SONATA No.3 IN C MAJOR FOR VIOLIN,BWV 1005 (1720)
by JOHANN SEBASTIAN BACH
1. Adagio
2. Fuga
3. Largo
4. Allegro assai
The Six Sonatas and Partitas for Solo Violin consist of three sonatas and three partitas. The Sonatas are in four movements, following the slow-fast-slow-fast order, a form known as sonata de chiesa (“church sonata”) with the second movement being a fugue in four voices. In a fugue, a theme (‘part’ or ‘voice’) is played and extended or developed through imitation. The three Partitas are mostly a collection of Baroque dance movements – they are not exactly meant to be danced to, but they take the rhythm and inspiration from the dances, in the usual tradition of a Baroque partita.
The opening movement (Adagio) of the C Major Sonata (No. 3) begins solemnly, played on a single string for an entire bar, already distinguishing it from the other two sonatas, which both start with a four-note chord. Bach then puts one new voice at every measure, and each addition produces a richer texture. Moreover, again in great contrast to the other sonatas of the set, the most distinguishable character is not in the melodic line given to one voice with other lines accompanying or elaborating in harmony, but in the recurring rhythm of a dotted 8th followed by a 16th (ta-a-a-ta). In fact this rhythm, found three times within a measure, is the consistent force in the entire movement, making it ponderous and grave.
In the second movement (Fuga), the clarity of the individual lines can be heard as well as the complexities of the musical structure and textures, and therefore it serves as a testament to the player’s achievements. Elegantly proud in its character, this Fugue is glorious for its masterful skills of compositional technique and for the completeness of its craftsmanship.
The grand scale of the second movement makes the reflective quality of the following movement (Largo) more compelling and powerful. Often, the voices seem to have an on-going relationship. At times, they are more conversational, at other times, like a ricochet or an after-thought reverberance.
The final movement (Allegro assai) is imbued with a bubbly quality. Amidst the cheerfulness there is also much humor. Sparkling and full of life, this movement finally gives the player a straightforward challenge at virtuosity.