Although it bears no such designation in the title, this selection from Rameau’s first set of concerted harpsichord pieces is essentially a sonatina. It does, however, have a subtitle: ‘Le Vézinet.’
The alto has a low E in b. 15 that is produced by fingering low F while half stopping the foot joint with the knee. This is easiest to bring off when seated, perhaps with a block under one foot sufficient to raise the knee to the level of the recorder. The tenor part is rather relentless, so if need be, omit the parenthetical notes (bb .45 & 75) to permit extra breathing space. One or both repeats may be forgone if desired. Be sure to distinguish between the short trill and the mordent. They look similar, but the mordent has a thin vertical slash through it.
St. Pierre performs all three parts on the accompanying multitrack recording. The ARS library holds other Rameau trios he has set. (Keyword search: Rameau) Duration: 3:15 (second repeat omitted)
A fun ATB adaptation of a light-hearted keyboard work by the famous French Baroque master Jean-Philippe Rameau. As the melodic leader, the Alto part has some high F’s and G’s, while the Tenor plays mostly rhythmic support in the middle line. A series of arpeggios that dip low in the Tenor ask for stamina and practice. The Bass is a true Baroque bass line, providing foundational pitches and working in tandem with the Tenor to weave a rhythmic netting for the Alto’s high-wire act above. The arranger adds staccato and portato markings to indicate where shorter and medium-length notes are required.