Johann Joachim Quantz (1697-1773) was a German composer and flautist. Orphaned at an early age, he was apprenticed to a related town musician in Merseburg. He then studied counterpoint with Zelenka and Fuchs in Vienna in 1717. He joined the Royal Polish Chapel in Dresden and Warsaw in 1718, first as an oboist and then as a flautist. From 1724-1727, he travelled to Italy, Paris and London on an electoral scholarship. Returning to his old position in Dresden, he played for Crown Prince Frederick of Prussia in 1728, who chose him as his teacher and appointed him as his musical confidant in Berlin after his accession to the throne in 1741. Quantz wrote the first German flute school ‘Versuch einer Anweisung die Flöte traversiere zu spielen’, which was authoritative until the 19th century and is particularly valuable to us today as a source for the performance practice of early music. Among other things, he composed flute concertos, chamber music with flute, solo and trio sonatas for flute and basso continuo, flute duets and trios.

Johann Joachim Quantz (1697-1773) was a German composer and flautist. Orphaned at an early age, he was apprenticed to a related town musician in Merseburg. He then studied counterpoint with Zelenka and Fuchs in Vienna in 1717. He joined the Royal Polish Chapel in Dresden and Warsaw in 1718, first as an oboist and then as a flautist. From 1724-1727, he travelled to Italy, Paris and London on an electoral scholarship. Returning to his old position in Dresden, he played for Crown Prince Frederick of Prussia in 1728, who chose him as his teacher and appointed him as his musical confidant in Berlin after his accession to the throne in 1741. Quantz wrote the first German flute school ‘Versuch einer Anweisung die Flöte traversiere zu spielen’, which was authoritative until the 19th century and is particularly valuable to us today as a source for the performance practice of early music. Among other things, he composed flute concertos, chamber music with flute, solo and trio sonatas for flute and basso continuo, flute duets and trios.

Benoît Tranquille Berbiguier (1782-1832) received flute lessons from J.G. Wunderlich at the Paris Conservatoire. He himself claimed that he was the first in France to recommend a fully rounded tone in the lower register. Although he never claimed a position with one of the Paris orchestras, Berbiguier enjoyed a reputation as a soloist and important composer. Berbiguier's œuvre includes a MÉTHODE COMPLÈTE POUR la FLÛTE and no fewer than 150 flute duets, a whole series of which were composed especially for use by beginners and pupils. Among them are the 36 Petit Duos op. 72 , of which a selection of the most beautiful pieces are included in this edition. Players will discover the wide range of articulations, dynamics, forms, keys and time signatures in these pieces. At the same time, the quality of the ‘Chantant’ promised in the title is fulfilled. Dotted indications of dynamics and articulation in this edition are suggestions by the editor. Content: 1.Allegro poco vivo 2.Allegro 3.Allegretto 4.Poco Presto 5.Allegro Pastorale 6.Maestoso 7.Allegretto Vilanella 8.Allegro non troppo 9.Tempo di Cosaca 10.Tempo di Valse 11.Fanfare Moderato 12.Andante non tanto 13.Tempo di Marcia 14.Moderato 15.Allegretto 16.Allegro poco vivo 17.Marcia Moderato 18.Moderato 19.Allegro assai 20.Moderato 21.Tempo di Polacca 22.Andante 23.Allegretto 24.Romanza a la Troubadour 25.Allegretto

Giuseppe Maria Gioacchino Cambini (1746-1825) was an Italian composer and violinist who was very successful in Paris at the end of the 18th century. Only fragments of his life and biography are known. Giuseppe Maria Gioacchino Cambini's numerous flute compositions include two collections of six sonatas each for flute and basso continuo. The first (1er Livre de Sonate) was published by Mussard (Paris) in 1782, the second (2e Livre des Sonates de Flûte) followed around 1787 by Sieber. The Sonata in E flat major presented here concludes the first volume, which the Ecole Nationale de Musique et d'Art Dramatique in Dijon kindly made available to me. The work stands out from the other five sonatas not only because of the progressive melody of the outer movements, but also because in the final movement (Rondo) the bass is left to lead the melody for eight bars from bar 73 and later (from bar 97) for a further sixteen bars, while the flute recedes into the role of the accompanying instrument. Content: - Allegro expressivo - Adagio - Rondo | Allegretto

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.

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

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.

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.

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