Not Just the Alto: Sizes and Types of Recorder in the Baroque and Classical Periods 1655627368, 9781655627361

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NOT JUST THE ALTO SIZES AND TYPES OF RECORDER IN THE BAROQUE AND CLASSICAL PERIODS

by DAVID LASOCKI

lnstant Harmony Music

• • • • •

NOT JUST THE ALTO SIZES AND TYPES OF RECORDER IN THE BAROQUE AND CLASSICAL PERIODS

BY DAVID LASOCKI

PORTLAND, OREGON INSTANT HARMONY MUSIC 2020

Published by Instant Harmony, Portland, Oregon, USA; a service ofwww. davidlasocki. com. ©2020 by David Lasocki ISBN 9781655627361 Cover design by Markus Berdux

TABLE OF CONTENTS Introduction...........................................................................................................................

1

Chapter 1 : Overview.............................................................................................................. 1.1. Before the Baroque Recorder, 1600--- 68 .................................................................... 1.2. The Baroque Recorder, 1668-1800+ ........................................................................ 1.3. Voice Flute and Some Special Types ofRecorder or Duct Flute............................. Tables ofBasic Data........................................................................................................ Chapter 2 : Before the Baroque Recorder, 1600---68 .............................................................. 2.1. Writings..................................................................................................................... 2.2. Inventaries and Purchases......................................................................................... 2.3. Surviving Instmments................................................................................................ 2.4. Surviving Repertoire.................................................................................................. 2.4.1. Italy.................................................................................................................... 2.4.2. Poland................................................................................................................ 2.4.3. Germany and Austria........................................................................................ 2.4.4. The Netherlands................................................................................................ 2.4.5. France............................................................................................................... 2.4. 6. Recorder Music in Kromeríz........................................................................... 2.5. Recorders in the Theatre.......................................................................................... 2.5.1. England............................................................................................................ 2.5.2. Spain................................................................................................................ 2.5.3. France.............................................................................................................. 2.5.4. The Netherlands.............................................................................................. Chapter 3 : Toe Baroque Recorder, 1668-1800+.................................................................... 3.1. The Alto as Standard Size......................................................................................... 3.2. Writings..................................................................................................................... 3.2.1. England.............................................................................................................. 3.2.2. Italy.................................................................................................................... 3.2.3. France................................................................................................................ 3.2.4. Bohemia............................................................................................................. 3.2.5. The Netherlands................................................................................................. 3.2. 6. Germany............................................................................................................. 3.2.7. Spain.................................................................................................................. 3.2.8. Norway............................................................................................................... 3.3. Inventaries, Purchases, Employment Records, and Advertisements......................... 3.3.1. The Netherlands (Sweden, Italy) ....................................................................... 3.3.2. France................................................................................................................ 3.3.3. Germany and Switzerland.................................................................................. 3.3.4. England, Scotland, and Ireland......................................................................... 3.3.5. Denmark............................................................................................................ 3.3. 6. Italy................................................................................................................... 3.3.7. North and South America................................................................................. 3.4. Surviving Instmments................................................................................................

5 7 11 30 35 79 81 87 95 96 96 97 98 103 105 108 112 112 115 115 116 11 9 11 9 120 120 124 12 6 127 128 128 131 131 132 132 135 13 6 140 143 144 144 146

111

3.4.1. Tables................................................................................................................ 3.4.2. Sets.................................................................................................................... 3.5. Surviving Repertoire.................................................................................................. 3.5.1. France................................................................................................................. 3.5.2. Moravia.............................................................................................................. 3.5.3. England.............................................................................................................. 3.5.3.1. Handel.......................................................................................................... 3.5.3.2. Other Music in England for Small Sizes ofRecorder.................................. 3.5.3.3. Toe Bass as Continuo Instmment................................................................. 3.5.4. Ireland............................................................................................................... 3.5.5. Italy.................................................................................................................... 3.5. 6. Sweden............................................................................................................... 3.5.7. Germany and Austria......................................................................................... 3.5.8. Poland............................................................................................................... 3.5. 9. Hungary............................................................................................................. 3.5.10. The Netherlands............................................................................................. 3.5.11. The Hidden Repertoire ofHautboisten?..................... ......................... .......... Chapter 4: Voice Flute and Some Special Types ofRecorder or Duct Flute: Double Recorder, Echo Flute, Still Flute, Flúte pastorelle, Transverse Recorder, and Walking-Stick Recorder........................................................................................... 4.1. The Voice Flute and its Origin................................................................................. 4.1.1. Notable Performances....................................................................................... 4.1.2. Surviving Instruments....................................................................................... 4.1.3. Origin................................................................................................................ 4.1.4. Did Charpentier Score for the Voice Flute?...................................................... 4.2. Two for the Price ofüne: Singing Along, Double Recorder, and Echo Flute......... 4.2.1. Singing Along.................................................................................................... 4.2.2. Double Recorder............................................................................................... 4.2.3. Echo Flute......................................................................................................... 4.2.4. Bach's Fiauti d'Echo...................................................................................... 4.3. Still Flute................................................................................................................... 4.5. Flúte pastorelle.......................................................................................................... 4.5. Transverse Recorder.................................................................................................. 4. 6. Walking Stick (Cane) Recorder................................................................................ Notes...................................................................................................................................... Bibliography.......................................................................................................................... Index ofTerms...................................................................................................................... Index ofPersonal Names....................................................................................................... Musical Examples.................................................................................. ............................. ..

lV

146 148 150 150 15 9 15 9 168 172 175 176 177 183 185 200 201 201 201 20 9 211 211 212 213 216 21 9 21 9 21 9 221 223 228 230 231 233 234 313 351 361 3 71

INTRODUCTION ln the sixteenth century, a wide range ofrecorders was available, from sopranino through extended contrabass, mostly played in consort. Toe distinguished American musicologist Howard Mayer Brown wrote in1 9 95 : "The Renaissance can be said to close when recorders ceased to be played in consorts. " 1 He cites as evidence a single quotation from one Italian writer in 1628 , 2 commenting, "By this time the era of the solo sonata had begun, and the Renaissance was over. " Thus Brown helped to promulgate part ofthe standard history ofthe recorder: the demise ofthe consort around 1600 (or by the 1620 s), the alto as the almost exclusive size ofthe Baroque, and the solo sonata as its main vehicle, except for a handful of concertos for smaller sizes. Since1 9 95 , however, copious evidence has been uncovered that refutes Brown's statements and creates a new view ofrecorder history, which recognizes that many sizes ofrecorder were employed in a broad surviving repertoire ofvocal and instrumental music, continuing well into the Classical period. This is the territory we explore together in the present book, raising consciousness about what Hans Oskar Koch called Sondeiformen (special forms) ofthe recorder by demonstrating that they were not as special as both he and we have supposed. 3 Toe book has emerged from material that I drafted for a forthcoming book on the recorder for Yale University Press (with co-authors). The amount ofdetail soon far exceeded the bounds ofthat book, not to mention an article ofpublishable length nowadays. As with my book on writings about members ofthe flute family in the Middle Ages and early Renaissance,4 I have spun off the material to make it available in a convenient form and to have something already published that I can summarize for the Yale book. This book itself has created three spin-off books of material that proved to be too detailed to be included here. 5 As you will see, however, the present book is still extremely detailed, meriting an overview chapter.... Toe book was inspired by an accumulation ofseveral stimuli, for all ofwhich I am grateful: Lenz

1

Howard Mayer Brown, "The Recorder in the Middle Ages and the Renaissance," in The Cambridge Companion to the Recorder, ed. John Mansfield Thomson with Anthony Rowland-Jones (Cambridge:

Cambridge University Press, 1995), 20.

2 Vicenzo Giustiniani, Discorso sopra la musica, in Carol MacClintock, trans., 1. Hercole Bottrigari: Il Desiderio, ar Concerning the Playing Together of Various Musical lnstruments. 2. Vincenzo Giustiniani: Discorso sopra la musica (n.p.: American Institute of Musicology, 1962), 79. 3

Hans Oskar Koch, Sonderformen der Blasinstrumente in der deutschen Musik vom spiiten 17. bis zur Mitte des 18. Jahrhunderts, Inaugural Diss., Ruprecht-Karl-Universitãt zu Heidelberg (Bobenheim-Roxheim: the author, 1980).

4 David Lasocki, The Recorder and Other Members of the Flute Family in Writings from 1100 to 1500 (Portland, OR: Instant Harmony, 2012; 2nd ed., 2018). 5

David Lasocki, Marc-Antoine Charpentier and the Flfüe: Recorder ar Traverso? (Portland, Oregon: Instant Harmony, 2015; 2nd ed., 2018); Jean-Baptiste Lully and the Flfüe: Recorder, Voice Flute, and Traverso (Portland, Oregon: Instant Harmony, 2019); The Creation and Dissemination of the Baroque Recorder and Traverso, with Looks at the Cromorne, Oboe, Flageolet, and Bassoon (Portland, Oregon: Instant Harmony, 2021).

1

Meierott's dissertation on small members ofthe flute family6; Koch's dissertation; the series Flauto e voce edited by Klaus Hofmann and Peter Thalheimer (1 9 95-), which is demonstrating how much Baroque vocal music with obbligatos for one or more recorders deserves to be brought into the light7; a commission by Bart Spanhove for a book chapter called "A Short History ofthe Recorder Ensemble" 8; a stimulating article by Andrew Robinson on "families ofrecorders"9; a request by the Dutch recorder magazine Blolifluitist for an article on the bass recorder in the late Baroque period 1º; an e-mail message from the American recorder player Gwyn Roberts requesting information on sizes ofrecorder in the eighteenth century; a message from the late David Bellugi, asking for my opinion about Johann Sebastian Bach'sfiauti d'echo; and several requests on Facebook recorder groups for more information about the voice flute, which I answered with an article on the subject. 1 1 Toe book could not have been written without considerable research help from colleagues and institutions. I would like to thank the following kind people warmly for looking over drafts ofthe material and sending me thought-provoking responses, for expertly and patiently answering my numerous questions, and for helping me to obtain relevant publications: Philippe Allain-Dupré, Wim Brabants, Inês de Avena Braga, Andrea Bomstein, Jan Bouterse, Adrian Brown, Georg Corall, Paula Hickner, Ian Hoggart, Peter Holman, Peter Holtslag, Hans Oskar Koch, Laura Kuhlman, Nicholas Lander, Ana López Suero, Douglas MacMillan, Herbert W. Myers, Laurence Pottier, Andrew Robinson, the late Anthony Rowland-Jones, Tabea Schwartz, Misti Shaw, Michael Talbot, Nikolaj Tarasov, Peter Thalheimer, Peter Van Heyghen, Carla Williams, and Thiemo Wind. Many thanks also to Markus Berdux for the cover design and the photograph on which it is based. Toe Document Delivery service ofthe Indiana University Libraries, the Interlibrary Loan department of the Cedar Mill Community Library, and the Multnomah County Library have played an essential role in obtaining copies ofarticles, books, scores, and dissertations. The downloadable scores in the Intemational Music Score Library Project (IMSLP) and on gallica. bnf. fr (Bibliotheque Nationale, Paris) have also proved indispensable. I freely acknowledge that the book neglects iconography and surviving instruments, leaving it to someone else to flesh out that research later. After over fifty years ofpublishing my research, I am now less concemed with being comprehensive on all fronts than getting the research out to the public now. For the sarne reason, I have included far fewer musical examples than can be found in my books about Marc-Antoine Charpentier and Jean-Baptiste Lully (a few relevant examples are left 6 Lenz Meierott, Die geschichtliche Entwicklung der kleine Flotentypen und ihre Verwendung in der Musik des 17. und 18. Jahrhunderts, Würzburger musikhistorische Beitrãge, 4 (Tutzing: Hans Schneider, 1974. 7

See the Bibliography for the entire series.

8

Bart Spanhove, The Finishing Touch ofEnsemble Playing: A Flanders Recorder Quartel Guide for Recorder Players and Teachers, with a Historical Chapter by David Lasocki (Peer, Belgium: Alamire, 2000). 9 Andrew Robinson, "Families of Recorders in the Late Seventeenth and Eighteenth Centuries: The Denner Orders and Other Evidence," The Recorder Magazine 23, no. 4 (winter 2003): 113-17; 24, no. 1 (spring 2004): 5-9; reprinted in one part with corrections inARTAFacts 9, no. 4 (December 2004): 11-21. 10

David Lasocki, "De Bassetblokfluit, 1660-1740," Blolifluitist 6, no. 1 (2014): 4-7.

11

David Lasocki, "The Voice Flute and its Origin," American Recorder 58, no. 2 (sumrner 2017): 6-19; German version as "Die Voice Flute und ihre Herkunft," Tibia 42, no. 3 (2017): 483-500.

2

over from those books). ln the body of the text, actual sizes and key terms are quoted in the original language in italics; more generic information is translated into English. All the quotations from which the information is extracted are given in the original language in the endnotes in regular type. The Tables at the end of chapter 1 present the basic data in a handy form. David Lasocki Portland, Oregon, December2020 Abbreviations To help you keep your bearings in the amount of detail provided, in chapters 2 and 3 most paragraphs are coded with abbreviations in bold type to indicate the size or sizes ofrecorder under discussion, arranged from high to low. Sizes and Instruments 4 F= fourth flute in B-flat or C (when it is impossible to discem the size intended) 6F= sixth flute 7 F= recorder in high E-flat A= alto in F A-A= third flute A-E b= alto in E-flat A-G= alto in G B= bass in F B-G= bass in G Bw= unidentified bass wind instrument other than the recorder CB= contrabass in F Con= consort, case, or set (sizes unspecified or unclear) EF= echo flute GB= great bass in C (earlier in B b) L= large recorder(s), pitch unspecified M= medium recorder(s), pitch unspecified Misc. = miscellaneous (sizes unknown) Picc= piccolo (octave transverse flute) S= soprano in C (fifth flute) S-B b soprano in B b (fourth flute) S-D= soprano in D (sixth flute) Sm= small recorder(s), pitch unspecified So= sopranino in F or G T= tenor in C Tr= traverso (Baroque transverse flute) V= voice flute in D

3

Pitch Standards (Bruce Haynes' convention) 12 A+2 = a tone higher than 440 Hz A+1 = a semitone higher than 440 Hz A+0 =440 Hz A-1 = a semitone lower than 440 Hz A-1½= three-quarters of a tone lower than 440 Hz A-2 = a tone lower than 440 Hz Pitch Notation c3 = two octaves higher than middle C c2 = an octave higher than middle C cl = middle C c0 = an octave below middle C C0 = two octaves below middle C Clefs C1 C2 C3 C4 F3 F4 G1 G2 G2½

soprano (e1 on the first line) mezzo-soprano (e1 on the second line) alto (e1 on the third line) tenor (e1 on the fourth line) baritone (fD on the third line) bass French violin clef (gl on the first line) treble gl in the second space

12

Bruce Haynes, A History ofPerforming Pitch: The Story of "A" (Lanham, MD: Scarecrow Press, 2002), li-liii.

4

CHAPTERl OVERVIEW

Unusually, we begin this book with an overview chapter, itself the length ofa long article or short book. It gives me the opportunity to trace the broad trends that would normally go in a Summary or Conclusions chapter. It also---let's face it-gives you the opportunity to be introduced to just the broad trends and skip the detail presented in the next three chapters, ifyou wish. For references in endnotes, see those chapters. 1.1. Before the Baroque Recorder, 1600-68 1 Toe treatises ofthe sixteenth century mention only what we would call alto, tenor, and bass sizes ofrecorder, with the exception of Jerome Cardan (ca. 1546), who adds an un-named higher size (soprano in D), all these sizes being a fifth apart (lowest notes d2 , gl , cl , fD). Yet inventories of collections ofrecorders at Courts show that the extended contrabass already existed as early as1520 (Florence), the extended bass in 155 9 (Madrid), and the sopranino in1577 (Graz). A distinction between sopranos in C and D is first suggested in inventories from Hechingen (hoher discant, discant, 160 9 ) and Kassel (hohrere Soprani, Soprani, 1613 ), although the terms employed make it hard to distinguish a "high soprano" from a sopranino. All the existing sizes-sopranino (klein Flotlein), soprano in C and D (Discant), alto (Alt), tenor (Tenor), bass (Basset), great bass in B bO (Baj3), and contrabass in FO ( Groj3-baj3)-were documented together in 161 9 in the treatise by Michael Praetorius, although he switched some of the sixteenth-century terminology of the sizes from four-foot pitch (sounding an octave higher than the name suggests) to eight-foot pitch. Table 1. Terms from the Extended Sixteenth Century and as Used in this Book Pitch

1510-1613

Praetorius (1619)

This Book

fl/gl

name undocumented

klein Flotlein, klein Floitlin, exilent,flauto piccolo, Tibiola

sopranmo

dl

unnamed (Cardan)

Discant

soprano

gl

Discant (Vírdung, 1511), Discantus (Agrícola, 1529), soprano (Ganassí, 1535), canto (Cardan, ca. 1546; Zacconí, 1596), dessus (Jambe de Fer, 1556), Tiple (Cerone, 1613)

Alt

alto

cl

Tenor (Vírdung), Altus/Tenor (Agrícola), tenor (Ganassí, Cardan, Zacconí), taille/haute contre (Jambe de Fer), Tenor (Cerone)

Tenor

tenor

fO

BajJcontra/Bassus (Vírdung) Bassus (Agrícola), basso (Ganassí, Zacconí), bass (Cardan), bas (Jambe de Fer), Baxo (Cerone)

Basset

bass

7

cO/B bO FO

contrabasso, contrebas (inventories)

