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Sonata No 3 in C major, BWV1005
composer
Johann Sebastian Bach (1685-1750)
1720; Cöthen; Sei Solo a Violino senza Basso accompagnato Libro Primo; first published in 1802

Copyright holder as reported by MCPS: Public Domain

Recordings
'Bach: Sonatas and Partitas for solo violin' (CDA67691/2)
Bach: Sonatas and Partitas for solo violin
Alina Ibragimova (violin)
'Bach: Sonatas and Partitas for solo violin' (CDD22009)
Bach: Sonatas and Partitas for solo violin
Elizabeth Wallfisch (violin)
MP3 £7.99
FLAC £7.99
ALAC £7.99
Buy by post £27.98 (ARCHIVE SERVICE)
CDD22009  2CDs Dyad (2 for the price of 1) — Archive Service Only  
'Bach: Piano Transcriptions, Vol. 10 – Saint-Saëns & Philipp' (CDA67873)
Bach: Piano Transcriptions, Vol. 10 – Saint-Saëns & Philipp
Nadejda Vlaeva (piano)
Details
Movement 1: Adagio
Alina Ibragimova (violin)
Track 6 on CDA67691/2 CD2 [4'11] 2CDs
Elizabeth Wallfisch (violin)
Track 6 on CDD22009 CD2 [4'10] 2CDs Dyad (2 for the price of 1) — Archive Service Only
Movement 2: Fuga
Alina Ibragimova (violin)
Track 7 on CDA67691/2 CD2 [10'39] 2CDs
Elizabeth Wallfisch (violin)
Track 7 on CDD22009 CD2 [12'47] 2CDs Dyad (2 for the price of 1) — Archive Service Only
Movement 2: Fugue
arranger
Camille Saint-Saëns (1835-1921)
dedicated to Wilhelmine Clauss-Szarvady; published in 1873 by Durand Schoenewerk

Nadejda Vlaeva (piano)
Track 11 on CDA67873 [7'04]
Movement 3: Largo
Alina Ibragimova (violin)
Track 8 on CDA67691/2 CD2 [3'20] 2CDs
arranger
Camille Saint-Saëns (1835-1921)
dedicated to Wilhelmine Clauss-Szarvady; published in 1873 by Durand Schoenewerk

Nadejda Vlaeva (piano)
Track 12 on CDA67873 [3'09]
Elizabeth Wallfisch (violin)
Track 8 on CDD22009 CD2 [3'08] 2CDs Dyad (2 for the price of 1) — Archive Service Only
Movement 4: Allegro assai
Alina Ibragimova (violin)
Track 9 on CDA67691/2 CD2 [4'19] 2CDs
Elizabeth Wallfisch (violin)
Track 9 on CDD22009 CD2 [4'33] 2CDs Dyad (2 for the price of 1) — Archive Service Only

Sonata No 3 in C major, BWV1005
EnglishFrançaisDeutsch
The third and last of the Sonatas (BWV1005) is in the key of C major and begins with an elegiacally expressive Adagio whose writing embraces one-part to four-part texture. It leads to an immense, multiple-layered Fuga, 354 bars in length, whose single subject derives from the Pentecostal antiphon ‘Veni Sancte Spiritus’, from which the chorale melody ‘Komm, heiliger Geist, Herre Gott’ also derives. The scale of the movement, its contrapuntal density, the sustained ingenuity of the writing and its intimidating technical requirements, make it a daunting challenge to the performer. As such it may be regarded as a companion piece to the D minor Ciaccona. The lyrical and serene melody of the third movement Largo, in F major, provides both expressive contrast and necessary relief from the imposing, concentrated and technically challenging content of the Fuga which preceded it. The C major Sonata concludes with a spirited and brilliantly coloured Allegro assai in which Bach, once more, leads the performer and his instrument towards the limits of possibility.

from notes by Nicholas Anderson © 2009

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