Anton Bernhard Fürstenau (1792-1852) belonged to the middle of three generations of flautists and performed in public as a boy of seven. In the years 1803-1818, he accompanied his father and teacher Kaspar Fürstenau on his many concert tours through Germany and Europe. Later he also gave concerts alone or with his son Moritz and enjoyed a high reputation, which, according to contemporary judgement, made him ‘ if not the most excellent, then undisputedly one of the most excellent ... flutists ’. In 1820 Fürstenau moved to Dresden and found a position with the court orchestra conducted by Carl Maria von Weber. A lasting friendship developed between the two artists and when Weber died in London in 1826, Fürstenau was at his deathbed. The musical œuvre of the flute virtuoso can be divided into 3 groups: - works mainly for his own use - didactic works (technical studies, 2 notable flute schools) - chamber music (duets, quartets, quintets, operas with trios for 3 flutes) A thorough study of his compositions and his ideas on music and their realisation on the flute should be worthwhile for every flutist, even today.

Anton Bernhard Fürstenau (1792-1852) belonged to the middle of three generations of flautists and performed in public as a boy of seven. In the years 1803-1818, he accompanied his father and teacher Kaspar Fürstenau on his many concert tours through Germany and Europe. Later he also gave concerts alone or with his son Moritz and enjoyed a high reputation, which, according to contemporary judgement, made him ‘ if not the most excellent, then undisputedly one of the most excellent ... flutists ’. In 1820 Fürstenau moved to Dresden and found a position with the court orchestra conducted by Carl Maria von Weber. A lasting friendship developed between the two artists and when Weber died in London in 1826, Fürstenau was at his deathbed. The musical œuvre of the flute virtuoso can be divided into 3 groups: - works mainly for his own use - didactic works (technical studies, 2 notable flute schools) - chamber music (duets, quartets, quintets, operas with trios for 3 flutes) A thorough study of his compositions and his ideas on music and their realisation on the flute should be worthwhile for every flutist, even today.

Anton Bernhard Fürstenau (1792-1852) belonged to the middle of three generations of flautists and performed in public as a boy of seven. In the years 1803-1818, he accompanied his father and teacher Kaspar Fürstenau on his many concert tours through Germany and Europe. Later he also gave concerts alone or with his son Moritz and enjoyed a high reputation, which, according to contemporary judgement, made him ‘ if not the most excellent, then undisputedly one of the most excellent ... flutists ’. In 1820 Fürstenau moved to Dresden and found a position with the court orchestra conducted by Carl Maria von Weber. A lasting friendship developed between the two artists and when Weber died in London in 1826, Fürstenau was at his deathbed. The musical œuvre of the flute virtuoso can be divided into 3 groups: - works mainly for his own use - didactic works (technical studies, 2 notable flute schools) - chamber music (duets, quartets, quintets, operas with trios for 3 flutes) A thorough study of his compositions and his ideas on music and their realisation on the flute should be worthwhile for every flutist, even today. Content: - Allegro non tanto - Andante - Rondo | Allegretto

Die Spielmusik für Streichtrio und Mandoline ist ein frühes Werk von Alfred Uhl, es entstand 1936. Inhalt: 1. Capriccio 2. Südliche Landschaft 3. Zahnräder 4. Frohe Wanderung am Morgen

Robert Valentin (ca. 1678 - 1747), also known as Roberto Valentini or Roberto Valentino, was a well-known English composer, recorder player, oboist and violinist. He moved to Rome and became an Italian citizen. Valentino is best known for his numerous recorder compositions. He was considered a highly skilled player of this instrument. His instrumental compositions include a series of sonata collections and trio sonatas as well as concerto grosso. At first, his style was strongly orientated towards that of Arcangelo Corelli. Over time, however, he increasingly turned towards the galant style, which is reflected in his later sonatas published in Northern Europe. Content: I. Sonata - Andante - Allegro - Largo - Allegro II. Sonata - Largo - Allegro - Adagio - Allegro III. Sonata - Largo - Allegro - Andante - Minuet

Michel Blavet (1700-1768) was a French composer and flute virtuoso. He was a remarkable artist who not only specialised in the bassoon and flute, but was also known for his exceptional intonation, even in difficult keys. Voltaire admired the beautiful sound of his playing and Marpurg described him as a virtuoso of the highest quality who maintained modesty despite his great popularity. He was characterised by the fact that he held the flute with his left hand, which set him apart from most flutists of his time. His works, written mainly for the transverse flute, show both the 'Italian and French styles' and are written in simple keys to make them accessible to amateurs. His surviving works include a concerto and 3 sonata books (1740).

