necessary for George Enescu to transmit to future
generations the wealth of his research, artistic, cultural and technical, that he had
carried out and tested through his own magnificent career as a violinist alongside
the career which mattered most to him, composer.

Once George Enescu returned to France in 1947 and decided to give lessons again,
I had the opportunity to take them for five years, after which he offered me the
unique opportunity to give a recital of the Sonatas with him at the piano! It was the
chance of a lifetime.

During those five years, I had collected an enormous amount of his teachings,
especially regarding what he considered the essential of musical culture: JS Bach!

I could not imagine at the time that the treasure he had passed to me, and to all his
students (whom he modestly called his «colleagues»!), would serve me all my life
as a musician... because it is only through experience that we understand what is
contained in these works essential to the culture of any musician who plays a
string instrument (violin, viola or cello).

It is no coincidence that all the great artists playing these instruments have spent
their lives studying and playing these pieces throughout their careers... indeed
reediting them in their own manner. But though George Enescu played, taught,
and recorded them often... there is unfortunately no edition revealing his precise
indications and his abundant comments!

One should be aware of the hardships that faced him at the time; he was over sixty
years old and suffered from a serious disease of the spinal column, and he had lost
at the same time all his possesions and his beloved homeland: Romania!
During the 55 years that followed, I continued thinking about the precious fruits of
the education that I had received from this great master, learning how to pass on
in my turn what I had received, passing on to each of my students the information
that he had generously given to me in order to help them understand and interpret
these pieces.

Proper tone, phrasing, musicality expressed in an artistic or intimate way, are the
results obtained through a strict application of information and commentary
gathered by patience and fierce determination!

For example concerning tempi advised by Enescu and shown at the beginning of
each piece in this edition, he established these according to the indications given
by the hand of JS Bach.

This single indication is essential... but is not in any edition. But when a young
student (or teacher!) approaches these works for the first time, they cannot have
this knowledge innately... Only later experience will eventually allow them to make
their own interpretation and personal changes, having first understood the
essential foundation thanks to proven sources.

It is the precious inheritance received by George Enescu that justifies the title
Educational Edition that I have chosen.

Serge Blanc
Sonata I
BWV 1001
 Sonata I
BWV 1001

ADAGIO (Prelude)

Imagine the gate of a cathedral

Clearly the mind and soul of George Enescu were stimulated by poetic
imagery which inspired his musical genius... See in particular his Childhood
Reminiscences written in full maturity.

His constant revisiting of the Sonatas and Partitas by JS Bach throughout his
life as a musician-composer-performer-teacher thus underwent the lasting effect
of this imagery, and every valuable piece of this monument to the human spirit
evoked for him a precise poetic vision that deeply marked his personal
interpretation and therefore his teaching. I cannot forget the particular effect that
marked his face and his musical demonstration at the piano when he wanted to
communicate a particular interpretation.

That of the first opening Adagio, such a majestic Cathedral gate, this fabulous
treasure of the human mind that are these Sonatas and Partitas that follow,
was particularly striking.

Every time I happen to pass by the majestic door of Notre-Dame de Paris, the
same emotion seizes me by the throat as when I interpret this sacred work... or
teach it!
Technically speaking, this means the search for a wide and beautiful sound, made
possible by the use of great bow length and the observation of Enescu’s indications
in this direction.

I honestly think that this evocative power left a particular mark above all on the
personality of George Enescu and that his students loved to submerse themselves
in it.

They felt that their artistic life would be influenced and enriched in a profound
way. We only had to let ourselves be carried along by the unforgettable memory,
and then carry out the years of work that we would have to fulfill in order to
approach as close as possible that level.

Regarding this first work, one must above all follow with great precision the
rhythmic contours so clearly expressed by the hand of this demigod who was its
author.

It is commonly known as a written improvisation... and it is. But that of JS Bach

and not just any performer who dares to take it up.

If we carefully observe the details of its rhythms, precise to the hundred twenty-
eighth note, we must recognize that we have no more right to change a note value
than to change a detail of a much admired Rembrandt or a Michelangelo.

But a musical work must also undergo the special handling of each performer as it
cannot stay in manuscript form... This is where the personality, more or less
cultivated and respectfully intelligent of each artist who dares to approach,
intervenes.

