RBP on JSB: Bach Partita No. 3, BWV 1006, movement 1

RBP on JSB is violinist Rachel Barton Pine's series for The Violin Channel about the Six Sonatas and Partitas for Unaccompanied Violin, by Johann Sebastian Bach, where she shares her thoughts on interpretation and practicing tips. In this episode, Rachel discusses the first movement, Preludio, from J.S. Bach's Partita No. 3 for Unaccompanied Violin, BWV 1006.

[@sormu16]

I do not play violin but I still was taken away by your charisma and clarity.

[@stephenkormanyos766]

Wow. Spectacular observations and analysis. Thank you so much for the video. After a 30 year hiatus I’ve picked up my fiddle once again. Relearning this partita has been difficult for me-I guess I never did understand the nuance written in the music and just barreled through it when I was a kid. Thank you for improving the musicality of my playing of this with your kind suggestions.
Steve K.

[@MacKenziePoet]

Rachel Barton Pine, the greatest violinist of our times.

[@marcl3013]

This was very illuminating. I play the classical guitar, and we use a transcription of a version for lute, so it is like a pilgrimage to the source to listen to your rich comments on the violin manuscript. Thanks so much!

[@JuanSJimenez]

Thank you maestra for this amazing video! My violin teacher when I lived in Colombia, once told me that you played with an orchestra in Bogotá a Bach violin concerto. He has very fond memories from that concert. Greetings from Berlin! :)

[@jorisArt]

Brilliant! Thanks!

[@estheroliveira509]

Thank you sooo much for this video, i can now undestand a little about the big Bach and this so difficult piece. Brazil here!!

[@0Evanna0]

This was what I needed to finally figure this piece out. Thank you for the kind teachings.

[@jthai6149]

Thank you for an enlightening commentary on the Bach Partita!

[@JonAhlquist]

6:22 Regarding where to start the forte and piano in measures 13 & 15 and 63 & 65, I prefer the choice you suggest at 9:31: Play the downbeats forte. The notes go by so fast that I believe it improves the clarity of the line. Regarding the use of a baroque bow with a modern violin, the baroque violin bow that I use with my baroque violin is too light to fit well with my modern violin. Instead, I use a treble viol bow, which is a bit heavier.

[@1959banjo]

I love these videos - thank you for sharing your knowledge!

[@loiseaunoir1021]

Thank you for this clip Rachel, very interesting. This piece is full of surprises.

[@prasadkkprasadkk8635]

Thanks a lot for this video, very informative, very useful, once again thanks a lot, waiting for more videos with a lot of love..

[@KristenMae]

Beautiful analysis and playing, thank you!

[@adrianwalsh6053]

I. Nor knowledgeable about violin tremeagogy about the violin or different movements but the way you where explaining is making me wanna check out meanings and so on thank u

[@emiliofan380]

Rachel is one of the best interpreters of Bach's Six Sonatas and Partitas for Unaccompanied Violin.

[@loiseaunoir1021]

I've been wondering.... bars 17 to 28, that chord section, why is the lower note always drawing the listener to the downbeat, even when it's not?

[@bach314159]

I was also wondering this. The theory I came up with is that from 17 to 20 the lower note are the only notes that are changing, and three bars might be enough for the brain to shift attention to concentration on the more „informative“ part, which is the place where the lower notes are in the cord. This impression is carried over to following bars which leads to a rather awkward passage change in 29.

[@wolfgangg7251]

Why did you not play the entire piece at the end there for us? Ah, man