- 山形大學紀要. 教育科學 (ISSN:05134668)
- vol.13, no.1, pp.31-66, 2002-02-15
本研究は1996年に開始したJ. S. バッハ無伴奏ヴァイオリンのためのソナタとパルティータ(BMV1001~6),全6曲からなるチクルス研究のプロセスをなす。今回は5曲目の無伴奏ソナタ第3番ハ長調BMV1005をとりあげ,チクルスにおける作品の意義について考察し,その奏法に自らのヴァージョンを構築することを目的とする。そのために本稿を3部に分け,既に山形大学紀要(教育科学)第11巻第4号に記した所感を増補する形で第Ⅰ部を進める。第Ⅱ部は調性感について触れ,続く4項目に楽曲を構成する楽章をそれぞれ対応させ,従前のソナタ第1及び2番を含めて比較的考察を行なう。第Ⅲ部においては本曲の奏法に絡む運弓法,運指法,強弱法等について,ここ百年に及ぶ13の版を照査し,それらの特長,相異等踏まえたうえで,自らも案出。これらに関連して他の文献をも参照するが,基本的にバッハ(以後J. S. を省略)の自筆譜に基づく原典版U. T.(Urtextの略)※を奏出の理念に据える。音楽表現の直接的手段は演奏であり,このような筆述は副次的なものと見なされがち。しかし,奏法を見極めるための視野を広め,表現の拠り所を見い出し,そこに新たな確信を得ることも有意と考える。今後さらに踏み込んだ表現内容を展開すべく,研究を進めていく所存である。 ※原典版(Urtext) JOH. SEB. BACH SECHS SONATEN UND PARTITEN FUR VIOLINE SOLO G. HENLE VERLAG MUNCHEN 1987 By studying the Unaccompanied Violin Sonata No.3 in C major BWV1005 by J. S. Bach, it is possible to have glimpses of the composer's image as an individual person through his lifestyle. This is none other than the image of Bach maintaining to the very end of his life his rhythm between the ordinary as a human made of flesh and blood and the extraordinary as a superhuman musician,and I find myself reaching a state filled with love and respect for him. In1720, Bach who was thirty-five years old with four children lost Maria Barbara, his wife of thirteen years and, towards the end of the following year, remarried Anna Magdalena, a young soprano singer sixteen years younger than him, and he was to be blessed with a total of thirteen children in his lifetime. This dramatic light and darkness symbolizes the main stream of the Zyklus consisting of six pieces, and this paper attempts to identify the blessings brought by Bach's improved fortune within the contents of his work. The two preceding sonatas with the same form and structure are also covered in this paper, and by contrasting these three sonatas, I shed light on the characteristics of this third sonata. Strictly speaking, a contrast with Partita No.2, which includes a Chaconne that makes up the climax of the Zyklus, might have produced a more striking contrast. In fact, in my previous study, I interpreted this Partita No.2 as the essence of a requiem, and developed my theory as close as possible to the significance of this work. "Adversity makes a man wise." For Bach, the many gem-like masterpieces produced later on must have indeed been the blessings borne by such adversity. There was also the soothing presence of Anna Magdalena, always by his side to assist him like sunlight pouring through the green leaves of trees. Without her devotion, the majority of Bach's works would not have attained their level of perfection, for it is said that she copied his scores by hand and made fair copies of them all so earnestly, and she had trained herself to such an extend that it is difficult to distinguish her handwriting from his. Essentially, she was a wonderfull and fervent supporter of Bach's, indispensable not only for his private life but also for his creative work. No doubt, it was this very bond of love which must have fostered the aspects of human warmth flowing out from the innermost depth of this piece of work. On the other hand, it is hard to find words to explain what was extraordinary about Bach as a superhuman musician, yet we know, even from the limited studies carried out so far, that his creativity encompassing all elements of expression, such as composition method, sence of tonality, sence of rhythm, etc., is indeed astonishing. As for the style of rendition, it is categorized into bowing, fingering, and dynamics, according to which I compiled my own version of the score of the very long fugue, by grouping it into subdivisions, while also adopting the interpretations seen in other scores for the convenience of the players and researchers. Also taking into account the diversity in the style of rendition as illustrated in the reference score, I strived to find significance in the limited number of unusual interpretations, rather than in the many common points. Furthermore, my personal version which I boldly presented in important places is founded on my original interpretations and contrivances. Just as in my previous paper, I feel as if I have accomplished the core of my study this time, with only Partita No.3 remaining of this research of mine, yet I intend to continue devoting myself so as to complete my studies on Zyklus. I sincerely hope that this subtle view on Bach can be shared by the numerous fellows researchers involved in the same study. Lastly, I wish to mention that this rendition was presented in public in the "First Evening of Recital of All Six Unaccompanied Sonatas and Partitas for Violin by J. S. Bach" held on Friday, April 25th, 1997, from 6:30 p.m., at the Bunshoukan Hall of Yamagata Prefecture as well as in the "First Day of the Recital of All Unaccompanied Sonatas and Partitas by J. S. Bach in Commemoration of the 100th Anniversary Since the Church's Foundation and the 250th Anniversary Since Bach's Death" in the hall of theYamagata Catholic Church, on Saturday, May 13th, 2000, from 4 p.m.