We must therefore start by trying to understand every detail conveyed by the

author and not spare any time or trouble in finding the exact phrase.

This requires a lifetime, but what enrichment for the one who glimpses the infinite
beauty.
 Sonata I
BWV 1001

FUGA
q!= 76

George Enescu considered this Fugue as a model of its kind and JS Bach
himself later transcribed it for organ.

Enescu’s interpretation is clear from the notational point of view, but technically it
is very difficult for the instrument.

The initial theme with its 4 repeated notes is easy to spot, but the chords that often
state the theme require considerable attention to be played correctly.

The «architectural» construction of each exposition begins, almost always, by

single notes that become two and then three notes. These then become 4 note
chords thus creating a natural crescendo that grows until its cadence which is
followed by a divertimento that is itself interrupted by the return of the theme.

In measures 83/84, the theme appears in the bass of 4 note chords, and it is
musically necessary to attack these chords from the top notes to bring out the bass.
These chords must be played fortissimo.

But this work is so well constructed that each rise of the theme is accompanied by
a natural crescendo, even if it is not in the manuscript.

Enescu made one follow the natural evolution of the phrases with dynamics that
emerged logically. Therefore they are included in this Educational Edition.

Enescu indicates these dynamics as precisely as fingerings and bowings.

The tempo q = 76 remains unchanged apart from a subtle relaxing at the end of
phrases and the immediate resumption at the recapitulation.
"#
""
"$
 Sonata I
BWV 1001

SICILIANA
e!=!80/86

Of a dancing character in moderate tempo, this piece must keep its loosely
swinging rhythm in a “danceable” tempo, that is to say
not to slow down too much.

The tempo here suggested by Enescu is e = 80/86, with, as always, the relaxations
at end of a phrase, but an immediate resumption of tempo with the following
phrase.

Another important feature of this work is the three part contrapuntal writing: 1
bass and 2 sopranos

which implies the choice of sonorities appropriate to the imagined instruments

playing together: 1 bassoon + 2 oboe or 2 flutes.

Here Enescu knew how to explain how to play the bass by searching for the sound
of the bassoon (lighter bow near to the fingerboard) and that of the 2 oboe or flute
(closer to the bridge) indicating also fingering which favored this contrast, hence
some of them were made somewhat more difficult but effective..... by the choice of
string.

The concentration of mind and will to do so ultimately make this effect possible
and very musical.

Good luck, for this Sicilian is one of the most difficult pieces... thus often required
in competitions. But its beauty makes the work easier!
 Sonata I
BWV 1001

PRESTO
e!=!208

This last movement, which concludes the First Sonata, is played very fast as
indicated by its title, but above all not as a « Perpetuo mobile » in the pursuit of a
world speed record!

First, we must «understand» the rhythm indicated in measures of 3/8, which is

its basic structure.

Second, we must highlight the sequence of phrases indicated here by these beginning

and end hooks which in no way implies any interruptions or

tempo changes.

This is more precisely a punctuation which translates into pulses of slight

bow pressure where indicated. Overall this creates a musical structure that rightly
avoids the banality of notes too rapid and devoid of artistic sense.

Likewise the dynamics indicated follow the ascending or descending melodic

curves of this strongly conclusive work.
Partita I
BWV 1002
 Partita I
BWV 1002

This first Partita, called the Suite in B minor, consists of 5 ancient dances
each of which is repeated through a variation of equal proportion in phrasing and
tempo.

This is important to take into account when performing the work. That is to say,
the “Doubles” are actually a direct variation of each Dance and could be performed
as a single piece. They should therefore be conceived and played in the same spirit.

ALLEMANDE

The first Dance is an Allemande - of German origin as the name suggests. It is in

moderate tempo or even a little slower and its 32nd notes are lightly accented
relative to the dotted 16th note.

To establish its rhythm, very accurately notated by JS Bach, it is helpful to begin

working at e = 63 which will obviously be «forgotten» during the final
interpretation.

Full and sustained tone, calm and steady vibrato on every note.

The few trills should be slow and stop at the tip of the bow.

DOUBLE

The Double should be played at the same tempo (e = 63) calmly using the middle
of the bow.

