David Llandino

Violin Literature: Listening Report

Sonata No. 1 In G Minor for Solo Violin by Johann Sebastian Bach

Bach composed this during his residence in Cöthen, a set of three sonatas and partitas, between
1703 and 1720. This is a very prolific period when he collaborated with chamber ensembles and he
composed mainly instrumental works like Brandenburg concertos or the French suites. The high
technical level of the musicians allowed him to ads complexity in his works. The sonata number 1 in g
minor are composed of 4 movements. The first movement is “Adagio" this movement has an expressive
melodic quality which combined with the use of advanced harmonies creates a memorable introduction
to the sonata. The versatility of chords distinguishes this movement and promotes the richness of
expression. The French and Italian styles were popular at the days of Bach. French style is nevertheless
significant in the Adagio. Because some elements of French style like expressiveness and freedom are
present in tempo (rubato) and time, the use of ornament, especially the appoggiaturas, giving the music
a special character. The creation of a polyphony illusion and linearity was common practice in French
music.

The second movement is the “Fugue" this fugue will certainly seem, very familiar to those who
are familiar with Bach's organ music. This fugue was later reworked for the organ to be part of Prelude
and Fugue in D minor, BWV 539 and for lute in the Fugue BWV 1000. The repeated use of chords with
three and four notes in this fugue is the main point of this movement. However, many different
characters are played in this fugue, being one of the reasons why this movement is exciting to listen and
to play. This movement is the central movement of this sonata. The third movement is “Siciliana”, the
term sicilliana is used for instrumental movements or arias that were popular in the late seventeenth
and eighteenth centuries. Usually, it was a slow movement in 6/8 or 12/8 one or two sentences long. In
the eighteenth century, many of these movements appeared in the instrumental music inspired by
Italian style. It is a dance movement originating Sicily. It is sometimes associated with the [pastoral spirit
and appears as a slow movement in Baroque sonatas of Bach Handel and Corelli, among others. The
origin of the style that could bind to Sicily is extremely difficult to trace. The third movement of the
Sonata is contrasting in B flat major, in fact, in the three sonatas Bach sets the new tone in the third
movement. This movement is a dance movement. Pastoral sense of this movement combined with the
pulsating rhythmic structure is a pleasure for the listener and is very refreshing after the intense and
emotionally grueling second movement fugue.

Then finally the last movement the “Presto”, presto is a tempo that suggests a very fast playing.
However, if today presto indicates a faster tempo than allegro, previously it indicates a moderately fast
tempo. The virtuoso and euphoria passages form in this movement a perfect combination for the ending
of this Sonata. The presto is marked by strong harmony changes followed by surprising connections that
make this ending remarkable. This sonata has so many things techniques that me as a musician will
really help for my future performances specially the free rubato style in the first movement in its
unusual double stops the will help me to play advance double stops on the violin. Also, the second
movements with so many fast-double stops change and the final movement which is in Presto that will
help me to play and express in playing fast passages with clear phrasing.
 I choose this recording because the player used a baroque violin that will really help us to hear
what this piece really sounds like. Also, the player follows the movements style bach wants it to be
played just like in the first movement. He do his own rubato style in playing, freely that he doesn’t have
a metronome or stable beat to follow.

Link: https://youtu.be/MRKy3kX8XUM