One of the two Bach trio sonatas from which Mozart drew
movements to arrange for string trio, BWV 526 makes
effective use of its C minor key, carrying an aural and
emotional richness without suggesting pathos or high
drama. The first movement, Vivace, has two upper parts
often bubbling along together in thirds, with lively
but never frantic support from the pedals. The Largo,
with its gently flowing top voice over an accompaniment
in a lower register and gentle bass progressions, would
seem almo...(+)
One of the two Bach trio sonatas from which Mozart drew
movements to arrange for string trio, BWV 526 makes
effective use of its C minor key, carrying an aural and
emotional richness without suggesting pathos or high
drama. The first movement, Vivace, has two upper parts
often bubbling along together in thirds, with lively
but never frantic support from the pedals. The Largo,
with its gently flowing top voice over an accompaniment
in a lower register and gentle bass progressions, would
seem almost a pastorale if it progressed over a more
rocking rhythm. Unexpectedly, the upper and lower parts
eventually reverse their roles. The concluding, quietly
determined Allegro is something of a study in fourths.
The upper subject begins with an interval of a fourth,
and this infects the bass line, with its obsessive,
descending fourths.
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