Baroque trio sonata

I believe this is a hybrid of late baroque and early classical. My writing for the bassoon here is influenced by Zelenka, as well as Michel Corrette. I think for the composition competition held in my local jurisdiction I will compose a suite in this style. I have until next year to prepare for this. I hope you enjoy and any feedback would be appreciated.

Nice job!  It really is quite fun!  I think it's quite a crisp rendition despite the heavy reverb (although I had to open the score to really see what was happening and feel like I was also hearing everything).  There are a few loose ends although that might be just my taste.  Like at meas. 94 the oboe line seems to suddenly peter out.  Also, it seems strange to start the piece out with the bassoon and harpsichord but no oboe, although I think in the second half (after the repeat) you make up for that by giving the main idea to the oboe which is really quite nice.  The transition at meas. 90 seemed a bit contrived to me - did you by chance splice two disparate parts of your piece together there?  Btw - I really enjoyed your visits to minor keys like at meas. 81 (C minor) and 85 (G minor).  Thanks for sharing!

3 hours ago, PeterthePapercomPoser said:

Nice job!  It really is quite fun!  I think it's quite a crisp rendition despite the heavy reverb (although I had to open the score to really see what was happening and feel like I was also hearing everything).  There are a few loose ends although that might be just my taste.  Like at meas. 94 the oboe line seems to suddenly peter out.  Also, it seems strange to start the piece out with the bassoon and harpsichord but no oboe, although I think in the second half (after the repeat) you make up for that by giving the main idea to the oboe which is really quite nice.  The transition at meas. 90 seemed a bit contrived to me - did you by chance splice two disparate parts of your piece together there?  Btw - I really enjoyed your visits to minor keys like at meas. 81 (C minor) and 85 (G minor).  Thanks for sharing!

 

I chose to omit the oboe at bar 94, where you point out, for reasons relating to interaction with the bassoon. I personally found it pleasant to have the bassoon reply to the preceding oboe part in the sub dominant key and I did not think it necessary to compose a countermelody to that response.

The transition at measure 90 is D minor to D Major. This precedes a modulation to the subdominant (or home key of G Major) in the same fashion as the first part.

I agree that there are still a few loose ends, some of which I noticed after I rendered the video. There are a few areas, such as the harpsichord part in bar 54 & 83, that I feel could be improved, as well as the bassoon part during bars 74-75 that could be spiced up a little. However I am pleased with the general structure of the short piece, in particular the tonal structure that I think maintains sufficient variety.

Thanks for your comments.

Hi Markus, thanks for sharing. Very nice binary form. I like the imitation interplay within the parts. From the first listen I could also identify some of the galant schemas. I have heard a Monte-Romanesca in the first part, a fifht cycle, the falling third harmony before the repetition and also a Prinner in the second part. I will relisten later and have a closer look to the score. But overall really enjoyable piece as always. Looking forward to your suite 🙂Regards!