, in G minor, establishes right at the start the nature of the collaboration between the treble and bass parts. The first, second and fourth movements employ the contrapuntal device of imitation with an almost academic ostentation, while the third movement (Sarabanda) pursues a quite different path, bringing the cello into prominence by giving it a highly active accompanying line in regular quavers. These alternative ways of highlighting the cello – through thematic integration with the violin or through thematic independence coupled with virtuosity – are deployed throughout the set. Perhaps the most attractive movement in this sonata is the final Corrente, which apes the traditional Giga in its extravagant, almost grotesque melodic leaps.
from notes by Michael Talbot © 2004