Keep the same tempo until the end despite the flexibility of the phrasing.
 Partita I
BWV 1002

COURANTE (Corrente)

A fast Italian or French Dance q = 132, of a bright character, articulated here

using martelé bowing, short and strong in the middle of the bow.

Slight vibrato on every note.

Again, ascending and descending motion is accompanied by slight changes of

dynamic in the same direction.

DOUBLE (Presto)

q!=!132

As before, this Double is in the same tempo as the dance (q = 132) and is played
with a quick and short bow using the middle and especially with an extremely
flexible wrist.

Follow the markings and which indicate the interpretation of certain

inner phrases that often correspond to repetitive phrases.

Avoid awkward accelerations that are inappropriate to Bach’s style.

 Partita I
BWV 1002

SARABANDE

q!=!58

DOUBLE

q .!=!70

A slow and serious dance showing a solemn side of JS Bach: q = 58

This piece should be played using the entire bow with a full sound and slow vibrato
on each note.

One should emphasize the phrasing indicated by the signs , just as the
inflections of any spoken language.

Just as the Sarabande is full and solemn in pace, its Double must remain simple
and be played entirely détaché using the middle of the bow, with only the few
nuances indicated, within a rather moderate dynamic: q . = 70
$%
 Partita I
BWV 1002

BOURRÉE
h!=!72

This is a very rustic dance of great energy.

Its large opening 4 note chords must be resolved using a wide vibrato on the upper
notes.

The response is made with a soft dynamic from the upbeat to the fifth measure,
and develops through a crescendo to forté following the rise of the phrase, briefly
interrupted by a brief piano nuance, before concluding forté.

The second part, from the double bar, vigorously resumes the development of the
previous conclusion and the large chords require a large sound until the upbeat of
measure 29, which alternates question/response mf/f/p until measure 38 which
returns to f.

Again a few exchanges piano/forte, and a fortissimo conclusion!

This very difficult work requires careful work on the accuracy and sound quality of
its chords, which despite their four simultaneous sounds should not appear
aggressive or crushed.

Only an attack well controlled by the ear, followed by high bow speed can ensure a
proper execution.

The rather lively tempo of this peasant dance in 2/2 (72 to the half note) must be
maintained to the end, whatever the difficulties.

It is often required in auditions for major orchestras to test the ear of candidates as
well as their steadiness of tempo when performing.

DOUBLE
h!=!72

Its Double is a variation whose energy, which should recall that of the Bourrée,
will be expressed through a strong détaché martelé in the middle of the
bow.

The dynamics indicated should recall those of the Bourrée.

Sonata II
BWV 1003
 Sonata II
BWV 1003

GRAVE e = 44

It is no coincidence that Bach chose the indication GRAVE for this

introduction to the 2nd Sonata. This term refers to the slow tempo and
particularly meditative character that is so far from that of the almost romantic
improvisation at the Adagio of the 1st Sonata.
Here we enter directly into the deeply religious and believing heart of this sublime
author JS Bach. This page of music may be both the most contemplative and
celebrant a human being had ever conceived up to that time.

Only Beethoven was able to find such peaks in certain slow and meditative
passages of his string quartets.

This very slow work requires perfect control in the location, pressure, and
placement of the bow on the string to find the sounds that music alone is able to
use to translate the innermost feelings of the human soul pondering his tragic fate.
Believer or not, we can not be insensitive to this melodic line interspersed with
dramatic chords and mystical impulses towards a yearning for salvation, but which
ends suspended on the Dominant... which leads to the following Fugue!... whose
opening theme contrasts with its simplicity the metaphysical message that has just
been made.

FUGA e = 77

As with all Fugues, it begins with the successive entrance of each voice of
which we must slightly accent first thrust. The theme cell consists of an anacrusis
of two sixteenth notes followed by seven eighth notes. The development continues
in various ways until the first episode that arrives in measure 45 and will itself
develop until measure 61 where the theme returns in the soprano voice.

Meanwhile it is important to point out that on the last note of measure 39, when
the theme enters in the bass the chords must be attacked from the top (which is
unusual and thus quite difficult at first) in order to bring out the bass.

The same process recurs in measures 91 and 99 and then 272 and 281. As always
we will avoid monotony by bringing out the indicated nuances, which follow the
upward or downward changes of phrasing.

