Concerto for Two Violins in D minor, BWV 1043

A masterwork of Baroque counterpoint where two equal voices engage in musical dialogue.

Overview

Composer

Johann Sebastian Bach (1685-1750)

Catalog

BWV 1043

Key

D minor

Period

Baroque (composed c. 1730-1731, Köthen/Leipzig)

Movements

3 (Vivace, Largo ma non tanto, Allegro)

Duration

~15-17 minutes

Historical Context

Composed during Bach’s tenure as Kapellmeister in Köthen or early Leipzig years. The concerto follows the Italian concerto grosso tradition (Vivaldi, Corelli) but transforms it through Germanic counterpoint.

Unlike Vivaldi’s virtuosic display pieces, Bach’s double concerto treats both soloists as equal partners in a contrapuntal conversation. Neither part is subordinate—both are essential to the musical argument.

Movement Analysis

I. Vivace (D minor)

Form: Ritornello

The ritornello principle organizes the movement: orchestral passages (ritornellos) alternate with solo episodes.

Opening Ritornello

The orchestra states the main theme in D minor—a descending arpeggio that defines the work’s character:

X:1
T:I. Vivace - Opening Theme
M:C
L:1/16
Q:1/4=80
K:Dm
V:1 clef=treble name="Violin I"
d4 A4 F4 D4 | E2F2 G2A2 B2c2 d2e2 | f4 e4 d4 c4 | B2A2 G2F2 E2D2 C2B,2 |

The descending D minor arpeggio (D-A-F-D) establishes tonic firmly before the sequential development drives toward the dominant.

Solo Entries

The two violins enter in imitation—Violin I states a subject, Violin II answers. This call-and-response pervades the movement:

Technique Description Practice Focus

Imitation

Second voice enters with same material, offset in time

Listen for partner’s phrase to match articulation and shape

Stretto

Overlapping entries where answer begins before subject ends

Maintain independence while blending

Voice exchange

Soloists swap melodic material

Both parts must be prepared equally

Key Areas

Section Key Function

Opening

D minor

Tonic establishment

First episode

A minor

Dominant minor (relative major’s parallel)

Development

F major / G minor

Relative major, subdominant minor

Return

D minor

Tonic resolution

II. Largo ma non tanto (F major)

Form: Binary with ritornello elements

The slow movement is the emotional heart of the concerto. F major (relative major of D minor) provides contrast.

Character

  • Tempo: Largo ma non tanto — slow but not too much (avoid dragging)

  • Affect: Sublime, tender, introspective

  • Texture: Two solo voices in canon and parallel thirds/sixths

The Opening

Violin I sings a long-breathed melody. Violin II enters in canon at the fifth below, one measure later:

X:2
T:II. Largo ma non tanto - Opening Canon
M:12/8
L:1/8
Q:3/8=40
K:F
V:1 clef=treble name="Violin I"
A3 G2A B2c d2B | c6- c2B A2G |
V:2 clef=treble name="Violin II"
z6 z6 | D3 C2D E2F G2E |

This is not mere imitation—it’s a duet where both voices are melodically complete.

Technical Considerations

Element Approach

Bow distribution

Plan bow usage to sustain long phrases without audible bow changes

Vibrato

Baroque-informed: narrower, often delayed, used for emphasis not default

Intonation

Parallel thirds/sixths expose tuning—practice with drone

Breathing

Phrase together; lift slightly at cadences to match

Ornamentation

Period-appropriate ornaments enhance expression:

  • Trills: Begin on upper note, resolve to principal note

  • Appoggiatura: Lean into dissonance before resolution

  • Messa di voce: Dynamic swell within sustained notes

III. Allegro (D minor)

Form: Ritornello (fugal elements)

The finale returns to D minor with renewed energy. The movement combines ritornello form with fugal techniques.

Subject

The main subject drives forward with relentless energy:

X:3
T:III. Allegro - Main Subject
M:3/4
L:1/8
Q:1/4=120
K:Dm
V:1 clef=treble name="Violin I"
A2 | d2 ef ed | cB AG FE | D2 EF GE | FD A,2 z2 |

Key characteristics:

  • Driving eighth-note motion creates momentum

  • Harmonic sequence propels through key areas

  • Strong metric profile anchors the pulse

Dialogue Intensified

The two soloists engage in rapid exchange:

  • One-measure phrases passed between voices

  • Parallel thirds and sixths in virtuosic passages

  • Hemiola effects approaching cadences

Technical Challenges

Challenge Strategy

String crossings

Minimize arm motion; pivot from elbow, not shoulder

Clarity at speed

Articulate with fingers (left hand) not bow pressure

Coordination

Practice with partner at slow tempo for rhythmic alignment

Stamina

Build endurance gradually; movement demands sustained energy

Counterpoint Techniques

Bach employs sophisticated contrapuntal devices throughout:

Imitation

One voice states material; the other responds at a time interval.

Canon

Strict imitation where the follower exactly replicates the leader.

Invertible Counterpoint

The two voices can swap positions (upper becomes lower and vice versa) while remaining harmonically correct. Bach writes both parts to function in either octave.

Sequences

Melodic patterns repeated at different pitch levels, creating harmonic motion.

Performance Practice

Baroque vs. Modern

Element Baroque Approach Modern Tendency

Vibrato

Ornamental, selective

Continuous, wide

Bow

Off-string articulation common

More legato default

Dynamics

Terraced (echo effects)

Gradual crescendo/diminuendo

Tempo

Steady pulse, hierarchy of beats

More rubato

Ensemble Considerations

  • Balance: Neither soloist dominates; listen constantly

  • Tuning: Agree on reference pitch (historical: A=415; modern: A=440/442)

  • Bowing: Coordinate where possible for visual and sonic unity

  • Phrasing: Shape phrases together; rehearse phrase endings

Practice Strategies

Solo Preparation

  1. Learn both parts—understand the complete texture

  2. Practice slowly with metronome for rhythmic precision

  3. Record yourself and analyze for unintended accents or rushing

  4. Study the orchestral tutti; know where you fit in the larger form

Duo Rehearsal

  1. Begin with slow movement—establishes listening and blend

  2. Work transitions between solo and tutti

  3. Practice difficult passages together, not just individually

  4. Record and review for balance issues

With Orchestra

  • Follow the continuo bass line for harmonic orientation

  • Maintain independence during solo passages

  • Blend during tutti (concertino vs. ripieno)

Recordings for Study

Approach recordings critically—each reflects interpretive choices:

  • Historical performance practice: Focus on articulation, ornamentation, tempo relationships

  • Modern symphony approach: Notice how string sections handle the material

  • Chamber performances: Listen for intimacy and dialogue

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