Uploaded August 2025 | Updated September 2026, 2 weeks ago
Johann Bach's Sonata No. 3 for viola and harpsichord in G minor, BWV 1029 is a witty and free-spirited ode to the viola da gamba that begins with a rousing allegro. It's the final sonata of three for viola da gamba and harpsichord. While it is often adapted for modern viola or cello, this performance features a viola da gamba and other instruments played by musicians Le Concert d'Astrée conducted by Emmanuelle Haïm in a concert on January 24, 2004 at the Théâtre du Châtelet in Paris.
In this piece, Bach (1685-1750) takes the harpsichord out of the accompanying role, setting it as an equal partner in a complex web of counterpoint with the viola da gamba. The two instruments are in continuous dialogue. It features three movements that follow the typical fast–slow–fast pattern typical of Italian sonata forms. After the dramatic and rousing first movement, the work moves into a gentle adagio in B-flat minor, characterized by long, expressive lines on viola da gamba. The final movement features a dance-like energy wherein Bach's masterful counterpoint skills are displayed in full force.
Sonata No. 3 for viola and harpsichord in G minor, BWV 1029, as well as the other two sonatas he arranged for the same instruments, were likely composed during Bach's later years in Leipzig — around 1730 or 1740, although the exact dates are not known. At the time, he was serving as Cantor of St. Thomas Church in Leipzig and moving towards intellectually and technically ambitious works.
During this period, the viola da gamba was gradually falling out of favor and being replaced by the cello. Unlike the gamba’s softer, more intimate tone, the cello offered greater volume and brilliance—qualities better suited to the increasingly prominent concert halls and opera houses of the time.
Scholars generally believe that the sonatas were not originally written for viola da gamba, but instead arranged for it. Music historians have posited it could have been inspired by Carl Friedrich Abel or Christian Ferdinand Abel, father and son virtuosi of the viola da gamba, who were associated with the Dresden court and ran in Bach's circles.
Some have suggested that this sonata, as well as others he composed for harpsichord and viola da gamba, can be seen as both a personal homage and a technical showcase for an instrument nearing the end of its prominence.
This piece features soloists Atsushi Sakai on viola da gamba and Emmanuelle Haïm on harpsichord. Haïm founded the ensemble Le Concert d'Astrée in 2000. It is considered one of the world's leading early music groups.
© 2004 Karl More Productions
Watch more concerts in your personal concert hall:
youtube.com/playlist?list=PL_SdnzPd3eBV5A14dyRWy1KSkwcG8LEey
in our Bach playlist:
youtube.com/playlist?list=PL_SdnzPd3eBUIGIm71zRFbYPJMQ-ETiMT
and in our Baroque playlist:
youtube.com/playlist?list=PL_SdnzPd3eBXLyjR_MiLhm0kuiyjEcVG1
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#johannsebastianbach #sonata #baroquemusic
Johann Bach's Sonata No. 3 for viola and harpsichord in G minor, BWV 1029 is a witty and free-spirited ode to the viola da gamba that begins with a rousing allegro. It's the final sonata of three for viola da gamba and harpsichord. While it is often adapted for modern viola or cello, this performance features a viola da gamba and other instruments played by musicians Le Concert d'Astrée conducted by Emmanuelle Haïm in a concert on January 24, 2004 at the Théâtre du Châtelet in Paris.
In this piece, Bach (1685-1750) takes the harpsichord out of the accompanying role, setting it as an equal partner in a complex web of counterpoint with the viola da gamba. The two instruments are in continuous dialogue. It features three movements that follow the typical fast–slow–fast pattern typical of Italian sonata forms. After the dramatic and rousing first movement, the work moves into a gentle adagio in B-flat minor, characterized by long, expressive lines on viola da gamba. The final movement features a dance-like energy wherein Bach's masterful counterpoint skills are displayed in full force.
Sonata No. 3 for viola and harpsichord in G minor, BWV 1029, as well as the other two sonatas he arranged for the same instruments, were likely composed during Bach's later years in Leipzig — around 1730 or 1740, although the exact dates are not known. At the time, he was serving as Cantor of St. Thomas Church in Leipzig and moving towards intellectually and technically ambitious works.
During this period, the viola da gamba was gradually falling out of favor and being replaced by the cello. Unlike the gamba’s softer, more intimate tone, the cello offered greater volume and brilliance—qualities better suited to the increasingly prominent concert halls and opera houses of the time.
Scholars generally believe that the sonatas were not originally written for viola da gamba, but instead arranged for it. Music historians have posited it could have been inspired by Carl Friedrich Abel or Christian Ferdinand Abel, father and son virtuosi of the viola da gamba, who were associated with the Dresden court and ran in Bach's circles.
Some have suggested that this sonata, as well as others he composed for harpsichord and viola da gamba, can be seen as both a personal homage and a technical showcase for an instrument nearing the end of its prominence.
This piece features soloists Atsushi Sakai on viola da gamba and Emmanuelle Haïm on harpsichord. Haïm founded the ensemble Le Concert d'Astrée in 2000. It is considered one of the world's leading early music groups.
© 2004 Karl More Productions
Watch more concerts in your personal concert hall:
youtube.com/playlist?list=PL_SdnzPd3eBV5A14dyRWy1KSkwcG8LEey
in our Bach playlist:
youtube.com/playlist?list=PL_SdnzPd3eBUIGIm71zRFbYPJMQ-ETiMT
and in our Baroque playlist:
youtube.com/playlist?list=PL_SdnzPd3eBXLyjR_MiLhm0kuiyjEcVG1
Subscribe to DW Classical Music:
youtube.com/dwclassicalmusic
#johannsebastianbach #sonata #baroquemusic
