Andante - or how a solo sonata turned into a trio sonata

And now here is another experiment.

In the past few days, some ancient sheet music fell into my hands, I sat down at my Kurzweil PC88 and started to play ... what was that? A so-called youth sin by the great Hallenser Georg Friedrich Handel, the Sonatas for alto recorder and continuo op.1, which we played at the tender age of 16 ... I had the feeling that something was missing .... and the task was already clear. Rewrite this sonata into a trio sonata, add a second voice equivalent to the first. Quite a demanding task, as I discovered. How do you make the second voice have the same weight as the leading one? It should have many imitations, parallel runs and at the same time also set a strong counterpoint. I have been fiddling with this for a long time, and now it is up to you to decide whether the result sounds conclusive .....

The quality of the composition - as far as I can tell after listening to it several times - improves as it progresses. I felt the incredible power of the imitation and the counterpoint, which is far stronger than tonality, i.e. the balanced relationship between consonance and dissonance. The motto was - don't care if it sounds weird at one point in time, but look at tonality in time - don't be afraid of dissonance!

Enough chatting - have fun with this very special transcription!