Bach's Partita In D Young Analysis

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Born in rural New South Wales, Kate Young began playing violin at the age of four. Despite growing up in Streaky Bay, a small and remote South Australian town 800km west of Adelaide, at the age of 14, she received a scholarship to study at the Sydney Conservatorium High School. Upon completion, she continued her musical studies at the Elder Conservatorium of Music in Adelaide where she studied under Keith Crellin OAM, graduating with honours in 2008. In the same year, she won first place in the prestigious ABC Young Performers Award. Kate Young rapidly established herself as a virtuosic soloist, and has since performed with the London, Adelaide, Melbourne and Sydney Symphony Orchestras; Warsaw, Royal and Berlin Philharmonic Orchestras, …show more content…
Allemanda
2. Corrente
3. Sarabanda
4. Giga
5. Ciaccona It is almost unanimously considered that Bach’s Partita in D minor is the pinnacle of violin performance. At the zenith of polyphonically written, non-keyboard works, Bach transcended any comparable prior composition in his expansion of musical complexity, vast technical demand and philosophical capacity. Following the typical slow, fast, slow, fast movement structure of the Baroque suite, the partita begins with the Allemanda movement. It opens with an intense sense of conviction and earnestness, and draws the listener in throughout the reoccurring conversational expressions. The second movement changes from the common time of the first movement to a simple triple measure. The combination of this signature change with the prominent triplet rhythm, makes the movement lighter and freer than the Allemanda. Suddenly slow and pensive, a haunting Sarabanda follows the dance. The polyphonic style of composition is once again clear in this movement, however this effect is implemented through use of intricate double stopping and chordal progressions. This is the first movement in the suite that does not follow binary form; a coda smoothly transitions the movement into the

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