Chaconne Vitali Sheet Music Pdf
Rocki Eibl
May 8, 2005 at 05:21 AM I have a recording of it by Sarah Chang and I'm totally entralled. Of course, I'm a new student of less than a year so almost everything sounds difficult. How difficult is is on a scale of 1 - 10? I started at 42 and wonder if I will ever be able to play some of these songs. Thoughts?
It is hard to compare this piece to a romantic conerto because they take different skills in my opinion. I had a student play this piece very well, but was a bit lost on the Bruch. I think to do the piece justice, you should be already working out of Kreutzer and Flesch. It is hard to say on 1-10 also, because what is 10? Is 1 twinkle? Anyhow. Great piece.
May 8, 2005 at 11:54 AM Hi there! I'm studying the Vitali Ciaconna (Chaconne) right now, and it's taking me quite a while. I'm at the level where I'm doign kreutzer's and some sevcik's, etc. To give you some hope - my teacher tells me that it's more of a showpiece, and it is meant to sound difficult and enthralling. However, the technique required is not the hardest in the world. Lots of luck!
May 8, 2005 at 06:11 PM This commonly performed version of the Vitali Chaconne is heavily edited by Ferdinand David. If you like the piece but find the technical bits difficult, try the "most authentic" version published by Brenreiter in the Hortus Musicus series. Although that isn't the most original, since the Vitali's manuscript is nowhere found, it does give you a hint of how close to the original this piece should be played.
May 8, 2005 at 05:31 PM It's a really great piece! I learned it about a year and a half ago and it's been a frequent piece to include on my recitals since. It gives you a chance to be musical and to show off the technique of the violin. That thing I found the hardest about this piece was probably the right hand technique as opposed to the left. There are lots of different bowing challenges that come up and that made the piece hard for me.
Good luck, and have fun! If you can, try to get your hands on the Heifetz recording with organ. There are a few differences in the piece edition (including a more extended cadenza at the end) but it gives you a really different sense of the piece.
May 8, 2005 at 07:12 PM Vitali is a very obscure figure; I have always loved the intensity of this piece but it has always seemed rather mysterious to have this piece with an underlying baroque feel and all sorts of romantic-showpiece qualities. Someone mentioned that David edited it (I would think a good thing, if only because of how he was instrumental in the Mendelssohn concert turning out the way it did); but did david "discover" the piece or was it already in the repertoire back then? It interests me how an obscure baroque work become a widely beloved violin showpiece, especially when nobody has any clue about the composer himself... a rare occurrence.
May 8, 2005 at 08:20 PM There's a publication by Schirmer that's easier than the Ferdinand David version. I took parts from the David version but not all of it. I would say you have played Scene de Ballet and Bach concerto 1 before attempting this piece. Like mentioned above, the right hand stuff is a real challenge.
May 8, 2005 at 08:19 PM Thanks for the insight. Sounds like there's hope for me. When I said I was a beginner, I meant it. I'm on Suzuki and Sevcik 1 but making progress. My original goal when I started wasn't very specific so I didn't get specific results. I now know what I don't know (if you understand that) and am putting more time into practice. I have a great teacher so I feel like I'm on my way. Being an 'A type' personality (I prefer to think A-) I got a little frustrated with my progress. I can see this is a life-long journey. Off to practice...
May 8, 2005 at 10:32 PM I will be starting the Vitali soon along with the Bartok Romanian Folk Dances, after I complete the Dvorak Sonatina, Viotti No.23, and Bach g minor Presto. Hopefully that gives you a sense of the difficulty of the piece. Lol because I'm not so sure myself exactly how difficult it is.
May 8, 2005 at 11:51 PM The Chaconne is an absolutely wonderful piece, though I tend to doubt it's authenticity (tenths and octaves in 8th position?) I wouldn't say that it's the most terribly difficult piece to play technically, but to articulate everything and get all the proper nuances is so frustrating. Sevcic and Flesch will be a great bit of help when working through the sections in thirds and 6ths and octaves. Just remember to have fun with it!
May 9, 2005 at 02:08 AM Mark, you made me curious... It is really interesting if Ciaconna was performed before David edited it. What I know, that some musicologists think that Ciaconna belongs to David. But if we keep in mind that Vitli was violinist and composer and his father was a composer too(as well as violinist and violist) who was master of dance genres, like ciaconna and passacaglio, so his son, Tommaso most likely wrote this composition himself.
