An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Western Australia is a state occupying the entire western third of Australia. It is bounded by the Indian Ocean to the north and west, the Southern Ocean to the south, the Northern Territory to the north-east, South Australia to the south-east. Western Australia is Australia's largest state, with a total land area of 2,529,875 square kilometres, the second-largest country subdivision in the world, surpassed only by Russia's Sakha Republic; the state has about 2.6 million inhabitants – around 11 percent of the national total – of whom the vast majority live in the south-west corner, 79 per cent of the population living in the Perth area, leaving the remainder of the state sparsely populated. The first European visitor to Western Australia was the Dutch explorer Dirk Hartog, who visited the Western Australian coast in 1616; the first European settlement of Western Australia occurred following the landing by Major Edmund Lockyer on 26 December 1826 of an expedition on behalf of the New South Wales colonial government.
He established a convict-supported military garrison at King George III Sound, at present-day Albany, on 21 January 1827 formally took possession of the western third of the continent for the British Crown. This was followed by the establishment of the Swan River Colony in 1829, including the site of the present-day capital, Perth. York was the first inland settlement in Western Australia. Situated 97 kilometres east of Perth, it was settled on 16 September 1831. Western Australia achieved responsible government in 1890 and federated with the other British colonies in Australia in 1901. Today, its economy relies on mining, agriculture and tourism; the state produces 46 per cent of Australia's exports. Western Australia is the second-largest iron ore producer in the world. Western Australia is bounded to the east by longitude 129°E, the meridian 129 degrees east of Greenwich, which defines the border with South Australia and the Northern Territory, bounded by the Indian Ocean to the west and north.
The International Hydrographic Organization designates the body of water south of the continent as part of the Indian Ocean. The total length of the state's eastern border is 1,862 km. There are 20,781 km including 7,892 km of island coastline; the total land area occupied by the state is 2.5 million km2. The bulk of Western Australia consists of the old Yilgarn craton and Pilbara craton which merged with the Deccan Plateau of India and the Karoo and Zimbabwe cratons of Southern Africa, in the Archean Eon to form Ur, one of the oldest supercontinents on Earth. In May 2017, evidence of the earliest known life on land may have been found in 3.48-billion-year-old geyserite and other related mineral deposits uncovered in the Pilbara craton. Because the only mountain-building since has been of the Stirling Range with the rifting from Antarctica, the land is eroded and ancient, with no part of the state above 1,245 metres AHD. Most of the state is a low plateau with an average elevation of about 400 metres low relief, no surface runoff.
This descends sharply to the coastal plains, in some cases forming a sharp escarpment. The extreme age of the landscape has meant that the soils are remarkably infertile and laterised. Soils derived from granitic bedrock contain an order of magnitude less available phosphorus and only half as much nitrogen as soils in comparable climates in other continents. Soils derived from extensive sandplains or ironstone are less fertile, nearly devoid of soluble phosphate and deficient in zinc, copper and sometimes potassium and calcium; the infertility of most of the soils has required heavy application by farmers of fertilizers. These have resulted in damage to bacterial populations; the grazing and use of hoofed mammals and heavy machinery through the years have resulted in compaction of soils and great damage to the fragile soils. Large-scale land clearing for agriculture has damaged habitats for native fauna; as a result, the South West region of the state has a higher concentration of rare, threatened or endangered flora and fauna than many areas of Australia, making it one of the world's biodiversity "hot spots".
Large areas of the state's wheatbelt region have problems with dryland salinity and the loss of fresh water. The southwest coastal area has a Mediterranean climate, it was heavily forested, including large stands of karri, one of the tallest trees in the world. This agricultural region is one of the nine most bio-diverse terrestrial habitats, with a higher proportion of endemic species than most other equivalent regions. Thanks to the offshore Leeuwin Current, the area is one of the top six regions for marine biodiversity and contains the most southerly coral reefs in the world. Average annual rainfall varies from 300 millimetres at the edge of the Wheatbelt region to 1,400 millimetres in the wettest areas near Northcliffe, but from November to March, evaporation exceeds rainfall, it is very dry. Plants are adapted to this as well as the extreme poverty of all soils; the central two-thirds of the state is sparsely inhabited. The only significant economic activity is mining. Annual rainfall averages less than 300 millimetres, most of which occurs in sporadic torrential falls related to cyclone events in summer.
