Dem Brauch der Zeit entsprechend können die beiden Solostimmen dieser gut gearbeiteten Kompositionen auf allen im 18. Jahrhundert gebräuchlichen Melodieinstrumenten gespielt werden. Empfehlenswert ist eine gemischte Besetzung (Flöte / Oboe / B.c. oder Flöte / Violine / B.c. oder Oboe / Violine / B.c.). Die erste Solostimme lässt die Ausführung durch eine Alt-Blockflöte zu. Somit erweist sich diese Sonate als wertvolle Bereicherung der Triosonaten-Literatur mit Alt-Blockflöte.

Content: -Affettuoso -Allegro -Larghetto -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)

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)

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