May 9, 2005 at 06:24 AM The "most most most original" is lost, which is Vitali's manuscript. The closest-to-original version you can get is the Brenreiter edition. It doesn't contain those silly octaves or high runs. It's a completely different piece, in terms of style. Most of the variations are the same or similar, while they are in different order to the commonly performed virtuoso version.
May 9, 2005 at 02:15 PM It sounds like I'm several years away from this piece. In the meantime, I'm going to speak with my teacher about my progress. We seem to work on whatever I want to work on. He's a stickler for technique (which is a good thing) but shouldn'there be more structure to the approach. I can see he's a great teacher with GREAT skill. He plays for the Pennsylvania Ballet in Philadelphia and does a lot of other work (commercials, conducting of a youth orchestra, etc.). I feel like it's an aimless approach. What should I expect from my teacher? He was referred by another music teacher and I know he has the credentials.
May 9, 2005 at 04:58 PM Ok, question on playing the chaconne - at measure 77 we find the slurs, with the second half of the slur all staccato notes. How are these supposed to be played? Do I keep the bow on the string and just do them staccato normally, or do I do a spiccato/sautille (what is the difference??) kind of thing. Thanks!
May 9, 2005 at 05:08 PM In spicatto the bow bounces and in sautille the wood bounces but not necessarily the hair. I think it's basically what spicatto turns into if it's fast enough. Some teachers don't even differentiate.
May 10, 2005 at 09:10 PM There is a recording of the 'original' (or as close as possible) score, done by Eduard Melkus. It is a totally different piece; there's even a set of variations in E-flat major which is totally cut out of the David edition. It then morphs into E-flat MINOR before going back into more familiar variatons.
May 11, 2005 at 03:43 AM This piece was made romantic by none other than Ferdinand David...the piece played in it's intended fashion will bore most of the people reading this to tears. Cheers to David! PS I have the first edition engraving of this piece arranged by David! HOT STUFF
Long time ago when I first saw this piece of music on a shelf in a music shop, I pulled it out and had a look. At that time I knew nothing about this piece and its composer. I thought, huh? Vitali's date, and the style of this piece? Impossible to be baroque at all.
June 1, 2008 at 10:02 PM Candace: Depending on what kinds of pieces you make a 10, the Chaconne is either a 9 or a 10. It's a gorgeous piece though, isn't it? I wish I could play it all the way through.
June 2, 2008 at 02:24 PM I don't know of an orchestral version, either. My dad brought this to me (he was an organist) when I was a junior in high school, hoping that I could play it. I was a decent enough violinist--very average, probably mid-Kreutzer at that stage, doing Viotti 23 (if memory serves me). The Vitali was much too difficult for me and my low work-ethic at the time, but I achieved it my 3rd year of college (too late to play with dad, who had passed away).
My 17 yr. old daughter played it 2 years ago...she is now doing Lalo, Bruch, Novacek, just finished Kabalevsky. She thinks it's comparable to some of these. A GORGEOUS piece, but a real workhorse. She did it from memory and the piece is slow....seems to me that it was over 10 mintues, and once you begin playing, there is NO PLACE with more than about 3 beats rest for the entire piece. So make sure you tighten your bow before you start, because there is no place to do so once you begin! (This last is a reference to daughter's competition this last weekend. Began playing Kab. with collapsed bow, and had over 4 pages before she had a break where she could correct. Needless to say, it impacted her articulations a bit:)).
July 3, 2008 at 04:22 AM I thought I would check here for answers. I have seen in the Kalmus catalog a couple of different arrangements of the Vitali with orchestral accompaniment, including one by Respighi.
I have a student playing the Charlier arrangement entering a concerto competition. Which orchestral version is correct? Are one of the Kalmus versions good, or do I need to look further? I remember from years ago that someone played it with our youth symphony, so I know the accompaniment exists. Thanks.
1. You have not sat down and laid out clear, short and long term goals with your teacher. therefore since your an adult learner, he does not know what to do or where to go with you. For a young child, the teacher and parents make that decision. All my teachers ask me what are my goals, because unlike a young child, we actually need to really think about such things.
2. It could be your teacher does not take you seriously as a student, so he just gives you stuff to satisfy your appetite until you give up. I have also experienced this. However, it was in part because I had not set clear enough goals for myself and my instructor.
July 3, 2008 at 01:47 PM I bought Respighi's orchestration but I myself edited it quite a bit since I learned Auer's solo version (and preferred it!) :) But if I'm remembering correctly, by editing, I really mean cutting out a lot of measures and skipping around since the order of variations were different.
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