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The Sonata a 7 was originally scored for 6 trumpets and timpani. This arrangement for brass quintet and optional timpani incorporates the additional instrumental ranges available in a modern brass quintet while keeping the florid lines and imitative compositional style of the Baroque period contained in the original composition.
Originally this work was scored for 8 natural or Baroque trumpets, timpani and basso continuo. Heinrich Ignaz Franz von Biber wrote this piece for choirs of trumpets that were instructed to stand separate to make the best use of the antiphonal effect. This piece was intended for natural trumpets (in C). This arrangement has altered some pitches to allow for better performance on modern trumpets (notes are included that are impossible to play on a natural instrument). There are organ cues in Trumpets 3,4 and 7,8 to allow this piece to be performed without an organ. There must be a bass trumpet (baritone or bassoon) playing to provide the crucial bass line. Also provided in this edition are optional organ and bass trumpet parts in several keys to allow this work to be performed in Bb, C or D. This allows for greater flexibility of performing opportunities ranging from B-flat trumpets to Piccolo and D trumpets in the brilliant key of D.
A very flexible arrangement allows this trumpet standard to be played in several different keys. Arranged for trumpet sextet and a continuo instrument (bassoon or euphonium are suggested), this piece can be performed in B-flat, C or D. This accommodates the level of the performers and the pitch of trumpet selected to allow for this to be played at any occasion. In three short movements, the work can be altered to allow for timing at a concert. Set in two choirs of three trumpets each, antiphonal spacing is a very effective performance technique. All parts are interesting and none is difficult.