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THREE QUARTET SONATAS
* Musicalischen Divertissiments, Theil VI *
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German oboist and violinist Sebastian Bodinus (1700-1759) might be almost completely forgotten today were it not for his Musicalischen Divertissiments, a six-part collection of ensemble sonatas published by the Leopold family in Augsburg and issued between 1726 and 1730. Part VI, like its immediate predecessor, comprises three quartet sonatas, or quadri, scored for transverse flute, violin, basso continuo and a third treble instrument that differs for each work — a second flute in Sonata No. 1, a viola in No. 2 and a horn in No. 3.
FLUTE, VIOLIN, FLUTE 2/VIOLA/HORN & BASSO CONTINUO
 Music example Sonata 1 (pdf)
Music example Sonata 2 (pdf)
Music example Sonata 3 (pdf)
These very fine compositions are without doubt some of the earliest published quadri — they may even anticipate Telemann’s famous Quadri (1730) for flute, violin, viola da gamba / cello and continuo. They are also Sonaten auf Concertenart, that is to say they incorporate features of the concerto genre, including the fast-slow-fast movement scheme, ritornello form in the first movement, and ‘solo’ episodes. Owing to the scarcity of existing copies of these works, they are almost completely unknown today; it is hoped that this first modern edition will lead to them receiving the recognition they deserve.
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ed. Michael Elphinstone
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* MOTET for two sopranos, violin and continuo *
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In August 2024 Michael Talbot identified as compositions by the Venetian monk and composer Diogenio Bigaglia (1678–1745) eight anonymous motets for voice (soprano or contralto), solo violin and basso continuo contained in an album of music for that combination compiled in 1739 for the young Bavarian duchess Maria Antonia Walpurgis (herself on the way to achieving fame as a singer, harpsichordist and, especially, composer). Bigaglia had established a connection to the Bavarian court in Munich as early as 1713, when Maria Antonia’s grandmother, Therese Kunigunde Sobieska, then living in temporary exile in Venice, obtained copies of cantatas by him. These expansive motets, which test the ability of singer and violinist alike, are remarkable for their musical eloquence and inventiveness. They display the same fine sense of line and imaginative treatment of musical structure as in his chamber duets (published earlier by Edition HH), with the important difference that the contrast between the timbres and technical capabilities of the two upper parts can here be fruitfully exploited.
TWO SOPRANOS, VIOLIN & BASSO CONTINUO
Music example (pdf)
Michael Talbot’s editions of the motets include commentaries on their Latin texts, for which line-by-line English translations are supplied, and add or supplement the bass figures of the continuo part as an aid to those intending to improvise an accompaniment. A specimen continuo realization for chamber organ or harpsichord is provided for the use of those who prefer to play ‘from the notes’.
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ed. Michael Talbot
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* MOTET for two sopranos and continuo *
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Early in 2025 Michael Talbot identified as previously unrecognized compositions by Pietro Antonio Fiocco (1654–1714) a group of eight Latin motets scored, like chamber duets in the secular domain, for two voices with continuo. Six different combinations are used: two sopranos, soprano and alto; soprano and tenor; soprano and bass; alto and tenor; alto and bass.
TWO SOPRANOS & BASSO CONTINUO
Music example (pdf)
Stylistically these motets ‘tick all the boxes’: consisting of between three and six contrasted sections, they are tuneful, feature captivating imitative part-writing — Fiocco was evidently an absolute master of counterpoint — and are rich and varied in harmonic content, and they express the meaning of the words (six of the texts are taken directly from the Psalms) with eloquence and panache.
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ed. Michael Talbot
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Nocturne
is included in the Grade 6 Piano syllabus of the ABRSM
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| Den lille danserinnen (‘The Little Ballerina’) evokes a charming, gracious, light-footed dancer, while Nocturne makes the piano sing in the romantic tradition. Both these delightful short pieces would be ideal encores!
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"I love these two little pieces, and I am sure many late intermediate players will enjoy them equally."Read Andrew Eales's review in Pianodao
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 List of works published and in press |
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You can download the current catalogue (pdf) by clicking the cover on the right. |
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Music example (pdf)