A set of 12 trio sonatas for two violins was published under the pseudonym Mrs. Philarmonica by Richard Meares in London about 1715: Parte Prima: Six Sonate a due violini col violoncello obligato e violone o cimbalo and Parte seconda: Six Divertimenti da camera a due violini, violoncello o cimbalo. The imprint on the title Imprim per R. Meares a l’enseigne de la Base Viole Dor dans le Cometeire de St. Paul. – T.Cross Sculpsit refers to the publisher Meares, who also worked as a viola da gamba teacher at the school of St. Paul.
The person behind the pseudonym Mrs. Philarmonic was probably a female composer with a good scholastic training, as a man composing incognito in the early 18th century is more likely to have chosen a masculine pseudonym in order to be sure of finding a publisher and recognition. The social conventions of the time made it considerably more difficult for a female composer to find a publisher, unless she was a woman of means and a member of the upper class.
While showing the influence of Arcangelo Corelli, they are written in an individual and often witty style. The six trio sonatas, parte prima, are of particular musical interest due to the virtuosity in the two upper parts and the employment of a cello obbligato that detaches itself perceptibly from the figured bass part in the allegro movements.
The source upon which this new edition is based can be found in the British Library in London under the shelfmark g.1032 and contains both the existing divertimenti and sonatas.
The sonatas may also be performed on other instruments (recorders, flute, oboe), as was common practice among other composers of the period. Not only the harpsichord, but also a positive organ, a cello or a bassoon, a theorbo and a violin/double bass (particularly recommendable to reinforce the figured bass in the prima parte) can be used to play the figured bass part.
The facsimile print is in good legible condition with frequent phrasing and trill instructions and precise figuring and contains few errors. The articulations and trill marks have been reproduced as in the original. The editor has only added phrasing suggestions at the beginning of the individual movements which should be adopted by all the parts, if need be. It has been left to the individual performer to add ornaments and trills in period style.
