Recorded in 1994
========= from the cover ==========
The six sonatas op, 5 by Boccherini were printed in Paris (Nanderman and Vernier), in London, (Mannheim) and in Amsterdam.
The title-pages of the above editions all present the same words, either in French or in English The edition nearer to Boccherini is surely the one published by his friend Vernier, who, in fact, was the very first publisher of the works by the composer from Lucca The title of this edition reads as follows:
"Sei Sonate Dl Cembalo E Violino Obbligato - Plusieurs De Ces Pieces Peuvent S'executer Sur L'harpe. Op V Paris, Vernier". (In Italian - Six Sonatas for harpsichord and violin obbligato. In French: Some of these pieces can be played on the harp. Op. V Paris, Vernier) No mention to the flute appears in the above title-page
There is, however, a series of six sonatas op, 5 printed in London by three different publishers "With An Accompaniment Of Violin Or German Flute". The comparison between the two works indicates that Boccherini did not avoid the flute, or the harp, although he did prefer stringed instruments.
The source of this execution is a manuscript the performers tracked down in a monastery in Einsiedeln (Switzerland).
In Boccherini's time the leading part was usually reserved either to the keyboard or to the harp, the presence of the other instrument being just optional.
On the contrary whenever the sonata was concerted, with the two instruments weaving their themes, the standard wording in the title-page was "VIOLINO (or flute, or cello, etc ) Obbligato".
Of the three sonatas recorded here, the first, in B flat, is the most concerted while in the other two the flute really accompanies.
The execution for harp and flute may be considered philologically correct, since the manuscript dates back to the author who probably gave it personally to a flautist friend of his. As a rule, the versions dating back to the author are considered philologically correct as supposedly authorized by the composer himself.
The two-hundred-fiftieth anniversary of Luigi Boccherini's birth (1743 - 1 993) has been celebrated throughout Europe with many events: concerts, meetings, recoveries of unpublished works etc Although the international critics do not yet recognize entirely his stature as he would deserve, the figure ot this great musician has become increasingly brighter and, in the European landscape, more and more convincing for his unmistakable originality as a composer. Thus the discoveries of some of his compositions - even though minor ones o are to be welcomed (I believe other unpublished works might be found here and there all over Europe) as they once again demonstrate the prolificacy and the importance of Boccherini's creativeness. At this regard, a special praise must go to the Duo Rosella Isola - Luca Bacci who have been devoting themselves in particular to the research on little known chamber music of the eighteenth century (in 1 993 Luca Bacci took part to an important recovery of an unpublished psalm by Boccherini).
-Gaetano Giani Luporini