Sonata in B-flat Major for Two Trumpets and Organ

Giuseppe T,utini (1692-1770) had a long an illustrious career as a violinist, composer, teacher inventor, and theorist.  In his early years, he apparently studied law at Padua University, but hurriedly left Padua in 1713 when there was disapproval of his marriage by the clergy.  He  fled  to a monastery at Assisi where he studied music and acoustics. During this period Tarhni invented a new violin bow, and supposedly composed a sonata known as “Devil’s Trill.” He also gave many violin recitals.

In 1715 he returned  to Padua  and  took a position as an orchestra violinist.  He then became the first violin Rt St. Anthony’s Basilica (’11 Santo’) from 1721-1723, followed by a term as Kapellmeister of Count Kinsky’s court in Prngue 1723-1726 before returning to Padua in 1728. Soon after his return, he founded a school of violin playing. He also discovered “resultant tones,” and wrote several musical treatises which included R work on violin playing and ornamentation.

Tartini left a lnrge legacy of  music: violin concertos, concertos for other  instruments, sinfonie and  sonatas 21 4, trio sonatas, solo violin sonatas, and sacred vocal music.  He was a principal contributor to the solo violin ct1ncerto ,md sonata literature for violin, as well asgnlnnt and e111pfimisn111, known as pre-Classicism qualities.

So,,ntn 111 BJ!nt Mnjnr is from Tartini’s trio sonatas for two violins and continua. He wrote about forty trio sonRtas from 1745-1749.  These sonatas follow a three-movement plnn, nil movements in the sc1me key with binary forms.

Snnnfn in B–flot Major was originally written for two violins c1nd continua in D Major. This sonata was arranged for two trumpets and transposed to the key of B-flat Major.

The first movement, A11dn1rte, is mainly in a duet style, with many parnllel thirds. Me11uetto, the middle movement, is also in duet style with many thirds.   It is a graceful, gnlnnt movment with long, lyrical lines, with repetition of phrases.   Allegra nssni, the final movement is imitative with a wider range than the first two movements.

This exciting sonata is a welcome addition to the performing and teaching repertoire of the Baroque period for two trumpets Rnd keyboard. It is well constructed, interesting, and rewarding for both the performer and the listener.