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

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

Thomas Morleys sechs Duos für zwei Melodieinstrumente beschließen den ersten Teil der seinem Lehrer William Byrd gewidmeten "Plaine and easie Introduction to practicall Musicke" (London 1597). Es handelt sich um Gesangsduette ohne Text für zwei Freunde, die zusammen singen und üben wollen. Nach dem Brauch der damaligen Zeit können und sollen die Vortragsstücke aber auch auf beliebigen Melodieinstrumenten gespielt werden.

Die vorliegenden, teilweise schon in frühklassische Stilbereiche vorstoßenden Solostücke bieten Gambenspielern eine Bereicherung ihres Solo-Repertoires.