Bach Solo Violin Sonata in G Minor
The first of Bach’s six solo works for violin exudes the most calm. On a violin, the key of G minor has a pure and stable sound, as the two lower strings (the G and the D) fit naturally in the root position triad without needing to use the fingers of the left hand. The sonority of these low ‘open strings’ reverberates throughout the whole sonata. The opening Adagio movement is subdued, with an air of desolation. It fits well with Mattheson’s description of “moderate plaintiveness”. The Fugue, which by definition is strict in form, leans towards the “rather serious” side. It is the first fugue in the whole set of six solos, and Bach does not cut too many contrapuntal capers as yet. Later on, Bach – or somebody else – arranged this fugue for organ, without making too many changes (BWV 539). It is followed by the gently swaying Siciliana, the only movement of the sonata in a major key, which provides some relief. But although the atmosphere is more relaxed, there is still a hint of sadness. The final movement, the Presto, sounds like an example of what Mattheson may have meant by “tempered gaiety”. There is agitated motion, although it is in the minor. It is sharp, spirited, and virtuoso. The chord that closed the Fugue spread out over four strings, also ends the Presto. And the Adagio even starts and finishes with this harmony. This creates linking pauses between the movements; an effect used by Bach in this sonata alone. Performers: Adagio - Duncan McDougall Fugue - Jewel Chiang Siciliana - Elina Yuma Presto - Elina Yuma Check out our website: capricciointernationalyoungartists.com
The first of Bach’s six solo works for violin exudes the most calm. On a violin, the key of G minor has a pure and stable sound, as the two lower strings (the G and the D) fit naturally in the root position triad without needing to use the fingers of the left hand. The sonority of these low ‘open strings’ reverberates throughout the whole sonata. The opening Adagio movement is subdued, with an air of desolation. It fits well with Mattheson’s description of “moderate plaintiveness”. The Fugue, which by definition is strict in form, leans towards the “rather serious” side. It is the first fugue in the whole set of six solos, and Bach does not cut too many contrapuntal capers as yet. Later on, Bach – or somebody else – arranged this fugue for organ, without making too many changes (BWV 539). It is followed by the gently swaying Siciliana, the only movement of the sonata in a major key, which provides some relief. But although the atmosphere is more relaxed, there is still a hint of sadness. The final movement, the Presto, sounds like an example of what Mattheson may have meant by “tempered gaiety”. There is agitated motion, although it is in the minor. It is sharp, spirited, and virtuoso. The chord that closed the Fugue spread out over four strings, also ends the Presto. And the Adagio even starts and finishes with this harmony. This creates linking pauses between the movements; an effect used by Bach in this sonata alone. Performers: Adagio - Duncan McDougall Fugue - Jewel Chiang Siciliana - Elina Yuma Presto - Elina Yuma Check out our website: capricciointernationalyoungartists.com