J.S. Bach's six authentic sonatas for violin and
keyboard (BWV 1014 - 1019) are unquestionably
progressive, not least for their inclusion of fully
realized keyboard accompainments (as opposed to
continuo parts with figured bass). They represent the
real beginnings of the duo sonata as the term is
understood today. It may well be that the fourth -- the
Sonata for violin and harpsichord in C minor, BWV 1017
-- is stylistically-speaking the most unusual and
forward-looking.
Opening a four...(+)
J.S. Bach's six authentic sonatas for violin and
keyboard (BWV 1014 - 1019) are unquestionably
progressive, not least for their inclusion of fully
realized keyboard accompainments (as opposed to
continuo parts with figured bass). They represent the
real beginnings of the duo sonata as the term is
understood today. It may well be that the fourth -- the
Sonata for violin and harpsichord in C minor, BWV 1017
-- is stylistically-speaking the most unusual and
forward-looking.
Opening a four-movement sonata with a Siciliano, as
Bach does here, is certainly unusual, if not
necessarily groundbreaking; the swaying sicilienne
rhythm is given to the violin while the harpsichord
ponders arpeggios.
This is the Largo from the "Siciliano" (1st Movement)
of J. S. Bach's BWV 1017 and although written for
Violin and Harpsichord, I arranged this piece for a
non-standard Woodwind Trio (2 Oboe's and Bassoon).
SHEET MUSIC