BajJ

great bass

GrojJ-BajJ

contrabass

During the seventeenth century, the contrabass is found in an inventory from Hermannstadt (1631 ). And such an instrument in F0 , even extended down to C0 , was mentioned by Marin Mersenne in1636 as the basse ofhis grand}eu. But he reported that the examples he illustrated had been sent from England to the French Court, presumably made by the Bassano family in London, and he encouraged French makers to copy them, implying that the makers may not have been familiar with these larger sizes. A new term, "fourth flutes" (Quartjloten), is first documented in a purchase by the city ofLeipzig in1635. The implied pitch ofan instrument with this name as a fourth above the alto in G, therefore a soprano in C, persisted in some sources after the invention ofthe alto in F well into the eighteenth century. Quartjlote was scored for by Martin Mener in 1635 and by Tobias Ennicelius in Kiel in 1667. The inventory ofa church in Naumburg in1658 included1 sopranino ( Octavflote),3 sopranos in C (Quartjloten), 3 tenor recorders (Tenmfloten), and 1 keyed recorder (Schloj3flote), but surprisingly, no altos. On his death in1666, the Stadtpfeifer (town musician) Peter Polack in Reval, Estonia owned the equivalent of two SoSAT consorts, perhaps at different standard pitches: 2 oktavjlooti (sopraninos), 2 kvartjlooti (sopranos), 2 dultsjlooti (altos), and 2 tenmflooti (tenors). The soprano in C, under the name fluit or handfluit, played a special role in The Netherlands, where it was the size depicted in the vast majority ofpaintings ofthe recorder, and was called for in two collections: Der Goden Fluit-hemel (1644 ) and Jacob van Eyck's vast Euterpe oft Speel­ Goddinne (1644 ), the title ofwhich was changed to the well-knownDer Fluyten Lust-hofstarting with the second volume (1646). This size ofrecorder is the only one treated in two Dutch tutors, the Amsterdam publisher Paulus Matthijsz's Vertoninge (164 9 ) and the Gouda organist Gerbrandt van Blanckenburgh's Onderwyzinge (ca. 1656), and the only one mentioned in treatises by Daniel Speer (16 97 ) and Klaas Douwes (16 9 9 ). Consorts of recorders, cases implying various sizes, and listings of multiple sizes are found in inventories, bequests, and purchases from many walks of life, so there is substantial evidence for active consort playing: (1 ) The purchase oftwo consorts and the repair ofthree recorders by the Benedictine Monastery in Kremsmüster in 1606. (2 ) The purchase ofa consort by the Court in Darmstadt in 1620. (3 ) The purchase for its musicians by the city ofLeipzig of"recorders" (1617 ), three tenors and altos (1620 ), and two sopranos (1635 ). (4 ) Toe bequest of a "new" consort by a chieftain for a town's music festivities in Colombia, South America in 1633. (5 ) The purchase ofa consort by an amateur music club in Zürich in 1640. (6) The bequest ofa consort by the French royal viol player Jean Boyer in1648. Royal musicians often did not own their own instruments, so the presence of recorders in the private collection ofa musician who had a different principal instrument suggests they were actively played. (7 ) The bequest by the brewer Comelis Graswinckel in Delft in1653 : to one son "the consort of Nuremberg recorders and music books he was given when he left for Heusden," to the other son "my bass viol and black ebony recorder," to the daughter "two recorders tuned to the harpsichord, one of which I have lent to the bailiff' and "further recorders tuned to the others. " These instrument 8

conjure up an active family ofmusic lovers. (8 ) The bequest by Jean-Baptiste Daneleu, an important man in the govemance of the Low Countries, ofa consort and parts of three other consorts in 1667. If these instruments belonged to a wealthy citizen, rather than his noble employer, they presumably had some current practical value. (9 ) The debt for a consort to the tumer Isaack Hutten in Dordrecht in 1675 , although it was only two years before the documented visit to Toe Netherlands of French royal recorder players, who would have brought the new Baroque-style instmments with them. Some other listings are perhaps less indicative ofactive playing, but show that many consorts and sets were around: Royalty case of18 small and large, the smallest (soprano or sopranino) lent to the Elector ofBavaria for practicing; case of8 small and large; consort of5 ; 3 tenors; 2 new sopranos or sopraninos, 2 old altos, Munich (1655 ) Nobility case of6, Hengrave Hall (1603 ) consort of12 , Hechingen (160 9 ) consort of14 , Kassel (1613 ); 9 large, case lacking3 small (1638 ) 23 large and small; case of8 containing 2 large, 6 small missing, Innsbruck (1665 ) Church consort, gift of priest, Argentina (1605 ) 2 consorts, consort oflarge, case including 2 keyed, Breslau (1625 ) a case of 9 including a bass, Huesca Cathedral (1626) 4 sizes, Naumburg (1658 ) City cases of 9 and 1 O, consorts of4 (depleted), 4 , 9 , and 10 , Nuremberg (160 9 ) 4 sizes, Hermannstadt (1631 ) Town musician consort, Stralsund (1607 ) Citizens consort of6, bequest, Dr. Johannes Wilhelmi Velsius, Leeuwarden (1601 ) set, bequest, Francis Fitton, Cheshire (1608 ) Customs duty set or case of5 , England (1660 ) ln England between 15 9 9 and 1640 , "recorders" (plural) were often played by the six-member consorts of musicians attached to each theatre, with powerful associations: the supernatural, gods, death, love, and entrances ofroyalty or nobility. Unfortunately, we have no information about how many ofthese musicians played the recorder or which sizes. 9

ln one ofthe most famous events in recorder history, Samuel Pepys visited the revival ofThomas Dekker and Philip Massinger's play The Virgin Martyr on 27 February 1668. Pepys was pleased "beyond anything in the whole world" by "the wind-music when the angel comes down, which is so sweet that it ravished me; and indeed, in a word, did wrap up my soul so that it made me really sick, just as I have formerly been when in love with my wife. " His purchase ofa recorder six weeks later, "the sound of it being ofall sounds in the world most pleasing to me," clinches the nature of the wind instruments involved, although again we do not know how many or which sizes. Praetorius's collection of40 multi-choir pieces called Polyhymnia Caduceatrix et Panegyrica (1618-1 9 ) assigns recorders to nine of them and perhaps two more. His idea of a recorder choir ( Choro de Flauti) consists oftwo tenors (a combination occurring three times), the bass part being played by a dulcian, as he recommended in his treatise Syntagma Musicum III, along with bassus generalis or basso continuo for organ, regal, harpsichord, lute, or theorbo. He also used soprano/alto, alto/tenor, and tenor recorders; alto and two tenors (twice); alto and tenor (twice), and tenor. Toe anonymous Sanada â Fiauti & B. C that survives in Breslau (ca. 1620 ), apparently for soprano and two altos, creates a purely instrumental form for recorders and basso continuo. Georg Zuber's Erster Teil neuer Paduanen (164 9 ) includes a sonata for fourjlautini; the partially surviving parts belonged to a circle of amateur musicians at a church. Massimiliano Neri, organist at San Marco, Venice, published a Sonata . . . a otto (1651 ) scored for Due Violini, violette e tiorba, tre jlauti (two alto recorders and one tenor) e tiorba, thus specifying the nature of the continuo instruments: one theorbo each for the strings and recorders. ln a unique case, tenor recorder is given as an altemative to viola in string sonatas: Philipp Friedrich Buchner's Plectrum musicum (1662 ). Samuel Friedrich Capricomus composed a Geistliches Konzert (sacred concerto) he published in Stuttgart in 1664 that includes an aria, "Ich bin schwarz, aber gar lieblich," for bass voice, five recorders (Flauto), and organ continuo. The clefs and ranges ofthe recorders suggest two sopranos in D, one alto, and two tenors. Johann Melchior Gletle's collection ofmotets Expeditionis musicae classis (Augsburg, 1677 ) includes one, "Ist dann so gross," for soprano or tenor voice with two or five viols or recorders (implying that three ofthe parts are optional, leaving trio texture). The work would fit two altos, two tenors, and a bass in C. ln France, "six satyrs playingjleutes" formed part ofthe Grand Ballet du Roy . . . sur l 'Adventure de Tancrede en laforest enchantée (161 9 ); the surviving music is lacking the middle parts, but the top and bottom parts would have suited alto and bass recorders. ln another Court ballet, Le grand ballet des effects de la nature (1632 ), a concert de jlútes accompanied a newly wedded couple consummating their marriage (symbolizing earthly love?). Toe manuscript scores of Jean-Baptiste Lully (1632-1687 ) have not survived. But the livrets (printed librettos) ofhis early ballets between 1658 and 1664 name up to 9 recorder players who took part in the performance of a particular ballet. The scores compiled by the royal librarian and wind player André Danican Philidor often specify recorders (jlustes), even consorts ofthem ( Choeur de Flustes, Concert dejlustes,jlustes a 4. Parties). The recorders were sometimes combined with members ofthe violin family or musettes. The clefs and ranges ofthe parts, as well as the evidence from the sizes ofrecorder named in Lully's Le triomphe de l 'Amour (1681 ; see Example 1 ), imply the use ofalto, tenor, bass, and great bass recorders, the last one perhaps doubled or substituted by another bass wind instrument. His players appeared on stage, so an extended contrabass recorder would have been an unwieldy instrument for them. The Renaissance examples had a speaking length ofaround8 feet (2 40 cm), and at a lower French pitch they would have been even longer, probably with an impossible stretch for the fingers. ln only one ofLully's recorder pieces does the lowest part 10

have bass figures, in which case the orchestra's continuo players would presumably have joined in. ln 165 9 , Robert Cambert wrote the first French opera, Pastora/e d'Jssy (music now lost), in which the philosophe Saint-Évremond observed the presence of Concerts de Flútes. Toe musical Court in Kromeríz, Moravia, ofKarl II von Liechtenstein-Kastelkom, prince-bishop ofOlomouc between1664 and1695 , housed an ensemble that included at least five recorder players. Toe surviving music collection holds eleven chamber works by Antonio Bertali, Heinrich lgnaz Franz Biber, Henricus Aloysius Brückner, Johann Heinrich Schmelzer, Giovanni Valentini, and anonymous in which between one and five recorders participate. Another similar work by Schmelzer that survives in Uppsala is scored for seven recorders alone. The ranges and clefs imply that the sizes were soprano in d2 , alto in gl, tenor in dl, and bass in g0 , just like the surviving consort ofrecorders made by Hieronymus Kynsecker in Nuremberg. This work alone refutes Brown's implication that recorder consorts did not survive the Renaissance. Never say "never. " Only one ofthe works is for recorder consort only, and even that has organ accompaniment. Seven works are scored for recorders with strings (viols and/or violin farnily) and organ, three times using dulcian on the bass line; two more works add other wind instruments (comettos, tmmpets, trombones) and timpani. ln vocal music, whether sacred or secular, between one and three sizes ofrecorder participated in a piece, often with other wind or string instruments. 1.2. The Baroque Recorder, 1668-1800+ lntroduction: Lully and Charpentier Toe shift from alto in G to alto in F seems to have been made in France by 1664 , judging by the occurrences off#1 in the top recorder parts ofthe ballets by Lully. ln1668 , after at least a two-year gap from recorder consorts, Lully made a switch: in his La grotte de Versailles, LWV 3 9 , the Concert de Flustes merely has recorders on the top two lines. With the exception ofLe triomphe de l'Amour (1681 ), which calls for alto/traverso, tenor, and bass recorder (petite basse dejlútes), and either a great bass or another bass wind instmment on the bottom line (grande basse dejlútes), Lully now employed a trio texture with two alto recorders on the treble parts. This change seems to mark the full development of the Baroque type of recorder, almost certainly made by members of the Hotteterre farnily, who were the predominant performers ofrecorders in Lully's works at the French Court. l present evidence that his recorder parts with lowest notes d1 or e1 (G1 or C1 clef) in the works written between 1668 and1685 were intended for the newly invented voice flute (alto in d1 ) (see pp. 3 0 --3 1 below). Toe bass recorder was specified or implied occasionally on the bass line ofsuch trios, or implied by the large number ofjlúte players mentioned in the livret, as in Les amants magnifiques (1670 ), Psyché (1671 ), Alceste (1674 ), Atys (1 676), lsis (1 677), Proserpine (1 680), Amadis (1684 ), andAcis et Galatée (1686). The instmment was mostly notated in F4 sounding an octave higher, sometimes in a C clef at pitch. A copy made in 1708 of Lully's earliest tragédie en musique, Cadmus et Hermione (1673 ) mentions petittes jlutes on the top two lines, the keys and ranges suggesting sopranino recorders. Marc-Antoine Charpentier scored for sopranino (octave), altos (jlutes douces,jlutes douces en taile), and basses (basse de jlutes) in his Messe pour plusieurs instruments au lieu des orgues, H. 513 (1674 ), performed by an unknown ensemble in a Paris church. He called for sopraninos (petites jlutes) again in his pastorale Lefeste de Rueil, H. 485 (1685 ), again for an unknown ensemble, at the 11

former residence of Cardinal Richelieu. Altogether, Charpentier used or implied the bass recorder in no fewer than fourteen works, written between 1674 and 1693 (see Table C), apparently when an instmment and performer were available: a unique extensive use in the history of the recorder before the twentieth century. He employed the basse deflúte partly on bass lines, partly on the third line, in Cl , C2 , C3 , and F4 clefs. All the parts could have been played by the bass recorder in fD, either at pitch or sounding an octave higher than notated, occasionally with a little adjustment of the notes to fit the range at cadences. Toe melody instmments involved are two alto recorders or sopraninos doubling altos (three occurrences), but more often paired alto recorder and traverso (six times) or two traversos (six times), sometimes doubled by strings. Toe ensemble belonging to the Dauphin (the French equivalent of Crown Prince), which included members ofthe Pieche family on recorder and flute, pioneered the pairing ofalto recorder and traverso, partly with bass recorder on the third line. After Lully and Charpentier, sopranino and bass recorders continued to play the largest role of any size other than the alto in the late Baroque period and into the Classical period. Consorts A number ofrecorder consorts, cases, or sets, without named sizes, are listed in: sale catalogues in Toe Hague (four recorders, 1686, formerly owned by a doctor), The Hague (168 9 ), Leiden (four recorders, 1690 , doctor), and London (1701 ); the requirements for the Anhalt-Zerbst Hofkapelle (16 9 9 ); inventories ofmonasteries in Ossegg, Bohemia (1706) and Kremsmünster (1710 ); a letter from the Basel maker Christian Schlegel (1708 ); five recorders by Peter Jaillard Bressan, and another case with a flute, an oboe, twelve recorders, and a pitch pipe by Bressan (1740 ); a "fine set" by Bressan (1743 ); and another set by Bressan (London, 1774 ). Toe two sales of instmments belonging to doctors show that amateurs might own recorder consorts, presumably for domestic playing. Toe wording ofthe advertisement for the London sale in1701 of"a Consort ofFlutes, and Flagelets, all in one Box, that any Person may play a Tune in a Minutes time" suggests that the organizers of the sale were anticipating an amateur purchaser. Fortunately, other consorts, intended for the professional musicians of the establishments in question, have numbers and sizes spelled out: the Dutch maker Richard Haka's invoice for the Swedish Navy in 1685 : sopranino, two sopranos, three altos, tenor, and bass; Haka's larger consort in the Florence Court inventory of1700 : sopranino, four sopranos, four altos, two tenors, and two basses; the consort with the "fly'' mark (perhaps the bee of the French maker Debey) in the sarne Florence inventory: two sopranos, three altos, four tenors, and two basses: the Nuremberg maker Jacob Denner's invoice for the Duke ofGronsfeld in171 O: four altos, one tenor, and two basses; and Denner's estimate for Gõttweig Abbey around 1720: three altos, tenor, and two basses. Three sets ofmore than two sizes have survived: alto, voice flute, tenor, and bass by Bressan (the "Chester recorders"); two altos, tenor, and bass by Johann Benedikt Gahn, perhaps made for a German convent; and what were originally two sopraninos, two altos, two tenors, and a bass in ivory by Jean Jacques Rippert that belonged to the Bavarian Court. At a wedding celebration for the nobility in Capua in 1711 , music was provided by "many recorders in the German style" (moltiflauti ad uso germano). The surviving repertoire for recorder consort includes one striking example: Alessandro Marcello's manuscript Concerto di flauti for soprano, alto, tenor, and bass doubling strings (Venice, n. d. ), probably intended for amateurs to play in the Accademia degli Animosi in Venice, ofwhich Marcello was a keen member. A concerto with a similar-sounding scoring by Marcello was among the possessions ofanother amateur, the Danish 12

customs inspector Stephen Kenckel, in 1732. Kenckel owned several recorders (two small, fourth flute, four probably altos, and bass) that could have been used to play the concerto with the collegium musicum he seems to have run in Helsing0r (Elsinore). Bressan's sets, the Florence Court consorts, and Marcello's concerto, of course, imply that "many recorders" were not just the prerogative of"German style. " Michel Pignolet de Montéclair's operaJephté (Paris,1732 ) is exceptional in calling for five sizes ofrecorder-sopraninos (Petits dessus), soprano (Hautes-contres), altos (Tailles) , tenor (Quintes), and bass (Basses)-including one air that employs them at the sarne time (see Example 7 ). 0n a less elevated scale, Johann Christoph Faber's Parties sur les jleut dous à 3 (Lüneburg, 171 4-31 ) is a French-style suite for alto, tenor, and bass recorders alone. Gottfried Finger's incidental music for Nathaniel Lee's play The Rival Queens; or, the Death ofAlexander the Great (London, 1701 ) includes a "Symphony for 4 Flutes" in the ranges oftwo altos and two basses, and a further instrumental accompaniment for a vocal air which, ifstill intended for recorders, would be for alto, tenor, and two basses. Others works, mostly vocal, that employ a group of three or four recorders are discussed under Bass and Tenor below. Bass Terminology Some fairly consistent terms were used for the bass recorder throughout the late Baroque and Classical periods, a combination of "bass" and "flute" (sometimes with qualifying adjectives) and the occasional "of," allowing for regional variants in German-speaking countries. Most countries also used terms from French and Italian. Basson, the normal term for bassoon, clearly refers to a recorder in the context. Bohemia. bassisticae. England. base flute, bass flute, bass-flute. From Italian: Basso de' Flauti, Fluto basso. France. basse dejlute(s), Basse de Flúte à bec, basse dejlúte douce ou à bec, bassejlute. From Italian: flautofagotto. Germany and Austria. Bass-Flaúde, Bass-Flautte, Bafljlote, Bafl-Flote, Bass jlothe, Bass Flute, Bass-Flute, Bafl Flette, Basson, Flauten Bafl, Fleuten-Bass, Floten-Bass, Floth. Bass. From French: Basson Flúte, Flaut-doux-Basson. From Italian: Bass dejlauti, Basso jlauto,jlauto basso, Flauto di Basso, Flautone. Italy. Basso di Flauto,jlauto basso. Toe Netherlands. basjluit, bas-jluyt, Fluit de Bas. From French: Bassjleutte does, basse­ jlúte, Basjleuit à Beck. Poland. From Italian: Flautino Bassone. Sweden. Baj3-Fl0yte Surviving Repertoire Toe early use and approximate end ofthe bass recorder's life are cited in two German treatises from the late eighteenth century. ln his Anleitung zur praktischen Musik (2 nd ed. , Leipzig, 1782 ), Johann Samuel Petri remarks: "ln the trio... where there are two transverse flutes, it is preferable to have a bassoon played softly as the bass, rather than a violoncello, the tone ofwhich does not resemble the flute's so closely. ln the previous [seventeenth] century, more attention was given to this,

