The trio sonata is a musical form that was popular in the 17th and early 18th centuries.
A trio sonata is written for two solo melodic instruments and basso continuo, making three parts in all, hence the name trio sonata. However, because the basso continuo is usually made up of at least two instruments (typically a cello or bass viol and a keyboard instrument such as the harpsichord), performances of trio sonatas typically involve at least four musicians, and some 18th-century published editions have duplicate partbooks for the bass (Mangsen 2001). The trio sonatas by Arcangelo Corelli (opus 1, 1681, opus 3, 1689) were of unparalleled influence during his lifetime and for a long time after, inspiring slavish imitation by composers whose numbers were legion (Talbot 2001).
Tomaso Albinoni, 12 sonatas da chiesa op. 1 and 12 sonatas da camera op. 8.
Arcangelo Corelli, 24 sonatas da chiesa opp.1 and 3, 24 sonatas da camera opp. 2 and 4.
Henry Purcell, Twelve sonatas of three parts, 1683, ten sonatas in four parts, 1697 (both sets for two violins and BC).
Johann Sebastian Bach, trio sonatas BWV 1036–1039. Some of these are of doubtful attribution, but all are typical of baroque chamber music. They are written for basso continuo and two violins, except 1039 which is written for two flutes and basso continuo (which concurs with BWV 1027).
Dieterich Buxtehude, op. 1, six trio sonatas, and op. 2, seven trio sonatas. Scored for violin, viola da gamba and basso continuo. These were the only works by Buxtehude that were published during his lifetime.