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

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

Two piano sonatas with violin accompaniment are published as reprints in this booklet. The edition follows the first printing of the collection op. XV (London: John Welker |1778). Johann Christian Bach unites different genres in this collection. The first two sonatas are composed for piano/harpsichord and violin and violoncello, the two here are for piano/harpsichord and violin, the first duet is written for two harpsichords, the second is a four-hand piano sonata. Both the two trio sonatas (nos. 1 + 2) as well as the two piano sonatas (nos. 5 + 6) have already been published as reprints, so that this edition is the first reprint of the entire cycle. Bach's youngest son dedicated the collection to the daughter of his loyal friend and patron the Earl of Abingdon, the Countess of Abington. Opus XV was first announced in the Public Advertiser of 17 September 1778. The popularity of this collection is evidenced by numerous contemporary prints and copies. In both two-movement sonatas op. XV/3 and 4, Johann Christian Bach combines graceful musicianship with skilful composition. Intermediate skills are required for both the keyboard instrument and the violin, making this reprint accessible to a wide range of players. Content: Sonata III - Allegro maestoso - Presto assai Sonata IV - Allegro moderato - Allegretto

Hook's role model, Johann Christian Bach, had a long-lasting effect on the English composer's work. He shares with him a strong melodic talent with an emphasised sense of form. Content: I. Allegro con spirito Andantino sempre piano Rondeau (Allegretto) II . Allegretto Siciliano (Andantino sempre piano) Menuetto (Spirituoso) III. Allegro con spirito Siciliano (Andantino sempre piano) Rondo (Allegro)

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

Jean-Joseph de Cassanéa de Mondonville (1711-1772) lived mainly in Paris. The fact that he was accepted into the Concert spirituel, where he acted as principal director and conductor, speaks for the high reputation he enjoyed as a violin virtuoso and as a composer of motets, operas and instrumental works. The present sonata is the second of a collection of six sonatas for violin and figured bass op. 4 ( about 1735). They represent an innovation in the history of violin playing in that the flageolet is used in them for the first time. This remains limited to the natural harmonics. Mondonville's notation of the harmonics is not yet the one in use today, as he marked them with small wavy lines, which have been replaced in our edition by the signs used today. In the last movement of the sonata (bar 11) there are even flageolet double stops. The bass part intended for the violoncello is also occasionally provided with harmonics. As these sonatas were written primarily for technical and pedagogical purposes, the omission of elaborate work is justified. A copy of the original edition, which is in the possession of the Library of Congress, Washington, and bears the following title ‘ Les Sons Harmoniques Sonates à Violon seul avec la Basse Continue.Œuvre 4e ’ The dynamic indications and bowings added by the editor have been marked in the usual way. Content: - Andantino - Allegro - Aria (Gratioso) - Giga (Allegro)

Jean Marie Leclair (1697-1764) was born in Lyon. He also performed here as a violinist and dancer after a temporary stay in Rouen. He then studied with G.B. Somis (a student of Corelli) in Turin. From 1728 he lived in Paris, where he worked for several years as a violinist in the royal chapel and later as a private teacher and composer. With him, violin playing reached its first peak in France. Leclair published four books of 12 sonatas each for violin and figured bass; our sonata is the ninth in the fourth book, opus 9, and in form and style represents the type of chamber sonata or suite. It begins with two dances, a French courante and an allemande. The usual order is reversed here. The Adagio has none of the solemn seriousness of the church sonata. Despite elaborate modulations and many double stops, it is dominated by gentle expression. The finale is a lightly moving and elegant piece in 3/4 time. The formal type of the fugal allegro is completely absent here. The source is a copy of the original edition of the 4th book in the New York Public Library, published in Paris in 1738 and engraved by Leclair's second wife Luise-Catherine. The dynamic indications and line markings added by the editor have usually been indicated. Content: - Courante à la Française - Allegro moderato (Allemande) - Adagio - Vivace (Non troppo Allegro)

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: -Affettuoso -Allegro -Larghetto -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: - Allegretto - Adagio - Allegro