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The second element returns in the final two bar coda as the music modulates to the closing cadence in D major, in anticipation of the fifth movement in G major. Written for three voices in A—B—A da capo form, it is a hybrid movement, combining features from the tutti fugue and the concerto allegro. The energetic quaver theme in the fugal ritornello section is made up of repeated notes; the semiquaver counter-theme is also made up of repeated notes.
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Jones notes that probably in the original aria the quaver figures musically represented the trotting of horses and the semiquavers their swiftness. Whatever its origins, the conception of the newly composed Allegro matches that of the five other fugal last movements as well as the symmetry of the opening Allegro. The opening ritornello section is 30 bars long. After the statement of the three-bar fugue subject in the violin, it is taken up in the upper harpsichord part with the semiquaver counter subject in the violin.
It is then heard in the bass with the counter-theme in the upper harpsichord. At bar 14 the fugue develops with an inverted version of the opening motif in the violin in counterpoint with semiquaver figures in the left hand of the harpsichord with responses in the right hand.
Six Sonatas for Violin and Harpsichord, BWV 1014–1019
At the cadence marking the end of the ritornello section Athe middle bar "development" section B begins with a new highly ornamented one-bar theme in the harpsichord, consisting of declamatory repeated notes answered by a trill. It is echoed a bar later in the violin with the harpsichord playing in parallel thirds. The new theme has the effect of an interjection —a kind of caesura —temporarily halting the flow of semiquavers, which resumes immediately afterwards with cascading scales over the fugue subject in the bass line.
After a reprise with the parts inverted between violin and harpsichord, the middle section continues with joyful dance-like material drawn from the ritornello in half-bar exchanges between the violin and upper harpsichord before a cadence in E minor. The eight bar opening segment of section B is then reprised with the parts inverted followed by another episode of one-bar exchanges of motifs from the ritornello between all three parts until the music comes to a halt with a cadence in B minor.
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It resumes as a fugue on the counter-subject of the ritornello but the flow of the counter-theme is interrupted four times by half-bar interjections of the B theme. As Watchorn remarks, these momentary interruptions are similar in effect to those in the last movement of the fourth Brandenburg Concerto BWV After further contrapuntal exchanges between all three parts the music draws to a second halt with a cadence in B minor.
It then resumes with a complete recapitulation of the ritornello back in G major.
It incorporated all the ideals of harmony, melody and counterpoint espoused by theorists such as MatthesonScheibe and Quantz. In his treatise Der Vollkommene Capellmeister ofMattheson wrote that, In Bach's son Carl Philip Emmanuel commented that even after fifty years his father's compositions of this kind still sounded very good and that the lyricism of several of his adagios had never been surpassed.
This continued veneration for these particular works even long after his death probably sprang not only from the fact that the form matched Bach's own compositional ideals—that all voices should "work wondrously with each other" wundersam durcheinander arbeiten —but also from the succeeding generation's preference for "sensitive" melodies. Perhaps even more influential was Bach's elevation of the harpsichord from a continuo instrument to a prominent obbligato instrument, on equal terms with the solo instrument, whilst also providing the bass line.
During that period Berlin rose to prominence as the centre of musical activities in Germany.
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The court of Frederick the Greatwhere Carl Philipp Emanuel Bach was appointed harpsichordist inhad a number of exceptional violinists, including Johann Gottlieb Graunthe violin teacher of Wilhelm Friedemann Bachand Franz Bendaanother of Graun's pupils. In Berlin Princess Anna Amaliathe sister of Frederick the Great, was a keen amateur keyboard player and from had Bach's pupil Johann Kirnberger as her music teacher: Anna Amalia's music library—the Amalienbibliothek, now incorporated in the Berlin State Library —contained a large collection of Bach manuscripts, including a hand copy of the sonatas.
Many musical compositions from her collection were transmitted to Vienna by Baron van Swietenthe Austrian ambassador to Berlin: Bach's music was also performed in Berlin outside the royal court. The family of Daniel Itzigbanker to Frederick the Great and his father, provided a cultural milieu for musical connoisseurs: Portrait of Sara Levy by Anton GraffSara was the most gifted harpsichordist in the Itzig family, of professional standard.
When Wilhelm Friedemann Bach moved to Berlin from Dresdenshe took lessons from him and provided him with some financial support in his old age. After her marriage to the banker Samuel Salomon Levy inshe ran a weekly musical salon in their residence on the Museuminsel. Sara herself performed in public, including performances at the Sing-Akademie zu Berlinfrom its foundation in until her retirement in The collections of Bachiana of Sara Levy and C.
A year later he set up a music shop and in a publishing house. Bach, he was able to acquire Bach manuscripts, including that of the Mass in B minorwhich he eventually published.
His interests later turned to pedagogy and singing: Inas part of a complete edition of Bach's works by the Leipzig publisher C. Petershe prepared a new performing edition of BWV — in collaboration with the pianist Carl Czerny.
Ferdinand David The Berlin violinist, Ferdinand Davidwas concertmaster at the Gewandhauswhile Felix Mendelssohn was director; their association dated back to their infancy, as they were born within a year of each other in the same house. A champion of Bach's music and, with Robert Schumannone of the main musicians leading the Bach revival in Germany, Mendelssohn would often include Bach's lesser known works in the programmes of the evening chamber music concerts at the Gewandhaus: The Chaconne was programmed in several subsequent Gewandhaus seasons; David was unwilling to perform it unaccompanied in public but the young Joseph Joachim did so while briefly sharing the first desk with David.
In Leipzig the firm of Friedrich Kistner published David's performing version of the solo sonatas and partitas in Later Mendelssohn had the arrangement of the Chaconne published in England in ; piano accompaniments were subsequently provided for all Bach's solo violin works by Schumann.