< Previous Sonata III BWV 1005 Sonata III BWV 1005 ADAGIO q = 40 JS Bach is one who knows the secret of restoring calm after the storm! This slow Adagio prelude (marked q = 40 but it is a good idea to begin working at e = 80 before really thinking in 3/4) is as cool as can be... Enescu compared the repetitive rhythmic structure to the columns of the Parthenon. The performer of this difficult prelude (one of many difficult pieces in this collection of technical achievements) of lush chords constantly modulating from key to key, should not let show any effort and let the most tranquil ecstasy prevail. It is necessary then to be an absolute master of polyphonic technique. Only extensive work focused on both the greatest accuracy of the often-subtle intervals and the maintaining of an imperturbable tempo, as well as suppleness in the bow changes, can overcome these technical difficulties. But at the moment of performance it is the phrasing that will become the obvious primary concern! Here again, one must always seek to bring out the melody by favoring bow pressure on the relevant string. In measure 18 one must invert the chords to bring out the bass. In measures 20 and 22-23 it is the middle voices which must be brought out, as well as in 27, 28, 29, etc. The few trills must, according to the general tempo, be slow and must not exceed two or three beats. The last three measures, a CODA, end on a crescendo that showcases the last dominant chord that leads to the great Fugue that follows. Sonata III BWV 1005 FUGA h = 66 As with the two previous Fugues, this one starts with a simple theme of an upbeat and 4 measures in C major that George Enescu played « martelé léger » in the middle of the bow, which he termed « détaché d’orgue », and which will be used throughout, more or less f … or p. At the upbeat to measure 5 the upper voice enters. They continue together until measure 10 where the soprano and then the bass voice enter. These four voices eventually develop the theme together until measure 20 where we arrive at G major. Here begins the first episode based on the initial thematic cell, until the return of the theme at measure 24 in the bass, which we will strive to bring out by inverting the chords. In measure 30 we will emphasize the middle voice until 34 where the motive will develop in a “divertissement” varied in turn in each voice. We must bring out each entrance with a slight emphasis. This divertissement will evolve through various repetitive phrases, ascending or descending, until the return of the opening theme in measure 92 where its motives are distributed this time from voice to voice alternately. It is up to the performer to bring out these passages by emphasizing the proper voice. This requires great concentration. It would be inutile and tedious to follow this measure by measure analysis with a literary description. One who has understood up to here will continue with instrument in hand to the end. Watch out for the inversion of the theme in measure 201 indicated by the composer himself. To hold the listener’s attention do not hesitate to support the ascending or descending phrases by emphasizing them with dynamics. Next >