13

because the weak recorders were accompanied with bass recorders, but which have now gone out of fashion because they require so much breath. " His comments are paraphrased and expanded in Christian Daniel Friedrich Schubart's ldeen zu einer Âsthetik der Tonkunst (written in 1784-85 , published in Vienna in 1806): "Previously, before the transverse flute carne into vogue, [the recorder] was widely used, especially in Germany; two such instruments were played and accompanied with a bass recorder, an instrument quite similar to a bassoon and blown above through a brass crook. Such a trio did not sound bad; it was only too soporific and seemed not completely suited to the German spirit. " Trios and quartets for alto recorders and bass recorder with basso continuo, sometimes (also) voice flute or tenor recorder, are found in both secular and sacred vocal music, not only in France and Germany but in Austria and England from the1670 s, petering off in the1720 s. As in the works ofCharpentier, the bass recorder can take the third or middle part as well as the bass part. Using bass recorders in such situations could well have been a broadly established practice, as Petri and Schubart imply. Nicholas Staggins, masque Calisto (London, 1674 ) 2 A B John Blow, anthem Lord, Who Shall Dwell in Thy Tabernacle (London, 167 6--91 ) 2 A B Agostino Steffani, opera Alarico il Baltha (Munich, 1682 ) A T B Heinrich Biber, opera Chi la dura, la vince, Ritornello à 4 Flaute (Salzburg, 1690-92 ) A T B Bw (bass recorder on the third part) Henry Purcell, Ode for St. Cecilia's Day Hail, Bright Cecília! (London, 1692 ) 2 A B Henri Desmarets, opera Didon (Paris, 1693 ) 2 A/Tr B John Hudgebut, Thesaurus Musicus (London, 1693-96) depiction of2 T B with singer and A sitting on the table Johann Hugo van Wilderer, opera Giocasta (Düsseldorf, 1696) 2 T B; 2 T B Bw (third part); 2 A B Bw (third part) Carlo Luigi Pietragua, opera Telegono (Düsseldorf, 1697 ) 2 A B Bw (third part) André Campra, ballet L'Europe galante (Paris, 1697 ) 2 A B Michel-Richard de Lalande, motet Laudate dominum in santic ejus (Paris, 1697 ) 2 A B Anne Danican Philidor, pastorale L 'Amour vainqueur (Paris, 1697 ) A T B Ferdinand Tobias Richter, Trattenimento Musica/e Le Promesse degli Dei (Vienna, 1697 ) A TB Johann Sigismund Kusser, opera Adonis (Stuttgart, ca. 1700 ), 2 A B Theobaldo di Gatti, opera Scylla (Paris, 1701 ) A/Tr B Wilderer, La monarchia stabilita (Düsseldorf, 1703 ) V B GB/Bw (middle part) Giovanni Bononcini, opera Endimione (Vienna, 1706) 2 A B Michael Rohde, cantata lch will euch tragen bis ins Alter and some communion and burial arias (Stettin, 170 6--32 ) 2 A B Friedrich Gottlieb Klingenberg, wedding aria "Brich an, gewünschtes Licht" (Stettin, 1708 ) 2AB An aria, "SüBe Lippen, holde Wangen," attributed to Johann Peter Guzinger (Eichstãtt, 1708 --47 ) 2 A T B Johann David Heinichen, serenata Zephiro e Clori (Venice, 1712-16) 3 A B Klingenberg, communion aria "Ach, wenn ich mich doch kõnnt in Jesu Lieb versenken" (Stettin, 1715 ) 2 A B 14

Johann Ernst Galliard, masque Pan and Syrinx (London, 1718 ) 2 A B Antonio Lotti, opera Teofane (Dresden, 171 9 ) A and B in engraving ofperformance Georg Philipp Telemann, cantata Trauer-Actus: Ach wir Nichtig, ach wie Fluchtig (Hamburg, 1723 )2 A T B Nicola Matteis the younger, trio in Antonio Caldara's opera !! Demetrio (Vienna, 1731 ) 2 A B George Frideric Handel, opera Giustino (London, 1737 ) 2 A B Libra secando de ' solfeggiamenti by Pompeo Natale (1681 ) explains on the title page that as well as being sung they could also be played by various instmments: violin, violone, and recorder (Flauto), etc. The parts would fit alto, tenor, and bass recorders. Bass recorders are called for in two concertos: an ensemble concerto by Heinichen in G major from his Dresden period (1717-29 ) for two alto recorders, two oboes, 2 violins, strings and basso continuo; and a concerto by Telemann in B b major for two alto recorders, strings, and basso continuo (the designation for bass recorder being added by Johann Georg Pisendel, Konzertmeister at the Dresden Court). Franciszek Pemeckher's Harmonia Pastorella, written while he worked at the Jasna Góra monastery between 175 9 and 176 9 , is scored for two violins, two traversos, two tmmpets, timpani, and organ with Flautino Bassone. Bass jlute or Fluto basso are designated in six English collections ofmusic for one or two alto recorders and basso continuo in the early eighteenth century:

Arcangelo Corelli, Opus 5 , part 1 , arr. (London, 1702 ) Johann Christoph Pepusch, sonata (London, 1704 ) A Collection ofSevera!! Excellent Overtures (London, 1706) Pepusch, A Second Set of Solos (London, 170 9 ) New Aires made on Purpose for two Flutes and a Bass (London, 1712 ) Corelli, Opus2 and 4 , arranged (London, 1724 ) Toe range ofthe bass parts tends to stray below the range ofthe bass recorder. So either Fluto basso really meant "a bass part to the recorder," or else bass recorder players adjusted the range to fit their instrument. A manuscript collection ofOuverturen, Sonaten, Tanzen undArien by Finger for Flauto 1, 2 and Flauto Basse survives in Wolfenbüttel. Two significant late examples are found ofthe bass recorder taking a solo part in chamber music at the Berlin Court ofFrederick the Great: the Trio Sonata in F major for Bass Recorder, Viola or Bassoon, and Basso continuo by Carl Philipp Emanuel Bach (Berlin, 1755 ) and the Trio Sonata in F major for Violin, Violoncello or Bass Recorder, and Basso continuo by one ofthe Graun brothers (by 1763 ). Dutch advertisements Thomas Boekhout (1666-1715 ), a maker in Amsterdam, advertised that he sold "bass recorders that have all the notes as on an ordinary recorder" in 1713. Jan Bouterse suggests that the new type of bass instmment had the third finger hole as well as the seventh closed with a key, to enable the bass to be played with the sarne fingerings as the alto. A year later, van Driel, first name unknown, a maker who had just moved to Amsterdam from Hamburg, advertised that he sold: "all manner of excellent recorders... which do not get clogged up and never let the player down, as well as oboes, bassoons, flutes, and bass recorders, constructed in a new manner ofhis own invention which has

15

never been seen before. " Perhaps van Driel's claim had something to do with Boekhout's new type ofbass recorder. Encyclopedias and treatises ln addition to the treatises ofPetri (1782 ) and Schubart (1784-85 ) mentioned above, the bass recorder is mentioned in treatises and encyclopedias from around 1692 to 1801 :

James Talbot manuscript (London, 1692 -95 ) Joseph Sauveur, Príncipes d'acoustique (Paris, 1701 ) Thomas Balthasar Janovka, Clavis ad thesaurum magnae artis musicae (Prague, 1701 ) Johann Gottfried Walther, "Praecepta der musicalischen Composition" (Weimar, 1708 ) Johann Mattheson, Das neu-eroffnete Orchestre (Hamburg, 1713 ) Johann Christoph Weigel, Musicalisches theatrum (Nuremberg, ca. 1720 ); illustration Joseph Majer, Museum musicum (Erfurt, 1732 /41 ) Walther, Musicalische Lexicon (Leipzig, 1732 ) Thomas Stanesby Jr, A New System of the Flute a'bec (London, ca. 1732 ) Johann Philipp Eisel, Musicus autodidactos (Erfurt, 1738 ) William Tans'ur Sr. , A New Musical Grammar (1746); claims that "bass flutes" (almost certainly bass recorders) "are partly laid aside, and converted into Bassoons, &c. " Denis Diderot, Encyclopédie (Paris, 1752 ) Encyclopédie méthodique (Paris, 1785 ) Joos Verschuere Reynvaan, Muzijkaal kunst-woordenboek (Amsterdam, 17 95 ) Johann Joseph Klein, Lehrbuch der theoretischen Musick (Offenbach am Main, 1801 ) Advertisements, invoices, inventaries, and sales Besides the consorts and advertisements mentioned above, the bass recorder is cited in three other types of sources. First, other advertisements, which are presumably current. Second, sales catalogues, at the end ofthe owner's life, so perhaps not representing current use ofthe instmments, but certainly past use. Third, inventories, the cumulative stock of a maker or an institution, again perhaps more past than current.

Haka ad. (Amsterdam, 1691 ) Rudolstadt inventory, ca. 16 97-1700 Gõttweig Abbey inventory, 1700-0 9 Coenraad Rijkel business card (Amsterdam, ca. 1705 ) Jacques Danican Philidor inventory (Paris, 1708 ) Martin Hotteterre's widow's inventory (Paris, 1711 ) Jan Boekhout ad. (Amsterdam, 1718 ) Stuttgart inventory, 1718. Two basses were among "Those instmments which partly need to be repaired and partly could be used if necessary'' and four basses among "Those instruments which as old things are unusable and not able to be played. " Antoine Hercule Nicolas Ballois inventory (Paris, 1725 ) Henrik Richters inventory (Amsterdam, 1727 ) 4 B (one of them ''unassembled") John Law inventory (Paris, 172 9 ) Rudolstadt inventory, 172 9 , 2 B (one of them "partly not even usable any longer") 16

Danzig inventory, 1731 Sale, The Hague, Van Heerde, 1731 Kenckel auction, Helsing0r, 1732 Naust inventory (Paris, 1734 ) 5 B (said to be "old") Kremsmünster Abbey inventory, 173 9 , 4 B Berleburg inventory, 1741 , 2 B (both without their crook) Michel Charles Le Cene inventory (Amsterdam, 1743 ) 1 B Anhalt-Zerbst inventory, 1743 , 2 B Gotha inventory, 1750 , 3 B (said to be "old") Sale, Amsterdam, 1758 , 3 B including 1 by Haka Selhof sale, Amsterdam, 175 9 , GB? Auction, 's-Hertogenbosch, 1760 , 2 B Auction, Groningen, 1764 , B Auction, Middelburg, 1768 , B by C. Han Auction, Middelburg, 1773 , 2 B Sale, The Hague, 1776, B Sale, Amsterdam, 178 9 , B? Peiformers Despite the reportedly unplayable bass recorders, at the Baden-Württemberg Court in Stuttgart the musicians in 1714 included seven who played (alto) recorder and a bass-register specialist called Aegidius Mühlhãuser, who performed on the violone, bassoon, and bass recorder. He died that year and was replaced by Carl Gustav Radauer, who played violin, viola, bass violin, bassoon, and bass recorder. Surviving lnstruments At least 80 Baroque bass recorders have survived (3 9 of them made by the Denner family), representing about 17 percent ofall surviving recorders. Summary Toe Baroque bass recorder is first documented in the works of Charpentier (167 4-93 ) and Lully (1681 and probably as early as 1670 ). Afterwards it played the bass line, sometimes the third line, in secular and sacred vocal music as well as a few ensemble concertos and recorder consorts until the 1730 s, but tailing off in the 1720 s. Inventaries and sales suggest a similar tailing off, but examples were still being sold off as late as 1776 and possibly 178 9. The instrument was specified for the bass line ofsolo and trio sonatas for recorder published in London between 1702 and 1724 , although the ranges ofthe lines suggest that sometimes "bass instrument to recorder" was intended. These publications imply an amateur market that could include the bass recorder. The trio sonatas from the Berlin Court in the1750 s by C. P. E. Bach and one ofthe Grauns that give the bass recorder a solo part are unique in both instmmentation and lateness.

Great Bass Lully called for grande basse dejlutes in addition to petite basse dejlutes in his ballet Le triomphe de l'Amour (1681 ) and Talbot mentioned both Pedal ar Double Bass and plain Bass (16 92-95 ), so we know that such a size still existed after the creation of Baroque recorders. The Nicolas Selhof 17

auction catalogue (175 9 ) lists "a long bass recorder" (Une Flute douce longue de Basse) made by Bressan, which may well have been a great bass. Otherwise, the only hints ofthis size after1668 are the parts for bass recorder that sometimes go a little below fD (or F0 played an octave higher). Two surviving great basses have been reported: one by the Denner family and the second by an otherwise unknown German maker, N. Pappe. Sopranino Recorder and Piccolo Tenns As with the bass recorder, the terminology ofthe sopranino is fairly consistent, being derived from the word for small or top (or a diminutive ending) and/or the word or appellation for octave. England. common octave flute, eighth flute, Eighth higher, Little Flute, octave common flute, octave flute, octave-flute, Small Flute. From Italian: jlautino,jlauto piccolo,jlauto piccolo octavo. France. dessus de jlute, dessus dejlute à bec, petit dessus de jlute, Petit dessus dejlute à bec, Petite jlute, Petite Flute à bec, petitejlute à bec octave. From Italian: Flautino,jlauto picciolo,jlauto piccolo. Germany. Oktavjlote. From Italian: jlautino,jlautino ottavina,jlautino piccolo,jlauto piccolo,jlutino, pifero. Italy. jlautino, Flautino ottavina, Flauto a becco ottavin,jlauto octava, flauto piccolo,jlauto sopra acuto, ottavino Mexico. Octauina. Toe Netherlands. discantjleutte does,jlute octave, Flute Octave a Bec, OctaafFluit-Doux, octaajfluit, Octaefjluyt, octave. Norway. liden Fl0ite, Octav-FlfJite. After the piccolo (octave traverso) carne on the scene in the late 1730 s, its terminology was sometimes similar to that for the sopranino recorder, the two instruments being distinguishable only by the context, or else the adjective for transverse was added: France: petite jlute (1737 ), petite Flute Traversiere a l 'Octave ( 1 739),jlutte octave (1776), octave dejlute (17 95 ) Germany: Flaute Traversiere Bieco/o (1741 ), Flaute Travers. Piccolo (ca. 1755 ), kleine Flot­ Travers (1 778),jlauto octavo (1783 ) Italy: traversino (1742 ) Toe Netherlands: octave Dwarsjluyt (1761 ), Octavo Fluyt (1773 ), OctaafFluyt (17 96), Dwarsjluit Octaaf(l7 97 ) England: Gennan octave jlute (by 1781 ) Surviving Repertoire Toe sopranino is scored for in secular vocal music in England, France, Germany, Ireland, and Italy into the 1730 s, but almost exclusively in England after that (through the end ofthe century):

André Campra, opera Hesione, "Air pour les pretresses de Junon" (Paris, 1700 ), air for priestesses of god oflove and marriage 18

