Gottfried Heinrich Stölzel (1690 – 1749) was a prolific German baroque composer. He received his first musical education from his father. When he was thirteen, he was sent to study in Schneeberg, where he was taught music, including thoroughbass, by cantor Christian Umlaufft, a former student of Johann Kuhnau. He studied at Leipzig University from 1707 to 1710, where he joined the Collegium Musicum, which had been headed by Telemann before Stölzel’s arrival at the University. For the next ten years travelled widely, studying, teaching and composing in Breslau, Halle, Venice (where he met Antonio Vivaldi), Rome, Florence, Prague, Bayreuth, and Gera. When he married in 1719 he settled in Gotha (Saxe-Gotha), where he remained for the rest of his life.
Stölzel was one of the most prolific composers of his time. He excelled in almost every musical genre. It is only to be regretted that so much of his music, roughly half of his musical output, has been lost. Johann Sebastian Bach held Stölzel in great esteem and used several of Stölzel’s cantatas.
Stölzel wrote at least two Triosonatas specifically for organ. Other Triosonates were written for other instruments, or do not specify the instruments for which they were written. Several of these sonatas lend themselves very well for adaptation for the organ. The triosonata in c minor is one of them. Originally written for two violins and basso continuo, the musical material is easily adapted for two hands and feet. It has three parts, that are each a delight to play. And elegantly flowing Andante is followed by a somewhat sombre Adagio. The concluding lighthearted Vivace dispells the sombre mood and gives a sunny finish to the piece. Stölzel proves: the tonality c minor is not always ‘dramatic’.
I posted a prev'view' of the first part a few weeks ago: http://www.contrebombarde.com/concerthall/music/29974
Score available here: http://partitura.org/index.php/johann-gottfried-stolzel-triosonate-c-moll/