| Authorship Note This work was formerly attributed to Johann Sebastian Bach as BWV 1036. |
| Movements/SectionsMov'ts/Sec's | 4 movements |
|---|---|
| Composition Year | 1731, Leipzig |
| Genre Categories | Sonatas; For violin, keyboard; Scores featuring the violin; |
| Related Works | Revised dramatically in 1747; Trio Sonata in D minor, H.569 |
| 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:
|
| 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 |
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."