We must pay special attention to maintaining the original tempo e = 77, which
should be strictly resumed after the end of each phrase, and of which we can
sometimes - but not always - expands the ending when it occurs after a long
development.

Good luck!
 Sonata II
BWV 1003

ANDANTE
e!=!63

As always JS Bach knows how to alternate moments of tension, like those of

this Fugue rich in development and ending with a dazzling cadence on a brief but
triumphant coda, with the calm provided by the Andante.

Enesco compared the accompaniment to « footprints in the snow ».

The particular difficulty of this piece is to bring out the upper melodic line,
emphasizing it a bit more than the accompaniment, but discreetly. Be sure to
sustain the melody without interrupting it with over accented bowing, and giving
enough breathe to the sonority by lengthening the bow much more towards the
fingerboard.

The left hand should be expressive, with a restrained vibrato on every note.

ALLEGRO
h!=!40!(BACH )
(q = 80/84)

This last movement in turn brings a final contrast to the quiet prayer that has
just taken place.

This is a brilliant Allegro - about q = 80/84 - whose dynamics, alternating f and p,

are the author’s own and must both be very clear.

As usual in these movements, rapid and with bariolage on all the strings, one uses
little bow length with an ultra flexible right wrist and an almost immobile forearm.

Naturally the tempo must remain constant and without inappropriate accelerandi.
Partita II
BWV 1004
 Partita II
BWV 1004

ALLEMANDE

q!=!66

Unlike the Allemande of the first Partita in B minor, this one is more
melodic than polyphonic.

We must therefore follow the upward or downward gestures with levels of dynamic
and phrasing that match.

We must also take into account its inner divisions to reveal the phrasing.

Being the opening of such an important Suite as it contains the Chaconne,

considered the « Everest » of violinists, it must be given the appropriate scope by
adopting from the start a large sonority in terms of volume and phrasing, that is to
say, a present but discreet vibrato on every note and long bow strokes “à la corde”.

Follow the dynamics indicated by Enescu.

Keep to his tempo evenly : q = 66

&&
 Partita II
BWV 1004

COURANTE

q!=!112

This brisk Italian dance should be played at q = 112, with a lively bow since we
alternate between passages of legato eight note triplets and dotted eights –
sixteenth notes separated by a slight pause of the bow.

Be precise with the sixteenth note anacrusis of each section, playing it short but
with great energy.

Maintain the tempo from start to finish.

 Partita II
BWV 1004

SARABANDE

q!=!44

This Sarabande is one of Bach’s most compulsory pieces for all competitions
due to the technical and musical difficulties that must be solved.

First its tempo – rather slow – requires a compromise that does not make us
forget that this is, as its title suggests, a dance in which one must feel the rhythm
and not an Adagio or even a Largo as we hear too often.

Thus q = 44 is what Enesco advises to keep steadily throughout, and precisely

resume after the end of each phrase.

The melodic line, which stays on top throughout, should appear seamless,
especially after the chords (for example at the beginning between the first and
second beats), but also during the changes of bow direction that must be inaudible
so as not to interrupt the melody.

Finally, perfect intonation is paramount.

 Partita II
BWV 1004

GIGA

q .!=!72

The character of this dance is simple and rustic and one can image peasants
tapping their feet rapidly on the upbeat and first beat, which can be conveyed with

a quick and vigorous bow (q . = 72) using the middle of the bow « à la corde » and a
supple wrist for quickness.

It is composed of a series of ascending or descending sequences of repetitive

motives that can be highlighted by dynamics that follow their shape.

Constant tempo, especially in the many stepwise passages where one tends to
accelerate.
 Partita II
BWV 1004

CHACONNE
q!=!60

Finally we arrive at the « Everest of violinists »!

A musical monument second to none that develops a 4 bar theme over a long
series of varied structures, building an original musical saga in a tryptique: first
part, D minor; second part D major; third part, D minor.

An Ancient dance of Spanish origin and moderate pace, the tempo advised by
Enescu remains stable (q = 60) from beginning to end, regardless of the major
technical differences between the many variations, which are linked together
without respite.

In the exposition of the theme Enescu did not repeat the chord on the eighth note
anacrusis, so as to differentiate the choreographic weight of the first and second
beats, just as it appears in the manuscript of Bach himself.

