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My decision to include yet another from among Dietrich Buxtehude's 14 trio sonatas, is based on the superiority of these works. Originally for violin, viola da gamba, and harpsichord, these voices require only slight adjustments to make them perfect for oboe and bassoon.

The sonata presented here is No. 4 in Buxtehude's Opus I; the year of publication was about 1696.  It is laid out in three movements. The first of these is based upon a harmonic composite which is similar to that found in the initial phrase of a Lutheran chorale which shows up in 1727 within the body of the J. S. Bach's Matthew Passion. Here it carries the text: 'Bin ich gleich von dir gewichen'. Buxtehude treats this phrase as an ostinato to underpin 32 fabulous variations, many of which begin with the same 5-note motive. The ostinato, itself, is elided throughout. This is followed by an extended recitativo for the two solo instruments with most-intriguing harmonies. The final movement is a masterful fugue. Near its end, the chorale phrase shows up again during an episode as an ostinato supporting three additional variations, but here there is no elision of the 4-measure phrase.

I have included J.S. Bach's harmonization of the chorale melody from the Matthew Passion at the beginning and end of Buxtehude's sonata. Purists's are free to omit it, but I feel that it is essential to the understanding of this work.