Sonata a 3 for 2 Violins and Continuo

The second completed of the 6 to 12 Trio Sonatas that will one day comprise my Opus 25.

This work is scored for two violins and continuo (optimally violoncello and harpsichord, but any bass instrument with keyboard or plucked instrument might also be employed, such as viola da gamba and archlute, etc). It is in a transitional style between the Baroque and Classical periods (Galante or Rococo), something I'm very interested in exploring these days.

I uploaded a full score for each of the movements, so if you listen to them all, you need only download the score once. I trust that won't create too much difficulty. I hope you enjoy it, and I look forward to your comments.

EDIT: Kindly note that the movements are out of order due to a glitch and I can't fix them - 1st movement is listed last. Thank you.

Very nice work. Some comments, movement by movement:

1. I like the brevity of material. Your permutations of the opening motivic 'cell' (if I can call it that) are very nice. At times the chordal breaks (i.e. measure 63) disrupt the flow a bit. Perhaps you could do a little suspended counterpoint there or have the continuo do an alberti bass to make it a bit less disruptive. Also, the violin runs at measure 22 (and the later inversions that pepper the movement), I think would benefit with a little articulation. Perhaps bow the first two and staccato or spiccato the remaining two? Might add a little bit of interest. Nice work!

2. I love the thought that you put into the conversation between the two violins and the continuo, at times, seems to interject nicely into it with some wonderful imitation and doubling. My only criticisms of this movement, minor ones, is that I felt the contrapuntal nature between the two violins could have been a bit more distinct. They seemed to almost, at times, dovetail the same line - as opposed to both being two distinct voices, they at times seemed to be one. Not a biggie though - perhaps that is what you wanted? I also feel the movement could be extended just a tad more. The ending doesn't quite sound authentic to me. Nice change in mood though.

3. I believe this would be a Gigue, yes? The 6/8 meter and the running 8ths really remind me of such. I think the continuo could be a beat more defined - to provide a more solid ground to the movement. At times, your subsections within the sections didn't quite seem to be distinct - and seemed to fly by a bit (one reason I ask if this is a Gigue, since from my experience, that's one characteristic of the form). I like how you took the running scalar passages from the first movement and broke it down into a sort of 'tuplet set'. I think the semi-develop at measure 64 could be expanded more for better dramatic effect. Perhaps start the line an octave lower and then sequence it up to where you have it rest at bar 70. Very nice.

All in all, I love this work - I think it has some very nice writing AND is a good 'modern' usage of some of an old style. Thanks for sharing this!