Alessandro Scarlatti, serenata Il giardino d'Amore (Rome, 1706), bird aria Francesco Gasparini, opera L'Oracolo de! Fato (Vienna, 170 9 ), bird aria Handel, opera Rinaldo (London, 1711 ), bird aria André Cardinal Destouches, opera Callirhoé (Paris, 1712 ), celebration ofPan Thomas-Louis Bourgeois, ballet Les Amours déguisez (Paris, 1713 ), bird air Montéclair, ballet Lesfêtes de l'été (Paris, 1716), sommeil Georg Caspar Schürmann, opera Heinrich der Vogler (Braunschweig, 1718 ), bird aria Galliard, Pan and Syrinx (London, 1718 ), bird air Handel, masque A eis and Galatea (Cannons, 1718 ), bird air Antonio Vivaldi, opera Tito Manlio (Mantua, 171 9 ) Vivaldi, opera La verità in cimento (Venice, 1720 ) Telemann, serenade Unsere Freude wohnt in dir (Eisenach, n. d. ) Telemann, cantata Wer mich liebet (Hamburg, n. d. ), divine love Johann Sebastian Bach, cantata Herr Christ, der einge Gottessohn (Leipzig, 1724 ), Jesus as the moming star Leonardo Vinci, opera Eraclea (Naples, 1724 ), bird aria Vinci, aria "Quell 'usignuolo ch'innamorato" (Naples, 1725 ), bird aria Galliard, pantomime The Rape ofProserpine (London, 1727 ), bird air Handel, opera Riccardo primo (London, 1727 ), figurative bird aria Montéclair, opera Jephté (Paris, 1732 ) Joseph Paris Feckler, Festkantate Applauso poetico al giorno de! nome et alie glorie della Sac. Maestà di Gioseppe Gran Re Dei Romani (Mainz, 1735 ), pastoral aria Campra, opera Achille et Déidamie (Paris, 1735 ), tambourin; perhaps piccolos Thomas Augustine Ame, song "Under the Greenwood Tree" (London, 1740 ), bird air Matthew Dubourg, song "The Lark's Shrill Notes Awake the Mom" (Dublin, 1754 ), bird air performed by the traverso player Luke Heron Ame, opera Eliza (London, 1754 ; Dublin, 1755 ), bird air Tomaso Traetta, opera I Tindaridi (Parma, 1760 ) Ame, cantata The Morning (London, 1765 ), bird air and whistling shepherd Ame, masque The Fairy Prince (London, 1771 ), bird air Christoph Willibald Gluck, Singspiel Die Pilgrime von Mekka (Vienna, 1780 ) William Shield, opera Rosina (London, 1782 ), bird air Shield, opera The Noble Peasant (London, 1784 ) Shield, opera The Farmer (London, 1787 ), whistling plough-boy Samuel Arnold, opera Inkle and Yarico (London, 1787 ), overture Arnold, opera The Children in the Wood (London, 17 92 ), overture About half the instances of the sopranino in these works are bird arias or airs; a couple represent whistling. Otherwise, some traditional general associations of the recorder are present: love, the divine, sleep, and the pastoral. Bach's moming star is the most novel. Antonio Vivaldi's three concertos for the jlautino, RV 443 --445 , loom large in the recorder repertoire today, especially the Concerto in C major, RV443. He began a fourth concerto, RV312 , which has now been edited from the violin version that it became. These works celebrate the small recorder's ability to imitate the rapidity and ebullience of the violin in passage work in the fast movements, negotiate complicated omamented lines in the slow movements, and be heard clearly 19

above an orchestra. According to Francesco Maria Sardelli, the works date from the late 1720 s or early30 s. Vivaldi's earlierjlautino part in the opera Tito Manlio (Mantua, 171 9 ) was performed by the oboist Giorgio Ratzemberger, who wrote his own sopranino recorder concerto (solo part now lost). Further concertos have survived or are documented: Antonio Maria Montanari (by 1737 , MS Rostock) Christoph Heinrich Fõrster (by 1745 , MS Lund) Beckurs/Beckhurts/Becours, two sopraninos; another movement for two sopraninos in a string concerto (by 175 9 , Selhofcatalogue) Fõrster, two sopraninos (by 1763 , Breitkopfcatalogue) Christoph Ludwig Fehre (by 17 63 , Breitkopf catalogue) Performance of"a Rural Concerto on the Flauto Piccola by Mr. Ebeling" (London, 1774 ) Performances ofTwo Ariettes and a Piece in the Polish taste by a Polish flutist on the octave jlute (London, 1775 ) Angelus Anton Eisenmann, Concerto in F (Einsiedeln, ca. 1785 ) Toe sopranino was also scored for in the 1720 s-70 s in some purely orchestral music: Telemann, overture Hamburg Ebbe und Flut (Hamburg, 1723 ) Telemann, Admiralitatsmusik (Hamburg, 1723 ) Giuseppe Valentini, Sinfonia (Rome, 1747 ) Telemann, Kapitansmusik (Hamburg, 1755 ) Johann Aloys Schmittbaur, Divertimenti in F (Karlsruhe, 1777 or later) Andrea Favi, Sinfonia for flutes,jlauti tenorini (soprano recorders in B b), sopranino recorders, horns, and strings (177 9 , MS Einsiedeln) As for solo and chamber music, the well-known collection Bird Fancyer's Delight (London, 1717 , orig. 1708 ?), for teaching birds to sing popular tunes of the day, was primarily intended for the bird flageolet, but the tunes could also be played on the sopranino recorder. A solo sonata for Flute Octave and basso continuo and a trio sonata for Flute Octave, violin, and basso continuo by Johann Christian Schickhardt were listed in the Selfhofcatalogue (175 9 ); and he gave a recital in London in1732 in which he played his own solo sonatas, trio sonatas, and concertos for the "small flute," perhaps at least partly the sopranino. At the Court in Schwerin, a partita for Flauto octavo, violin, and basso continuo was composed by Johann Wilhelm Hertel (ca. 1760 ); and a Partia pro Flauto à becco pastorelle with violin and bass by the Kapellmeister Adolph Carl Kunzen (by1757 ) has a substitute part for Flauto octavo. A trio and a partita by Georg Andres Sorge are listed in the Breitkopfcatalogue (1763 ). By the late 1730 s, the piccolo had been established in France, so the petite jlute parts in Jean­ Philippe Rameau's output ofopera and ballets from 1737 to 1764 seems to have been written with this instrument in mind. Toe sarne is true ofa pastora/e by Jean-Joseph Castanéa de Mondonville. Jean-Philippe Rameau, Castor et Pollux (1737 ), Les Fêtes d 'Hébé (173 9 ), Dardanus (173 9 ), Les lndes galantes (1743 version), Platée (1745 ), Le Temple de la gloire (1745 ), Les Fêtes de l'Hymen et de l 'Amour (1747 ), Zais (1748 ), Pigmalion (1748 ), Nais (174 9 ), A cante et Céphise 20

(1751 ), Nélée et Myrthis (n. d. ), Daphnis et Eglé (1753 ), Les Paladins (1760 ), Les Boréades (1764 ) Jean-Joseph Cassanéa de Mondonville, pastora/e Titon et ! 'Aurore (Paris, 1753 ) Encyclopedias and treatises Toe sopranino is mentioned in writings from the mid-1690 s to the late eighteenth century, but fewer times than the bass.

Talbot manuscript (London, 16 92-95 ) Sauveur, Principes d'acoustique (Paris, 1701 ) Sébastien de Brossard, Dictionnaire de musique (Paris, 1703 ) Pepusch (attrib. ), Short Explication (London, 1724 ) Thomas Dyche and William Pardon, A New General English Dictionary (2 nd ed. , London, 1737 ) Michel Corrette, Méthode pour apprendre aisément à joüer de lajlute traversiere (Paris, ca. 173 9 ), piccolo Johann Daniel Berlin, Musicaliske Elementer (Trondheim, 1744 ) Tans'ur, A New Musical Grammar (1746); The Elements ofMusic Display'd (London, 1772 ) Diderot, Encyclopédie (Paris, 1754 ) John Hoyle, Dictionarium musica (London, 1770 ) Louis Joseph Francoeur the nephew, Diapason général (Paris, ca. 1772 ) Jean Benjamin de Laborde, Essai sur la musique ancienne et moderne (1780 ) Encyclopédie méthodique (Paris, 1785 ), sopranino and piccolo Advertisements, invoices, inventaries, sales, etc. Besides the consorts and advertisements mentioned above, the sopranino recorder is cited in three other types of sources. First, other advertisements and dealers catalogues, which are presumably current. Second, sale catalogues, at the end ofthe owner's life, so perhaps not representing current use ofthe instruments, but certainly past use. Third, inventories, the cumulative stock ofa maker or an institution, again perhaps more past than current.

Jacques Danican Philidor inventory (Paris, 1708 ) Michel Parent's widow's ads (Amsterdam, 1710 ) Martin Hotteterre's widow's inventory (Paris, 1711 ) Berleburg inventory, 1741 , piccolo Le Cene inventory (Amsterdam, 1743 ) Nuremberg catalogue, ca. 1755 Selhof sale (Amsterdam, 175 9 ) Mexico City Cathedral request, 175 9 Toe Hague sale, 1764 Philadelphia newspaper ad, 1762 Toe Hague sale, 1762 Versailles bill, 1764-65 Toe Hague sale, 1766 Toe Hague sale, 176 9 21

Vincent Panormo ad (Bordeaux, 1772 ) Toe Hague sale, 1773 Versailles Chapelle Royale purchase, 1776 Schwerin, Crown Prince Ludwig inventory, 1778 Koblenz Court inventory, 177 9-82 Leiden sale, 1780 Sir Samuel Hellier inventory, by 1781 , sopranino and piccolo Stuttgart Court inventory, 1783 Andrea Fomari petition (Venice, 17 91 ) Paris inventory, 17 95 , sopranino and piccolo Toe Hague sale, 17 96, piccolo 's-Hertogenbosch sale, 17 97 , piccolo George Astor catalogue (London, 17 9 9 ) Goulding, Phipps, & D'Almaine catalogue (London, 1800 ) Clementi catalogue (London, 1823 ) Teaching Between1727 and1748 , the Conservatorio di S. Maria di Loreto in Naples employed a man named Paolo Pierro to teach wind instruments, among them: oboe, recorder (bothflauto andjlautino), flute (flauto à traversino), hunting trumpet, and trombone. Another conservatory in the city, Sant'Onofrio, taught until 1742 , among other wind instruments,jlauto, traverso and traversino (piccolo). Surviving Instruments Baroque sopraninos are the least represented size in surviving instruments: around20 , only4 percent ofall surviving recorders. Summary Toe Baroque sopranino recorder is first documented in works by Charpentier (1674 and1685 ). The instrument was designated in secular vocal music in England, France, Germany, Ireland, and Italy, especially "bird arias," into the1730 s, then almost exclusively in England into the17 90 s. It featured as a solo or duet instrument in concertos in Germany and Italy between 171 9 and about1785 , most notably in the now-famous works by Vivaldi, whose vivid imagination essentially tumed the small recorder into a violin. ln Germany the sopranino was occasionally specified in chamber music and other orchestral music by Telemann and others into the 1770 s. The piccolo (octave traverso) was developed by 173 9 , as documented in Corrette's flute method and two years later in a Court inventory in Berleburg. It was immediately adopted in France, as witnessed by the operas and ballets ofRameau. Panormo's advertisement of1772 claims that the sopranino recorder was unknown in France and used mostly in Italian orchestras (although no repertoire for it seems to have survived). It was still being made by Fomari in Venice in17 91 and examples show up in inventories and sales as late as 17 95. ln London, it was also still found in the Astor, Goulding, and Clementi catalogues (17 9 9-1823 ).

Tenor Terminology Toe terminology of the tenor recorder is inconsistent, except in France. The French term quinte 22

(quinte dejlúte, quinte dejlútes, or quinte dejlúte à bec) is found in Lully's Le Triomphe de l'Amour (1681 ), an opera by Anne Danican Philidor (16 97 ), the inventory of his cousin Jacques (1708 ), Sauveur's treatise (1701 ), the inventory of Martin Hotteterre's widow (1711 ), an opera by Montéclair (1732 ), and the Encyclopédie (1766). The adjective quinte (fifth) refers to not the instm­ ment being a fifth away from a standard size such as the alto, but rather, the fifth part in five-part pieces (modeled on the third viola part added to the treble and bass framework for members ofthe violin family). Writings in Czech, Danish, Dutch, German, Italian, and Norwegian switch between "alto" (Alt­ Flaúden, Alt Flautte, altjleutte does, Alt-FlfJite, Alt-Flote, Alt-Flothe, alifluit) and "tenor" (Flauta Boca tenoor, jlauto tenoro, Tenor-jleute, Tenor-Floten, Tenorflote, Tenor-Flothe), depending on how they conceive the part that the size plays. Recall that in the sixteenth century, the size in c1 was called both alto and tenor, because it could play both parts. Janovka in Bohemia (1701 ) used media in Latin, implying middle part. Jacob Denner's term Second Flauden (ca. 1720 ) referred to the part below the two alto recorders. Flauto terzo in an arrangement ofmusic by Tomaso Albinoni (first half ofthe eighteenth century) implies the sarne (third) part in the ensemble. Talbot (16 92-95 ) still calculated the tenorjlute as a fifth below the alto in G, as with Renaissance recorders. Thomas Stanesby Jr. proposed making the tenor the standard size ofrecorder (ca. 1732 ), wishing it to be the "tme concert flute. " Toe terms Quart-Flote, found in Walther (1732 ) and the Stuttgart Court inventory (1778 ), and Quart-jluit (Reynvaan, 17 95 ) refer to the tenor being a fourth below the alto in F. The kwarifluit van 3 stukken (fourth flute ofthree pieces) in a sale in Franeker in 1763 was also presumably a tenor. Encyclopedias, treatises, and inventaries Toe tenor recorder is listed in further treatises and encyclopedias, only occasionally in inventories, from1685 to1801 , although I have the sarne reservations expressed above about the currency ofthe writings after 1750.

Haka invoice for the Swedish Navy (Amsterdam, 1685 ) Hudgebut, Thesaurus musicus (16 93-96), depiction Haka consort, Florence inventory, 1700 "fly" mark consort, Florence inventory, 1700 Sauveur, Príncipes d'acoustique (Paris, 1701 ) Walther, "Praecepta der musicalischen Composition" (Weimar, 1708 ) Jacob Denner invoice for Duke ofGronsfeld (Nuremberg, 1710 ) Nuremberg, Frauenkirche inventory, 1712 Mattheson, Das neu-eroffnete Orchestre (Hamburg, 1713 ) Richters inventory (Amsterdam, 1727 ) Majer, Museum musicum (Erfurt, 1732 /41 ) Eisel, Musicus autodidactos (Erfurt, 1738 ) Kremsmünster, Benedictine Abbey inventory, 173 9 Berleburg inventory, 1741 Le Cene inventory (Amsterdam, 1743 ) Berlin, Musicaliske Elementer (Trondheim, 1744 ) Encyclopédie méthodique (Paris, 1785 ) Klein, Lehrbuch der theoretischen Musick (Offenbach am Main, 1801 ) 23

Surviving Repertoire Toe tenor is occasionally used as a melody instrument, in effect a lower version ofthe alto, as in four cantatas by Scarlatti, written in Rome between1697 and 170 9 , and two cantatas by Nicola Antonio Porpora (Naples, date unknown). Toe size is used in other secular and sacred vocal music, although less so than the bass or sopranino, in the middle or low recorder parts.

Biber, Missa Salisburgensis and Plaudite tympanum (Salzburg, 1682 ) SAT Steffani, opera Alarico il Baltha (Munich, 1687 ) ATB Steffani, opera Niobe, regina de Tebe (Munich, 1688 ) AT Biber, opera Chi la dura, la vince (Salzburg, 1690-92 ?) ATBBw Wilderer, opera Giocasta (Düsseldorf, 16967 ) 2 TB Anne Danican Philidor L'amour vainqueur (Paris, 1697 ), ATB Richter, Trattenimento Musica/e Le Promesse degli Dei (Vienna, 1697 ) ATB Johann Kuhnau, cantata Schmücket das Fest mit Maien (Leipzig, 169 9 ) AT Wilderer, opera La monarchia stabilita (Düsseldorf, 1703 ) SAVT Pascal Collasse, opera Polixene et Pirrhus (Paris, 1706) AT Guzinger (?), "SüBe Lippen, holde Wangen" (Eichstãtt, 1708 --47 ) 2 ATB Reinhard Keiser, opera Orpheus (Hamburg, 170 9 ) 4 AT Prince Pál Esterházy, Harmonia caelestis, Dormi, Jesu dulcissime (Vienna, 1711 ) 2 AT Johann Georg Christian Stõrl, arr. , Quirinus Gerbrandszoon van Blankenburg, Cantatas (The Hague, 1714 ) AT Telemann, cantata Trauer-Actus: Ach wir Nichtig, ach wie Fluchtig (Hamburg, 1723 ) 2 ATB Johann Joseph Fux, opera Costanza e Fortezza (Prague, 1723 ) AT Montéclair Jephté (Paris, 1732 ) SoSATB Above I mentioned three instrumental works that call for the bass and also include the tenor, in each case taking a middle part: Natale, Libra secando de' solfeggiamenti (Ripantransone, 1681 ) ATB Marcello, Concerto dijlauti (Venice, n. d. ) 2 S2 A2 TB doubling strings Finger, Act tunes for The Rival Queens ar the Death ofAlexander the Great (London, 1701 ) 2 ATB Faber, Parties sur lesjleut dous à 3 (Lüneburg, 171 4-31 ) ATB Two further works are scored for the tenor in addition to alto: Christian Friedrich Witt, Suite in F (Gotha, by 1717 ) 2 AT, doubling Ob Vn Va Bn Albinoni, 12 four-part Sonatas or Balletti for strings, arr. (Schõnbom, before 1728 ) 2 AT Stanesby Toe celebrated woodwind maker Thomas Stanesby Jr. published a pamphlet entitled A New System of the Flute a'bec, ar Common English-Flute (ca. 1732 ) in which he proposed "to render" the recorder '\miversally useful in concert, without the trouble of transposing the music for it. " He pointed out that, in going down only to fl , the standard recorder (alto, "concert flute") was different

24

from the oboe (cl ) and flute (dl, with attempts at the time to extend it to cl), thus requiring transposition or the use ofdifferent sizes, causing the instrument to lose "much ofyour esteem. " His solution was to make the tenor the standard size of recorder, becoming "the true concert flute," although he conceded that amateurs might be reluctant to leam C fingering. Surviving lnstruments At least 70 Baroque tenor recorders (and voice flutes) have survived, about 16 percent of all surviving recorders. Summary Toe Baroque tenor recorder is first documented in Lully's Le Triomphe de l'Amour (1681 ) as the second voice in a consort. Both vocal music from Biber (1682 ) through Montéclair (1732 ) and instrumental music from Natale (1681 ) through Faber (by1731 ) treat it as the middle or lowest voice in a group ofrecorders. Toe names for the instrument-the French quinte (parallel to a viola), both "alto" and "tenor" in several languages, media (Janovka, 1701 ), Denner's Second Flauden (1720 ), andFlauto terzo (Albinoni arr. )-also point to its middle quality. Only in a few cantatas by Scarlatti and Porpora is the size treated as a melody instrument, a lower version of the alto. Although the tenor continues to be mentioned in books and inventories on the Continent ofEurope through1801 , I find it telling that the only English source of the first half of the century is the pamphlet by Stanesby (ca. 1732 ), promoting the tenor as "the true concert flute. " Not only did Stanesby's attempt fail to catch on, recorder history swung away from the sizes larger than the alto, as already documented in Tans'ur (1746). And the terms "all sizes" or "all sorts" appearing in English from 1743 onwards seem to refer to the alto and above.