An exception to this is
Carlo Domeniconi is an Italian guitarist and composer. Although his compositions include a wide variety of genres and instrumentation choices, he is best known for his works for solo guitar, the Koyunbaba suite. Domeniconi's style is characterized by his adoption of multicultural influences, his works explore and borrow from a wide variety of national traditions, including Turkish, Indian and many more. Domeniconi was born in Italy, he received his first formal guitar lessons in 1960 from Carmen Lenzi Mozzani, granddaughter of the famous guitarist and luthier Luigi Mozzani. Making rapid progress, he won first prizes at the Ancona International Festival of Guitar in 1960 and 1962. After obtaining his diploma from the Rossini Conservatory in Pesaro, Domeniconi left Italy for West Berlin, where he studied composition at the Berliner Hochschule für Musik under Heinz Friedrich Hartig. Upon graduation in 1969, Domeniconi took up a teaching position in Berlin, which he held until 1992. In the 1960s, Domeniconi became interested in Turkish music traditions, which he studied in situ in 1977–1980, establishing and heading the first classical guitar course at the Istanbul University State Conservatory, on many shorter trips he took to Istanbul.
The list of Domeniconi's published compositions includes more than 150 titles. Most of these works are scored either for solo guitar, or an ensemble that includes one or more guitars. One of the defining characteristics of Domeniconi's music is its exploration of various national styles, which include Turkish, various South American styles, many others. One of the works inspired by Turkish music, the Koyunbaba suite of 1985–86 became Domeniconi's most well-known work. Throughout the 1990s it was frequently programmed in concerts and recorded by numerous performers; the piece is named after a Turkish saint. The liner notes to a recording made by Domeniconi in 1991 for a Turkish record label state that the work is a suite pastorale, describing "the natural beauty of a little bay" overlooking the Aegean Sea, where the saint was said to live centuries ago. Educational music has been a important field for Domeniconi, as numerous works he composed for young players attest, such as Klangbilder, 24 Preludes, Eine kleine Storchsuite.
Concerto di Berlinbul – Koyunbaba cover program Sindbad – Ein Märchen für Gitarre To Play or Not to Play Watermusic Movement in Circles, Chamber Music 1989–1995 El Trino del Diablo Selected Works I Selected Works II Selected Works I – solo guitar works, 2005 Selected Works II – solo guitar works, 2005 Selected Works III – Music for two guitars, 2006 Selected Works IV – Chamber Music, 2009 Selected Works V – 25 years Koyunbaba, 2009 Concerto Mediterraneo op.67 Carlo Domeniconi – Berlinbul Concerto – Doppelkonzert für Saz, Gitarre und Orchester, op. 29 from edition ex tempore, Berlin Carlo Domeniconi – Suite Pittoresca – Für Bassklarinette, Gitarre und Streichorchester from edition ex tempore, Berlin Cumming, Danielle. 2005. Led Zeppelin and Carlo Domeniconi: Truth Without Authenticity? D. Mus. paper Harries, Colin. 2014. "The Solo Guitar Music of Carlo Domeniconi: An Exploration of the Diverse Influences". Master's Waterford Institute of Technology. Summerfield, Maurice J. 2003. The Classical Guitar: Its Evolution and Personalities Since 1800.
