Christoph Schaffrath (1709-1763) was one of the important musicians and composers that the music-loving Frederick II of Prussia gathered around him. He can be described as one of the most interesting and imaginative composers of the Berlin circle. In addition to overtures, symphonies and quartets, he mainly wrote harpsichord works and chamber music in which the keyboard instrument plays a leading role.Schaffrath's Duet in D major is published here for the first time in a new edition. Our edition is based on the copy of the first print of the ‘ Six Duets op. 1 ’ in the Saxon State Library in Dresden. Duets I, III and V are written for violin and harpsichord, the others for flute and harpsichord. The present composition is Duetto II. The editor's work extends to compiling the score, correcting some errors and setting out the continuo passages. Additions to the score are indicated as such by small lines, brackets or dashes. Content: -Allegro -Andante -Allegro

Born in Bergamo on 3 September 1695, Pietro Antonio Locatelli studied with Corelli in Rome. In 1725 he was appointed chamber virtuoso at the court of Mantua. He also performed as a violinist in the entourage of the Elector of Saxony, for example in Kassel in 1728, Berlin in 1729 and Amsterdam, where he settled permanently in 1730. As a violin teacher, composer and music publisher, he was both respected and wealthy there. Locatelli died on 3 March 1764 and was buried in the Beguinage in Amsterdam. We know from his estate catalogue that he owned two transverse flutes and a ‘Flûte d'Amour’. His Opus II, 12 sonatas for ‘Flauto traversiere’ and basso continuo, also shows that he was very familiar with the transverse flute. The present work is taken from Opus V, published by the author himself in Amsterdam in 1746. The title of the opus, which contains six sonatas, explicitly states that they can be played with two violins as well as two flutes. There is also nothing to prevent it being scored for violin and flute. This original version remained unchanged when it was saved. Like many of Locatelli's compositions, this trio sonata also differs from the works of his Italian contemporaries in its unconventional originality. It is also particularly easy to play, as it is dedicated to a dilettante, the city secretary of Amsterdam, M. Lestevon, a pupil and patron of the composer. It will also delight music lovers of our time, not least because of the pastoral middle movement. Content: - Andante - Largo, Andante - Allegro - Vivace

The publication of this sonata by the Potsdam court conductor Carl Heinrich Graun is based on a manuscript in the possession of the Saxon State Library in Dresden. Our edition is the first time the work has appeared in print. Editorial additions are marked as such in the score; added slurs are dotted, added ornaments and dynamic markings are bracketed. The harpsichord accompaniment, written after the figured bass, is printed in small print. Content: - Largo - Poco allegro - Vivace

Content: - Grave - Allegro - Grave - Allegro

First edition This edition is based on a manuscript from the Staatsbibliothek Berlin, Preußischer Kulturbesitz, Musikabteilung. It comes from the estate of Telemann, who gave it to his grandson Georg Michael Telemann (1748-1831). G. Poelchau acquired the manuscript in 1834 with a pack of music stored in a church tower in Riga. From Poelchau's estate († 1836) the sonata work came to the Royal Library in Berlin. The sonatas are dedicated to the brothers Rudolf, Hieronymus and Johannes Wilhelm Burmester of a Hamburg patrician family dated 1 March 1734, with the note that they follow the ‘12 methodical sonatas’, which were also dedicated to the first two brothers. The close connection between the two large sonata works can be found in their valuable musical content, in the sequence of movements (slow, fast, slow, fast), and in the succession of keys (C-a-D-h-E-F-d-G-e-A-f sharp-g). The bass lines are often involved in the theme. Occasionally we are reminded of J.S. Bach's inventions. In the title, the violin is named as the solo instrument before the flute, as several sonatas are unmistakably written “violinistically” without this hindering their playability for flute. The present edition adheres strictly to the manuscript. Suggestions for dynamics are indicated as such by brackets, as are those for articulation (by dotted lines), which may differ for violinists from those intended for flute. Experienced players should use the original figured bass for their own interpretation. The 12 sonatas made available to the public here for the first time are among the best compositions of this kind by Telemann, who dedicated them to 'connoisseurs and lovers' with the wish '...faire une bonne partie de Vos amusements'. The sonatas will fulfill this purpose today just as they did at that time. Content: X. - Soave - Dolce - Spirituoso XI. - Dolente - Vivace - Piacevole XII. - Teneramente - Spirituoso - Gratioso

Sehr leichte Stücke, zusammengestellt für das erste Zusammenspiel von Violine, Violoncello und Klavier. Inhalt: 1. Wettstreit zwischen Violine und Violoncello 2. Nachbartöne 3. Pizzicatoständchen mit leeren Saiten 4. Der Tanz mit den goldenen Schuhen 5. Kanon 6. Bärentanz 7. Tölpel kann tanzen 8. Wie ein Menuett zu spielen 9. Wechseltanz

The Florentine violinist Antonio Veracini was born in 1659 and died in his home town in 1733. His father Francesco da Niccolò Veracini (1638-1720) was a violinist. He probably received his first lessons in violin playing and composition from him. Antonio's employment by the Grand Duchess Vittoria delle Rovere was probably due to his father's good personal relationships at the Tuscan court. He dedicated his first major work to her, the sonatas op. 1 for 2 violins with basso continuo. Apart from these trio sonatas published in 1692, the violin sonatas (Sonate da Chiesa) op. 2 and violin sonatas (Sonata da Camera) op. 3 are known from his printed compositions. Unfortunately, the music for some of the oratorios documented by the libretti that have been found seems to have been lost. Rogers used the undated reprint published by F. Rosati in Modena and the first edition of 1696 dedicated to ‘Serenissimo Principe Gio Gastone di Toscana’ as a model for this edition of the fourth chamber sonata. The model was tacitly corrected. Additions for practical use have been indicated in the score by bracketing, dashes or small print. Content: - Grave - Largo - Vivace