Many of the works on this album are less familiar chamber pieces by Bach, including occasional compositions, pieces for domestic use, or early and alternative versions of other works.
Composition History
The Fugue in G minor BWV 1026, preserved in a copy by Weimar city organist Johann Gottfried Walther, was likely composed during Bach's time in Weimar.
Composition History
The Sonata in G major BWV 1021 was likely intended for young Count Heinrich Abraham von Boineburg, a student at Leipzig University and possibly a pupil of Bach.
Composition History
The Sonata in G major BWV 1021 was jointly written out by Bach and his wife Anna Magdalena, with Anna Magdalena copying the music and Bach adding titles and figured bass.
Compositional Technique
The Sonata in E minor BWV 1023 demands great virtuosity from the violinist, with complicated broken chords and high left-hand positions.
Composer's Artistic Vision
Carl Philipp Emanuel Bach, the composer's son, stated that one was accustomed to seeing nothing but masterpieces from his father, a sentiment that applies to the music on this album.
Compositional Technique
The Sonata in G minor BWV 1029, originally for viola da gamba and harpsichord, adopts stylistic features of the Italian solo concerto, such as ritornello development and orchestral effects.
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