In the early life of stringed instruments various predecessors of our modern versions developed over time. The viol was the instrument of the nobility and flourished in the courts and noble households of Europe during the seventeenth and eighteenth centuries. A chest of viols (treble, tenor and bass) was a common accessory in any aristocratic household where, playing in consort or improvising divisions on a figured bass and for the virtuosi, they were one of the most beloved forms of entertainment.

The scores of Bach and other Baroque composers contain indications such as Viola da gamba and Viola da braccia. The viola da gamba (the viol of the legs) originally had frets and six strings and grew into the modern cello; the viola da braccia (the viol of the arms) evolved into our modern viola. Even today in German scores the term Bratsche is used to denote the viola of the orchestra.

Bach composed three sonatas for viola da gamba. (In this concert they have been transcribed for viola.) Some place the date of their composition around 1720 when Bach was Kapellmeister at the court of Anhalt-Cothern and was employed by the prince who also played the viola da gamba. Others date them around 1739 when Bach was the cantor at the famous Thomaskirche in Leipzig.

The movements follow the typical slow-fast-slow-fast sequence of Baroque sonatas. These contrasting movements have their origin in the Baroque suite where alternating dance movements of varying character were grouped together.

Bach�s use of imitative counterpoint, elegant harmonies and playful tunes is evident in all movements and the writing for the keyboard is especially active in this sonata.