by Rebecca Cochran
 
Last evening, I had the pleasure of hearing a live performance of the trio sonata from Bach’s Musical Offering (BWV 1079). Scored for flute, violin and continuo, this setting is part of a larger work for solo keyboard that Bach quickly composed following his famous visit to the court of King (and flutist) Frederick the Great.
 
Bach’s exquisite writing allows this trio sonata to stand on its own, without the benefit of the ricercars, canons and fugues based on the Thema Regium (King’s Theme). Imagine my delight when, well into the second movement, the theme appears in the violin line. I’d completely forgotten about the King’s Theme!
 
I was also reminded that Bach was unclear as to the intended order of these pieces. Bach has a way of surprising and challenging me to this day!

by Rebecca Cochran
 
In yesterday’s post, I mentioned Bach’s use of the gigue dance form in many of his works. Another fine example is the final movement of the Sonata for Two Violins and Keyboard in C Major, BWV 1037.
 
When Breitkopf & Härtel published the trio sonata in 1761, it was attributed to Johann Gottlieb Goldberg (yes, that Goldberg). Three years later, however, it was reissued as a work by J.S. Bach. Nearly two centuries later, in 1953, a noted scholar found the work to be (conclusively?) that of Goldberg.
 
It doesn’t matter to me to whom the work is attributed. Bach/Goldberg ends this church sonata with a gigue (a folk dance)! This frolicking dance is in joyous contrast to the earlier movements. The clever emphasis on the nonexistent downbeat causes me to believe this is, in fact, a work by Bach.

Enjoy listening to this lively rendition by the London Baroque under the direction of Charles Medlam. 

by Rebecca Cochran
 
The trio sonatas are some of my favorites of Bach’s works. I particularly love his Trio Sonata G major, BWV 1038 for flute, violin and continuo. As a flutist, I enjoy the idea of being on “equal footing” with the other two musicians.
 
The Moyse Trio, active in Europe and, following World War II, in the U.S., was awarded the Grand Prix du Disque for their recording of this work on the His Master’s Voice label. Still one of my all-time favorite recordings, you can listen to it here.
 
Read more about the Moyse Trio here.