Karl Friedrich Abel (1723-1787) is regarded in music history as ‘the last musician who treated the viola da gamba with happiness and favour’ (quote from Goethe's 8th book ‘Dichtung und Wahrheit’). His acquaintance with Johann Christian Bach is also well known. Together they founded and conducted the London Bach-Abel concerts from 1764-1781. The fact that he also turned to the violoncello in later years has been almost completely ignored in music research. The two sonatas presented here (presumably composed in Berlin in 1782) are taken from the Abel Complete Edition by Walter Knape (published by Ad Portam, Cuxhaven). The two sonatas are undoubtedly early classical cello music, as can be seen from the outward appearance of the clef. In the G major sonata, the usual three movements are followed in a formally particularly appealing manner by a minor-key Romance as the fourth movement (with diminished octaves in bars 10 and 14), which leads into a folk-song-like major-key movement in 6/8 time and thus concludes the sonata in G major. The Adagio of the A major sonata features an original cadenza with high harmonics, which was a new playing technique at the time and is an attractive introduction to classical cello technique (Boccherini, Romberg, etc.) for today's cellists. The bass accompaniment is unfigured, so that the early classical piano writing can be played just as well on the harpsichord as on the fortepiano. The violoncello part has been precisely marked by the editor. Content: I. Sonate G-Dur (WK-Sammelordnung 147) - Allegro moderato - Adagio - Tempo di Minuetto II. Sonate A-Dur (WK-Sammelordnung 148) - Allegro moderato - Adagio - Rondeau - Romance

Benoit Guillemant was a flautist and lived in Paris between 1746 and 1757. The dates of his life are not known. These six sonatas op.3 are his only compositions of this kind. In addition to the stylistically correct articulations, their musically flawless performance also includes the precise interpretation of the ornamentation and the independent insertion of ornaments, where these are not prescribed but are tacitly assumed by the composer in accordance with the usage of the time. The score follows the original musical notation. All additions by the editor have been noted in the usual way. Content: I. Sonata - Allegro - Gratioso - Allegro - Aria gratioso - Allegro II. Sonata - Andante - Allegro - Affettuoso - Aria prima (Poco allegro) - Aria secunda III. Sonata - Aria gratioso - Allegro moderato - Andante - Tempo di Minuetto IV. Sonata - Allegro - Aria gratioso - Giga allegro - Cantabile - Minuetto primo - Minuetto secondo V. Sonata - Cantabile - Allegro moderato - Affettuoso - Aria moderato VI. Sonata - Gratioso - Fanfare - Aria (Affettuoso) - Fanfare

A. Barette (also known as Baretti) was probably a brother of the famous poet and writer Gioseffo and lived in Turin as a music teacher in the second half of the 18th century. He composed several instrumental works, including mainly chamber music for violoncello and some pieces for harpsichord. The present VI Divertimenti op. 1 for 2 violoncellos were first published in Paris and Amsterdam in 1770, were later copied and catalogued by Westphal as No 250. As the first edition could not be found, our new edition is based on this copy (Conservatory Library, Brussels). The designation deux Basses preferably refers to 2 violoncellos, but a scoring with 2 bassoons, violas da gamba or other bass instruments is also possible. Content: I. Allegretto Largo Menuetto Trio II. Allegretto Andante Menuetto Trio III. Moderato Largo Menuetto Trio IV. Allegro Moderato Lento Menuetto Trio V. Allegretto Andante Menuetto VI. Allegretto Lento Menuetto

Content: -Largo - Allegro - Largo - Allegro

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. The editor's work extends to compiling the score, correcting some errors and setting out the continuo parts. Additions to the score are indicated as such by small notes, brackets or dotted slurs. Content: - Largo - Allegretto - Vivace