Violin Sonata in D minor (Bach, Carl Philipp Emanuel)

Authorship Note
This work was formerly attributed to Johann Sebastian Bach as BWV 1036.

Sheet Music


PDF scanned by Bach Digital
Tim.willis1685 (2018/11/13)

Publisher. Info. Manuscript, n.d.(ca.1726-40).
Misc. Notes Bach-Archiv, Leipzig (D-LEb): Peters Ms. 9
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Arrangements and Transcriptions

For 2 Violins and Continuo

PDF typeset by Gil Garty
Gil Garty (2011/12/24)

PDF typeset by Gil Garty
Gil Garty (2011/12/24)

PDF typeset by Gil Garty
Gil Garty (2011/12/24)

PDF typeset by Gil Garty
Gil Garty (2011/12/24)

Editor Gil Garty
Publisher. Info. Tel-Aviv: G & H Edition, 2011
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General Information

Work Title Violin Sonata in D minor
Alternative. Title Trio. ex D. b. à Violino. et. Clavecin oblig. di Mons. Bach
Composer Bach, Carl Philipp Emanuel
Opus/Catalogue NumberOp./Cat. No. BWV 1036
I-Catalogue NumberI-Cat. No. ICB 271
Key D minor
Movements/SectionsMov'ts/Sec's 4 movements:
I. Adagio
II. Allegro
III. Largo
IV. Vivace
Year/Date of CompositionY/D of Comp. 1731, Leipzig
Composer Time PeriodComp. Period Classical
Piece Style Baroque
Instrumentation violin, harpsichord obbligato
Related Works Revised dramatically in 1747; Trio Sonata in D minor, H.569

Navigation etc.

This Sonata was mistakenly attributed to JS Bach when the manuscript resurfaced at the beginning of the 20th century. It was then published twice in the 1920's as arrangements (or 'reconstructions') for two violins and continuo. CPE Bach's authorship was not acknowledged until the 1950's, through comparison with the revised version of the sonata, H.569.

According to Grove Music's article on CPE Bach, "Trios are found among Bach’s earliest compositions; they include a work (now lost) for violin, viola and bass, which according to the Nachlass-Verzeichnis(p.65, no.1) was ‘prepared together with Johann Sebastian Bach’. These works were revised while Bach was in Berlin; only in the case of H569 (W145) has the original version survived (as BWV1036). Comparison of the two versions shows Bach’s outstanding early talent and the tremendous progress he made by the time he produced the later version: the introductory fantasia and closing movement were cut, the two other movements thoroughly revised and a new opening movement added. In the 1740s, then, Bach entirely abandoned the basic four-movement form of the trio, which was initially at least as important to him as the three-movement form."