Form and function in the slow movements of J. S. Bach's Three Sonatas for Solo Violin, BWV, 1001, 1003, and 1005

Bach's Three Sonatas for Solo Violin (BWV 1001, 1003, and 1005; 1720) have a movement scheme of slow-fast-slow-fast in which the movements are organized in a united sense. Centering the intensive second fugal movement, the first serves as a prelude, the third as a tension-relieving movement, and the fourth as a brilliant finale. Most of the slow (first and third) movements suggest an analytical interest with their through-composed nature, while the fast ones are structurally more explicit.;Furthermore, another distinction can be made between the first and third movements according to function and correspondingly different characters: the prelude movements are improvisatory and free, and the third movements are melodious and relaxing. These characterizations are supported through figural and formal aspects, thus on both surface and structural levels.;This thesis is primarily concerned with the formal attributes of the slow movements for their functions. A closer observation reveals the structural frame of seemingly through-composed forms. The prelude movements show more ambiguity and complexity, yielding appropriate tension for the free virtuosity. On the contrary, the third movements exhibit more regularity with a binary concept for a comfortable and easy atmosphere. Each group of movements not only pursues its function, but also offers a contrast to the neighboring fugue movement that is strict and intensive. The contrast is achieved in opposite ways, however, resulting in considerable differences between the first and third movements.;The content of this thesis is based on a detailed analysis of each slow movement, focusing on the functional contributions, organized by the first- and third-movement groups. Its chapter arrangement is: I. Introduction, II. First Movements, III. Third Movements, and IV. Summary and Conclusion.