Before he began any of the above-named endeavours, he published two volumes of Sonate a tre (1703-4), each of which contains twelve works. Pre-dating them are his two sonatas for violoncello, the instrument that he played professionally. Perhaps post-dating the trios are his four sonatas for violin and continuo. While composing his trios, he edited Corelli’s trio sonatas (Opp. 1-4), then brashly sold them to two publishers, according to the fiery claims and counter-claims printed in London newspapers.
The author will report upon his discovery of the two sonatas for
violoncello, describe Haym’s style in all of his instrumental works, then
compare it with that of his contemporaries. This comparison will
focus upon Corelli, with whom Haym must have played in Rome and whose works
he obviously treasured.