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Titolo	Triosonate I In Eb
N. di articolo	3045734
Categoria	Gruppo musicale
Sottocategoria	Saxophone
Instrumentation	3Sax (3 Saxofoni)
Paese di pubblicazione	Germania (de)
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Titolo della serie	Saxophone Trio
Compositore	Bach, Johann Sebastian
Arrangiatore	Mühlenhardt, Olaf
Opus no.	BWV 525
Ulteriori informazioni / contenuti	The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or flute). Bach's Sonatas for organ require highly independent hands and feet and subtle differentiation to portray the three parts as two individual instruments accompanied by a bass line. Obviously, the pedal part is not as virtuosic as it would be for the left hand of a keyboard player. And that makes it even more suitable for a less experienced tenor or baritone saxophone player in the present edition. To give those players who are not yet familiar with baroque music some ideas, I have included a few suggestions. Bach gave tempo instructions for all but the first movement. The metronome markings provide some orientation; the players should adjust the tempo according to their musical taste and capabilities. Except for the slurs at the beginning of the second movement, there are no further articulations in the manuscript. The articulations in this edition do not need to be taken literally; a slur does not always mean legato - it rather represents a musical unit; slight tonguing won't hurt the line. Likewise, the staccato dots do not always indicate short notes - they show upbeats which are not clearly visible, syncopations which could use emphasis or simply suggest separated eight notes (like in the theme of 1st movement). In general, larger intervals should be separated more clearly ; one will have to determine if they are accompaniment figures in argeggios (as is often the case in the bass part) or melodically significant lines. As the movements progress, the articulations in parallel or simi-lar passages were left out. A lot can be learned from this sonata, not only in regard to phrasing and articulation. And it is an extraordinary pleasure to play and perform it - the movements could hardly be more diverse in mood and character.
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