This first exposition must be expressed with a good amount of bow and very « à la
corde », giving a sense of the magnitude of what is to follow.

But the first variation that begins at measure 9 is played at a more moderate mf,
allowing for the possibility of the long crescendo to come.

Similarly, we will find the marking p at measure 17 for a similar gesture.

This method of beginning each variation p allows us to follow the upward curve of
the musical phrasing that usually ends forte. This avoids a colorless monotony and
holds the attention and emotion of the listener.

Just as changes in volume depend on the phrasing, the vibrato, which must always
animate the left hand, intensifies or subsides according to the temperament that
characterizes each performer. It is in this that interpretations differ.

The variation that begins at measure 25 is a more intense expression that animates
its melody: lengthen the bow and vibrate on every note. The following, measure
33, begins with a division between the soprano and bass voices, which we can
define through different sonorities.

It then develops melodically through various keys, and we will bring out the
accidentals, sharps or flats, by slight inflections up to its conclusion in measure 48.
Here again each artist expresses himself according to his temperament. From
measure 49-57, the author, by sequences of repetitive phrases whose successive
designs we will bring out through the bowing indicated by Enescu, leads us to the
ornate and very rhythmic inversion of the theme.

Measure 57 begins a particularly energetic variation with a very masculine rhythm,

exchanges between the bass and soprano and very dynamic arpeggios at the end.

At measure 65 the variations begin accelerating, and the alternation between

legato and martelé must not alter the regularity of the tempo in the least.

Be especially careful not to speed up on the finely balanced thirty-second notes.

Working progressively with the metronome is very useful! The intonation will
benefit along with the clarity of the long stepwise phrases.

Measure 77 returns to a temporarily calmer section where we can, within a p

dolce, be more expressive, especially between 81 and 85 with their diminished
and augmented intervals so dear to JS Bach (and we must respect Enescu’s
fingering). 85 is the beginning of a very long sequence of rapid notes of many
various shapes. First are four legato almost all stepwise notes (watch out for
intonation!), and from 89 bariolage in various formulas (carefully observe their
bowings!).

As usual we will try to remain p as long as possible... (apart from a slight

crescendo from 101 to 105 where we return to p).

The true crescendo only begins at 114 and ends at 121 on dazzling (but controlled)
cadenza that leads to the grandiose restatement of the theme in its original tempo!

After this exalting tempest in D minor conveyed through all kinds of arpeggiated
bariolages, adorned with intervals both dramatic or calming and leading to the
dazzling appearance of the opening theme, comes the second part of the D major
triptych (133), reflecting the author’s brilliant expertise of contrast.

Enescu visualized this episode as a ray of sunlight passing through a window,

landing on the tranquil hands of an organist playing... a sweet counterpoint whose
D major tonality provides a beneficent calming for both interpreter and listener!

While keeping the same tempo with a dynamic subito p the motion of the left
hand suddenly stops and it is relaxed and barely undulating, providing a rest
necessary...
but short-lived, because from measure 141 rhythmic activity begins; a passage of
ascending eighth notes still rather calm, played « louré dolce »…
At measure 149 sixteenth notes reanimate the atmosphere through various
ascending and descending repetitive phrases that grow increasingly agitated and
from measure 161 will bring out in an obsessive manner the note A, repeating it
three times at first p.

After a long crescendo that ends at 169 this A is relentlessly repeated not three but
four times, and contradicted by a response in double stops, which eventually gives
this variation a Mephistophelian character that we can achieve with more and
more energetic accents.

This new and changing ascent leads to a very expressive episode (at 177) to be
played sustained and very « à la corde », reaching out over 3 and 4 note chords
with a vibrato more and more present.

Measure 201 the apotheosis of this second part of the triptych bursts with
arpeggiated chords in D major! Use the entire bow, fff.

After a breath, the length of which will be an agonizing suspension between the
first and second beat of measure 209, we literally plunge into the D minor chord
that opens the dramatic third part of this work, to which a compelling
interpretation must give a Shakespearean dimension...

This D minor chord must be played fp and highly contrasted both in volume and
expression which moves suddenly from the greatest exaltation, ff, to the most
profound despair as dark as deepest night, pp.

All the chords in this variation should be attacked in a supple manner and
practically arpeggiated, with more vibrato and very soft.

