On microfiche
Most of the ensemble music in this set of microfiches dates from the period 1750-1820. Only the large number of trio sonatas included here (82 titles) were for the most composed earlier between 1680 and 1760. Invented in the early seventeenth century this form reached its zenith in the work of Arcangelo Corelli. His 48 sonatas for two violins and basso continuo (opus 1-4) from the years 1681-1694 attained a limitless popularity in all of Europe and were reprinted countless times down to the end of the eighteenth century. His music inspired many of his countrymen such as Albinoni, Bononcini, Locatelli, Sammartini and others, but elsewhere as well, particularly in Germany, the trio sonata was put to use by composers, a famous example being Bach's trio sonata in the "Musikalisches Opfer". In England the form enjoyed a late blossoming around the middle of the eighteenth century in the work of Festing, Humphries and Smith, leading London publishers to bring out again the compositions of the Italian masters. Incidentally composers not only made use of violins for the two treble parts, but also employed violin and flute, two flutes or other wind instruments, such as C.H. Graun, Hasse and Schickhard did.
For the performance of the basso continuo the harpsichord or organ with cello were generally used. Still, the title pages often speak of "harpsichord or violoncello" or only of "bass". The casting of this "bass" is thus not always clear and especially in the 1750s and 1760s it is very much the question to what extent this bass instrument actually played the supporting role of the basso continuo. For it was in this period that the string trio arose out of the trio sonata. In this form the two violins or a violin and viola were joined by a cello as the third and equal instrument. A similar development takes place in the string quartet (and quintet), which trace their ancestry to the sonata a quatuor and the sinfonia for strings. The string quartet became popular in the Parisian salons, where in addition to expatriate Italians such as Boccherini and Cambini, composers such as Breval, Gossec and Pleyel made their name. But it was above all in Germany that this new genre reached the highest summits. In this regard, it was not only the work of Haydn and Mozart that set the tone, but also that of Dittersdorf, Hoffmeister, Anton, C.P. Stamitz and others. Naturally the harpsichord and later the pianoforte also played essential roles in ensemble music. The central position occupied by the keyboard instrument can be seen in such titles as "sonata for the pianoforte with accompanyments for the violin and violoncello". Later, reference would be made to the piano trio, in which the classical composers were to excel.
The development especially of woodwind instruments inspired composers to write music for them too. In particular the flute gained popularity, first in France (Hotteterre, De La Barre) and with strong French influence also in Germany (Telemann). Later the Bohemian composers, such as Krommer and Reicha, also stimulated the use of the other wind instruments. After a period of bloom in the eighteenth century, however, the turn of the nineteenth century saw this repertoire enter into decline.
MMF Publications is making available on microfiche Manuscripts and rare early editions of music before 1820 held in Dutch and Belgian repositories. With the appearance of Part VII, the name of the series has been changed from " Music from Dutch Libraries" to "Early Music from Low Countries Libraries" to reflect better the content and the participation in the project of libraries in Belgium as well as the Netherlands. As of 1999 nine parts of the series are available.
Discounts available:
2-3 parts = 5%;
4-6 parts = 10%;
7 or more parts = 15%