A Comparison of the Ivan Galamian and Rachel Barton Pine editions of the Sonata No. 3 in C Major for Solo Violin by Johann Sebastian Bach, BWV 1005

Fadero, Chandler

A Comparison of the Ivan Galamian and Rachel Barton Pine editions of the Sonata No. 3 in C Major for Solo Violin by Johann Sebastian Bach, BWV 1005

dc.contributor.advisor	Lee, Gregory
dc.contributor.author	Fadero, Chandler
dc.contributor.committeeMember	Lee, Yena
dc.contributor.committeeMember	Shames, Johnathan
dc.contributor.committeeMember	Pederson, Sanna
dc.contributor.committeeMember	Zeigler, James
dc.date.accessioned	2023-05-19T21:31:40Z
dc.date.available	2023-05-19T21:31:40Z
dc.date.issued	2023-05-12
dc.date.manuscript	2023-03-15
dc.description.abstract	Study of the Sonatas and Partitas by Johann Sebastian Bach (1685—1750) is an inevitable avenue of the violinist’s artistic journey. The most commonly studied version of the Sonatas and Partitas is the edition published in 1971 by the renowned 20th century pedagogue Ivan Galamian. In recent years, interest and observance of historical performance practice has increased. As such, new editions and treatises of the Sonatas and Partitas have been published featuring historically-informed interpretations, including one such edition by Rachel Barton Pine in 2017. Of the Sonatas and Partitas, the Sonata No. 3 in C Major BWV 1005 tends to be considered as one of the most challenging of the set. This document will therefore compare the classic fingerings and bowings of the Ivan Galamian and the historically-informed approach of Rachel Barton Pine of the Sonata No. 3 in C Major. There are two major factors that lead to the differences. First, violinists of the early 18th century tended to utilize first position while contemporary violinists use a wider variety of positions. Second, bowing styles were better suited to a different bow, as evidenced by the bowings included in the autograph manuscript. The Pine edition tends to remain closer to the bowings indicated in the autograph manuscript, where the Galamian edition makes a number of changes that better suit the modern bow. The fingerings and bowings are the chosen criteria for comparison as they account for the two most significant areas of editing that are found in both editions. Both editions offer unique and illuminating insight, which merits in-depth study. Ideally, a violinist would adopt ideas from both editions (and styles) in forming their own interpretations of the Sonata No. 3 in C Major, BWV 1005.	en_US
dc.identifier.uri	https://shareok.org/handle/11244/337720
dc.subject	Bach	en_US
dc.subject	Violin	en_US
dc.subject	Editions	en_US
dc.subject	Sonata	en_US
dc.thesis.degree	D.M.A.	en_US
dc.title	A Comparison of the Ivan Galamian and Rachel Barton Pine editions of the Sonata No. 3 in C Major for Solo Violin by Johann Sebastian Bach, BWV 1005	en_US
ou.group	Weitzenhoffer Family College of Fine Arts::School of Music	en_US