DavidLasocki.com

ANNOUNCING AN EDITION OF
BACH’S SONATA IN A MAJOR FOR FLUTE AND OBBLIGATO HARPSICHORD, BWV 1032
with a historically informed RECONSTRUCTION of the MISSING MUSIC in the first movement.

Reconstructed and edited by the eminent Bach scholar Michael Marissen.

Why another edition?
There are already several good published editions of Bach’s sonata. The “selling-point” of this new edition is that it offers, for the first time, a historically informed reconstruction of the
40 percent of the first movement that is now missing in the autograph manuscript.

An exaggerated claim?
Many editors and performers have provided satisfying musical material to fill the gap in Bach’s score, and often they have specifically referred to their results as a “reconstruction.” But all these editions offer only completions. None truly brings an appropriate “reconstruction” or restoration of what Bach’s original material could have been. This edition does so as far as is now possible, using ALL the clues in the manuscript for the first time.

So: play Bach’s masterpiece in an edition as close as possible to his original score....

Available as a pdf from https://instantharmony.net/product/bach-sonata-in-a-major-for-flute-and-obbligato-harpsichord-bwv-1032/

FIVE OF DAVID LASOCKI’S CLASSIC ZEN-ON EDITIONS NOW AVAILABLE AGAIN!

Gottfried Keller, Trio Sonata in C major for Two Alto Recorders and Basso Continuo.

Keller was a German harpsichordist and composer who spent his working life in London, playing in concerts and for the theatre as well as writing chamber music for the Court. He also wrote an influential method for figured bass. His works were published in Amsterdam by

Estienne Roger, with whom he had a close professional relationship. Keller’s trio sonatas feature skillful imitative counterpoint, interspersed with striking touches of homophony. Great fun!

A NEW BOOK FROM INSTANT HARMONY (Third Notice)
The English Waits and the Recorder in the 16th and 17th Centuries

by David Lasocki with Giulia Tettamanti

Available as a pdf from https://instantharmony.net/product/the-english-waits-and-the-recorder-in-the-sixteenth-and-seventeenth-centuries/ with a free bonus of our edition of the Phancy for Recorder Quintet by Edward Blancks (a member of the London Waits). Also available in print (without the bonus) from amazon.com, amazon.co.uk, and other amazons around the world.

The waits in England were minstrels, later called musicians, who worked for cities and towns, similar to the Stadtpfeifer on the Continent of Europe. They performed official ceremonial duties, played in the streets at night, and were available for private hire.
Waits originally played waits pipes, or shawms. During the course of the 16th and early 17th centuries the main groups also acquired most of the wind and stringed instruments of the day: cornetts and sackbuts, curtals, violins, viols, members of the lute family—and recorders. Recorders—sets or consorts or individual instruments—owned by cities and towns or the waits themselves have been be traced in documents about London (1568) and nine other places, where they were presumably used for indoor functions such as dinners, breakfasts, and weddings.
This book discusses in depth the Waits of all the cities and towns where recorders are documented: their duties, numbers, other instruments, sometimes singing and acting, hiring and firing and otherwise departing practices, pay and standard of living, occasional follies, and role in civic life. Biographies are included of all the members who played, or probably played, the recorder. Finally, there are reflections on the consorts, both pure and mixed, in which the Waits would have used recorders, and the sizes and numbers of instruments involved.
Please note: this book is an updating of portions of David’s doctoral dissertation, together with brand new material on the Waits of Lincolnshire, Oxford, and York plus the reflections on consorts