Accompanied by the Kungliga Filharmonikerna (Royal Stockholm Philharmonic Orchestra), the Dutch violinist Janine Jansen performs Johann Sebastian Bach’s Violin Concerto in E major, BWV 1042. Jansen also conducts the orchestra.

Accompanied by the Kungliga Filharmonikerna (Royal Stockholm Philharmonic Orchestra), the Dutch violinist Janine Jansen performs Johann Sebastian Bach’s Violin Concerto in E major, BWV 1042.

Johann Sebastian Bach’s Violin Concerto in E major, BWV 1042

Johann Sebastian Bach’s Violin Concerto in E major, BWV 1042, is a significant work in the repertoire of Baroque violin music and showcases Bach’s remarkable skill in composing for the violin. Composed during Bach’s tenure in Cöthen, around 1717-1723, this period was particularly productive for him in terms of instrumental music. The concerto is thought to have been written for the court’s capable group of musicians, among whom Bach himself was a violinist.

The E major concerto is characterized by its vivacity, melodic richness, and the intricate interplay between the solo violin and the orchestral ensemble. It reflects the concerto grosso style, where the music is structured around the dialogue between a small group of soloists and a larger ensemble. However, unlike the traditional concerto grosso, Bach’s Violin Concerto in E major focuses primarily on the solo violin, with the ensemble providing a supportive role.

Bach’s ability to blend Italian and German musical traditions is evident in this concerto. The influence of Italian concertos, especially those of Vivaldi, is notable in its virtuosic demands on the soloist and the clear distinctions between solo and tutti sections. At the same time, Bach’s German heritage is reflected in the contrapuntal textures and the complex harmonic structures.

The concerto also demonstrates Bach’s skill in writing idiomatic violin music that explores the full range of the instrument’s capabilities. The violin part is demanding, requiring agility, expressiveness, and a deep understanding of Baroque style and ornamentation.

Regarding its historical context, the E major concerto is part of a larger set of works that Bach composed for various instruments, contributing significantly to the development of the concerto as a musical form. These works were not widely known during Bach’s lifetime and only gained prominence in the 19th century when the Bach revival, led by figures like Felix Mendelssohn, brought renewed attention to his compositions.

The Violin Concerto in E major remains a staple in the violin repertoire, celebrated for its technical demands, emotional depth, and the beauty of its melodic lines. It continues to be a favorite among both performers and audiences, offering a window into the creative genius of Bach and the musical landscape of the Baroque period.


1. Allegro

The first movement of Johann Sebastian Bach’s Violin Concerto in E major, BWV 1042, is an exemplar of Baroque musical artistry, blending technical mastery with expressive depth. This movement, marked “Allegro,” is characterized by its lively tempo and rhythmic vitality, setting the stage for a dynamic and engaging musical dialogue between the solo violin and the orchestra.

Structurally, the movement adheres to the ritornello form, a common feature in Baroque concertos. In this form, the orchestra presents a thematic material, known as the ritornello, which recurs throughout the movement in various keys and orchestrations. Between these ritornello sections, the solo violin introduces contrasting episodes that showcase the instrument’s capabilities and the soloist’s virtuosity.

The opening ritornello introduces the main themes and establishes the joyful and energetic character of the movement. It features a bright and majestic melody that is both memorable and rhythmically driving. This material, when it returns, acts as a unifying element, tying together the movement’s various sections.

The solo violin passages are marked by their virtuosic demands, including rapid scales, arpeggios, and intricate figurations. Bach’s writing for the violin in these sections is idiomatic and inventive, pushing the boundaries of the instrument’s expressive potential. The soloist engages in a spirited conversation with the orchestra, alternating between roles of leadership and accompaniment.

Harmonically, the movement explores a range of key areas, adding to the sense of journey and development. Bach’s mastery of counterpoint is evident in the way the solo violin lines intertwine with the orchestral parts, creating a rich tapestry of sound.

