Trio Sonata in g minor for Alto Recorder, Violin and Continuo

 Like many trio sonatas, this work consists of four movements: slow - fast - slow - fast. It starts with a three-partite Grave with a slight hint of French ouvertures, though then developing in a different direction. The second movement is a fugue. I am rather fond of a moment where all voices stop and the recorder and violin start the conversation of voices anew, and more lucid than before. The third movement is a through-composed Adagio, followed by a fugal finale in 12/8.

This trio sonata is written for alto recorder, violin, cello and harpsichord, but a variety of instruments would fit too, though it leads to interesting changes in the character of the individual movements.

I am not sure if the Grave and the Adagio shouldn't be swapped to increase the coherence of the music. Any suggestions welcome.

Edited January 28, 20251 yr by Willibald
updated files

It's a lovely trio sonata. My favourite movement is the 2nd. The subject is interesting and your treatment of it is very successful throughout, with a well-planned structure. I would personally omit the re-exposition before the stretto entries, and expand on the stretto material - I think it's here a contrapuntal goldmine that is somewhat underexplored. But overall, the piece is rhythmically varied, motivically tightly-bound, idiomatic, harmonically consistent with the Baroque (I love the Neapolitan chord near the end!), and with well-written counterpoint throughout.

For me, the biggest weakness I find is the lack of variety of form. The fourth movement is almost identical to the second from a structure PoV, and the third lacks a formal structure. Principles like binary/canon/ritornello/invention/gallant sonata are all reasonable tools to reach for that will make your movements have greater diversity and contrast. Writing the third movement in a major key helps too!

Thanks a lot for your kind words! Indeed, the 2nd movement is my favourite movement as well. Thanks also for your comment regarding variety; this is an area I have to think more about.

I wanted to avoid duplicating my trio sonata in C Major (Trio Sonata in C Major), and also to avoid repeating a section. But now, the second half mirrors the first one: Both slow movements are 24 measures long and are structured as A - B - A' (not as clear in the 3rd movement, but still). The fast movements are both fugues with about fifty measures that touch the usual keys. There are differences, for sure, and one could claim it's all on purpose. What I hope for is that as all four movements are rather short, the similarities are not too bothersome.

I listened to the whole thing. 

It is always impressive to see other composers undertaking the task of writing in baroque revival - and you even use figured bass!

I generally enjoyed your work, although building on @muchen_'s comment about variety I agree this is needed. I would also suggest using better sound sets to aid the listening experience. The latest musescore offers excellent sounds for free so there shouldn't be an excuse to not make use of that software package. 

I look forward to hearing more of your work. 

   A very good effort in a difficult form to get right.

    I would recommend more immitative counterpoint in the 1st movement---particularly in the cello.    While I get the "grave" tempo and the intended feel, sonic interest might be better served by a bit more motion.  Not to hinder but to ACCENTUATE.

Edited April 26, 2025Apr 26 by Rich

N.I.C.E.  ..................And each one no longer than 2mins.

Thanks for the kind feedback and positive words.

More variety was such a frequent advice that I have looked at numerous trio sonatas again to study others' strategies for variety. And there are indeed examples for extremely varied sonatas, but also others where the various movements follow very similar blueprints. But what the composers would do then is make sure that the pieces as a whole differ in structure, mood etc. Like in Telemanns Tafelmusik. So, I will surely strive for more variety in future sonatas, but the structure of this trio sonata is not that uncommon.

@Markus Boyd Indeed, I use MuseSounds, but I am still experimenting with the various settings e.g. for the violin and still have much to learn. For the 1st movement, I would now definitly choose a different sound. 

@Rich Thanks for the suggestion. This would nicely fit with the imitative passages in the other three movements. I will look into it.

@FILMSCORE Yes, I tried to keep the movements rather concise; Corelli's trio sonatas are often that short, and this makes it necessary to be precise and to the point.

Edited May 18, 2025May 18 by Willibald

Hi @Willibald

I enjoyed your work. It's pleasant to hear some - nice - music in this demanding style 🙂 

I'm a fan of harpsichord, which you handle well here.

Regards 🙂 

Marc