Concerto for two violins in D minor, BWV 1043

Bach’s interest in the concerto form was aroused when he was working at the court of Sachsen-Weimar, where one the two princes was himself a talented composer of concertos in the Italian style. It might well have been at his suggestion that Bach undertook the twenty concerto transcriptions he is known to have made at this time. It wasn’t until after he left Weimar, however, to take up a new post as Kapellmeister at Anhalt-Cöthen - where he was not required to play the organ or to write church music - that he produced his own, original concertos. The six Brandenburg Concertos and the three Violin Concertos were all written at Cöthen between 1717 and 1723.

The essence of the Italian concerto form as Bach inherited it from Vivaldi and other Venetian composers was not conflict but cooperation. In the Double Concerto in D minor, as in the solo Violin Concertos in A minor and E major, there is an understanding that, to register the contrast between them, the solo parts have one sort of material and the orchestra another. So the fugal first theme of the opening Vivace is introduced and developed by the orchestra and the rather more athletic second theme is introduced by the first of the violin soloists. As the solo material is developed, with one violinist in imitation of the other, the orchestral strings either fill in the harmonies or offer reminders of the first theme, which makes two brief reappearances - just before an extended solo episode and again in the very last bars.

The slow movement is less democratic. It takes the form of a superbly sustained duet in siciliano rhythm for the two soloists with scarcely one bar of melodic interest allotted to the orchestra. The main theme is introduced by the second violin and then repeated by the first against an undulating counter-melody on the second. Later in the movement, after the entry of a secondary theme, the counter-melody is developed independently of its tender companion and with surprising intensity.

In the final Allegro the orchestra is given more responsibility. The main theme is introduced this time by the soloists, the other strings emphasising a significant phrase here and there. But, just when the principle of contrast seems to have been abandoned, there is an inspired passage of double-stopped chords on the violins set against repetitions of a phrase from the main theme in the orchestra. In fact, the movement is so rich in textural ideas of this kind that, to fulfil its possibilities, Bach is moved to extend it to almost classical length before his final recall of the mian theme.

A major influence in arousing Bach’s interest in the concerto form was Johann Ernst of Sachsen-Weimar, one of the princes at the court where he was employed as organist and Kapellmeister between 1708 and 1717. Johann Ernst was himself a talented composer of concertos in the Italian style and it might well have been at his suggestion that Bach undertook the twenty concerto transcriptions he is known to have made at this time. It wasn’t until after he left Weimar, however, to take up a new post as Kapellmeister at Anhalt-Cöthen - where he was not required to play the organ or to write church music - that he produced his own, original concertos. The six Brandenburg Concertos and the three Violin Concertos were all written at Cöthen.

The essence of the Italian concerto form as Bach inherited it from Vivaldi and other Venetian composers was not conflict bu cooperation. In the Double Concerto in D minor, as in the solo Violin Concertos in A minor and E major, there is an understanding that, to register the contrast between them, the solo parts have one sort of material and the orchestra another. So the fugal first theme of the opening Vivace is introduced and developed by the orchestra and, when the key changes back to D minor, the rather more athletic second theme is introduced by the first of the violin soloists. As the solo material is developed, with one violinist in imitation of the other, the ripieno strings either fill in the harmonies or offer reminders of the first theme, which makes two brief reappearances - once in A minor just before an extended solo episode and in D minor in the very last bars.

    The slow movement is less democratic. It takes the form of a superbly sustained duet in siciliano rhythm for the two soloists with scarcely one bar of melodic interest allotted to the ripieno strings. The main theme is introduced in F major by the second violin and then repeated by the first against an undulating counter-melody on the second. Later in the movement, after the entry of a new theme in F major, the counter-melody is developed independently of its tender companion and with surprising intensity.

    In the final Allegro the ripieno strings are given more responsibility. The ritornello is introduced this time by the soloists, the other strings emphasising a significant phrase here and there. But, just when the principle of contrast seems to have been abandoned, there is an inspired passage of double-stopped chords on the violins set against repetitions of the main motif of the ritornello in the orchestra. In fact, the movement is so rich in textural ideas of this kind that, to fulfil its possibilities, Bach is moved to develop it at almost classical length before his final recall of the ritornello.

Rupert Avis