The Fugue, which by definition is strict in form, leans towards the “rather serious” side. It fits well with Mattheson’s description of “moderate plaintiveness”. The opening Adagio movement is subdued, with an air of desolation. This appears to be precisely what Bach had in mind for this sonata. According to the eighteenth-century theoretician Johann Mattheson, G minor was “almost the most beautiful key” one that “combines a rather serious character with spirited loveliness” and thus, in short, “lends itself well and flexibly to moderate plaintiveness and tempered gaiety”. The sonority of these low ‘open strings’ reverberates throughout the whole sonata. On a violin, the key of G minor has a pure and stable sound, as the two lower strings (the G and the D) fit naturally in the root position triad without needing to use the fingers of the left hand. The first of Bach’s six solo works for violin exudes the most calm.
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