Michael Talbot

Stanley Sadie’s opinion, expressed in 1963, that the two of the twelve trio sonatas by Frederick Ernest Fisher(1711/12–1760), divided equally between Op. 1 (c.1751) and Op. 2 (c.1761), were ‘among the...

Ordinary violin sonatas formed the backbone of the series of ten collections that the Italian violinist Michel Mascitti (1663/4–1760), born in southern Italy but permanently resident in Paris from 170...

Quentin’s trio sonatas are impressive for their command of all the elements of musical composition, particularly counterpoint (fugues are one of his specialities). They mix French and Italian elements...

Quentin’s trio sonatas are impressive for their command of all the elements of musical composition, particularly counterpoint (fugues are one of his specialities). They mix French and Italian elements...

Of Cervetto's six concertos surviving in manuscript five are for cello, but one, which came to light only recently, is for flute, being a clever adaptation of one of his own flute sonatas. This sparkl...

It is not often that previously unknown instrumental compositions by Albinoni (1671-1751) turn up, but Michael Talbot recently found two violin sonatas - one from the very start of his career and the...

Only a handful of Schreivogel's compositions for his instrument have survived. Among them is this impressive and forward-looking three-movement sonata for violin and continuo in E minor, evidently com...

The six trio sonatas published alongside eight violin sonatas in his Op. 4 are works in four or five movements that felicitously mix the 'church' and 'chamber' styles in various configurations. This i...

Michele Mascitti (1663/4-1760), was a Neapolitan violinist who settled in Paris in 1704. This substantial trio sonata, the only one of its type that he published (and perhaps wrote) was included in hi...

The 'divertissement' Psiché, a ten-movement suite for violin and basso continuo by Michele Mascitti (1663/4-1760), the Neapolitan violinist who did more than anyone else to acclimatize the Italian son...

In 1772 John Addison brought out in Edinburgh a volume containing six duets in the form of three- or four-movement sonatas for two unaccompanied violins, his only works to survive. Such duets were hig...

They include this trio sonata written specifically for two oboes and bass. The extent to which wind instruments were cultivated in Italy in the early eighteenth century is today often not appreciated,...

Giuseppe Torelli (1658-1709) is today best known for his concertos for strings, in which genre he was a pioneer, and for his music with solo trumpet. In his own day, however, he was equally productive...

Giuseppe Torelli (1658-1709) was the leading composer of instrumental music in a flourishing school of composers active in Bologna in the second half of the seventeenth century and the opening decades...

Giuseppe Torelli (1658-1709) was the leading composer of instrumental music in a flourishing school of composers active in Bologna in the second half of the seventeenth century and the opening decades...

The six trio sonatas published alongside eight violin sonatas in his Op. 4 are works in four or five movements that felicitously mix the ‘church' and ‘chamber' styles in various configurations. This i...

In Sonata 3 in F major the opening Largo is styled as a 'Siciliana', an especially common type of movement in the flute repertory on account of the instrument's pastoral associations. The following Sp...

Sonata 7 in D major opens with a sunny Andante that nevertheless has a poignant moment just before the end. The technically challenging Allegro moderato that follows bounces along airily, throwing out...

Sonata 1 in D major opens with a Larghetto full of the rhetorical kind of expression one associates with Handel. It is followed by a busy Allegro and a concise Tempo di Minuetto movement that celebrat...

The Andante opening Sonata 3, in D minor, demonstrates Balicourt's mastery of a lyricism that is entirely natural and elegant without ever becoming bland. The vivacious Allegro that follows has an end...

Sonata 5, in A major, is the only work in the set to feature the classic three-movement design in its symmetrical fast-slow-fast configuration. The opening Vivace makes considerable demands on the fla...

In Sonata 7, in D major, Balicourt opens with a suave, intricately rhythmic Adagio. The following Presto, with its delightful interplay between flute and bass, including both octave doubling and stret...

La Montanari has a five-movement plan with a 'double' finale: a finale of normal length is followed by a miniature second finale, like coffee following a dessert. The model for this arrangement may ha...

The three 'Dresden' sonatas published together in this volume are believed to be the first-ever modern edition of any of his chamber music.The edition comes complete with a preface, textual notes, a r...