5. Sonata No.3 in C BWV 1005

By Johann Sebastian Bach

Jeno Hubay makes the following remarks regarding the first movement of Bach's third solo sonata. 'The chords must always be played from the lower to the upper note and not from the uppor to the lower note, even when the bass-note is the melodic note.' It appears that violinist Emil Kross provides alternative advice given that his addition provides an illustration suggesting that some chords are to be played from the top note to the bottom (When the melody is in the bass): In passages like bar 16 or 18, where the melodious theme is on the D and G strings, the bow, after playing the chord arpeggio-fashion quickly reverts and dwells upon the melody-note. Mr. Kross suggests the Fugue is to be played with strict rhythm. Regarding measure 55, a four-note chord A - A - C -F, he advises 'The A either with the first finger which afterwards quickly jumps to the F on the E string, or with fingering 2,4,3,1 in which case the point of the thumb must be drawn more underneath the neck [of the violin]'. Largo - In singing style. The chords must be soft and not sharply accented.

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5. Sonata No.3 in C BWV 1005 sheet music sample
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Bach, Johann Sebastian | 5. Sonata No.3 in C BWV 1005
I Adagio