Die Ausgabe dieses Flötenkonzertes D-Dur erfolgt nach dem Erstdruck im Urtext.

Eine Sonate im klassischen Stil der 2. Hälfte des 18. Jahrhunderts? Als diese Idee an Matthias Maute herangetragen wurde, entwickelte er schnell eine Begeisterung für die großen musikalischen Möglichkeiten dieser speziellen Musiksprache. Es entstand das vorliegende dreisätzige Werk, das mit seinen virtuosen Spielfiguren, der verfeinerten Dynamik, seiner detaillierten Artikulation und Phrasierung hohe Ansprüche an den Solisten stellt.

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)

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

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.

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).

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