Hal Leonard Corporation, ISBN 9781476851655 Wade, Graham. 2010. A Concise History of the Classic Guitar. Mel Bay Publications, ISBN 9781609742805 edition-ex-tempore.de/domenico. Carlo Domeniconi official website with biography and complete list of compositions and current CDs Biography and Photos Carlo Domeniconi Photos of Masterclass Photos of Presentation
Johann Sebastian Bach
Johann Sebastian Bach was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Art of Fugue, the Brandenburg Concertos, the Goldberg Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been regarded as one of the greatest composers of all time; the Bach family counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After becoming an orphan at age 10, he lived for five years with his eldest brother Johann Christoph Bach, after which he continued his musical development in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was engaged with chamber music. From 1723 he was employed as Thomaskantor in Leipzig, he composed music for the principal Lutheran churches of the city, for its university's student ensemble Collegium Musicum.
From 1726 he published some of his organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation, little remedied when he was granted the title of court composer by King Augustus III of Poland in 1736. In the last decades of his life he extended many of his earlier compositions, he died of complications after eye surgery in 1750 at the age of 65. Bach enriched established German styles through his mastery of counterpoint and motivic organisation, his adaptation of rhythms and textures from abroad from Italy and France. Bach's compositions include hundreds of both sacred and secular, he composed Latin church music, Passions and motets. He adopted Lutheran hymns, not only in his larger vocal works, but for instance in his four-part chorales and his sacred songs, he wrote extensively for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, suites, as chamber music as well as for orchestra.
Many of his works employ the genres of fugue. Throughout the 18th century Bach was renowned as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities; the 19th century saw the publication of some major Bach biographies, by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites devoted to him, other publications such as the Bach-Werke-Verzeichnis and new critical editions of his compositions, his music was further popularised through a multitude of arrangements, including for instance the Air on the G String, of recordings, for instance three different box sets with complete performances of the composer's works marking the 250th anniversary of his death. Bach was born in the duchy of Saxe-Eisenach, into a great musical family, his father, Johann Ambrosius Bach, was the director of the town musicians, all of his uncles were professional musicians.
His father taught him to play the violin and harpsichord, his brother Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music. At his own initiative, Bach attended St. Michael's School in Lüneburg for two years. After graduating he held several musical posts across Germany: he served as Kapellmeister to Leopold, Prince of Anhalt-Köthen, as Thomaskantor in Leipzig, a position of music director at the main Lutheran churches and educator at the Thomasschule, he received the title of "Royal Court Composer" from Augustus III in 1736. Bach's health and vision declined in 1749, he died on 28 July 1750. Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany, on 21 March 1685 O. S.. He was the son of Johann Ambrosius Bach, the director of the town musicians, Maria Elisabeth Lämmerhirt, he was the eighth and youngest child of Johann Ambrosius, who taught him violin and basic music theory. His uncles were all professional musicians, whose posts included church organists, court chamber musicians, composers.
One uncle, Johann Christoph Bach, introduced him to the organ, an older second cousin, Johann Ludwig Bach, was a well-known composer and violinist. Bach's mother died in 1694, his father died eight months later; the 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach, the organist at St. Michael's Church in Ohrdruf, Saxe-Gotha-Altenburg. There he studied and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private, blank ledger paper of that type was costly, he received valuable teaching from his brother. J. C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel and Johann Jakob Froberger. During this time, he was taught theology, Greek and Italian at the local gymnasium. By 3 April 1700, Bach and his schoolfriend Georg Erdmann—who was two years Bach's elder—were enrolled in the prestigious St. Michael's School in Lüneburg, some two weeks' travel north of Ohrdruf
Enrique Granados Campiña was a Spanish pianist and composer of classical music. His music is in a uniquely Spanish style and, is representative of musical nationalism. Enrique Granados Campiña was born in Lleida, the son of Calixto Granados, a Spanish army captain, Enriqueta Campiña; as a young man he studied piano in Barcelona, where his teachers included Francisco Jurnet and Joan Baptista Pujol. In 1887 he went to Paris to study, he was unable to become a student at the Paris Conservatoire, but he was able to take private lessons with a conservatoire professor, Charles-Wilfrid de Bériot, whose mother, the soprano Maria Malibran, was of Spanish ancestry. Bériot insisted on extreme refinement in tone production, which influenced Granados’s own teaching of pedal technique, he fostered Granados's abilities in improvisation. Just as important were his studies with Felip Pedrell, he returned to Barcelona in 1889. His first successes were at the end of the 1890s, with the opera María del Carmen, which attracted the attention of King Alfonso XIII.
