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.

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

The Florentine violinist Antonio Veracini was born in 1659 and died in his home town in 1733. His father Francesco da Niccolò Veracini (1638-1720) was a violinist. He probably received his first lessons in violin playing and composition from him. Antonio's employment by the Grand Duchess Vittoria delle Rovere was probably due to his father's good personal relationships at the Tuscan court. He dedicated his first major work to her, the sonatas op. 1 for 2 violins with basso continuo. Apart from these trio sonatas published in 1692, the violin sonatas (Sonate da Chiesa) op. 2 and violin sonatas (Sonata da Camera) op. 3 are known from his printed compositions. Unfortunately, the music for some of the oratorios documented by the libretti that have been found seems to have been lost. Rogers used the undated reprint published by F. Rosati in Modena and the first edition of 1696 dedicated to ‘Serenissimo Principe Gio Gastone di Toscana’ as a model for this edition of the fourth chamber sonata. The model was tacitly corrected. Additions for practical use have been indicated in the score by bracketing, dashes or small print. Content: - Grave - Largo - Vivace

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

Die Sinfonia d-Moll ist eine Bearbeitung des einleitenden rein instrumentalen Eingangssatzes der Kantate "Geist und Seele wird verwirret" BWV 35 von J. S. Bach, die 1726 erstmals zur Aufführung gelangte. Bach selbst nannte diesen Satz Concerto. Sollte kein Tasteninstrument zur Verfügung stehen, so ist es auch sehr reizvoll, das Werk mit einem reinen Blockflötenquintett (SSATB) zu spielen.

Inhalt: 1. Menuett (Jean Philippe Rameau) 2. Menuett (Ferdinand Seidel) 3. Fuge (Johann Pachelbel) 4. Menuett (Adam Krieger) 5. Sonatina (Georg Friedrich Händel) 6. Impertinence (Georg Friedrich Händel) 7. Fuge (Georg Friedrich Händel) 8. Bourré (Anonymus 18. Jahrhundert) 9. Sarabande (Anonymus 18. Jahrhundert) 10. Sarabande (Robert de Visée) 11. Menuett (Robert de Visée) 12. Bourrée 13. Menuett 14. Sarabande 15. Gavotte 16. Gigue 17. Menuett (Lodovico Roncalli) 18. Menuett (Lodovico Roncalli) 19. Ballett (Johann Hermann Schein) 20. Menuett (Gottfried Grünewald) 21. Menuett (Johann Ludwig Krebs) 22. Passepied (Johann Philipp Kirnberger) 23. Gavotte (Johann Kuhnau) 24. Menuett (Louis Marchand) 25. Ouverture (Georg Philipp Telemann) 26. Bourrée 27. Largo 28. Gavotte en Rondeaux 29. Menuett 30. Gigue