Bach's move to Köthen in 1717, after being imprisoned for leaving the Weimar court, renewed his career, focusing on instrumental music.
Compositional Technique
In these Sonatas and Partitas, Bach masterfully synthesized Italian sonata tradition and French suite forms, showcasing the violin's capacity without basso continuo.
Interpretation
Gisella Curtolo performs Bach with a Baroque bow, a modern replica of a 1750-1760 model by Nicolas Pierre Tourte, which is much lighter than modern bows.
Historical Context
The violin was recognized and valued in both popular and courtly musical settings, but it was not until the late 17th century that works were written to highlight its solo possibilities.
Compositional Technique
The Sonatas and Partitas exhibit a cyclical form, with the Sonatas forming the first part and the Partitas the second, linked by a significant intervalic play of fifths in their tonalities.
Instruments
Gisella Curtolo plays a 1727 David Tecchler violin, which was made in Rome around the same time Bach's 'Six Solos' were created.
Composition History
Bach's Six Sonatas and Partitas for solo violin were written around 1720, during his time at the princely court of Köthen.
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