In 1911 Granados premiered his suite for piano Goyescas. It is a set of six pieces based on paintings of Francisco Goya; such was the success of this work. He wrote an opera based on the subject in 1914, but the outbreak of World War I forced the European premiere to be canceled, it was performed for the first time in New York City on 28 January 1916, was well received. Shortly afterwards, he was invited to perform a piano recital for President Woodrow Wilson. Prior to leaving New York, Granados made live-recorded player piano music rolls for the New-York-based Aeolian Company's "Duo-Art" system, all of which survive today and can be heard – his last recordings; the delay incurred by accepting the recital invitation caused him to miss his boat back to Spain. Instead, he took a ship to England, where he boarded the passenger ferry SS Sussex for Dieppe, France. On the way across the English Channel, the Sussex was torpedoed by a German U-boat, as part of the German World War I policy of unrestricted submarine warfare.
In a failed attempt to save his wife Amparo, whom he saw flailing about in the water some distance away, Granados jumped out of his lifeboat and drowned. However, the ship broke in two parts and only one sank; the part of the ship that contained his cabin did not sink and was towed to port, with most of the passengers, except for Granados and his wife, on board. Granados and his wife left six children: Eduard, Enrique, Víctor and Francisco; the personal papers of Enrique Granados are preserved in, among other institutions, the National Library of Catalonia. Granados wrote piano music, chamber music, zarzuelas, an orchestral tone poem based on Dante's Divine Comedy. Many of his piano compositions have been transcribed for the classical guitar: examples include Dedicatoria, Danza No. 5, Goyescas. His music can be divided into three styles or periods: A romantic style including such pieces as Escenas Románticas and Escenas Poeticas. A more nationalist, Spanish style including such pieces as Danzas Españolas, 6 Piezas sobre cantos populares españoles.
The Goya period, which includes the piano suite Goyescas, the opera Goyescas, various Tonadillas for voice and piano, other works. Granados was an important influence on at least two other important Spanish composers and musicians, Manuel de Falla and Pablo Casals, he was the teacher of composer Rosa García Ascot. 12 danzas españolas for piano. The contents of the four volumes are: Vol. 1: Galante, Fandango. María del Carmen, opera Allegro de concierto Escenas románticas for piano; the individual "scenes" are: Mazurca. Titles of individual songs in the collection are: 1. Amor y odio. Callejeo. El majo discreto. El majo olvidado. El majo tímido. El mirar de la maja. El tra-la-la y el punteado. La maja de Goya. La maja dolorosa I, II, y III. La currutacas modestas. Canciones españolas for piano. Titles of individual songs in the collection are: Yo. Cançons catalanas for piano. Titles of individual songs in the collection are: L'ocell profeta. Goyescas, suite for piano, subtitled "Los majos enamorados", it consists of 6 pieces in 2 books.
Movements are: Book 1: Los requiebros. El pelele, although not published as part of the Goyescas, is appended to it. In performance it is played as the last piece, it is based on the music of the opening scene of the opera Goyescas, in which a "pelele" is being tossed in the air by the "majas." Bocetos which contains: Despertar del cazador.
Classical music is art music produced or rooted in the traditions of Western culture, including both liturgical and secular music. While a more precise term is used to refer to the period from 1750 to 1820, this article is about the broad span of time from before the 6th century AD to the present day, which includes the Classical period and various other periods; the central norms of this tradition became codified between 1550 and 1900, known as the common-practice period. The major time divisions of Western art music are as follows: the ancient music period, before 500 AD the early music period, which includes the Medieval including the ars antiqua the ars nova the ars subtilior the Renaissance eras. Baroque the galant music period the common-practice period, which includes Baroque the galant music period Classical Romantic eras the 20th and 21st centuries which includes: the modern that overlaps from the late-19th century, impressionism that overlaps from the late-19th century neoclassicism, predominantly in the inter-war period the high modern the postmodern eras the experimental contemporary European art music is distinguished from many other non-European classical and some popular musical forms by its system of staff notation, in use since about the 11th century.
