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

Robert Valentin (ca. 1678 - 1747), also known as Roberto Valentini or Roberto Valentino, was a well-known English composer, recorder player, oboist and violinist. He moved to Rome and became an Italian citizen. Valentino is best known for his numerous recorder compositions. He was considered a highly skilled player of this instrument. His instrumental compositions include a series of sonata collections and trio sonatas as well as concerto grosso. At first, his style was strongly orientated towards that of Arcangelo Corelli. Over time, however, he increasingly turned towards the galant style, which is reflected in his later sonatas published in Northern Europe. Content: I. Sonata - Andante - Allegro - Largo - Allegro II. Sonata - Largo - Allegro - Adagio - Allegro III. Sonata - Largo - Allegro - Andante - Minuet

Michel Blavet (1700-1768) was a French composer and flute virtuoso. He was a remarkable artist who not only specialised in the bassoon and flute, but was also known for his exceptional intonation, even in difficult keys. Voltaire admired the beautiful sound of his playing and Marpurg described him as a virtuoso of the highest quality who maintained modesty despite his great popularity. He was characterised by the fact that he held the flute with his left hand, which set him apart from most flutists of his time. His works, written mainly for the transverse flute, show both the 'Italian and French styles' and are written in simple keys to make them accessible to amateurs. His surviving works include a concerto and 3 sonata books (1740).

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

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

Content: -Largo - Allegro - Largo - Allegro