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

Giambattista Cirri was born in Forli around 1740. He spent most of his life as a violoncellist in England, but then returned to Italy, where he died in 1808. Cirri composed mainly for his instrument. A large number of duets, sonatas and concertos appeared in print in London, Paris and Florence during his lifetime. These three sonatas are a valuable addition to the beginner's repertoire. Their range barely exceeds the first three neck positions, the tonal possibilities of the cello are largely utilised within this framework and the musical content is interesting and stimulating. The realisation of the basso continuo was deliberately kept in the lower register and very simple in order to enable beginners to play together homogeneously. The score reproduces the original musical notation. All additions by the editor are indicated by engraved notes, markings or brackets. In the solo part, the ornaments appear above the musical text. Content: Sonata I - Allegro - Adagio - Menuetto Sonata II - Allegro - Adagio - Menuetto I - Menuetto II Sonata III - Allegro - Adagio - Menuetto The pieces are also available individually as pdf files. Click on the drop-down menu under ‘ISSUE (please select)’.

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

Karl Friedrich Abel (1723-1787) is regarded in music history as ‘the last musician who treated the viola da gamba with happiness and favour’ (quote from Goethe's 8th book ‘Dichtung und Wahrheit’). His acquaintance with Johann Christian Bach is also well known. Together they founded and conducted the London Bach-Abel concerts from 1764-1781. The fact that he also turned to the violoncello in later years has been almost completely ignored in music research. The two sonatas presented here (presumably composed in Berlin in 1782) are taken from the Abel Complete Edition by Walter Knape (published by Ad Portam, Cuxhaven). The two sonatas are undoubtedly early classical cello music, as can be seen from the outward appearance of the clef. In the G major sonata, the usual three movements are followed in a formally particularly appealing manner by a minor-key Romance as the fourth movement (with diminished octaves in bars 10 and 14), which leads into a folk-song-like major-key movement in 6/8 time and thus concludes the sonata in G major. The Adagio of the A major sonata features an original cadenza with high harmonics, which was a new playing technique at the time and is an attractive introduction to classical cello technique (Boccherini, Romberg, etc.) for today's cellists. The bass accompaniment is unfigured, so that the early classical piano writing can be played just as well on the harpsichord as on the fortepiano. The violoncello part has been precisely marked by the editor. Content: I. Sonate G-Dur (WK-Sammelordnung 147) - Allegro moderato - Adagio - Tempo di Minuetto II. Sonate A-Dur (WK-Sammelordnung 148) - Allegro moderato - Adagio - Rondeau - Romance