Trio Sonata (after BWV 529) (2024) was commissioned by Kat Farn as part of a project to pair new works with each of the six trio sonatas (BWV 525–530) by Johann Sebastian Bach. This piece responds to the C major sonata (No. 5; BWV 529).

Each of the three movements takes a different approach to the original piece. The first movement uses melodic shapes of the Bach but within a much more chromatic texture.

The second movement uses the bass line (pedal) of the Bach verbatim, but instead of Bach’s interlocking cantilena above, this movement treats the pedal more as the melody and accompanies it with a variety of textural patterning that moves in and out of varying degrees of consonance.

The third movement takes the buoyant mood of Bach’s third movement, but the result sounds more like a half-remembered or even slightly “alien” version of the style—moving in a continuum from traditional harmonic patterns to more unusual ones and with a non-conventional treatment of dissonances.