More Above the Alto ln writings, advertisements, sales, and inventories, many recorders are identified merely as "small" in various languages, or have a diminutive ending (jlautino, Fletl,jluiije), showing only that the sizes in question were higher than the alto. England. little jlute, small jlute. France. petitejlute, petite jlutte a bec. Germany. Fleti, kleine Floten, kleine Flotgen diverser Groj]e, kleinenjleute. From Italian: Flaut. picc., flauto piccolo,jlautino. Mixed: kleinejlúte à bec. Italy. jlautino. Toe Netherlands. jluiije,jluyije, kleinder, kleiner, kleynder, kleynder Fluyt, kleyn Fluyije. Mixed: kleine Fluit à bec. Sweden. smaa Fl0yt. Whether they were sopraninos in G, sopraninos, sopranos in D, sopranos, fourth flutes, third flutes, or second flutes is difficult or impossible to determine from the context or modem writings. Where the size can be identified from the transposition of the recorder part and its range, that is mentioned under the appropriate size in this chapter. Wolfgang Amadeus Mozart wrote for thejlautino orjlauto piccolo in seventeen works between 1771 and 17 91. Toe concept, keys, and range mostly suggest soprano or sopranino recorders. The composer himself revealed that the choice of piccolo or small recorder depended on the local 25

performing ensemble. ln 16 92-95 , Talbot reported only the soprano and sopranino sizes above the alto. But the fourth flute was known to Francis Dieupart in 1701 , and the sixth flute (which had already been a size as early as the mid-sixteenth century) had appeared by 1720. ln 1746, Tans'ur documented the third flute in1746, and Hoyle added the term "second flute" in1770 (although it was just a new name for the alto in G). All the sizes from alto to sixth flute plus sopranino tum up in Astor's catalogue of 17 9 9. Finally, but not until 1823 in the Clementi firm's catalogue, a seventh flute is mentioned, for the only time l have been able to trace. Toe extra sizes presumably allowed for playing in different keys without transposing the part- ---perhaps for professionals on other instruments, or amateurs who knew only the basic recorder fingerings. Relatively few Baroque sopranos in B b, C, and D have survived (in the30 s), about8 percent of all surviving recorders, except in The Netherlands, where they make up about 20 percent. Soprano in D (Sixth Flute) This size is documented primarily in England. Octave to voiceflute seems to have been used on the title page ofan instrumental arrangement ofBononcini's Camilla (1711-25 ) only because it follows voiceflute, although perhaps sixth flute was not yet established in England. The term is found in advertisements for the performances of John Baston and other players in England from 1720 , the Short Explication (1724 ), an arrangement ofCorelli's Concerti grossi (1725 ), the published solo and double concertos of William Babell (ca. 1726) and Robert Woodcock (ca. 1727 ) and the solo concertos ofBaston (172 9 ), and the books by Tans'ur (1746 and 1772 ), as well as being alluded to in Astor's "English Concert Flute 6th" (17 9 9 ), Goulding's "English Flute Sixth" (1800 ), and Clementi's "Plain English Flute Sixth" (1823 ). The Dutch equivalent, sext-jluit, appears in an auction catalogue from 1764. Toe Norwegian term Qvint-Fl0ite found in Berlin's treatise of1744 calculates the interval from the alto in G. Klein'sflautopiccolo (1801 ) seems to be a soprano in D. Otherwise this size was just one of the meanings of "small flute" (France, petite flúte; Germany, kleine Plote; ltaly,jlautino; Sweden, Little Flaut). Toe most notable examples ofrepertoire for the sixth flute are the possible original version of Handel's Concerto Grosso, Op. 3 , No. 3 (Cannons, 1717-18 ), an obbligato part in Bach's cantata 1hr werdet weinen und heulen, BWV 103 (Leipzig, 1725 ), and the above-mentioned London concertos by Babell, Woodcock, and Baston (ca. 172 6-172 9 ). lt also plays a modest role in a cantata by Bourgeois (1715 ), the opera Sieg der Schonheit by Telemann (1722 ), and Johann Helmich Roman's Drottningholms-musique (1744 ). The size also features in arrangements: ofBononcini's opera Camilla (London, 1711 -25 ), Corelli's Concerti grossi (London, 1725 ), arias from five operas by Handel (MS, The Hague, 173 6 ), and concertos by Torelli et al. (MS, Lund, by 1745 ). Soprano (Fifth Flute) Toe French called the soprano haute contre deflúte (à bec), but the size is not found in the works of Lully and Charpentier, only from Collasse (16 90 ) onwards, then in Sauveur's treatise (1701 ), Anne Danican Philidor's inventory (1708 ), a ballet and opera by Montéclair (1716, 1732 ), and the Encyclopédie (1766). Earlier, the Haka order (1685 ) apparently garbled the French terms, as his alt fleutte does seems to be a soprano. Fifthflute in England may have been known to Talbot (16 92-95 ), who labels the soprano "Fifth higher" than the alto. But the exact term is not documented until the arrangement of Corelli's 26

Concerti grossi (1725 ), then Baston's concertos (172 9 ), Tans'ur's books (1746 and 1772 ), and Hoyle's dictionary (1770 ), as well as being alluded to in Astor's "English Concert Flute5 th" (17 9 9 ), Goulding's "English Flute Fifth" (1800 ), and Clementi's "Plain English Flute Fifth" (1823 ). The Dutch equivalent, Quint Fluyije, is found in sales in Toe Hague in 1762 ---63. More common is calculating the interval as a fourth above the old alto in G: Quartjlot orjlautino (16 97 , Speer), Quart-Flette (1701 , Janovka),jlute di quatre (early 18 th cent. , Diogenio Bigaglia), Quart-Fleute (1738 , Eisel), and Qvart-F/t;Jite (1744 , J. D. Berlin). Reynvaan (17 95 ) says that any recorder in C is called a Quart-jluit. This seems to be reflected in the Quartjlote scored for in no fewer than nine late vocal works by Telemann (174 4---61 ). Two instances ofjlauto soprano are found in ltaly: the1700 Florence inventory and the Concerto dijlauti ofMarcello (early 18 th century). ln 1801 , Klein called the soprano Discantjlote. ln the surviving repertoire, again pride of place goes to concertos: by Baston (172 9 ), Giuseppe Sammartini (London, 172 9-35 ), one ofthe staples ofthe modem recorder repertoire; Vivaldi (late 1720 s--early1730 s, as indicated in two ofthe concertos for transposition from the sopranino by the composer), possibly the original scoring ofHandel's Concerto grosso, Op. 3 No. 3 (1717-18 ), and an arrangement ofCorelli's Concerti grossi (1725 ). Almost as delightful, ifnecessarily briefer, are a bird aria in Carlo Agostino Badia's opera ll Narciso (16 9 9 ), a duet for soprano and alto in Campra's opera Tancrede (1702 ), the two dance movements from Handel's Water Music (1717 ), in which the soprano doubles the first violin an octave higher, another dance movement in his opera Alcina (1735 ), a pastoral aria in Telemann's opera Aesopus hei Hoje (172 9 ), other works by him mentioned above, and the representation of the "sweet bird" in Ame's Shakespeare song, "Under the Greenwood Tree" (1740 ). ln addition, Bigaglia wrote a sonata (by1717 ), and Endler scored for two sopranos in a Sinfonia (175 9 ). A claimed Concerto da camera by Albinoni for soprano recorder and basso continuo published in a modem edition is almost certainly a fake. Performers on Small Flutes Concertos for the "little flute" or "small flute" were performed in London in the 171 0 s-1730 s in the intermissions ofplays at the theatre, with the theatre "band" (small orchestra). James Paisible, the most prominent recorder player ofhis day in England, was advertised in 1716--18. John Baston, who published concertos for the sixth flute and fifth flute, was advertised frequently between 171 9 and 1733 , the other composers being named only twice (Dieupart and Woodcock). Baston's brother Thomas, a violinist, was probably the second recorder player in the double concertos. Other performers of such concertos included Jean Christian Kytch, later an oboist in Handel's opera orchestra (1721 ), the flutist Lewis Granom (1722 ), and the otherwise unknown John Jones (1726) and Jacob Price (1730 ). The concerto for the fifth flute by the oboist Sammartini was presumably written for himselfto play in London, as would have been the jlautino concerto by another oboist, Ratzemberger, in Italy. The London advertisements stop in 1738 , but in Dublin, such concertos were performed by the visiting London woodwind player Richard Neale (1732 ) and the local flutist Luke Heron (174 9-57 ). ln Sweden, the concertos by Babell, Ratzemberger, and Sammartini form part ofthe collection ofUtili Dolce, a literary and musical society in Stockholm active between 1766 and 17 95 , so were presumably played by amateurs. Toe collections of the Akademiska Kapellet (Academy Orchestra) ofLund University, founded in 1745 , and the Akademiska Kapellet of Uppsala University, founded in 1627 , both contain works for small recorders that were evidently 27

played by students. Fourth Flute (apparently as soprano in B b) Toe preflix "Quart" or a reference to "four" in several languages can mean soprano recorder in C, a fourth above the old alto in G, or a tenor recorder, a fourth below the alto in F. But sometimes it signifies a soprano recorder in B b, a fourth above the normal Baroque alto in F. One French instance ofthe soprano in B b is clear from the transposition ofthe recorder part:jlute du quatre (1701 , Dieupart). The late English examples are also clear from the context: The Common 4th. Flute (1751 , William Boyce), because ofthe transposition;fourthjlute (1770 , Hoyle); English, fourth Concert Flute (1777 , New York, ad. ); Fourth English Concert Flute (17 9 9 , Astor catalogue); andFourth Plain English Flute (1823 , Clementi catalogue). Toe kwartjluit in the Le Cene inventory (1743 , Amsterdam) was made by Bressan, so presumably the term was a direct translation of the Englishfourth jlute. Some "fourth flutes" are clearly high, but not enough context is provided to determine the size: kwartjluit (1727 , Amsterdam, Richters inventory), not tenor; Quart-jluyt (1735 , Leiden, sale), a matched pair by one ofthe Beukers; Einpaar Quartjloten (1752 , Darmstadt); Flute de quart (175 9 , Amsterdam, sale), another instrument by Beukers; Flauto Quart. (1750 , Rheda, Johann Martin Domming catalogue), four concertos; Flute Quarto a Bec (175 9 , Amsterdam, Selhof catalogue), Concerto a 7 by Beckurs with sopraninos; quart Flute (Selhofcatalogue), Concerto a 4 by Beckurs with flageolet; and Quart Flautabeck (177 9 , Koblenz, Court), not tenor. Toe Qvart-Fl0te in the Kenckel inventory of1732 is contrasted with "small," alto, and bass, so the size is unclear, but it might have been a tenor. Toe 4 jlaut in the Drottningsholm music by Roman (1744 ) is notated down to dl (twice) and el ; was it also a tenor? Toe surviving repertoire consists of two attractive suites by Dieupart (1701 ) and a routine bird air by Boyce (1751 ). Two concertos by Beckurs in the Selhofcatalogue (Toe Hague, 175 9 ) do not seem to have survived. Toe tenorino (alsojlauto tenorino andjlauto dolce tenorino) scored for in manuscripts at Einsiedeln from the 1770 s and 1780 by the Italian composers Pasquale Anfossi, Andrea Favi, and Domenico Mancinelli was a soprano in B b, despite the name ("little tenor'). Third Flute (alto recorder in A) Toe first reference to an alto recorder a third above the standard one in F comes from the monastery ofKremsmünster in173 9 : Flautten . . . 1 paar exA (recorders... a pair in A). Otherwise, the adjective "third" is consistently applied, whether in Dutch, English, or German: Third-Flute (1746 and1772 , London, Tans'ur); TertzFluyt (l764 and176 9 , The Hague, sales); thirdjlute (l770 , London, Hoyle); English, third Concert Flute (1777 , New York, ad. ); Terz-Flote Ducas (1778 , Schwerin, Court); Terz kleinere Flote (1778 , Schwerin, Court); Flauto a becco terzetto (17 91 , Venice, Fomari petition); Third English Concert Flute (17 9 9 , London, Astor catalogue); Third English Flute (1800 , London, Goulding catalogue); and Third Plain English Flute (1823 , Clementi, catalogue). The only music I have come across for third flute is from a group of no fewer than 133 Danzmenuette (dance minuets) written between17 6 9 and1788 by Johann Michael Haydn, younger brother of Franz Joseph Haydn, which includes five pieces that call for a pifero. Nikolaj Tarasov shows that the piferi were in fact recorders in C, F, G, and A, using C fingerings.

28

Second Flute (compare alto in G) Toe second flute, a second above the alto in F, is a new term for the alto in G that seems to have been conceived by1770 as part ofa series ofinstmments a specific interval above the alto, for ease of performance. The terms are straightforward: second jlute (1770 , Hoyle, dictionary); English, second Concert Flute (1777 , New York, ad. ); Second English Concert Flute (17 9 9 , London, Astor catalogue); Second English Flute (1800 , London, Goulding catalogue); and Second Plain English Flute (1823 , Clementi catalogue) As with the third flute, the only music I have found for second flute is from Michael Haydn's Danzmenuette, which call for piferi (recorders in C, F, G, and A), using C fingerings. Summary After the advent ofthe Baroque type ofrecorder around1668 , the alto in F became the standard size, although the alto in G still had a modest presence in the repertoire and especially in how people described the pitch ofother sizes. Despite the alto being specified in virtually all the published music aimed at amateurs, other sizes were sometimes performed by professionals: the sopranino (first documented in1674 ), soprano (16 90 ), tenor (1681 ), bass (1674 ), and great bass (1681 ). Three new sizes were introduced: voice flute (1668 ), fourth flute (16 92-95 ), and sixth flute (the soprano in D under a new name, 1720 ). Consorts of three to five sizes of recorder are documented from 1685 (Haka for the Swedish Navy) onwards. Three such consorts have even survived: by Bressan (alto, voice flute, tenor, bass), Gahn (two altos, tenor, bass), and Rippert (originally two sopraninos, two altos, two tenors, bass). Airs or arias that specify three or four sizes ofrecorder are found in vocal music by Biber, Campra, Charpentier, Anne Danican Philidor, Faber, Finger, Guzinger (?), Lully, Richter, Steffani, Telemann, and Wilderer. Montéclair's opera Jephté (1732 ) is exceptional in calling for five sizes (sopraninos, sopranos, altos, tenors, and basses). Toe only significant surviving piece for instrumental consort is the Concerto dijlauti by Marcello (two sopranos, two altos, two tenors, bass). Toe great bass seems to have played almost no part in the surviving repertoire. But the bass was sometimes specified on the bass or middle parts ofvocal and instrumental music that involved other recorders or, occasionally in France, transverse flutes. The Dresden Konzertmeister Pisendel's addition of ''pour le Flút" (for the recorder) on the bass line of a Telemann concerto for two alto recorders and strings suggests that the bass recorder was used more often than notated, if an instrument was available, when recorders took the top parts. Toe fifth flute, sixth flute, and especially sopranino found a niche in concertos and obbligatos for vocal music. Because the piccolo (octave transverse flute) is not documented until ca. 173 9 , and was not used consistently all over Europe until well into the nineteenth century, the small sizes of recorder often supplied the "high flute" timbre until the surge ofpopularity ofanother duct flute, the flageolet, around 1800. Toe tenor and bass were gradually discarded as players concentrated on the smaller sizes. Despite Stanesby's last-ditch attempt to make the tenor rather than the alto the standard size in England (ca. 1732 ), it disappears from the surviving repertoire after the 1730 s; the bass, after the 1750 s. Toe fourth flute experienced a late blooming in music performed at the Einsiedeln monastery in the 1770 s. The second flute, which was the alto in G under a new name (1770 ), and the third flute (1746) entered the picture as part of a series of higher sizes a specific interval above the alto, apparently for ease of performance by professionals on other instmments and amateurs. Sizes of recorder a second, third, fourth, fifth, sixth, and octave above the alto were being sold in England 29

in 17 9 9-1800 , and the seventh was available as later as 1823.. Let us close by observing that the surviving repertoire gives us useful glimpses of how all the surviving sizes of recorder and all the instmments mentioned in inventaries, purchases, sales, advertisements, and dictionaries would have been used. A lot of music, especially in manuscript, must have been lost. Traditions ofplaying must have existed that went beyond the notation. l keep thinking of the example of a music club in Edinburgh around 171 O where thirty amateurs and professionals played together in a concert. No fewer than sixteen recorder players performed three, four, or six to a part in chamber music, and six to a part doubling the strings in an overture. Where there are instruments and players, there will be music.... 1.3. Voice Flute and Some Special Types of Recorder or Duct Flute Voice Flute 0n eleven occasions between1668 and 1686, Lully wrote second recorder parts in G1 going down to el or dl (see Table l). ln seven of these, the two recorders play the sarne music as vocal duets scored for what Lully would have called haut dessus (high soprano, G2 ) and dessus (soprano, Cl ). Toe second recorder therefore corresponds to the soprano part, five times notated in C1 , twice in G2. ln the case ofthe Sommeil from Arys, the recorders do not have the sarne immediate function, but later in the act they do. ln Amadis the recorders are participating in a trio, but the second recorder part still plays the music ofthe soprano part in C1. ln Le Temple de la Paix, a trio for two recorders and tenor voice, the second recorder part takes the place ofthe soprano. And finally, in Proserpine, there is a purely instrumental piece for a trio ofrecorders in the sarne ranges as in Le Temple de la Paix, and the second part doubles a viola notated in C1. My theory is that these "soprano" recorders were in fact voice flutes (altos in dl ) and that this size had been newly conceived by1668 to play along with the soprano voice. The first recorder parts would have been taken by altos. ln theory, they could also have been assigned to voice flutes: the upper range ofthe parts (never higher than b2 ) should have just permitted it. But the intention seems to have been to create a "soprano" recorder to be played together with a "high soprano" one, in parallel to voices. Beginning with Ballet de la Raillerie in 1658 , Lully began to combine recorders with violons, members of the violin family in five sizes. At first he used the group he directed called the Petits Violons, or Petite Bande, which seems to have played at the sarne pitch, A+1. But after he took over as surintendant of all the Court's music in 1661 , he began to merge the Petits Violons with the Quatre-vingt Violons (Grande Bande), who apparently played at what soon became known as the Ton de l'Opéra (A -2 ), or about A=3 92 Hz. , which was also the most suitable pitch for singers. This merging would have required some rebuilding or re-creation ofboth strings and woodwinds, and this would have been at least one of the causes of the development of the Baroque recorder from the Renaissance type. Toe voice flute probably did not have to be invented, but only conceived. Before recorders at A -2 were developed, if recorders at A+1 were combined with violons and voices at A -2 , there would have been a difference of a minor third between the two groups. An alto recorder in F at A -2 has exactly the sarne pitch as a voice flute in D at A+1. Observing this, makers could have taken the next step to make a voice flute at A -2. The voice flute can be traced from Thomas Britton's commonplace book around 1674 , 30

