Bach, Johann Sebastian : Allemande g-moll BWV 836
Work Overview
Instrumentation：Piano Solo
Genre：allemande
Total Playing Time：2 min 50 sec
Copyright：Public Domain
Commentary (2)
Author : Asayama, Natsuko
Last Updated: April 1, 2008
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Author : Asayama, Natsuko
A work included in Clavier-Büchlein vor Wilhelm Friedemann Bach. It is likely a collaboration with his eldest son.
Completely different from the allemandes in Bach's suites, it does not employ contrapuntal writing, and the roles of melody and harmonization are clearly defined. Throughout the piece, ornamental motives descending chromatically interject, making the whole a light and agile dance-like miniature.
Furthermore, another allemande (BWV 837) is written following this piece. This one was likely composed only up to the first section, indicated by the repeat sign, with the remainder left unfinished. It is in a simple three-voice texture, and an effort to make the independence of the voices clearer than in the preceding allemande can be observed.
It should be noted that there is no particular motivic connection between these two allemandes.
Author : Ooi, Kazurou
Last Updated: October 30, 2023
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Author : Ooi, Kazurou
While many of Bach's pieces in G minor are solemn, this particular piece is not written in a fugal style but rather in a style closer to homophony, where the melodic line is the most important.
There are two points to be sensitive to in this Allemande: one is to vary the dynamics (loudness and softness) according to the harmonic changes. The other is to possess a sense of lyricism.
For example, the first measure begins in G minor with an anacrusis, forming a single phrase unit up to the downbeat of the fourth beat. In contrast, from that point onward, the second measure introduces the III chord (B-D-F), so the atmosphere should change. Then, in the third measure, it returns to G minor, but the pitch reaches B, creating very high tension. This section should be played forte.
In the fourth measure, C-sharp appears, and this section (measures 4-5) can be considered a complete modulation to D minor. The volume might decrease slightly here.
As in these examples, the color and dynamics should be subtly varied in response to harmonic changes.
From the fourth beat of measure 8, ties begin to appear in the melodic line. Similar passages can be found in measures 15-16. In such sections, the expression should be strong and played with abundant lyricism.