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Home > Bach, Johann Sebastian > 6 Sonaten für Klavier und Violine Nr.6 G-Dur

Bach, Johann Sebastian : 6 Sonaten für Klavier und Violine Nr.6 G-Dur BWV 1019

Work Overview

Music ID : 12701
Composition Year:1724 
Instrumentation:Chamber Music 
Genre:sonata
Total Playing Time:17 min 50 sec
Copyright:Public Domain

Commentary (1)

Author : Asayama, Natsuko

Last Updated: April 1, 2008
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The oldest and most important extant source (J. H. Bach's manuscript parts, created around 1724-27) is titled in Italian as Sei Suonate a Cembalo certato e Violino Solo, col Basso per Viola da Gamba accompagnata (Six Sonatas for obbligato harpsichord and solo violin, with bass for viola da gamba). The six works contained therein were not necessarily composed at the same time; while primarily from the Cöthen period, older parts date back to the Weimar period (Nos. 2 and 6), and revisions continued until the mid-1740s, even after they were initially compiled in Leipzig. However, they show consistency in form and style. That is, at least Nos. 1 to 5 have a four-movement church sonata form (slow-fast-slow-fast). Furthermore, throughout all six pieces, the harpsichord does not serve as a harmonic accompaniment to the violin; instead, its left and right hands become independent voices, developing contrapuntally. The term "cembalo certato" (obbligato harpsichord) in the title thus means "not basso continuo." The viola da gamba is presumed to have doubled the harpsichord's left hand. For some movements where this writing is particularly prominent, there is a theory that they are arrangements of trio sonatas.

Among these, only No. 6 has a different movement structure from the other five. Of its five movements (fast-slow-fast-slow-fast), there are no perfect cadences between the second and third movements, nor between the fourth and fifth movements; they are gently connected only by double bar lines. Thus, with the third movement acting as an intermediary, two larger sections, movements 1-3 and 3-5, can be seen as conjoined.

Movement 1

The first movement is a bright and lively trio sonata. It is interspersed with Italianate commonplaces such as scale passages and sequential progressions of arpeggios. The constant driving force of eighth notes, seemingly emerging from everywhere, makes it an extremely dynamic opening movement.

Movement 2

The second movement shifts in atmosphere to the parallel minor. It begins with a melancholic dialogue between the violin and the harpsichord's upper voice. In the latter half, the harpsichord's lower voice, which had been progressing calmly, joins the dialogue, and the three voices intertwine contrapuntally. The movement ends on a half cadence, leaving the conclusion of the dialogue unresolved.

Movement 3

The third movement follows, beginning on the tonic chord of E minor, but it is a harpsichord solo. It is generally in two voices, but temporarily becomes three voices in many sections where the upper two voices engage in dialogue. Formally, it is divided into three parts; after the repeat sign, it begins in the parallel major, where two voices are maintained, and the focus shifts from dialogue to passages and an eighth-note harmonic foundation. Eventually, the opening theme returns, and the dialogue between the upper two voices resumes. Viewed in this way, the entire third movement is essentially a precursor to what would later be known as sonata form (in its strict sense).

Movement 4

In the fourth movement, the violin returns. Intricate rhythmic variations and syncopations of various note values are combined in three voices, along with chromatic progressions and sigh motifs, expressing an atmosphere of restless anxiety and lament. In the concluding section, the tonal goal remains blurred, subtly ending on a half cadence on a D-F# major triad, which is the dominant chord of G minor.

Movement 5

The final movement is a lively Gigue, bringing back the dynamism of the opening movement. As is typical for the final movement of a suite, the entire piece develops contrapuntally. However, unlike a dance, it consists of three parts, with the third section being an almost complete recapitulation of the opening section, thus resembling a da capo form. The theme with the Gigue rhythm is heard throughout, but in the middle section, it is presented only fragmentarily and does not find a complete resolution. This makes the return of the theme in the third section joyful and effective.

It should be noted that No. 6 had the longest composition period, undergoing two major revisions from the Weimar period to its final version in Leipzig. Notably, two movements added in the second version and removed in the third version were later repurposed as the third and sixth movements of Partita No. 6 in Clavier-Übung I, also known as the Partitas.

Movements (5)

Allegro 4/4

Key: G-Dur  Total Performance Time: 3 min 50 sec 

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Largo 3/4

Key: e-moll  Total Performance Time: 1 min 40 sec 

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Allegro 4/4

Key: e-moll  Total Performance Time: 5 min 30 sec 

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Adagio 4/4

Key: h-moll  Total Performance Time: 3 min 00 sec 

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Allegro 6/8

Key: G-Dur  Total Performance Time: 3 min 50 sec 

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