Measure 217 is the quiet beginning of a long, slow ascent through varied and
increasingly expressive phrases. At measure 227 we arrive at a kind of cadential
break, almost AD LIBITUM, and we find ourselves at measure 229 at the
beginning of a section described by George Enescu as like the famous fresco by
Michelangelo named «Mater Dolorosa». We will play here with similar bowing on
each note of the melodic line, thinking about the especially painful aspect of this
masterpiece.

And we finally arrive at the last variation of arpeggios, a progression of

increasingly thick harmony leading to the final CODA in measure 248 which itself
leads to a final glorious restatement of the theme... for which we would be happy to
be able to grasp another three violins and five bows to have enough force to
express what we feel at such a moment !!!
Sonata III
BWV 1005
 Sonata III
BWV 1005

ADAGIO

q!=!40

JS Bach is one who knows the secret of restoring calm after the storm!

This slow Adagio prelude (marked q = 40 but it is a good idea to begin working at
e!=!80!before really thinking in!3/4) is as cool as can be... Enescu compared the!
repetitive rhythmic structure to the columns of the Parthenon.

The performer of this difficult prelude (one of many difficult pieces in this
collection of technical achievements) of lush chords constantly modulating from
key to key, should not let show any effort and let the most tranquil ecstasy prevail.

It is necessary then to be an absolute master of polyphonic technique.

Only extensive work focused on both the greatest accuracy of the often-subtle
intervals and the maintaining of an imperturbable tempo, as well as suppleness in
the bow changes, can overcome these technical difficulties. But at the moment of
performance it is the phrasing that will become the obvious primary concern!

Here again, one must always seek to bring out the melody by favoring bow
pressure on the relevant string.

In measure 18 one must invert the chords to bring out the bass.

In measures 20 and 22-23 it is the middle voices which must be brought out, as
well as in 27, 28, 29, etc.

The few trills must, according to the general tempo, be slow and must not exceed
two or three beats.

The last three measures, a CODA, end on a crescendo that showcases the last
dominant chord that leads to the great Fugue that follows.
 Sonata III
BWV 1005

FUGA
h!=!66

As with the two previous Fugues, this one starts with a simple theme of an
upbeat and 4 measures in C major that George Enescu played « martelé léger » in
the middle of the bow, which he termed « détaché d’orgue », and which will be
used throughout, more or less f … or p.

At the upbeat to measure 5 the upper voice enters. They continue together until
measure 10 where the soprano and then the bass voice enter. These four voices
eventually develop the theme together until measure 20 where we arrive at G
major.

Here begins the first episode based on the initial thematic cell, until the return of
the theme at measure 24 in the bass, which we will strive to bring out by inverting
the chords.

In measure 30 we will emphasize the middle voice until 34 where the motive will
develop in a “divertissement” varied in turn in each voice. We must bring out each
entrance with a slight emphasis.

This divertissement will evolve through various repetitive phrases, ascending or

descending, until the return of the opening theme in measure 92 where its motives
are distributed this time from voice to voice alternately.

It is up to the performer to bring out these passages by emphasizing the proper

voice. This requires great concentration.

It would be inutile and tedious to follow this measure by measure analysis with a
literary description. One who has understood up to here will continue with
instrument in hand to the end.

Watch out for the inversion of the theme in measure 201 indicated by the
composer himself.

To hold the listener’s attention do not hesitate to support the ascending or

descending phrases by emphasizing them with dynamics.
 Sonata III
BWV 1005

LARGO
e!=!48/52

Once again, JS Bach shows how to restore calm after the storm.

This slow piece is imbued with the greatest serenity and its tempo indication, the
slowest in music, will not exceed e = 48/52 metronome.
We must therefore adopt subtle nuances and a barely audible vibrato and, when
they occur, very slow trills of just two beats.

Take time to breathe between phrases by observing the signs or

indicating the beginning or the end of musical phrases.

As always, the slow tempo will be respected from the beginning to the end of this
sublime meditation.

ALLEGRO ASSAI
q!=!110

As its title suggests, this is a very happy finale that contrasts with the previous
Largo.

The dynamics f and p asked for by the composer, as well as the diverse bowing,
legato or détaché, attest to the quick and happy character always in the bright
tonality of C major.

