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.

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.

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.Schaffrath's Duet in D major is published here for the first time in a new edition. Our edition is based on the copy of the first print of the ‘ Six Duets op. 1 ’ in the Saxon State Library in Dresden. Duets I, III and V are written for violin and harpsichord, the others for flute and harpsichord. The present composition is Duetto II. The editor's work extends to compiling the score, correcting some errors and setting out the continuo passages. Additions to the score are indicated as such by small lines, brackets or dashes. Content: -Allegro -Andante -Allegro

Sonate h-Moll, Sonate G-Dur

Eine Transkription der 6 Violoncellosuiten für Querflöte steht im Einklang mit der auch von Bach ausgeübten Praxis, eigene und fremde Kompositionen für verschiedene Instrumente umzuschreiben. Veilhans textkritische Edition berücksichtigt die Quellenlage und belässt alle Suiten in den Originaltonarten, so dass die Authentizität des Werkes gewahrt bleibt

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 C major presented here is the fourth of the first volume, which the Ecole Nationale de Musique et d'Art Dramatique in Dijon has kindly made available. Content: - Allegro - Adagio - Tempo di Minuetto (6 variations)

Content: V. - Moderato - Menuet / Allegretto - Adagio - Finale Presto VI. - Presto - Menuet - Largo - Finale Allegro

Content: III. - Andante grazioso - Menuet / Allegretto - Adagio - Allegro di molto IV. - Moderato - Menuet / Allegretto - Adagio cantabile - Finale Allegro

Mozart's favourite instrument was not the flute. This is generally known and can be seen from the fact that he only dedicated four chamber music works to it, namely the four quartets for flute, violin, viola and cello. Even the ‘flute sonatas’ - the early sonatas Opus 10, 11, 12 and 13 - which have been available in print for some time, are merely arrangements of sonatas for piano and violin. At that time, the term ‘piano’ meant the harpsichord. It was not until around 1780 that ‘piano’ generally meant the fortepiano. In the manuscript of the Sonata in B flat major K. 378, composed in 1779, Mozart still explicitly specified the harpsichord. It was published in 1781 as part of the second series of 6 sonatas for piano and violin, whereby the order of the instruments mentioned is typical for this period: The piano is the main carrier of the musical action and is accompanied by the melody instrument. Mozart composed 35 sonatas for this instrumentation, but not a single one for flute! In order to give flute players the opportunity to play works by Mozart with piano, this violin sonata was chosen for an arrangement. The work is well suited to the flute, so that no major changes had to be made to adapt the violin part to the technical requirements of the flute. Even the original key (B flat major) could be retained. All the dynamic markings and articulation indications contained in the original text were retained, only the legato slurs in the violin part were altered in some places for the flute. Both dots and wedges as well as intermediate forms indicate the staccato in Mozart. For the facilitate reading, standardised dots have been used in this edition. The dynamic indications in the piano part are not given for each hand individually, as is the case in Mozart's manuscript, but for both hands together, provided they are the same for both hands.This edition enriches the repertoire of flautists with a valuable musical work and brings joy to all players. Content: - Allegro moderato - Andantino sostenuto e cantabile - Rondeau / Allegro