The first movement of the E major concerto is also notable for its emotional impact. Despite the technical brilliance required, there is an underlying lyrical quality to the music. The solo violin passages, in particular, offer moments of expressiveness within the framework of Baroque stylistic norms.

2. Adagio

The second movement of Johann Sebastian Bach’s Violin Concerto in E major, BWV 1042, stands in stark contrast to the exuberant first movement. Marked “Adagio,” this movement is a profound expression of lyrical introspection and emotional depth, showcasing a different aspect of Bach’s compositional genius.

In this movement, the tempo slows considerably, creating a meditative and contemplative atmosphere. The key shifts to C-sharp minor, a key that, especially in the Baroque era, was often associated with a somber or reflective mood. This key choice contributes significantly to the movement’s introspective character.

The orchestration is sparse, often featuring only a small group of instruments, such as strings and continuo, which sets a subdued backdrop against which the solo violin emerges. This reduced texture allows for a more intimate dialogue between the soloist and the ensemble, highlighting the movement’s introspective nature.

The violin part in this movement is highly expressive, characterized by long, singing lines that demand a deep sense of phrasing and emotional engagement from the performer. Unlike the virtuosic brilliance of the first movement, the technical challenge here lies in conveying the nuances of the melody and the underlying emotions. The solo violin’s lines are often ornamented, with delicate trills and embellishments that add to the expressive quality of the music.

Bach’s use of harmony in this movement is particularly noteworthy. The harmonic progression is rich and sometimes unexpected, creating a sense of longing and unresolved tension that is eventually resolved, but only after taking the listener on an emotional journey.

The second movement also demonstrates Bach’s mastery of counterpoint, even within a slow, lyrical context. The interweaving of the solo violin line with the orchestral parts creates a texture that is both complex and coherent, with each voice adding to the overall emotional impact of the music.

This Adagio is a beautiful example of Baroque expressive capabilities, conveying a depth of emotion that is both profound and subtle. It serves as a reflective interlude between the energetic outer movements of the concerto, providing a moment of introspection before the final movement’s return to vivacity.

3. Allegro assai

The finale of Johann Sebastian Bach’s Violin Concerto in E major, BWV 1042, marked “Allegro assai,” serves as a vibrant and spirited finale to the concerto. This movement is characterized by its brisk tempo, rhythmic drive, and joyful energy, creating a stark contrast with the introspective and serene second movement.

Structurally, the third movement, like the first, is in ritornello form, a common architectural feature in Baroque concertos. The ritornello, presented by the orchestra, consists of a lively and rhythmically engaging theme that recurs throughout the movement, acting as a unifying element and a foundation upon which the solo sections are built.

The violin solo sections in this movement are marked by a return to the virtuosic demands similar to those in the first movement. The solo violin part is replete with brisk scales, arpeggios, and rapid string crossings, requiring significant technical skill and agility from the performer. These passages not only showcase the violinist’s technical prowess but also their ability to maintain musicality and expressiveness at high speeds.

The interplay between the solo violin and the orchestra is a defining feature of this movement. The soloist engages in a lively dialogue with the orchestral parts, sometimes leading and at other times weaving in and out of the texture created by the ensemble. This interaction creates a sense of dynamism and excitement that is maintained throughout the movement.

Harmonically, Bach explores various key areas, adding to the movement’s sense of forward momentum and energy. The harmonic shifts and modulations are skillfully executed, keeping the listener engaged and anticipating the return of the ritornello theme.

The third movement’s energy and rhythmic vitality make it an exhilarating conclusion to the concerto. It showcases Bach’s ability to write music that is not only technically challenging but also rich in melodic content and emotional appeal. The Allegro assai is a fitting culmination of the concerto, leaving the listener uplifted and invigorated.


M. Özgür Nevres

Published by M. Özgür Nevres

I am Özgür Nevres, a software engineer, a former road racing cyclist, and also an amateur musician. I opened to share my favorite music. I also take care of stray cats & dogs. This website's all income goes directly to our furry friends. Please consider supporting me on Patreon, so I can help more animals!

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