Many believe that the Sonata for violin and keyboard in
G minor, BWV 1020 is almost certainly not a work by
Bach; or, rather, it is almost certainly not a work by
J.S. Bach (it may in fact have been composed by Johann
Sebastian's son C.P.E. Bach). Furthermore, it is not
really even a violin sonata -- whoever the work's
author might be, the intended ensemble seems actually
to be flute and harpsichord (or perhaps its
smaller-toned cousin the clavichord). But it is an
elegant piece of late-Baroque ...(+)
Many believe that the Sonata for violin and keyboard in
G minor, BWV 1020 is almost certainly not a work by
Bach; or, rather, it is almost certainly not a work by
J.S. Bach (it may in fact have been composed by Johann
Sebastian's son C.P.E. Bach). Furthermore, it is not
really even a violin sonata -- whoever the work's
author might be, the intended ensemble seems actually
to be flute and harpsichord (or perhaps its
smaller-toned cousin the clavichord). But it is an
elegant piece of late-Baroque chamber music, and is not
put to any shame by its six worthy and unquestionably
authentic brethren (BWV 1014 - 1019).
If the Sonata in G minor is the only one of the
Bach-attributed violin/harpsichord sonatas to have
three rather than four (or, in one case, five)
movements. The opening movement has no tempo indication
but is built of vintage allegro stock. The entirety of
the opening ritornello, with its active figuration and
arpeggiated subject, is given to the harpsichord as a
solo; when the violin enters some bars later the music
briefly takes on a more spacious form -- but soon the
energetic ritornello creeps back in. The violin sings a
melody that grows from many long-held tones in the
Adagio second movement. The third movement is a
strong-boned Allegro into which from time to time
breaks a wonderfully peculiar repeated-note motif.
Although the Sonata in G Minor was originally written
for Violin and Continuo, I created this arrangement for
Flute and Concert (Pedal) Harp.