(...) It seems likely that Bach composed his six Trio Sonatas for organ (BWV 525-530) as practice pieces for his son Wilhelm Friedemann, c. 1730, when the youngster was studying at Leipzig University. The need to appeal to a teenager's youthful tastes may explain certain of the sonatas' formal aspects, such as Bach's use of the three-movement (fast-slow- fast) structure associated with fashionable Italian musics. There are intimations too of the new galant style, and echoes in some of the movements of the operatic arias that Wilhelm Friedemann reportedly enjoyed. (...)
(...) Schweitzer mantains that the two manuscripts of these sonatas that were in ownership of Wilhelm Friedemann and Carl Philipp Emanuel are written for a harpsichord with two keyboards and a pedal (=pedal harpsichord). Apparently this instrument was very popular at that time and is particularly suitable for pieces composed of three obligatory voices. (...)
(...) Schweitzer mantains that the two manuscripts of these sonatas that were in ownership of Wilhelm Friedemann and Carl Philipp Emanuel are written for a harpsichord with two keyboards and a pedal (=pedal harpsichord). Apparently this instrument was very popular at that time and is particularly suitable for pieces composed of three obligatory voices. (...)
contents:
Sonate I Es-Dur
Sonate II c-Moll
Sonate III d-Moll
Sonate IV e-Moll
Sonate V C-Dur
Sonate VI G-Dur
Sonate I Es-Dur
Sonate II c-Moll
Sonate III d-Moll
Sonate IV e-Moll
Sonate V C-Dur
Sonate VI G-Dur
Stefan Palm, Pedalcembalo
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