Trio sonatas specifying flutes for both upper parts are rare among the works of Italian composers active around 1730. These three concise four-movement sonatas by the Venetian monk and proficient amateur composer Diogenio Bigaglia (c.1676–c.1745), probably written to order for a German visitor to his city, are some of the earliest known examples. Of moderate technical difficulty, they are delightful compositions, full of grace, euphony, wit and contrapuntal dexterity, and they also show great sensitivity towards the delicate sound of the baroque transverse flute (traverso). Interestingly, the particular instrument for which they were written was a short-lived version of the traverso, whose compass extended down to Middle C rather than the usual D. On a modern concert flute, which has the same lowest note, the parts present no problem; for ease of execution on an ordinary traverso, the editor has indicated a number of optional octave transpositions.
Haydn’s Symphony No.100 was first performed on 31 March 1794 at the Hanover Square Rooms under the direction of Salomon as concertmaster with the composer himself at the fortepiano. The work was an instant success and was repeated a week later on 7 April,
Hummel’s arrangement of the Piano Concerto in D major, K537, the fifth in the series to appear, was published in 1835. The lead-in (Eingänge) models that he provided are particularly valuable in the case of K537, which is among those concertos for which Mozart left no written-out examples. Equally importantly, Hummel might well have witnessed the work’s compositional process and first performance, and thus his own contributions could be considered as authoritative.Read full description