Chords for Hilary Hahn, Grave, Violin Sonata No. 2 - BACH & friends - Michael Lawrence Films

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[Am] I always [Em] felt an [Dm] affinity with Bach's solo [Ab] violin [Abm] music.
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[Bb] A lot of people forget, I [C] think, that Bach was so active as a [Am] violinist, _ _ _ [Bb] and he got his
first job as a [C] violinist. _ _
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_ _ [Bb] _ _ [Dm] _ Bach, I find, to be a very progressive composer, _ [Gm] an active [Em]
proponent [F] of innovation.
[G] _ [A] _ [E] _ _ _
_ [Am] _ _ _ [G] His use of chromaticism and his invention of line [Dm] within harmony is _ [Fm] really [Am] very imaginative,
and I wonder how it was perceived in his [E] time. _
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_ _ _ _ _ I think, actually, he was [Am] quite out there.
He was [Bb] experimenting very much [E] like someone
like Schoenberg.
_ _ [Dm] Most [Ab] people think of Schoenberg as an academic composer, [Dbm] [Am] as a method composer,
but [E] I don't think either [Gbm] of them intended to [Gb] be methodical.
I think they were writing
what they felt, [Ab] and I think they were giving themselves structures so that [Em] they would be
even freer to write.
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_ _ [E] _ And the pure [D] emotional nature of both [E] of their music is often quite [G] overlooked.
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_ [Bb] _ _ _ _ _ [Eb] Sometimes the most [G] mathematical-seeming music is [D] actually the most liberating [Em] to play, because
you have certain [B] structures set out for you, you have the groundwork all [E] clearly laid,
and then you really have to be creative, you really have to invent something in your interpretation.
[A] _ _ _
[Ab] _ _ I think, [Am] technically, Bach is definitely a [E] touchstone, because [C] you can't get away with
[A] faking it.
You really have to do [Eb] it all the way.
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_ [Bbm] _ _ [A] _ I have to phrase each voice [C] separately.
It's one line [A] that's not effective [Dm] or not integral
to the interpretation can [Am] really skew [Bb] everything in the [E] [Dm] listener's ear, so [E] it's [Dbm] _ [Bb] tricky.
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[Ab] _ [Dm] But I [Eb] have to think about these [B] [E] lines [Bb] converging [E] and weaving in and out.
It gives [Eb] me a chance
to [E] dive beneath and really find [Bb]
the [Em] core elements that appeal to me, [Fm] so that I can [Bb] work with that
and make it something very [E] personal for me, and hopefully something very [D] personal for the audience as well. _ _ _ _
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I really feel like my [Em] job is to interpret it and [G] pass it on, and I feel [E] that back from them.
When it's being received well, I do [F] feel [E] that, and it's [Am] a wonderful reciprocal feeling, [Dm] and it is magical.
[E] It's very meditative, [D] actually, to play Bach to a crowd that's really listening.
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