Keep the bow « à la corde » with a very supple wrist during the bariolages, where
one can place accents to bring out the melodic or rhythmic line in this very
enthusiastic finale!
Partita III
BWV 1006
 Partita III
BWV 1006

PRELUDE
q!=!103/110

This beautiful and very famous Prelude is the first movement of this third
and final Partita for solo violin.

This etude is so motivating that even the laziest student becomes a hard worker. JS
Bach himself thought enough of it to later transcribe it for organ, on which it is
also often played.

All the great violinists are proud to play it alone or with the superb suite of six
French Dances that follow.

Enescu played it q = 103/110 and above all not in “perpetual motion” with a
succession of shapeless notes at an insane speed... which we hear so often.

Instead the rhythmic structures and the contrasting nuances indicated by the
composer himself are there to force the performer into the greatest discipline
concerning tempo (which should never vary) and phrasing (which emerges so
clearly in the writing).

We should not be afraid to follow the upward or downward phrases with dynamics
that underline them. Even if they are not indicated, the writing itself heavily
implies it.

One must study very carefully - and at a slow tempo - the bowing of the bariolage,
rather difficult to apply with the arms and above all the wrist, which must remain
as free as possible, even if it paralyzes you well before the end of the work!

One must have the greatest clarity of bow over the strings, giving it little length in
the middle, a precise point of contact on the string (judging the most favorable
place by ear) and ensuring its parallelism with the bridge.

An excellent performance will depend on these precise techniques!

Above all, it is not a sprint... contemptible! We are in Bach’s domain.

 Partita III
BWV 1006

LOURÉ
q!=!69

As with all great artists, what prevails here is the obvious contrast in tempo
and atmosphere. This slow dance of French origin is expressed with a gentle
melody and must be played with a calm vibrato, present on every note.

The characteristic of this dance is to give a slight inflection on every eighth pickup
and even on sixteenths in measures 6 and 7, 17, 19 and 22. Although these dances
were not written to be choreographed we must not overlook the style that the
author chose and keep a danceable tempo and rythm.

Again, the nuances shown by Enescu are desirable for the colors they bring to the
interpretation.

Trills are slow and should not exceed two or three beats.

GAVOTTE EN RONDEAU
h!=!74

An elegant court dance, it is very popular with musicians and often required
in competitions for its test of musicality and style.

The alternation of the theme « refrain » and the couplets indicates the chosen title.
We must respect the first repeat before the first couplet that begins mf, but the
development will be p with short and elegant bow strokes near the tip (hence its
characterization by Enesco as a “dance of polished shoes”).

The refrain is played léger martelé mf towards the tip of the bow (especially not
spiccato) and always ends p, except the last time where on top of the crescendo we
can add a little rallentando.

The couplets are each in a different key and begin f in contrast to the p end of the
refrain.

Take time to breathe, but always return to the same tempo and maintain an
elegant dance like agility.
 MENUETS
q!=!108/112

Like the Gavotte the Minuet is a French-born court dance that needs
gentleness and elegance in its interpretation.

So we will use the top of the bow with a light and elegant martelé at a dynamic
moderate, but still contrasting according to the phrasing.

At measure 18 we will take advantage of the legato phrases to add a little more
expression without the left hand by extending the bow further.

At measures 19 and 21 we will slightly accent the sixth eighth-note and emphasize
the development of phrase with a crescendo; 29 will be p before ending f.

Respecting the repeats we will connect the second Minuet in the same tempo.

It will make its difference through a gentler pace, more cantabile than rhythmic.

Again we must observe both repeats before returning to Minuet I playing it fully
but this time without a repeat.

BOURRÉE
h!=!84

A highly rhythmic popular French dance of rustic character, very musically

successful in the Suites.

Strongly mark the pickup and following downbeat.

Give full value to the quarter notes that follow the legato eighths and follow the
contrast in dynamics indicated by the composer.

Play both repeats.

GIGUE
q .!=!59

A rather fast and energetic folk dance where one strikes one’s heels, which
requires a lot of clarity in its interpretation, particularly on the anacrusis.

Here again we will respect the contrasting dynamics and play both repeats.

This short and brilliant piece is both the conclusion of the 3rd Partita in E major
and of this awesome musical monument, the 6 Sonatas and Partitas for Solo
Violin by JS Bach.
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