Catholic monks developed the first forms of modern European musical notation in order to standardize liturgy throughout the worldwide Church. Western staff notation is used by composers to indicate to the performer the pitches, tempo and rhythms for a piece of music; this can leave less room for practices such as improvisation and ad libitum ornamentation, which are heard in non-European art music and in popular-music styles such as jazz and blues. Another difference is that whereas most popular styles adopt the song form or a derivation of this form, classical music has been noted for its development of sophisticated forms of instrumental music such as the symphony, fugue and mixed vocal and instrumental styles such as opera and mass; the term "classical music" did not appear until the early 19th century, in an attempt to distinctly canonize the period from Johann Sebastian Bach to Ludwig van Beethoven as a golden age. The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1829.
Given the wide range of styles in European classical music, from Medieval plainchant sung by monks to Classical and Romantic symphonies for orchestra from the 1700s and 1800s to avant-garde atonal compositions for solo piano from the 1900s, it is difficult to list characteristics that can be attributed to all works of that type. However, there are characteristics that classical music contains that few or no other genres of music contain, such as the use of music notation and the performance of complex forms of solo instrumental works. Furthermore, while the symphony did not exist prior to the late 18th century, the symphony ensemble—and the works written for it—have become a defining feature of classical music; the key characteristic of European classical music that distinguishes it from popular music and folk music is that the repertoire tends to be written down in musical notation, creating a musical part or score. This score determines details of rhythm, and, where two or more musicians are involved, how the various parts are coordinated.
The written quality of the music has enabled a high level of complexity within them: fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be difficult to achieve in the heat of live improvisation. The use of written notation preserves a record of the works and enables Classical musicians to perform music from many centuries ago. Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced; that said, the score does allow the interpreter to make choices on. For example, if the tempo is written with an Italian instruction, it is not known how fast the piece should be played; as well, in the Baroque era, many works that were designed for basso continuo accompaniment do not specify which instruments should play the accompaniment or how the chordal instrument should play the chords, which are not notated in the part.
The performer and the conductor have a range of options for musical expression and interpretation of a scored piece, including the phrasing of melodies, the time taken during fermatas or pauses, the use of effects such as vibrato or glissando. Although Classical music in the 2000s has lost most of its tradition for musical improvisation, from the Baroque era to the Romantic era, there are examples of performers who could improvise in the style of their era. In the Baroque era, organ performers would improvise preludes, keyboard performers playing harpsichord would improvise chords from the figured bass symbols beneath the bass notes of the basso continuo part and b
Partita for Violin No. 2 (Bach)
The Partita in D minor for solo violin by Johann Sebastian Bach was written between 1717 and 1720. It is a part of his compositional cycle called Partitas for Solo Violin; the partita contains five movements, given in Italian as: Allemanda Corrente Sarabanda Giga CiacconaExcept for the ciaccona, the movements are dance types of the time, they are listed by their French names: Allemande, Sarabande and Chaconne. The final movement is written in the form of variations, lasts as long as the first four movements combined. Performance time of the whole partita varies between 26 and 32 minutes, depending on the approach and style of the performer. Professor Helga Thoene suggests that this partita, its last movement, was a tombeau written in memory of Bach's first wife, Maria Barbara Bach, though this theory is controversial. Yehudi Menuhin called the Chaconne "the greatest structure for solo violin that exists". Violinist Joshua Bell has said the Chaconne is "not just one of the greatest pieces of music written, but one of the greatest achievements of any man in history.
