This week we are sharing another video, the first of a two-part series about the third movement in the first Sonata, the Siciliana in B-flat. While the Baroque Sonata da Chiesa typically had four contrasting movements, alternating slow-fast-slow-fast (Corelli’s sonatas sometimes had as many as eight movements), one might think of Bach’s violin sonatas as being a prelude and fugue, followed by a song and dance.
In each of these sonatas, the third movement is particularly beautiful and very lyrical. This movement is where we hear most prominently how Bach’s sonatas are derived first and foremost from vocal music, and, in this regard, the Siciliana is a very touching song for three or four voices.
In case you have not yet seen it, we have a blog article from May 16th on the website that discusses Bach’s use of vocal music in the Sonata da Chiesa.
The video this week explores a particularly beautiful aspect of Bach’s use of choral technique in the Siciliana, and it also discusses the architecture of this deceptively simple masterwork. Part-one deals only with the sections in which Bach establishes his key and then leaves it; part-two will discuss the return home, and then the denouement that follows.
As always, feel free to send us your thoughts and questions.
With best wishes,
Frank and Heather