Sonata No 2 in A minor, BWV1003 - Hyperion Records - CDs, MP3 and Lossless downloads

Sonata No 2 in A minor, BWV1003

composer

1720; Cöthen; Sei Solo a Violino senza Basso accompagnato Libro Primo; first published in 1802; later transcribed, possibly by Wilhelm Friedemann Bach, as the Sonata for harpsichord solo, BWV964

Recordings

Bach: Sonatas and Partitas for solo violin
Alina Ibragimova (violin)

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CDA67691/2 2CDs

Bach: Sonatas and Partitas for solo violin
Elizabeth Wallfisch (violin)

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CDD22009 2CDs Dyad (2 for the price of 1) — Archive Service Only

Bach: Piano Transcriptions, Vol. 5 – Goedicke, Kabalevsky, Catoire & Siloti
Hamish Milne (piano)

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CDA67506

Bach: Piano Transcriptions, Vol. 10 – Saint-Saëns & Philipp
Nadejda Vlaeva (piano)

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CDA67873

Details

Movement 1: Grave

Alina Ibragimova (violin)

Track 13 on CDA67691/2 CD1 [4'34] 2CDs

Elizabeth Wallfisch (violin)

Track 13 on CDD22009 CD1 [3'53] 2CDs Dyad (2 for the price of 1) — Archive Service Only

Movement 2: Fuga

Alina Ibragimova (violin)

Track 14 on CDA67691/2 CD1 [7'46] 2CDs

Elizabeth Wallfisch (violin)

Track 14 on CDD22009 CD1 [8'47] 2CDs Dyad (2 for the price of 1) — Archive Service Only

Movement 3: Andante

arranger
Alexander Siloti (1863-1945)

Hamish Milne (piano)

Track 10 on CDA67506 [4'35] (Copyright holder as reported by MCPS: Carl Fischer Inc)

Alina Ibragimova (violin)

Track 15 on CDA67691/2 CD1 [5'34] 2CDs

arranger
Camille Saint-Saëns (1835-1921)
dedicated to Emile Lehman; published in 1862 by Flaxland

Nadejda Vlaeva (piano)

Track 5 on CDA67873 [4'57]

Elizabeth Wallfisch (violin)

Track 15 on CDD22009 CD1 [5'19] 2CDs Dyad (2 for the price of 1) — Archive Service Only

Movement 4: Allegro

Alina Ibragimova (violin)

Track 16 on CDA67691/2 CD1 [5'28] 2CDs

Elizabeth Wallfisch (violin)

Track 16 on CDD22009 CD1 [5'38] 2CDs Dyad (2 for the price of 1) — Archive Service Only

Sonata No 2 in A minor, BWV1003

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The third work in Bach’s collection is the Sonata in A minor (BWV1003). In its opening Grave, a Largo to all intents and purposes, Bach makes extensive use of multiple stopping to provide harmonic support to the melodic line. As in the slow movement of the G minor Sonata, the music contains structural ambiguities for performer and listener alike, providing players with a variety of interpretative possibilities. The Fuga which follows presents a terse subject which, however, Bach develops in a manner altogether more complex than the equivalent movement in the G minor work. Here he achieves a wonderful expressive variety, developing the fugal material with contrasting passages of semiquavers, and multiple stopping to create two or three independent parts. The melodic line of the lyrical Andante is strongly differentiated from the underlying harmonic support, presenting something of a challenge to the performer who must preserve the distinction between the two elements. This melodically appealing movement leads to an Allegro finale, in binary form, in which Bach dispenses with multiple stopping in favour of a single melodic line containing a profusion of broken chords. The Sonata was later transcribed, perhaps by Wilhelm Friedemann Bach, as a piece for harpsichord solo (BWV964).

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