It's a spiritually powerful piece powerful, structurally perfect." He played the piece busking in L'Enfant Plaza for The Washington Post. Since Bach's time, several transcriptions of the piece have been made for other instruments for the piano, for the piano left-hand. Johannes Brahms, in a letter to Clara Schumann in June 1877, said about the ciaccona: On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind. Felix Mendelssohn and Robert Schumann each wrote piano accompaniments for the work. Carl Reinecke transcribed the piece for piano duet; the earliest version for organ is by William Thomas Best. Further transcriptions are by John Cook, Wilhelm Middelschulte, Walter Henry Goss-Custard, Henri Messerer. In the preface to his 1955 transcription, John Cook writes: "The Chaconne is sublimely satisfying in its original form, yet many will agree that a single violin is only able to hint at the vast implications of much of this music … It is not unreasonable to suppose that Bach would have chosen the organ, had he transcribed the Chaconne himself, as the instrument best suited to the scale of his ideas … A good performance on the violin may be taken as the best guide to interpretation on the organ — the two instruments are not without their points in common, both were beloved of Bach."
There is a transcription of the Chaconne for solo cello made by cellist Johann Sebastian Paetsch in 2015. This has been published by the Hofmeister Musikverlag in Leipzig; the Chaconne is performed on guitar. Marc Pincherle, Secretary of the French Society of Musicology in Paris, wrote in 1930: "If, insofar as certain rapid monodic passages are concerned, opinion is divided between the violin and the guitar as the better medium, the guitar always triumphs in polyphonic passages; the timbre of the guitar creates new and emotional resonance and unsuspected dynamic gradations in those passages which might have been created purely for the violin. Many guitarists today prefer to play the Chaconne directly from the violin score. There are a number of transcriptions of the Chaconne for orchestras of different sizes, including Leopold Stokowski's transcription for a full symphony orchestra. Anne Dudley arranged Bach's Chaconne for piano trio, a recording by the Eroica Trio appears on their Baroque album.
In 2005 Joseph C. Mastroianni published Chaconne The Novel. Milo, abandoned by the father who introduced him to Chaconne, studies in Spain for four years to master the piece. In 2008 Arnold Steinhardt, the violin soloist and first violinist of the Guarneri String Quartet, published Violin Dreams, a memoir about his life as a violinist and about his ultimate challenge: playing Bach's Chaconne. In 2017 Márta Ábrahám and Barnabás Dukay published a book about Bach's Chaconne: Excerpts from Eternity – The Purification of Time and Character, the Fulfilment of Love and Cooperation with the Celestial Will in Johann Sebastian Bach's Ciaccona for Violin. Notes Bibliography Altschuler, Eric Lewin. 2005. "Were Bach's Toccata and Fugue BWV565 and the Ciacconia from BWV1004 Lute Pieces?" The Musical Times 146, no. 1893: 77–86. Anderson, Rick. 2002. "Johann Sebastian Bach: Morimur. Hilliard Ensemble. ECM 289 461 895-2, 2001." Notes, second series, 59, No. 1: 145. Berg, Christopher. 2009. "Bach, Busoni and the Chaconne".
Pristine Madness Block, Melissa. 2007. "Violin Dreams': Chasing Bach's Elusive Chaconne". NPR Music. Erickson, Raymond. 2002. "Secret Codes and Bach's Great'Ciaccona'". Early Music America 8, no. 2:34–43. Humphreys, David. 2002. "Esoteric Bach". Early Music 30, no. 2: 307. Mastroianni, Joseph C. n.d. Chaconne: The Novel; the Devil's Advocate. Menuhin, Yehudi. 2001. Unfinished Journey, new edition. London: Pimlico. ISBN 978-0-7126-6809-5. Pincherle, Marc. 1930. "Bach and the Guitar".. Rich, Alan. 2006. "Morimur: Is There Sex after Bach?" In his So I've Heard: Notes of a Migratory Music Critic, 66–67. Milwaukee: Amadeus. ISBN 1-57467-133-2. Schumann, C