through Talbot's manuscript around 16 92-95 , to a probable mention in Martin Hotteterre's wife's inventory of1711 (grasses tailles dejlutes), two instruments in Paisible's Will in 1721 , a purchase by the Court ofGeorge II in 1732 , instruments at two different pitches in Edward Finch's chart by 1738 ("Upper Voice Flute a lesser3 d Lower; Voice Flute a greater 3 d Lower yn Consort Pitch"), and an instrument by Bressan in Le Cene's inventory of1743 under the almost-translated name sang jluyt. Besides the works by Lully, the surviving repertoire is meager: Finger's trio (168 6--1701 , probably for three voice flutes), four suites by Dieupart (jlute de voix, 1701 ), the opera La monarchia stabilita by Wilderer (Flauto di Voce humana, Flauto Humano, Düsseldorf, 1703 ), an arrangement ofBononcini's Camilla (London,1711-25 ), a quintet attributed to Jacques Loeillet but possibly of English origin (jlute de voix, MS Rostock, 1720 s?), and an arrangement of Corelli's Concerti grossi (London, 1725 ). Nevertheless, the fact that the celebrated Paisible owned two voice flutes suggests that the size had a use that is not obvious to us from the surviving evidence. I know ofno evidence that it was used to play transverse flute parts, as is often done nowadays. Singing Along, Double Recorder, and Echo Flute Toe Stanley Poem, probably written around 1558 by Richard Sheale, a minstrel reciter who lived in Tamworth, Staffordshire, celebrates a recorder player who was either singing a drone or using multiphonics. Toe practice of singing along with the recorder is documented by Mersenne (1636) and Zacharias Conrad von Uffenbach, a German visitor to England, who describes a visit to a London tavem in 171 O, to hear a Scotsman of a noble family called Cherboum. Toe inventory of the Mediei Court in Florence in 1622 mentions "two jlautini of pear wood joined together. " The catalogue ofthe collector and inventor Manfredo Settala in Milan (1664 /1666) mentions "Two double recorders pitched (respectively) an octave and a third above" and "A small double recorder or flageolet, playing an octave and above. " ln 1668 , the woodwind maker Samuel Drumbleby showed the diarist Samuel Pepys a way of fastening two flageolets together, using the second as an echo. A report two years of the Court violinist John Banister I playing on "a little pipe or flageolet in consort" may refer to the sarne practice. Years after the event, Sir John Hawkins in1776 claimed that John Banister II was famous for playing on two recorders at once. Jacques Loeillet played two recorders together in a novelty performance at the French Court in 1714. At the famous Concert Spirituel in Paris in 1740 , one Monsieur Rostenne "executed on two recorders a concerto, played by a single person. " ln1692 the Amsterdam woodwind maker Parent advertised "that he has devised and invented two combined recorders, the like ofwhich has never been seen and on which two different parts can be played simultaneously," or in other words, a double recorder. He left a stock of such double recorders (dubbelde Fluyten) on his death in171 O. Such instruments must have been popular, as they appear in nine Dutch sale catalogues during the period 1740---1827 , by Parent as well as Robert Wijne and one of the Richters brothers. Toe relationship between the two parts of the double recorder is spelled out in two sale catalogues ofthe 1760 s: "double third-sounding recorder" (The Hague,1760 ) and "a double third-sounding recorder by M. Parent" Groningen,1764 ). No fewer than seven double recorders by Parent have survived, and another Dutch one perhaps by a member ofthe Wijne family. They are analyzed by Bouterse as being made ofone piece ofwood, with the two sets offinger holes parallel and close to one another, and double thumb holes; the two bores differ by a minor or major third, at pitches ofaround d2 /b1 (Parent) and f2/d2 (Wijne). ln 1747 , a "double recorder" appears among the bequest ofthe prior ofKremsmünster. ln 1781 , 31

the Parisian maker Christophe Delusse, announced a double recorder, which he believed to have been invented in Germany, "composed oftwo recorders, together in the sarne body. One ofthem is a third away from the other. One can play them together, or else, ifone wishes, play only one. " No fewer than twenty-eight double recorders survive, almost twice the number of surviving sopraninos: in addition to Parent, by Lorenz Walch l and II, Georg Walch, Giovanni Maria Anciuti, Thomas Lot III, and one of the Schlegels. Toe Selhof catalogue (175 9 ) lists a concerto by Carl Friedrich Weidemann for double jlautine, two violins, and basso continuo. ln his Elements ou principes de musique (Amsterdam, 1698 ), Etienne Loulié, a French recorder player and teacher, wrote the puzzling statement that, "The sounds oftwo echo flutes are different, because one is strong and the other is weak. " Did Loulié mean that one half ofan echo flute (one ofthe pipes) played loud and the other soft, or that it consisted ofa matched pair of instruments of which one plays loud and the other soft, or is there some other explanation? Bononcini's opera Il flore delle eroine (Vienna 1704 ) includes a bird aria for 2 Flauti and 2 Flauti Eco in which the latter imitate the phrase endings ofthe former, perhaps in a separate physical location. ln an unfinished bird aria from Keiser's Ulysses (Hamburg, 1722 ), there is a top part for violins with recorder ( Violini con Flauto) and a second part marked Flauto d'Echo, which simply echoes the top part without any notated dynamics; perhaps offstage to create the contrast. Paisible was advertised as playing a solo for the "echo flute" with the harpsichordist Babell in London in1713 , and gave more performances on the "echo flute," one time the "small echo flute," until 171 9. Two days after Paisible's burial in 1721 , an inventory was taken ofhis possessions by one ofhis executors, the famous woodwind maker Bressan. The only woodwind instmments listed in it are "two voice flutes, one consort flute and two small ones, an old hautboy and an old cane flute. " Apparently, unless Paisible had sold or given away some ofhis instmments earlier, the echo flutes he played were similar enough to ordinary recorders that Bressan did not call them by a different name. Or perhaps the pairs ofvoice flutes and small flutes were ones with different tonal characteristics that could be altemated or even joined together temporarily. ln 1732 , the collection ofmusic and books owned by Kenckel in Helsing0r includes a concerto for the Eccho Flcet by Pepusch, and Kenckel had also owned En Echo-Fl0yte in addition to some recorders. Matched pairs of alto recorders with different tonal and dynamic characteristics have survived by two different makers, Bressan and Johann Heitz. Such pairs are also mentioned in three Dutch inventories ofthe eighteenth century. "A pair offourth flutes by Beukers, tuned together" (Leiden, 1735 ); "A first and second recorder" (The Hague, 175 9 ); and "A pair of little recorders in their cases" (The Hague, 1766). Siegbert Rampe and Michael Zapf draw attention to a pair of small recorders of different tonal and dynamic characteristics, marked l and II on the middle pieces, and joined together at the head piece by a brass flange (anonymous, probably Saxon, late eighteenth century; Grassi-Museum, Leipzig). They take this double instmment to have been an echo flute (as we will explore in the next paragraphs). ln the head title of his Fourth Brandenburg Concerto, BWV 104 9 (1721 ), Bach specified two Fiauti d'Echo, which play almost as prominent a role in the work as the solo violin, creating an unusual hybrid ofsolo and triple concerto: Concerto 4to: à Violino Prencipale. due Fiauti d'Echo. due Violini, una Viola e Violone in Ripieno, Violoncello e Continuo. ln the staffheadings ofthe first movement, however, Bach wrote only Fiauto 1 mo and Fiauto 2mo, perhaps taking the "d'Echo" appendage for granted, or else having something else in mind. ln contrast, the later F-major arrangement that Bach made of this concerto, BWV 1057 (ca. 32

1738 ), gives the violin part to the solo harpsichord, and the two Fiauti d'Echo to regular Fiauti a bec, with strings and basso continuo. ln his other works Bach employed the following terms for the recorder: Flauto, Flaute, Flauti, Flaut:, Fiauto, Fiaut:, Fiauti, and Flutti. And in a memorandum he submitted to the Leipzig Town Council on23 August1730 , Bach referred to recorders as Floten . . . à bec. ln the Second Brandenburg Concerto, BWV 1047 , he calls for 1 Fiauto. Thus the instruments intended in both BWV 1047 and 1057 were recorders. Toe term Fiauti d'Echo is unique to the Fourth Brandenburg Concerto, and scholars have spilled even more ink over the identity of these instruments than over Vivaldi'sflautino. Several main schools ofthought have developed. (1 ) Toe instruments were regular alto recorders in F. (2 ) The instruments were alto recorders in G. (3 ) The first instrument was an alto recorder in G; the second, an alto recorder in F. (4 ) The instruments were sopranino recorders or flageolets sounding an octave higher than written. (5 ) The term Echo referred to an echo, literal (even spatial), figurative, or symbolic, as well as perhaps the secondary function ofthe Fiauti in relation to the violin (which is reversed, however, in the slow movement). (6) To create a literal echo, at least in the second movement, the instruments were echo flutes made by joining two recorders together. If you are interested in this question, please make sure you look at my detailed discussion in section4.2.4. There I conclude that, despite the copious evidence now available, it seems impossible to come up with a definitive answer to the identity of Bach's Fiauti d'Echo, for at every tum altemative explanations are plausible. Certainly, I do not subscribe to the latest idea that the instruments were two recorders ofdifferent tonal characteristics joined together. Why would aflauto dolce need to be quieter in a trio passage (with violin) that echoes a tutti? The instrument is quiet enough to make the point. An insoluble problem? Nevertheless, plain alto recorders in F, the first preferably with a good f#3 (as can be found on many original eighteenth-century instruments), work just fine. Still Flute, Flúte pastorelle, Transverse Recorder, and Walking Stick (Cane) Recorder John Marston was the manager ofthe playhouse for the Children of Paul's ( choristers ofSt. Paul's Cathedral) in15 9 9-1603. Two ofhis plays call for stillflutes. ln addition, "soft music" is called for in two earlier scenes in the play. But the impression the still flutes were meant to create would presumably have been spoiled if they had also played in those earlier scenes. Toe evidence for the identity of the still flutes is not clear-cut. Probably they were either flutes or recorders. A "pastoral flute" (!lutepastorelle, Flauto à beccopastorelle, Flautopastora/e, Flautopastorelle à becco, Pastoral Flote) is specified in three works by Telemann and one by the Schwerin Hofkapellmeister Kunzen as well as being listed in the Stuttgart Court inventory of1778. ln the music, the instrument is always in E or E b and diatonic (no accidentals). Although scholars have suggested panpipes, probably it was a simple diatonic pipe with fingerholes. Toe desire to create recorders with characteristics ofthe transverse flute goes back to at least the sixteenth century. Toe recorders ofthe Lyons maker Claude Rafi, who also made flutes, seem to be based on heavily on flute traditions. ln his Syntagma musicum (161 9 ), Praetorius says that "Doltzflotten (... otherwise called flutes)... are tuned and blown like recorders. " ln the accompanying plates, he depicts a Dolzfloit as a transverse flute in g0 or dl , the latter with an interchangeable recorder head piece. ln inventories, a "flute recorder" appears in England in 163 6 and 1638 , Dulcefloten in Germany in1638 , and 12 groj]ere und kleinere Schnabelpfeiffen in Austria in1665. Transverse recorders continued into the eighteenth century and beyond. "A flute by Johann Wil­ helm Oberlender [I or II]... with a mouthpiece like a recorder" was sold at an auction in Groningen 33

in 1764. Diderot's Encyclopédie depicts a "beaked transverse flute" (flúte traversiere à bec) in its plates oflutherie (1767 ), and the revision calledEncyclopédie Méthodique (1785 ) adds a description ofthe instmment. A walking-stick, or cane, recorder was a walking stick in which a recorder was incorporated. lt doubtless carne in handy for gentleman out on a stroll who wished to stop and play a few tunes. The Dutch called such an instrumentjluytstok, jluyt konst-stok, jluitrotting, rottingjluit, or Cannes a Flute a Bec. It first appears in 1691 in advertisements by two different Amsterdam workshops, Parent and Jan van Heerde's widow and sons. A walking-stick recorder in g1 by Haka, whose father made walking sticks, has survived, as have an instmment by F. Eerens and an anonymous fragment. Toe inventory of Hendrik Richters in 1727 lists "four old broken walking-stick recorders," the Leiden maker Bernard Hemsing sold (an unbroken) one in1731 , and the Selhofauction in Utrecht in 175 9 included three. ln England, the inventory ofPaisible (1721 ) included "an old cane flute"; the inventory was taken by his executor, Bressan, who had presumably made the instmment himself. Two "flute canes" were advertised as lost (presumably stolen) in London in 1720 and1725. Three "fluit canes," including ones made by Bressan and Harris, were auctioned in London in 1740. ln France, the inventory ofthe woodwind maker Louis Comet (1745 ) included eight cannes de jlutes. That year a Fluyt-Stok was advertised in a house sale in Mechelen. "A recorder in the form ofa cane" was advertised in a Parisian newspaper in 1767. Overlapping with the instmment were the walking-stick flute and oboe, first advertised by George Brown in Dublin in 1747 , and even a combined walking-stick flute---oboe in The Hague in 1754. Another walking-stick recorder, Een Wandelstok zynde een jluyt Doux, was auctioned in The Hague in1784. Such an instmment made by the nineteenth-century Viennese maker Stephan Koch has survived.

34

TABLES OF BASIC DATA Table A. Recorder Sizes in Vocal Music, 1608-77

s

A

T

s

A

T

Date

Place

Composer

Work

Other Instruments

So

1 608

Mantua

Claudio Monteverdi

Orfeo

strings, harp, harpsi chord, theorboes

So

1 6 1 8- 1 9

Wolfenbüttel

Mi chael Praetorius

Polyhymnia Caduceatrix et Panegyrica

dulcian, theorboes, other "choirs"

1 625

Bologna

Adri ano Banchi eri

Dialoghi

(recorder or vi olin), baryton, organor chitarrone

T

1 625

Florence

Francesca Caccini

La Liberazione di Ruggiero

none

T

1 626

Mainz

Dani el Bollius

Repraesentatio harmonica

bassus generali s

1 626

Leipzi g

JohannHermano Schein

Opella nova

flute, vi olin, cometto, trombone, dulcian, basso continuo

So/S/ S-D

1 63 5

Freiberg

Mi chael Dehne

Freudenreiches Sieges Concert

?

So/S

1 63 8

Innsbruck

Johann Stadlmayr

"Coelo rores"

violin, vi ola da gamba, organ

35

s

T A

s

B

GB

1 649

Vienna

Ferdinand III

Jesu Redemptor Omnium

trumpets, comettos, trombones, figured bass

1 65 8

Mühlhausen

Johann Rudolf Ahle

"Ich habs gewagt"

strings, basso continuo

2S

sarne

sarne

sarne

"Seht euch für"

recorders or violins, basso continuo

2S

1 664

Vienna

Samuel Friedrich Capricomus

"Ich bin schwarz"

organ

2S

1 667

Leipzig

Johann Theile

"Ich kann die Einsamkeit nicht lieben"

Instrumentum I, I,

s

1 672

Vienna

Antonio Draghi

Gl 'atomi d 'Epicuro

basso continuo

s

1 677

Augsburg

Johann Melchior Gletle

"Ist dann so gross"

recorders or viols, organ

36

V, basso continuo

A

T/GB

A

GB/T

B B

A

2T

2A

2T

GB

GB

Table B. The Baroque Bass Recorder on Bass Parts in the Music of Jean-Baptiste Lully Year

Work, part(s)

Part

Terminology

Other Sizes

Bass figures?

Clefs

Notated Range

1670

Les amants magnifiques,

Sommeil

Ritournelle Pour les flustes

AV

Yes

F4

E0 b -cl

LWV 42

"Joüissons, joüissons des plaisirs innocens"

Ritournelle Pour les flustes

AV

No

F4

D0-d l

Psyché, LWV 45

Plainte italienne

flute (10/6 players of Flustes)

2A

Yes

F4

G0-cl

"Deh, piangete ai pianto mio"

2 top parts flustes

2A

Yes

F4

G0-cl

finale, "Rondeau des Ensignes," "2e Air"

(3 players of Flustes)

2A

Yes

F4

D0-d l

1671/ 1678

1674

Alceste, LWV 50

Prélude

flútes

2A

Yes

F4

fD-fl

1676

Atys, LWV 53

"La beauté la plus severe," "L'Hymen seu! ne sçauroit plaire"

(5 players of Flutte)

AV

Yes

C3

g0-al

1677

lsis, LWV 54

Prologue

(6 players ofFlúte)

AV

No

F4

D0-dl

1680

Proserpine, LWV

"Les Ombres heureuses"

(6 players ofjlute)

AV

Yes

C2

g0-b l

1681

Le triomphe de l 'Amour, LWV

"Prelude pour l' Amour"

1. tailles ou jlutes d 'Allemagne

A/Tr

No

Gl

g l -b b 2

2. quinte de flutes

T

Cl

el -d2

3. petite basse de jlutes

V

C2

a0-al

4. grande basse de flutes et basse-continue

GB/Bw

F4

D0-dl

58

59

Flutes

37

1684

Amadis, LWV 63

"Vous ne devez plus attendre"

Flútes

AV

Yes

C3

g0-c2

1686

Acis et Galatée,

Prélude, instrumental passage, Passacaille

Flutes

2 top parts

2A

Yes

F4 to C2

a0-d2

LWV 73

38

Table C. The Bass Recorder in the Music of Marc-Antoine Charpentier Year

Work

Venue

Instruments

clef for B

B part, sounding

1 674

Messe pour plusieurs instruments au lieu des orgues, H. 5 1 3

Church inPari s

2So/A, basse de cromorne,

F4, g0-d l

bass part, at pitch

2A/Tr, Tr, B

F4, A0-c l

bass part, octave hi gher

[A Tr]

F4, G0-b0

altemates third and bass parts, octave higher

F4, g # 0- b0

third part, octave hi gher

B

Gratiarum actiones ex sacres codicibus excerptae pro restituta serenissimi Galliarum Delphini salute, H. 326

Dauphin's Musi c

Supp licatio pro defunctis ad Beatam Virginem, H. 328, motet

Dauphin' s Musi c

1 682-83

Les plaisirs de Versailles, H. 480

Court (Dauphin's Musi c)

[A Tr] B basso continuo

F4, F4, G0-a0

third part, octave hi gher

1 683

Pour un reposoir, H. 523 / Ave verum corpus," H. 329, motet

Dauphin's Musi c

vn/Tr va/Tr va/B bvn/hpsd

C2, a0-b l

third part, doubling vi ola, at pitch

1 683

Ouverture pour l 'église, H. 524

Little Carmel convent

[4-part strings; A ontop part?]

