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There is still some uncertainty concerning a large number of the chamber pieces of Bach. Considering the inner proportions of his oeuvre, relatively few trio sonatas have survived.
We have good reason to suspect that the proportion of lost trio sonatas is greater than that of his cantatas. There are Bach scholars who surmise that behind every piece written by Bach for a solo instrument and the compulsory harpsichord -carrying the composed right-hand part - lies an earlier trio sonata as the original version. An evident cause of the possible loss could be that after the demise of Bach, his musical estate was distributed among his sons, the vocal pieces bequeathed to the older brothers and the chamber music to the younger ones, Johann Christoph Friedrich and Johann Christian, who clearly did not prize their paternal heritage as highly as the others, since the scores inherited by them have almost completely disappeared.
There are still a number of unanswered questions concerning the known chamber pieces of Bach as well. For instance, very little is known about the exact dates of composition.
It is more likely that Bach wrote chamber music all through his life, while residing at the Court of Weimar in and between and and also at Leipzig and not only in the period between and , when he was musical head of the Collegium Musicum there. Of the barely forty pieces he wrote for instrumental ensemble, sixteen have certainly or to all probability survived in two or three different versions, and sometimes it is far from clear which of these is the original, pre-dating the others.
Dating the pieces thereby becomes difficult or impossible. The question of authenticity arises with good reason in relation to certain compositions forming part of the fragmented chamber music repertory that has survived, and of a number of these it has been proved beyond doubt that Bach was not their author. All these uncertainties, however, do not alter the fact that the trio sonata became an important ground for Bach's innovative efforts.
Taking this conventional form as his starting-point, he reformed the solo sonata accompanied by harpsichord by elevating the harpsichord out of its role as continuo and investing it with a right-hand part of its own, thus promoting it to the rank of the melodic instruments violin, flute or viola da gamba. At this stage of progress, having three parts made it unnecessary for the basso continuo to fill the musical texture with harmonies.
The independence of the three parts reaches perfection in those trio sonatas which Bach wrote for the two manual keyboards and the pedalboard of the organ. At the same time, it is no accident that towards the end of his life, in one of his great summarizing pieces, Musical Offering, Bach returned to the traditional casting of the trio sonata - flute, violin and basso continuo - while working upon the royal theme in Sonata Sopr' Il Soggetto Reale. This composition, more intricate, complex and masterly than any other, represents the apex of the history of the trio sonata.
Trio Sonata in E flat major BWV Bach noted down the six trio sonatas for organ as a unified collection around which does not preclude the possibility that some of the pieces were written earlier. This series is in fact the only coherent opus among his 'free' organ pieces, i. Forkel reports that Bach composed these sonatas as practice pieces for his eldest son, Wilhelm Friedemann, who became a virtuoso organist under his father's tuition.
The performer of these pieces faces significant technical difficulties as both hands and both feet are required to move independently. It is no accident that the trio sonatas in question form an integral part of an organist's studies to this day. All the compositions follow the triad fast-slow-fast movement pattern of the Italian concerto or, to use the terminology of Johann Adolf Scheibe, a contemporary of Bach's, fall into the category of "Sonaten auf Concertant".
On the other hand, the structures prevalent in the majority of movements, developed out of binary, repeated forms, bear no resemblance to the Italian concerto form, but follow the most modern form of that age instead. The Sonata in E flat major, the first piece of the series, is an excellent example of the lively interplay of the two concerted treble parts and the three-part structure without harmonic filling in. The first movement is enlivened by the contrast between the even sixteenths and the resolved triads. The closing movement, Allegro, is a masterly synthesis of rigorous musical logic, expert knowledge of counterpoint, cheering ingenuity and rhythmic momentum.
On this recording, true to the original structure and organ sound, the piece is played by three wind instruments unaccompanied by a harpsichord. The Violin Sonata in F major, on the other hand, is a transcription of the trio sonata in which one of the two melodic parts is entrusted to the right hand of the keyboard player, in accordance with the popular genre of the so-called "accompanied sonata".
Most Bach scholars consider the Violin Sonata in G major the original, authentic composition of Bach, while in their opinion the trio sonata was written by a student or disciple, to whom Bach himself set the task of composing two independent parts for the given bass. Some scholars believe that this student was Bach's most talented son, Carl Philipp Emanuel. Still others consider the trio sonata a much better composition than the violin sonata, and suppose the relation between model and composition exercise the other way round. The mystery surrounding these works is further deepened by the fact that the manuscript of the trio sonata is written in Bach's own hand, while the violin sonata is preserved in the handwriting of the composer's second wife, Anna Magdalena - whose handwriting, incidentally, is eerily similar to the composer's own.