Violin Sonata No. 1 in G minor, BWV 1001Johann Sebastian Bach
Bach began work on his Sonatas
and Partitas for Solo Violin around 1703 while in Weimar. They date from
roughly the same period as the six Suites for violoncello and the Brandenburg
Concertos. Bach’s time in Weimar was particularly conducive to the composition
of secular works since he served as a court musician. The set was ultimately
completed in 1720 after Bach had moved on to serve as Kapellmeister in Cöthen.
Many composers were actively writing for the solo violin
since the last decades of 17th century. Of particular interest in
connection with Bach’s compositions is a set of partitas composed between 1682
and 1696 by Johann Paul von Westhoff. Bach worked alongside Westhoff while in
Weimar and there are stylistic similarities between their respective works for
solo violin.
The set contains three sonatas and three partitas. Each of
the sonatas contain four movements in the slow-fast-slow-fast pattern of the
Baroque sonata da chiesa, while the
partitas are set in the dance suite form. Furthermore, each sonata’s first two
movements are paired as a prelude and fugue.
The prelude of the first sonata in G minor, like
its successor in A minor, is highly ornamental with three- and four-note chords
turning into sweeping runs and an abundance of arpeggio figures. The following
fugue will no doubt seem familiar to anyone acquainted with Bach’s organ music.
This fugue was later reworked for organ as part of the Prelude and Fugue in D
minor, BWV 539 as well as for lute in the Fugue, BWV 1000. The third movement
is a siciliana, a slow dance in compound
meter and often with an emphasis on dotted rhythms. Finally, the last movement
takes on a presto tempo. It is in a
binary form and maintains a consistent sixteenth-note rhythm in 3/8 time with
the only exceptions being the cadences that conclude each section of the
movement. Joseph DuBose ___________________________________________
The autograph manuscript of the Six Sonatas and Partitas by Johann
Sebastian Bach (1685-1750) is dated 1720. Scholars believe he began writing
these pieces during the end of his service to the Duke of Weimar, possibly
during his brief imprisonment in November of 1717 for seeking to leave the
Duke's employ. Bach probably continued work on the Sonatas and Partitas after
entering the service of Prince Leopold of Anhalt-Cöthen, a period without
church duties in which he completed much of his celebrated chamber and
instrumental music. The Sonatas are in the Italian "church sonata"
form: slow, fast, slow, fast. The first and second movements are in the style
of preludes and fugues, the melodic third movements are in contrasting keys,
and the last movements imply multiple voices within a single line. The Partitas
(spelled "Partia" in the manuscript) are suites of dance movements.
It is clear that Bach's Six Sonatas and Partitas were conceived as a cycle.
Each Sonata is followed by a Partita. Each Sonata's fugue is longer and more
complex than the previous one's, and the movements of the Partitas increase in
number from 4 to 5 to 6.
Bach's Sonata in G minor begins with an Adagio in ABA form.
The taste and inventiveness of Bach's ornamentation is especially evident when
the outer sections are compared. The embellishments of the same material are
almost entirely different. The Fuga contrasts three-voiced contrapuntal
sections in multiple-stops and idiomatic homophonic passagework with implied
counterpoint. The section of broken chords in the middle and the organ-like
ending, both over a pedal point of D, are especially noteworthy. The delicate
Siciliana simulates the texture of a trio sonata, with two treble voices in
duet and an accompanying bass line. The Presto, in binary form, is full of
complex inner rhythms and is an impressive example of polyphony hidden in a
single-line movement.
About the Violin
I was fortunate to have had the opportunity to record this music on a 1770
Nicola Gagliano in unaltered baroque condition. The instrument is strung with
gut strings tuned to A=415. I chose this violin partly from a desire for
greater authenticity, but mainly because this instrument and setup bring me
closest to the concept of sound that I envision for my interpretations of this
repertoire.
To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.
Classical Music | Violin Music
Johann Sebastian Bach
Sonata No. 1 in G Minor, BWV 1001 Play
Recorded on 01/29/2004, uploaded on 02/12/2009
Musician's or Publisher's Notes
Violin Sonata No. 1 in G minor, BWV 1001 Johann Sebastian Bach
Bach began work on his Sonatas and Partitas for Solo Violin around 1703 while in Weimar. They date from roughly the same period as the six Suites for violoncello and the Brandenburg Concertos. Bach’s time in Weimar was particularly conducive to the composition of secular works since he served as a court musician. The set was ultimately completed in 1720 after Bach had moved on to serve as Kapellmeister in Cöthen.
