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THREE QUARTET SONATAS
* Musicalischen Divertissiments, Theil V *
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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 V (?1729) comprises three quartet sonatas, or quadri, scored for transverse flute, violin, basso continuo and a third treble instrument that differs for each work — a horn in Sonata No. 1, a second flute in No. 2, and a viola in No. 3.
FLUTE, VIOLIN, HORN/FLUTE 2/VIOLA & BASSO CONTINUO
 Music example Sonata 1 (pdf)
Music example Sonata 2 (pdf)
Music example Sonata 3 (pdf)
These fine compositions are among the earliest quadri to be published, possibly anticipating Telemann’s famous Quadri for flute, violin, viola da gamba/cello and continuo dating from 1730. They are also ‘Sonaten auf Concertenart’, that is, 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 extant copies, these works are almost completely unknown today. Hopefully, with the appearance of this first modern edition, they will at last gain the recognition they deserve.
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ed. Michael Elphinstone
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* MOTET for Soprano, 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.
SOPRANO, 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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SIX TRIO SONATAS
* Two violins, bass viol or cello and harpsichord *
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Music example (pdf)