C2, fil---c2

third line, at pitch

1 683

ln obitum augustissimae nec non piissimae Gallorum reginae Lamentum, H. 409, Latin oratori o

Little Carmel convent

[A Tr] organ/vi ola/B

C l /C3, b0-d2

bass line inviola range, at pitch

1 683

De profundis, H. 1 89, motet

Little Carmel convent

5-part strings [A Tr]

C3, e l-b b 1

third line, doubling viola, at pitch

1 680

1 6 8 1-82

B

vg/bvn/hpsd 2A

B

vg/hpsd

39

1687

Psalmus David 12us, " Usquequo Domine, " H.

1690-92 1690-92

A Tr B basso continuo

C3, fil-gl

third line, at pitch

Prélude pour l 'Été à 3 flútes, H. 336a

2Tr B/basso continuo

F4, D0-dl

bass part, octave higher

Prélude en g ré sol b à 4 pour les violons et flútes, H. 528

4-part strings 2Tr B basso continuo

C2, g0-d2

third part, at pitch

Symphonie en g ré sol bmol à 3 flútes ou violons,

2TrNn B/basso continuo

F4, G0-g0

bass part, octave higher

1690-92

Prélude en C sol ut b quarre à 4 parties de violons avecjlútes, H. 530

4-part strings 2Tr B basso continuo

C2, b0-b b 1

third part, at pitch

1693

Médée, H, 491, opera.

2Tr B/basso continuo

F4, E0-e2

bass part, octave higher

2Tr B/basso continuo

F4, E0-d2

bass part, octave higher

2Vn/Tr B/basso continuo

C3/F4, E0-a2

bass part, octave higher

2A 2Vn B/basso continuo

F4, E0-e b 2

bass part, octave higher

2A/ob B/basso continuo

C3, fil-al

bass part, at pitch

1690- 92

196, motet

Dauphin's Music

H. 529

Opéra

40

Table D. The Bass Recorder in Music (besides Lully and Charpentier) and in Writings, 1674-1801

s s

A

T

B

A

T

(B)

Date

Place

Composer

Work

1 674

Ripantransone

Pompeo Natale

Solfeggiamenti a due, e tre voei

1 675

London

Ni cholas Staggins

Masque Calisto, "Minutte for the flageoletts"

A

(B)

1 676--9 1

London

JohnBlow

Anthem Lord, Who Shall Dwell in Thy Tabernacle?

2A

Baseflute

1681

Ripantransone

Natale

Libra secando de ' solfeggiamenti

1 682

Salzburg

Biber

Missa Salisburgensis and Plaudite tympanum

1 685

Amsterdam (for Swedi sh navy)

Richard Haka invoice

1 687

Munich

Agostino Steffani

Opera Alarico il Baltha

1 690-92?

Salzburg

Biber

Opera Chi la dura, la vince, Ritornello à 4 Flaute

1 69 1

Amsterdam

Haka

Address: De Vergulde Bas-Fluyt

1 692

London

Henry Purcell

Ode for St. Ceci li a's Day Hail, Bright Cecília!, Z. 328

1 692-95

Cambridge

James Talbot

manuscript about instruments

1 693

Pari s

Henri Desmarets

Opera Didon

Other Instruments

s

A

Flauto I Flauto 2 Flauto 3 So

(B) Flauto 4

2S

Bw

3A

T

Bass fleutte does in 3 Stuken

A

T

Flauto

A

T

B B

A So GB

s

A AI Tr

41

T

Baseflute T

bass (B)

1693-96

London

John Hudgebut, publisher

1696

Düsseldorf

Johann Hugo van Wilderer

Thesaurus Musicus, 4 vols., title

A

page, depictions

Opera Giocasta, 1. "Dormi, Giocasta" 2. "La voce, che appena intende il mio core." 3. "Dalla mensa degli'alti numi."

Flauti alia 4'ª

T

B

2T

(B)

Flauti; Bw

2A

(B)

Coro di jlautti; Bw

2A

(B)

1697

Düsseldorf

Cario Luigi Pietragua

Opera Telegono, "Dia !e mosse a miei contenti,"

Bw?

A

Flauti

1697

Paris

André Campra

Ballet L 'Europe galante

strings

2A

B

1697

Paris

Michel-Richard de Lalande

Motet Laudate Dominum in sanctis ejus, S46

A

basse De flutes

1697

Paris

Anne Danican Philidor

Pastora/e L 'Amour vainqueur

A

T

basse de flute

1697

Vienna

Ferdinand Tobias Richter

Trattenimento Musicale Le Promesse degli Dei

A

T

Flauto

ca. 16971700

Rudolstadt

Kapelle inventory

A

T

Eine Bass-Flute

1700

Florence, Court

Richard Haka inventory

Uno concerto di sediei Flauti o Zufoli: quattro sopra acuti, quattro soprani, quattro contralti, due tenori e due bassi

4S

4A

2T

due bassi

1700

Florence, Court

mark of a fly, inventory

Un concerto di undici Flauti o Zufoli: due soprani, tre contra/ti, quattro tenori e due bassi

2S

3A

4T

due bassi

1700

Paris

Campra

Opera Hesione

So/

2A

So

s

42

(B)

ca. 1700

Stuttgart

Johann Sigismund Kusser

Opera Adonis, "Adonis, mein Leben"

1700- 09

Gõttweig

Abbey

inventory

1701

London

Gottfried Finger

Incidental music to The Rival

A

1701

Paris

Theobaldo di Gatti

Opera Scylla

A

1701

Paris

Joseph Sauveur

Principes d 'acoustique

1701

Prague

Thomas Balthasar Janovka

Clavis ad thesaurum magnae artis musicae

1702

London

Arcangelo Corelli, arr.

Six Solos for a Flute and Bass

1703

Düsseldorf

Wilderer

Opera La monarchia stabilita

Flauti alia 4; V

A

1704

London

Johann Christoph Pepusch

Sonata included in Six Sonatas of

none

A

ca. 1705

Amsterdam

Coenraad Rijkel, business card

(depiction)

Sm [A survive]

1706

London

anon.

A Collection of Severall Excellent Ouvertures

none

A

Fluto basso

1706

Vienna

Giovanni Bononcini

Endimione, "Giá in oriente tutta

Vns, Obs, B bc

2A

Bassi flauti

Flúte

2A

B

Queens

So

Two parts . . . for two Flutes campos 'd by William Croft

ridente"

43

s s

T

B

Accompagnement de flutes

A

T

Basse

A

T

bassisticae

Fluto basso

A T

(B and B-C/Bw)

Fluto basso

B

1706

Vienna

Court inventory

(most left from Renaissance)

1706-32

Stettin (now Szechecin)

Michael Rohde

1. Cantata lch will euch tragen bis ins Alter; 2. Communion arias

1708

Paris

Jacques Danican Philidor inventory

1708

Weimar

Johann Gottfried Walther

"Praecepta der musicalischen Composition"

1708-47

Eichstãtt

Johann Peter Guzinger (?)

"SüBe Lippen, holde Wangen"

1709

London

Johann Christoph Pepusch

A Second Set of Solos for the Flute

none

n.d.

Venice

Alessandro Marcello

Concerto di jlauti

2vn, va, vc

1710

Nuremberg

Jacob Denner invoice for Duke of Gronsfeld

gran Flauti di Basso

Sm Con

Fluto

2A

"Jesu, Jesu, mein Regiere," 3. "Jesus ist mein Aufenthalt" 4. "Jesu, komm doch selbst zu mir," 5. funeral arias "Eitelkeit, zu guter Nacht," 6. "Inichts und eitel"

So

44

s

Sm

A

T

3 basses de jlúte

A

T

Flautone; Basson = Baj3-Flote

2A

T

Flauto. 4 Bass-Flute

A

s

A

T

Un Flauto Basso

A

T

2 Bass-Flaúden

A

none

2A

Bass Flute

3A

Basso di Flauto

A

Bas-Fluyten die al haer toonen geven als op een gemeene Fluyt

Pari s

Martin Hotteterre, wi dow's inventory

1712

London

anon.

New Aires made on Purpose for two Flutes and a Bass

1 7 1 2- 1 6

Veni ce

JohannDavi d Heini chen

Serenata Zephiro e Clori

1713

Amsterdam

Thomas Boekhout ad

1713

Hamburg

Johann Mattheson

1714

Amsterdam

VanDri el ad

1714

Stuttgart

Court

Aegi dius Mühlhiiuser, performer onviolone, bassoon, and bass recorder

1 7 1 4-3 1

Lüneburg

Johann Chri stoph Faber

Parties sur les fleut dous à 3

A

1715

Stettin

Friedrich Gottli eb Klingenberg

CommunionAria "Ach, wenn i ch mich doch kõnnt in Jesu Li eb versenken"

2A

[So S A B survive]

Das neu-eroffnete Orchestre

T

Sm V

171 1

A

T

A

45

basses de flutes. . . deux basses de jlutes

Bass-Flote Bas-Fluyten, op een nieuwe manier doar hem zelf uytgevonden, en nooit voar dezen van niemand so gemaekt Baj3 Fletten

T

B Flute. 3

2A

Bass de flauti

A

Basse de Flútes (B or

2A

Bass Flute

A

2. Floth. Biiss. Der jenigen lnstrumenten, welche vor ohnbrauchbahr und nicht zutractiren, alj3 alte Sachen, dienlich seynd . . . 4. Bass jlôthen.

A

B

2A

Basso . . . pour le Flút

Musicalisches theatrum (pi ates)

A

Basson Flúte

Denner invoice for Gõttweig Abbey

1 Chor Flauden mit 6 Stimen

A

T

2 Basson

Hamburg

Telemann

Cantata Trauer-Actus: Ach wir Nichtig, ach wie Fluchtig

2A

T

Flaut. 4

London

Corelli, arr.

Op. 2 and Op. 4 arr. for 2 Flutes and a Base Flute

A

1717-29

Dresden

Heinichen

1718

Amsterdam

Jan Boekhout ad

1718

London

John Emest Galliard

1718

Stuttgart

BadenWürttemberg Court inventory

1719

Dresden

Antonio Lotti

Opera Teofane, engraving

n.d.

Mss., Darmstadt, Dresden

Georg Philipp Telemann

Concerto in B b

ca. 1720

Nuremberg

Johann Christoph Weigel

ca. 1720

Nuremberg

1723 1724

Concerto

2ob, 2vn, strings, bc

Masque Pan and Syrinx

strings, bc

46

GB)

Base Flute

A

1 725

Pari s

A. H. N. Balloi s inventory

1 727

Amsterdam

Henrik Ri chters inventory

1 729

Pari s

JohnLaw inventory

1 729

Rudolstadt

Kapelle inventory

A

2 Floten-Basse . . . 1 Bass Flote} theils gar nicht mehr zu gebrauchen.

1 73 1

Danzi g

Ratskapelle inventory

A

1 brauner Flauten BajJ

1 73 1

The Hague

aucti on

by one of the Van Heerde fami ly

1 73 1

Vienna

Ni cola Mattei s the younger

Trio di Flauti soij, inserted into Opera Il Demetrio by Antoni o Caldara

2A

1 732/ 1 74 1

Erfurt

Joseph Majer

Museum musicum

A

1 732

Helsingor

Stephen Kenckel auction

1 732

Leipzig

Walther

Musicalisches Lexicon

1 732

Pari s (Opéra)

Montéclair

Opera Jephté

ca. 1 732

London

Thomas Stanesby Jr.

A New System ofthe Flute a 'bec

A

4F

une basse flute T

3 bas jluiten en 1 niet opgemaakte basfluit Un flauto fagotto

Een seer goede BasFluyt

47

T

A

Sm 4F EF

So

(B)

s

BajJ-Flothe En BajJ-Floyte . .

A

T

Flautone = Bass-Flote

A

T

Basses de Flúte à bec

A

T

bass

1 734

Pari s

Naust workshop inventory

1 737

London

Georg Fri deri c Handel

Giustino, "Puo bennascer tra li boschi"

1 73 8

Erfurt

J ohannPhilipp Ei sel

Musicus autodidactos

1 739

Kremsmünster

Benedi ctine Abbey inventory

1 74 1

Berleburg

1 743

Va doubling B

s

A

vielles basses de flutte a bec

2A

Basso de ' Flauti

A

T

Fleuten-Bass

Sm 3F

A

T

4 Bass-Flautten

Court inventory

Sm L

A

T

Ein Flaut-douxBasson ohne Ess Noch ein dito ohne Ess

Amsterdam

Mi chel Le Cene inventory

4F V [Bressan: S A V T B survive] ; [Engelbert Terton: S A survive]

A

T

Een bruine basfluit van Bressan

1 743

Zerbst

Anhalt-Zerbst Court inventory

1 746

London

Willi am Tans 'ur, Sr.

1 750

Gotha

Court Orchestra inventory

1 75 1-65

Pari s

Deni s Di derot

A New Musical Grammar

So S-D 4F 3F

s

Sm

So

Encyclopédie

48

s

A

Zwey Floten Basse

A

Bass-Flutes partly lai d aside

A

Zwey alte Bass Fluten. Eine dergl. so etwas groser.

A

T

basse de flúte à bec

flauto basso = Baj3flote

1755

Berlin

Carl Philipp Emanuel Bach

1758

Amsterdam

sale

Sm

1759

The Hague

Nicolas Selhof, bookseller, auction

So 4F GB

Flute douce Zangue de Basse de Bressan. . . (GB?)

1759-69

Czçstochowa

Franciszek Pemeckher

2vn, 2tr, 2tpt, timp, org

Flautino Bassone

1760

sHertogenbosch

auction

by 1763

ln Breitkopf catalogue

Graun

1764

Groningen

auction

1768

Middelburg

auction

Een Bas-jluit, met zyn Koper Mondstuk doar C. Han

1773

Middelburg

auction

Twee Basfleuiten à Beck

Trio a viola, flauto basso e cembalo, H. 588; Trio a fagotto obligato, flauto basso e cembalo, H. 589

Harmonia Pastorella

Vn or Bn bc

A

Een Bas fluit doar Haka. . . Een Bas fluit met Zilver en een dito met Yvoor

2 bas-jluyten

Trio a Violino, Violoncello o Flauto Basso e Basso

49

Vn, bc

Flauto Basso

S-D

Een Bas-Fluit

Een bas fluit

1776

The Hague

sale

1778

Schwerin

Ludwig, heir to dukedom, inventory

1782

Leipzig

Johann Samuel Petri

Anleitung zur praktischen Musik,

A

Flotenbêissen oder BajJjloten . . . aus der Mode

1784-85 (written)

Vienna

Christian Daniel Friedrich Schubart

Ideen zu einer Âsthetik der Tonkunst

A

Flotenbasse (past)

1785

Paris

based on Diderot

Encyclopédie méthodique

1789

Amsterdam

sale

1795

Amsterdam

Joos Verschuere Reynvaan

Muzijkaal kunst-woordenboek

1801

Offenbach am Main

Johann Joseph Klein

Lehrbuch der theoretischen Musick

Sm 3F

A

2nd ed.

50

So

A

Sm

A

S-D

T?

T

2 BajJjloten mit Mundstücken

basse de jlúte douce ou à bec Een Extra fraaie Fluit de Bas, doar een voornaam Meester

s

A

T

bas

s

A

T

BajJjlote oder . . . FlotenbaJJ

Table E. The Sopranino Recorder and Piccolo, 1674-1800 Date

Place

Source

Term

Instrument

1 674

Pari s

Charpentier, Messe pour plusieurs instruments

octave

So

1 685

Ruei l

Charpentier, Le feste de Rueil

petite flutes

So

1 685

Stockholm

Haka invoice

discant jleutte does

So

1 692-95

Cambridge

Talbot manuscript about instruments

Eighth higher

So

1 700

Florence

Court inventory of Haka consort

quattro sopra acuti

4So

1 700

Pari s (Opéra)

Campra, opera Hesione, "Air pour les pretresses de Junon"

Petites jlútes

So/S

1701

Pari s

Sauveur

dessus de jlúte

So

1 702

Pari s (Opéra)

Campra, opera Tancrede

petites flutes

So

1 703

Pari s

Sébasti en de Brossard

Flautino, diminutive ofjlauto, means petite flúte or flageolet; Flauto picciolo. Dessus de flúte or flageolet

So

1 706

Rome

Alessandro Scarlatti, serenata Il giardino d 'A mare

jlautino

So

1 708-09

Pari s

Jacques Danican Phi li dor inventory

dessus de flúte

So

1 709

Vi enna

Francesco Gasparini, opera L 'Oracolo del Fato, "Caro augelletto"

un Flautino ottavina

So

1 7 1 0-1 1

Amsterdam

Parent ads

octaven

So

171 1

London

Handel, opera Rinaldo, "Augelletti , che cantate"

Flageolett (print and later versi ons: jlauto piccolo)

So

171 1

Paris

MartinHotteterre' s wi dow's inventory

petites flutes

Sm (So?)

51

1712

Paris (Opéra)

André Cardinal Destouches, opera Callirhoé

petites flutes

So

1713

Paris

Thomas-Louis Bourgeois, ballet Les Amours

Petites flutes

So

1716

Paris

Montéclair, ballet Les fêtes de l 'été

petits dessus de flutes

So

1717 (orig. 1708?)