Many composers were actively writing for the solo violin since the last decades of 17th century. Of particular interest in connection with Bach’s compositions is a set of partitas composed between 1682 and 1696 by Johann Paul von Westhoff. Bach worked alongside Westhoff while in Weimar and there are stylistic similarities between their respective works for solo violin.
The set contains three sonatas and three partitas. Each of the sonatas contain four movements in the slow-fast-slow-fast pattern of the Baroque sonata da chiesa, while the partitas are set in the dance suite form. Furthermore, each sonata’s first two movements are paired as a prelude and fugue.
The prelude of the first sonata in G minor, like its successor in A minor, is highly ornamental with three- and four-note chords turning into sweeping runs and an abundance of arpeggio figures. The following fugue will no doubt seem familiar to anyone acquainted with Bach’s organ music. This fugue was later reworked for organ as part of the Prelude and Fugue in D minor, BWV 539 as well as for lute in the Fugue, BWV 1000. The third movement is a siciliana, a slow dance in compound meter and often with an emphasis on dotted rhythms. Finally, the last movement takes on a presto tempo. It is in a binary form and maintains a consistent sixteenth-note rhythm in 3/8 time with the only exceptions being the cadences that conclude each section of the movement. Joseph DuBose___________________________________________
The autograph manuscript of the Six Sonatas and Partitas by Johann Sebastian Bach (1685-1750) is dated 1720. Scholars believe he began writing these pieces during the end of his service to the Duke of Weimar, possibly during his brief imprisonment in November of 1717 for seeking to leave the Duke's employ. Bach probably continued work on the Sonatas and Partitas after entering the service of Prince Leopold of Anhalt-Cöthen, a period without church duties in which he completed much of his celebrated chamber and instrumental music. The Sonatas are in the Italian "church sonata" form: slow, fast, slow, fast. The first and second movements are in the style of preludes and fugues, the melodic third movements are in contrasting keys, and the last movements imply multiple voices within a single line. The Partitas (spelled "Partia" in the manuscript) are suites of dance movements. It is clear that Bach's Six Sonatas and Partitas were conceived as a cycle. Each Sonata is followed by a Partita. Each Sonata's fugue is longer and more complex than the previous one's, and the movements of the Partitas increase in number from 4 to 5 to 6.
Bach's Sonata in G minor begins with an Adagio in ABA form. The taste and inventiveness of Bach's ornamentation is especially evident when the outer sections are compared. The embellishments of the same material are almost entirely different. The Fuga contrasts three-voiced contrapuntal sections in multiple-stops and idiomatic homophonic passagework with implied counterpoint. The section of broken chords in the middle and the organ-like ending, both over a pedal point of D, are especially noteworthy. The delicate Siciliana simulates the texture of a trio sonata, with two treble voices in duet and an accompanying bass line. The Presto, in binary form, is full of complex inner rhythms and is an impressive example of polyphony hidden in a single-line movement.
About the Violin
I was fortunate to have had the opportunity to record this music on a 1770 Nicola Gagliano in unaltered baroque condition. The instrument is strung with gut strings tuned to A=415. I chose this violin partly from a desire for greater authenticity, but mainly because this instrument and setup bring me closest to the concept of sound that I envision for my interpretations of this repertoire.
Rachel Barton Pine
More music by Johann Sebastian Bach
French Suite No 6 in E major BWV 817
Prelude in b minor
Prelude and Fugue in A minor BWV 894
Nun komm’ der Heiden Heiland, BWV 659
English Suite No. 2 in a minor, BWV 807
Well Tempered Clavier - Prelude 1
Prelude and Fugue in E Major from Well-Tempered Clavier Book II
Italian concerto, BWV 971
Prelude and Fugue in B flat minor, Well Tempered Piano Book 2
g-minor Violin Sonata - Presto
Performances by same musician(s)
Airs écossais, Op. 34
Violin Concerto in F-sharp Minor
Dance of the Goblins
Violin Concerto No. 2 in D minor, Op. 11 "In the Hungarian Style"
Violin Concerto in D Major
Violin Concerto in D major, Op. 77 (Joachim cadenza)
Violin Concerto in D major, Op. 77 (Barton Pine cadenza)
Romance for Violin and Piano, Op. 23
May Night
Violin Concerto in D Major, Op. 61
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To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.