Concerto in C for three violins

Without qualification, J. S. Bach (1685-1750) ranks among the most important and prolific writers of instrumental music, including not only solo organ and harpsichord works but also a dozen concertos for various instruments. The concertos largely stem from his years in Köthen (1717-1723) where Bach directed several instrumental ensembles. In previous seasons, we have heard his concertos for one, two, and four harpsichords. Today we enjoy the C-major Concerto for Three Violins, BWV 1064R, which has an interesting history of its own. Like several other concertos for multiple instruments, the music in this work is known today in a version with solo keyboards. But it is probable that it began as a version—now lost—for violins, and the music was subsequently recycled by Bach when the occasion called for harpsichords taking on the solo roles.
I think it is surprising that Bach did not write more concertos for three solo instruments. Music of all eras, but especially baroque music, is based on harmonic sequence, in which a phrase is stated and then repeated immediately at a new pitch level. The optimal number of occurrences of a phrase seems to be three: original statement followed by two sequential echoes, before something different breaks the pattern. Two occurrences are not enough to show the sequence at work, and four begins to sound banal and mechanistic. Three-fold occurrences work perfectly when one has three soloists to consider, and the opening movement of BWV 1064R shows such sequential writing to good effect. Moreover, three-voice counterpoint also strikes a nice balance—two voices being a touch underdeveloped, four voices bordering on impenetrability. This Concerto for Three Violins thus occupies a kind of “Goldilocks zone.”
The slow movement derives its mournful mood from the frequent half-step “sigh” figures in the main theme. These become more important to establishing the emotional tone, especially once Bach starts to modulate into other keys that project different tonal colors. The finale returns to the vigorous style of the opening Allegro. It is held together by the sections of full ensemble, but Bach has clearly lavished great care on the solo cadenzas, of which there are—not surprisingly—three. Each soloist gets a moment to shine, beginning with the violin #3, followed by the virtuosic #2, and finally the harmonically daring #1. Like Goldilocks, you will determine which of the three feels just right.

(c) Jason Stell