• The ritornello is composed of four irregular phrases-the first three end on the dominant. The last one ends on the tonic. The pauses between the phrases are brief. Note the similarity between phrases 2 and 3.
• The soloists will develop motifs from the ritornello throughout the movement.

Measures 3 (second phrase) and 6 (third phrase) show an excellent example of the use of chords in the first inversion:

The solo violin doubles the first violin, the harpsichord is part of the basso continuo, and the flute does not play. The whole passage is in the key of D major.

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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The first solo section develops a motif from the first phrase (red box):

• The flute and violin transform it by augmentation (red boxes).
• The motif appears hidden in the harpsichord (notes in red).
• The orchestra presents small fragments of the ritornello (blue box).
• In measure 10, the harpsichord transforms the motif by inversion or contrary motion (green notes), using sixteenth-note triplets.
• The rest of the section continues to develop these motifs.

Here is the complete passage:

• Red boxes or red notes indicate the augmented motif.
• Notes in green indicate the motif transformed using inversion.
• Blue boxes indicate fragments of the ritornello.
• We end the passage in the A major.

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Flute, violin, and harpsichord assume the role of soloists in these measures. The flute develops a motif from the second phrase. The violin plays a counterpoint:

• In measure 21, the flute and violin exchange thematic material.
• The passage repeats a minor third below.
• The blue motif shares notes with the red motif.

They exchange the thematic material again in measure 24, repeating it a minor third below:

The harpsichord develops the motif of the first phrase we discussed in measures 9 to 19:

• The harpsichord pattern repeats twice, always a lower minor third.
• The section marked with a broken line varies in the repetitions.
• The patterns of the three soloists are elaborately strung together.

Harmonic analysis of this passage. The main keys we are A major, F# minor, and D major:

Measures 20 to 29:

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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• In this section, the harpsichord develops a motif from the fourth phrase.
• Flute and violin soloists present long notes that become suspensions. The first ones are ninths that resolve to octaves.
• The cello doubles the left hand of the harpsichord.
• The orchestra strings play the inverted motif (green) we had previously pointed out.

• The orchestra has a more significant role in this section. From measure 35 on, it presents motifs from the second phrase of the ritornello.
• Modulation to B minor.

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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This section uses the motifs of the first and second phrases:

• We begin by developing the motif of the first phrase, similar to measures 9 to 19.
• We modulate to D major in measure 45.
• In measure 47, the harpsichord presents ascending scales in 32^nd notes while the flute and violin develop the motif.
• We modulate to G major at measure 48.
• Bach develops the motif of the second phrase in a similar way to measures 20 to 29. Again we modulate by descending thirds from G to E minor to finally reach C major.
• We return to D major in measure 57, passing through G major.

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Measures 60 to 70

We can subdivide this long section into several sections. The first - measures 60 to 70 - uses motifs from the second and fourth phrases:

Measures 60 to 70

The flute and harpsichord develop the motif of phrase 4 and the violin of phrase 2. Later the voices will exchange the thematic material:

Measures 60 to 70

An ascending harmonic march reaffirms the key of D major in measures 61 and 62 and repeats over A major from measure 64 on:

Measures 60 to 70

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Measures 71 to 80

In measures 71 to 80, a harmonic progression takes us from F# minor to A major:

Measures 71 to 80

• The solo violin and flute exchange a repetitive motif (in red), probably developed from the ritornello accompaniment.
• The cello and the left hand of the harpsichord move in eighth notes like the ritornello accompaniment.
• The other instruments reinforce the harmony.

Measures 71 to 80

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Measures 81 to 92

• A long series of fifths (1 - 14) is the harmonic basis for measures 81 to 91.
• This passage takes us from E major to A major.

Measures 81 to 92

Solo instruments dialogue with arpeggios.

Measures 81 to 92

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Measures 93 to 101

In the last measures of the section, Bach establishes an A minor dominant pedal:

Measures 93 to 101

These measures prepare the next ritornello in the key of A major.

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Measures 60 to 101

Second and fourth phrase motifs

A harmonic progression takes us from F# minor to A# major.

A series of fifths takes us from E major to A major

Minor dominant pedal

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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We can divide this section into two parts. The first one is from measure 102 to 110.

Measures 102 to 110

The flute and the violin establish a dialogue using a motif of the first phrase transformed by inversion:

Measures 102 to 110

From measure 105 on, we also find the motif of the first phrase in its original descending form and the motif of the fourth phrase (in blue):

Measures 110 to 121 are a repetition of measures 9 to 19. From measure 115 on, Bach makes minor harmonic variations to end in D major.

Here the complete passage:

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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• Varied repetition of measures 60 to 70.
• The flute develops the motif of phrase 2; the violin and harpsichord that of phrase 4.
• They exchange melodic material at measure 129.

The passage is transposed a descending fifth in relation to measure 60. The harmonic analysis of measures 126 and 127 and 129 and 130:

Measures 125 to 136

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Measures 139 to 147

• An ascending progression keeps us in the key of D major.
• From the second beat of measure 143, a series of fifths affirms the key of D major.

Measures 139 to 147

Ascending progression

Cycle of fifths

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Measures 147 to 154

A D-dominant pedal is established. At measure 154, the orchestra falls silent and leaves the harpsichord alone.

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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Measures 154 to 199

From measure 154, the harpsichord plays solo. We will only discuss a few passages due to their harmonic interest.

In measure 199, we see a series of diminished seventh chords, resolving somewhat exceptionally: a diminished C# chord resolves to an A minor chord. For a detailed explanation, see Diminished seventh chord - from Bach to Jobim.

We show below the Bach fragment and a similar one from Chopin's Prelude in E minor:

Measures 200 to 219

From measure 200 on, Bach moves chromatically and descendingly a series of diminished seventh chords:

In measure 202, a D dominant pedal is established, which will prepare the last ritornello that concludes the movement.

Measures 154 to 219

The harpsichord develops a first phrase motive

Cycle of fifths

We modulate to the A major

Back to D major

Dominant pedal

Increases the chromaticism

Modulate to D minor

Diminished seventh chords resolving to minor triads

Chromatically descending diminished seventh chords

Constance Schoepflin (flute), Roxana Pavel Goldstein (violin), Matthew Ganong (harpsichord), Advent Chamber Orchestra (orchestra)
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