As far as we can tell Paisiello’s flute quartets were written in Naples in 1800, as were Cimarosa’s more or less at the same time. They were likely composed with dilettante amateur players in mind: a commercial audience that was rapidly increasing at the time, as the sudden establishment and flourishing of music-publishing houses across Europe demonstrated. The sonatas are gentle and undemanding works, cast in two movements apart from the single-movement Sixth. The flute carries most of the melodic interest and engages in lively duet writing with the violin, while a cello and harpsichord offer a solid foundation and deft accompaniment. Even the quicksilver passagework of the flute part lies within the range of a competent amateur, and there is much pleasure to be taken from melodies of a quality that made Paisiello the toast of Europe as an operacomposer, pleasing public taste with more immediate success than Mozart.
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