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In 1694 and later in 1696, Dietrich Buxtehude (1737-1707) published the sonatas comprising his Opus I and II respectively. In the print of these 14 works, the instruments stipulated are violino, viola da gamba, and cembalo. I once heard a version of one of these sonatas where the cembalo was replaced by organ fortified by string bass on the lowest line and I was very impressed with the sound. It did seem strange to me that the composer, who was one of the greatest of all organists, would specify the use of harpsichord in what are basically sonatas da chiesa, church sonatas. I decided that one day I would learn all of these works and perhaps make an edition of the one or two that I liked best, with the organ and string bass as my continuo group. The G Minor Sonata, Op. II, No 3 is my personal favorite. Oboe and bassoon substitute for the violin and gamba as they would have during the Baroque Age. The source I utilized for my version is found in the Denkmäler deutscher Tonkunst: the outstanding realization of the continuo was made by Carl Stiehl in 1903.

The sections of this sonata are many in number, and some are quite short. This work, and indeed all 14 of Buxtehude's sonatas, betray their decendency from the Canzona of the Late Renaissance and Early Baroque. The first movement, Vivace, consists of a set of ten wonderful variations over an ostinato, six in the tonic and five in the dominant. A short episode links this substantial part to section which sounds like a chorale, but for its repetitive notes, then a diminutive coda [Lento I] brings this movement to an end. The second major movement begins with a short link in recitative style [Lento II] which moves quickly into a driving fugue marked Allegro. The final episode of this fugue is based upon the same repetitive motive found at the end of the first movement. Another short Lento, brings this movement to a close. The third movement, Andante, is yet another set of variations over an ostinato. There are 25 variations in all making for very high intensity. In a word, this is an extraordinarily demanding movement.  Another short link marked Grave leads into the Gigue finale in binary form.

Oboists and bassoonists are in for quite a musical experience in playing this truly fabulous work.