Arrangements

originally for solo violin
arranged for guitar by Wulfin Lieske

The "Chaconne" by Johann Sebastian Bach is one of the major manifestations of classical music and already achieved near legendary status at the beginning of the 20th century among musicians and audiences alike. Due to their monumental arrangement and high interpretative and technical challenges, they were often widely perceived in isolation from their compositional and often also historical context to become the showpieces of ambitious soloists. 

Johann Sebastian Bach began composing "Ciaccona" during his Weimar period (1708-1717) - the manuscript was published in Köthen in 1720. ( As finale of the five-movement partita no.II in D minor. As such, it is part of the cycle "Sei Solo. a Violino senza Basso accompagnato“ (BWV 1001-1006). With the three sonatas and partitas in alternation, Bach defies the violin's technical limitations in the movements to create a unique compositional cosmos. Rigorous forms like fugues and largely monodic motoric allegro movements contrast with a variety of dance movements in different styles. 
In the D minor partita all movements are linked by a simple striking harmony sequence. Bach's omission of a prelude turn the typical dance movements Allemanda, Courante, Sarabanda and Gigue almost into a suite of their own, crowned by the Ciaccona with its 64 variations of the four-beat harmony scheme. 

In the version for guitar the compositional structures are clarified and developed into an instrumental idiom appropriate to its musical language. This is oriented both towards Bach's own adaptations and also the practice of playing the Baroque lute, thus avoiding a one-sided treatment of the Ciaccona. Aspects of famous romantic adaptations like that of Ferucci Busoni and after him, Andrés Segovia are not taken into account, despite the historical significance of their styles. 

Changes in respect of the original are not marked up specially, but are revealed in direct comparison to the attached original manuscript. Any decorative elements added are set in parentheses. Some performance alternatives were presented as "ossia" in small print. They can be used - especially in the Sarabanda - for the refrains. The original movement, on which the two elaborated arpeggio passages in the Ciaccona are based, is also appended. 
The fingering serves as reference only and has been limited to a minimum.

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