top of page

Sat, Apr 11


3.4.2020 | Daniel Auner, violin

Daniel Auner, Dagmar Glüxam | J.Seb. stream

Works for violin solo by J.Seb. Bach introduction by Univ.Prof. Dr. Dagmar Glüxam (MDW) live stream

Ticket purchase completed
View events
Daniel Auner, Dagmar Glüxam | J.Seb. stream
Daniel Auner, Dagmar Glüxam | J.Seb. stream

Zeit & Ort

Apr 11, 2020, 2:30 PM – Apr 18, 2020, 6:30 PM

3.4.2020 | Daniel Auner, violin

Über die Veranstaltung

What is the effect of a musical affect?

Daniel Auner has worked intensively with the Viennese musicologist Dr. Dagmar Glüxam together. Her recently published book "From the soul you have to play" - LINK formed the basis for an interpretation purely according to the rules of musical rhetoric. One recording was supported by the Mozarteum University in Salzburg and will hopefully be released in 2020 with a Corona delay.

English text:

What effect has the affect?

We are today so used to hear some of Bachs music played in a meditative character that it became a "tradition" to play f.ex. the Adagio of BWV 1001, the first piece in this cycle, very calm. But look at these fast notes, these modulations and strong dissonances. Sei Solo - translated into English - Be Solo, could also mean that he used these works to process the loss of his beloved wife Barbara Bach. Imagine hearing this Adagio played by an organ, Bach's favorite instrument. Calm?


Dr. Dagmar Glüxam, Professor at the University of Music and Performing Arts in Vienna published a very much recommendable edition of the Sonatas and Partitas by Johann Sebastian Bach in 2009 with the Wiener Urtext Edition, UT 50255. In this edition she adds as a source to the original manuscript  (A) also a manuscript copy by Anna Magdalena Bach (B), a manuscript copy by two copyists from the middle of the 18th century, possibly Bach's pupil Georg Gottfried Wagner (BWV1001-1005) and another copyist from the end of the 18th century (BWV1006) (C), another incomplete manuscript copy from the collection of Johann Peter Kellner (1726) (D). Using these extra sources (of course just if in the A source something is not completely clear) she can add suggestions for bowings in places where it doesn't end up correctly.

"Although a different sound is naturally produced when performing the Sei Solo â Violino senza Basso accompagnato, Johann Sebastian Bach's Sonatas and Partitas, on the Baroque violin customarily used in the 17th and 18th centuries, with its lower and somewhat flatter bridge, smaller bass bar , somewhat shorter neck and fingerboard, gut strings, different bow shape, weaker hairs etc., there is no reason why Bach's solo violin works should not also be performed on the modern violin. The question of instrumentation and of holding the violin and bow is only one aspect of interpretation; the so-called "proper" performance of this work is no less important.

The exceptional popularity of the Sei Solo and the continual recurrence of certain interpretational questions has given rise to numerous, sometimes contradictory solutions. However, it is astonishing to note that the individual problems have to date mainly been tackled from the perspective of playing technique, while the elements of Baroque compositional theory - musical rhetoric and affective theory - have so far barely been considered in connection with this work. "

Quote: Preface of UT 50255, Prof. Dr. Dagmar Glüxam

The recording was made in Stiftung Mozarteum Salzburg and will be hopefully published still 2020.


  • Internet access

    You will receive the access code by email

    +€0.23 service fee



Diese Veranstaltung teilen

bottom of page