Phone
Tablet - Portrait
Tablet - Landscape
Desktop
Toggle navigation
Performers
Steinway Performers
Albright, Charlie
Anderson, Greg
Arishima, Miyako
Benoit, David
Biegel, Jeffrey
Birnbaum, Adam
Braid, David
Brown, Deondra
Brown, Desirae
Brown, Gregory
Brown, Melody
Brown, Ryan
Caine, Uri
Chen, Sean
Chulochnikova, Tatiana
Deveau, David
Farkas, Gabor
Feinberg, Alan
Fung, David
Gagne, Chantale
Golan, Jeanne
Goodyear, Stewart
Graybil, Matthew
Gryaznov, Vyacheslav
Gugnin, Andrey
Han, Anna
Han, Yoonie
Iturrioz, Antonio
Khristenko, Stanislav
Kim, Daniel
Li, Zhenni
Lin, Jenny
Lo Bianco, Moira
Lu, Shen
Mahan, Katie
Mao, Weihui
Melemed, Mackenzie
Min, Klara
Mndoyants, Nikita
Moutouzkine, Alexandre
Mulligan, Simon
Myer, Spencer
O'Conor, John
O'Riley, Christopher
Osterkamp, Leann
Paremski, Natasha
Perez, Vanessa
Petersen, Drew
Polk, Joanne
Pompa-Baldi, Antonio
Rangell, Andrew
Roe, Elizabeth Joy
Rose, Earl
Russo, Sandro
Schepkin, Sergei
Scherbakov, Konstantin
Shin, ChangYong
Tak, Young-Ah
Ziegler, Pablo
Facebook
Twitter
Instagram
Back 1 step
Johann Sebastian Bach
Johann Sebastian Bach
Sonata for Viola da Gamba and Harpsichord no 1 in G major, BWV 1027
Interpretations
About This Work
Controls
Cover
Artists
Label
Movements
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
About This Work
Johan Sebastian Bach's appointment as Kapellmeister at the city of Cöthen was basically a happy one, not because of any great esteem inherent in the title but because the Prince of Cöthen was a true music lover with a voracious appetite for the kind of pure instrumental music that the composer had had little time for in his previous position. This work is in fact an arrangement of the Trio Sonata for two flutes and basso continuo in G major, BWV 1039, composed around the same time, a process of musical re-evaluation that bears witness to what is arguably Bach's most important contribution to the development of eighteenth century chamber music: the elevation of the harpsichord from subordinate, partly improvised basso continuo to equal (sometimes superior), fully written-out musical partner in the duo sonata style.
The process in reality was simple, requiring only that the right hand of the harpsichord assume the role of the missing third instrument; in the case of this sonata, the flute part not taken over by the keyboardist is moved down to a register more congenial to the viola da gamba. The normal four-movement mold of the Baroque sonata da chiesa is at work in this piece: Adagio, Allegro ma non tanto, Andante, Allegro moderato. The strong movement-to-movement connection is most easily seen and heard in the way that the opening Adagio, in luxuriantly flowing 12/8 time, has no final cadence of its own but rather connects directly to the following Allegro via a half cadence (cunningly, the opening movement winds down to G minor, the major mode appearing only as the next movement begins). Both these first two movements open in the traditional imitative style of the Baroque trio sonata. A third of the way into the Allegro ma non tanto movement, Bach turns the melody upside down and proceeds to give it a new contrapuntal treatment; two-thirds of the way in, the original form of the subject returns over a dramatic dominant pedal. Far less energetic and outgoing is the languid Andante, whose ever-repeating sixteenth note mini-arpeggios and broken bass octaves cover a wide and colorfully chromatic harmonic distance in just 18 bars of music. A wonderful moment, radiant within the movement's languid E minor tonality, is achieved when Bach arrives at D major at the exact midpoint. Once the eighth notes of the final Allegro moderato begin, they hardly ever rest. Bach seems to be thoroughly enjoying his contrapuntal prowess here, even in the very first measure, when the opening gesture of the harpsichord right hand is used, in inverted fashion, to initiate the bass line.
-- AllMusic.com
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
01CDE34147E3485EE33941C7403B7474