Movement 1: Allegro
Movement 2: Adagio
Movement 3: Allegro assai
The second movement’s fugal quality recalls the middle movement of the previous sonata in B flat major. As with that work, the idea of fugue is used as a topos or prop in order to highlight certain emotionally charged intervals, in this case an ascending seventh followed by a descending semitone in the opening theme. Bach uses a secondary theme in running semiquavers to give harmonic momentum and put the first theme into metrical relief.
The splendid third movement combines virtuosity with a cheeky sense for drama as a repeating-note figure propels moments of suspense. The composer makes use of the contrast between the rich lower register of the keyboard and the fast-speaking higher register’s shrill cantabile.
from notes by Mahan Esfahani © 2014