London

anon., Bird Fancyer 's Delight

Flute, if rightly made as to Size & tone

So

1718

Braunschweig

Georg Caspar Schürmann, opera Heinrich der Vogler, "Ihr kleinen Sãnger dieser Wãlder"

Flautini piccoli

So

1718

Cannons

Handel, masque Acis and Galatea

flauto piccolo (print octave flute) flauto (copyflauto piccolo octavo)

So

1719

Mantua

Antonio Vivaldi, opera Tito Manlio, "Sempre copra notte oscura"

flautino

So

1719

Ms. Stockholm

Giorgio Ratzemberger, Concerto

Flauto piccolo

So

1720

Venice

Vivaldi, opera La verità in cimento, "Cara sorte di chi nata" and "lo son fra l' onde"

flautino

So

1721

Paris

Destouches, ballet Les Elemens

petites flutes

So/piccolos?

1723

Hamburg

Telemann, overture Hamburg Ebbe und Flut

flauto piccolo

So

1723

Hamburg

Telemann, Admiralitiitsmusik

Flauti piccoli

2So

n.d.

Eisenach

Telemann, serenade Unsere Freude wohnt in dir

2 flauto piccolo

2So

n.d.

Hamburg

Telemann, cantata Wer mich liebet

2 flauto piccolo

2So

1724

Leipzig

Johann Sebastian Bach, cantata Herr Christ, der

Flauto piccolo

So

déguisez

einge Gottessohn

52

1724

London

Pepusch?, Short Explication

Flautino . . . like what we cal! a sixth flute, ar an octave flute

So/S-D

1724

Naples

Leonardo Vinci, opera Eraclea

flautino

So

1725

Naples

Vinci, "Quell'usignuolo ch'innamorato"

Flautino Pmo, Flautino 2.º

2So

1727-48

Naples

Conservatorio di S. Maria di Loreto

flautino

So?

1727

London

Galliard, pantomime The Rape ofProserpine

octave flutes

So

1727

London

Handel, opera Riccardo primo

flauto piccolo

So

late 1720searly 1730

Venice

Vivaldi, Conto P Flautino, RV 443-445, also beginning of RV 312 RV 443, 445 added later: Gl 'Jstromen: ª alla 4ª Bassa

jlautino

So/S-D

1732

London

Johann Christian Schickhardt, Benefit concert of his own compositions. Two similar ones for Flute Octave listed in Selhof sale catalogue, 1759

two solos "for the small Flute and Bass," solo "on the small Flute, with Ecchoes and Bass," trio "for the small Flute, Violin and Bass," concerto "for the small Flute, Violins, &c.," concerto "for French Homs, small Flute, Hautboys, Violins, &c."

Sm/So

1732

Paris (Opéra)

Montéclair, opera Jephté

Petits dessus de flúte à bec

So

by 1735

Mainz

Joseph Paris Feckler, Festkantate Applauso poetico al giorno de! nome et alle glorie della Sac. Maestà di Gioseppe Gran Re Dei Romani. "Ninfe e pastori

Flautino

So

danzin trafiori nel verde prato"

1735

Paris

Campra, opera Achille et Déidamie

petites flutes

So/piccolos

by 1737

Ms. Rostock

Antonio Maria Montanari; Handel (attrib.), Concerto in B b

flauto piccolo

So

53

1737

London

Dyche/Pardon

octave flute

So

1737-64

Paris

Jean-Philippe Rameau, Castor et Pollux (1737), Les Fêtes d 'Hébé (1739), Dardanus (1739), Les Indes galantes (1743 version), Platée (1745), Le Temple de la gloire (1745), Les Fêtes de l 'Hymen et de l 'Amour (1747), Zais (1748), Pigmalion (1748), Nais (1749), Acante et Céphise (1751), Nélée et Myrthis (n.d.), Daphnis et Eglé (1753), Les Paladins (1760), Les Boréades (1764)

petites jlutes

piccolos

cl 739

Paris

Michel Corrette flute method

petites Flutes Traversieres a l 'Octave

piccolos

1740

London

Thomas Augustine Ame, Song "Under the Greenwood Tree"

flauto piccolo

So

1741

Berleburg

Court inventory

Eine Flaute Traversiere Biccolo

piccolo

1742

Naples

Conservatorio di Sant' Onofrio

traversino

piccolo

1743

Amsterdam

Le Cene inventory

Een zwarte ebbenhouten octaajjluit van Terton, met ivoor; Twee octaajjluiten met ivoor van Van Heerde (only recorders, no

So

flutes, in inventory)

1744

Trondheim

Berlin treatise

Octav-Fleite or liden Floite

So

by 1745

Ms. Lund

Christoph Heinrich Fõrster, Concerto

Flautino Primo e Flautino Secando

2So (in G?)

1746, 1772

London

Tans'ur

Octave-Flute

So

1747

Rome

Giuseppe Valentini, Sinfonia

flautini

So

1749-57

Dublin

13 advertised performances by the flutist Luke Heron; 11 concertos plus "The Lark's Shrill Notes Awake the Mom" by Matthew Dubourg (by 1754)

small jlute in concertos; octave jlute in

Sm; So

54

Dubourg

1751-65

Paris

Diderot, Encyclop édie

dessus de flúte à bec

So

1753

Paris

Jean-Joseph Cassanéa de Mondonville, pastorale

petites jlutes

piccolos

1754

London; also 1755, Dublin

Ame, Eliza, "The Woodlark Whistles Through the Grove"

Little Flute solo

So

1755

Hamburg

Telemann, Kapitansmusik

Oktavjlote

So

cl 755

Nuremberg

dealer catalogue

Flaute Travers.

by 1757

Schwerin

Adolf Carl Kunzen, Partia pro Flauto à becco

substitute part for Flauto octavo

So

1759

The Hague

Selhof auction

Deux Flutes Octaves de Borkens (records up to 1761; instruments grouped with Pypers Fluyten and Flageolets, not traversos)

2So; but see 1761

by 1759

The Hague

Selhof catalogue: Beckurs/Beckhurts/Becours, Concertos

2 Flutes Octaves a Bec; Flutes Octaves

So

1759

Mexico City

Cathedral desire to purchase

2 Flautas Dulzes en 2 Octauinas

2So

1760

Parma

Tomaso Traetta, opera I Tindaridi

jlautini

So

ca. 1760

Schwerin

Johann Wilhelm Hertel, Partia

Flauto octavo

So

1761

The Hague

sale (baron)

Twee octave Dwarsfluyten van Borkens

2 piccolos

1762

Philadelphia

newspaper ad

Common jlutes . . . octave

So

1762/ 1763

The Hague

sale

Een Octavo Fluytje, doar Chuchar( (JJ

So

by 1763

Breitkopf catalogue

Christoph Ludwig Fehre, Concerto in B b and Partita in F

flauto piccolo

So

Titon et ! 'A urore

pastorelle

à Paar . . . dº Piccoli

Schuchart d. 1758; son C. Schuchart d. 1765)

55

piccolos

by 1763

Breitkopf catalogue

Fõrster, Concerto in F major

flauto piccolo

So

by 1763

Breitkopf catalogue

Georg Andres Sorge, Trio in F

Flauto piccolo

So

1765

London

Ame, cantata The Morning

German Flute ar Small Flute

Tr/So

1764--65

Versailles

bili

Deux petites flutes Debeine garnie Djvoire et A 2 Corps Clef Dargent

2 piccolos

1766

The Hague

sale

Twee Octaefjluyten, gemaakt doar Boekholt (no records of Boekhout family after 1718)

2So

1769

The Hague

sale

Een paar Octave Fluyten van Boekhout (no records of family after 1718)

2So

1769-88

Salzburg

Johann Michael Haydn, 5 Danzmenuette

pifero

small recorders in F, G, A, and C

1770

London

Hoyle

eighth flute

So

1771

London

Ame, masque The Fairy Prince, "A Wood Nymph"

Octave Flute

So

56

1771-91

Munich, Prague, Salzburg, and Vienna

Wolfgang Amadeus Mozart, Sechs Menuette, KV 104 (Salzburg?, 1771/2); Posthom Serenade, KV 320 (Salzburg, 1779); opera Idomeneo, KV 366 (Munich, 1781); Die Enifiihrung aus dem Serail, KV 384 (Vienna, 1782); Sechs deutsche Tiinze, KV 509 (Prague, 1787); Kontretanz Das Donnerwetter, KV 534 (1788); Kontretanz La Bataille, KV 535 (Vienna, 1788); Sechs deutsche Tiinze, KV 536 (1788); song "Ich mõchte wohl der Kaiser sein," KV 539 (Vienna, 1788); Zwolfdeutsche Tiinze, KV 567 (1788); ZwolfMenuette, KV 568 (Vienna, 1788); Sechs deutsche Tiinze, KV 571 (Vienna, 1789); arrangement of Handel' s Messiah, KV 572 (Vienna, 1789); Menuett fragment, KV 571a (1789); Zwolf Menuette, KV 585 (Vienna, 1789); Zwolf deutsche Tiinze, KV 586 (Vienna, 1789); Zwolf Menuette, KV 599 (Vienna, 1791 ); Dreizehn deutsche Tiinze, KV 600 (Vienna, 1791); Vier Menuette, KV 601 (Vienna, 1791); Vier deutsche Tiinze, KV 602 (Vienna, 1791); Zwei Kontretiinze, KV 603 (Vienna, 1791); Drei deutsche Tiinze, KV 605 (Vienna, 1791); opera Die Zauberjlote (Vienna, 1791)

flautino orflauto piccolo

So, S, piccolo

1772

Bordeaux

Vincent Panormo ad

octave recorder (an unknown instrurnent in this country, which is used mostly in the orchestras of ltaly)

So

cl 772

Paris

Louis Joseph Francoeur the nephew

Petite Flúte à bec . . . ou en Italien Flauto piccolo; petite jlúte

So; piccolo

1773

The Hague

sale

Een paar Octavo Fluyten. (between two

2 piccolos?

1774

London

Performance of "a Rural Concerto on the Flauto Piccola by Mr. Ebeling"

Flauto Piccola

So: ?

flutes)

57

1775

London

Performances of Two Ariettes and a Piece in the Polish taste by a Polish flutist

octave flute

So?

1776

Rome

Filippo Bonanni

ottavino / ottavino des Italiens

So

1776/ 1780

Versailles

Chapelle royale purchase

2 fluttes octaves en bois d 'ebeine garni d 'yvoire et clefs d 'argent a trais cors de rechange

2 piccolos

1777 or !ater

Karlsruhe

Johann Aloys Schmittbaur, Divertimenti in F

Flautino 1mo Flautino 2do

2So

1778

Schwerin

Crown Prince Ludwig inventory

2 kleine Flot-Travers

piccolos (or other small flutes)

1779

Ms. Einsiedeln

Andrea Favi, Sinfonia

Flauti Ottavini

So

1779-82

Koblenz

Court inventory

1 Flauti Piccoli

piccolo?

1780

Leiden

sale

Een OctaafFluit-Doux, doar van Herden

So

1780

Paris

Jean Benjamin de Laborde

Flauto piccolo; petite jlúte

So; piccolo

1780

Vienna

Christoph Willibald Gluck, Singspiel Die Pilgrime

Flauto piccolo

So

by 1781

near Wolverhampton

Sir Samuel Hellier inventory

Two Octave Flutes one German, one Com" form by Gedney (Caleb Gedney d. 1769)

piccolo; So

1782

London

William Shield, opera Rosina

small Flutes

2So

1783

Stuttgart

Court inventory

Flauti: 7 Stück, aujJerdem 6 Stück 8va

piccolos

1784

London

Shield, opera The Noble Peasant

Small Flutes

2So

1785

Paris

Encyclopédie méthodique

dessus de jlúte à bec; petite jlúte

So; piccolo

c1785

Ms. Einsiedeln

Angelus Anton Eisenmann, Concerto in F; Sinfonia

Flutino Principale; jlautino

So

von Mekka

58

1 787

London

Shield, opera The Farmer

smallflute

So

1 787

London

Samuel Arnold, opera lnkle and Yarico

Octave Flute

So

1 79 1

Venice

Andrea Fomari petition

Flauto. . . Detto a becco ottavin

So

1 792

London

Arnold, opera The Children in the Wood

small Flute

So

1 795

Paris

inventory of executed woman

Une petite jlúte à bec et deux octaves, en ébene, garnie en ivoire, faite par Camus; Une octave de flúte

So; piccolo

1 796

The Hague

sale

Een OctaafFluyt met silvere Kleppen.

piccolo

1 797

' s-Hertogenbosch

sale

Een Dwarsfluit Octaaf

piccolo

59

Table F. Consorts with Unspecified Sizes in Advertisements, Inventories, and Sales Year

Place

Inventory or Advertisement

Wording

Number

1686

The Hague

sale (doctor)

Een Fl uyt-accort, bestaende in vier Fluyten.

4

1689

The Hague

sale by bookseller

Een Accoort Fluyten

1690

Leiden

sale (doctor)

4 regte jluyten welcke te zamen accort zijn

1699

Anhalt-Zerbst

requirements for Hofkapelle

Ein Chor Fleutes Douces

1701

London

sale

a Consort ofFlutes, and Flagelets, ali in one Box

1706

Ossegg (Bohemia)

monastery inventory

Chorus Flautarum vulgo Flothuj3en sine una

1708

Base)

Christian Schlegel letter

flutes . . . da vonjeder gadtung gantze chor

1710

Kremsmünster

monastery inventory

ein groj3es Flautenbstockh

1740

London

auction

A Case with five Fluits by Bresan; A ditto with a German Fluit, Houtboy and twelve other Fluits, and a pitch Pipe by Bresan . . . [Bressan]

1743

London

auction

a fine set ofFlutes, by Bressan [Bressan]

1774

London

auction

a Set o Basan 's Flutes

f

60

4

lacking 1

Table G. More than Three Sizes of Recorder in Music Date

Place

Composer

Work or items

Other Instruments

1681

Versai lles

Lully

Le Triomphe de l 'Amour, LWV 59

Tr doubling A; bc

n.d.

Veni ce

Marcello

Concerto di flauti

doubling vn, 2va, vc

1 725

London

Corelli, arr.

Concerti grossi, Op. 6

1 732

Pari s (Opéra)

Montéclair

Jephté, "Rui sseaux, qui serpentez sur ces ferti les bords"

So

S-D

S-D So

61

s

s

A

T

B

GB

A

T

B

GB/ Bw

2S

2A

2T

B

s

A

T

B

A

V

V

Table H. Three Sizes of Recorder in Music, 1690-1723 (besides Charpentier and Lully)

s

A

T

B

A

T

B

A

T

A

T

B

A

T

B

L 'amour vainqueur

A

T

B

Ri chter

Trattenimento Musica/e Le Promesse degli Dei

A

T

B

London

Finger

Act tunes for The Rival Queens or the

2A

T

B

1 703

Düsseldorf

Wi lderer

Opera La monarchia stabilita,"L'usignol che si lagna"

A

T

1 708-47

Ei chstatt

Guzinger (?)

"SüJ3e Lippen, holde Wangen"

2A

T

B

171 1

Capua

A

T

B

Date

Place

Composer

Work

1681

Ripantransone

Natale

Libra secando de ' solfeggiamenti

1 682

Salzburg

Biber

Missa Salisburgensis and Plaudite tympanum

1 687

Munich

Steffani

Opera Alarico il Baltha, 1 . "II viver e unombra," 2 . "Palpanti sfere belle," 3. "Perdonatemi , Luci belle"

1 690-92?

Salzburg

Biber

Opera Chi la dura, la vince, Ritomello

1 697

Pari s

Anne Dani can Phili dor

1 697

Vi enna

1 70 1

Other Instruments

s

Bw

Death ofAlexander the Great

s

wedding celebrati on for the nobi lity: molti jlauti ad uso germano

(unspecified sizes)

1 7 1 4--3 1

Lüneburg

Faber

Parties sur les fleut dous à 3

62

none

GB

1 723

Hamburg

Telemann

Cantata Trauer-Actus: Ach wir Nichtig, ach wie Fluchtig, TWVW 1 :3 8

63

2A

T

B

Table I. Sizes between Sopranino and Alto

s

4F

3F

2F

A

Date

Place

Composer or author

Work or writing

1 677/1 694

Ferrara

Bartolomeo Bismantova

"Compendio musicale"

n.d.

Salzburg

Biber

Cantata "Tres reges de Saba veniunt"

2 Flautae

2S

1 685

Amsterdam (Swedish Navy)

Haka

mv01ce

So T B

s

A

1 686-- 1 7 0 1

London

Finger

Sonata a 3

1 692-95

Cambridge

Talbot

manuscript about instruments

So B GB

A

1 697

Ulm

Daniel Speer

Grund-richtiger kurtz-, leicht-, und nothiger jetz wolvermehrter Unterricht

flautino = Quart flot

s s

1 698

Leiden

sale

1 699

Franeker

Klaas Douwes

1 699

Vienna

Carlo Agostino Badia

Other Instruments or term

Sm

S-D (6F) S-D?

A-G

S-

D/T

Een schoone handfluyt doar Haka gemaeckt met een Segryne kooker

S?

Grondig ondersoek

Fluite, Fluitje

s

ll Narciso, "Dolce piangi,

flautino

romito usignuolo"

64

S-D/

s

A

So

s

Hesione

Petites jlútes; B

SI

Francis Dieupart

Six suittes de clavessin Divisées en Ouvertures, Allemandes, Courantes, Sarabandes, Gavottes, Menuets, Rondeaux & Gigues

V

Paris

Sauveur

Principes d 'acoustique

Haute-Contre, Taille So T B

s

A

1701

Prague

Janovka

Clavis ad thesaurum magnae artis musicae

Quart-Fletten, discantisticae TB

s

A

1705

Leiden

Boekhout

auction

groote Fluyt [L] ... wat kleinder van deselve

Sm

ca. 1705

Amsterdam

Coemaad Rijkel

business card

B

Sm

1706

Rome

Scarlatti

Oratorio Humanità e Lucifero

1708-09

Paris

Jacques Danican Philidor inventory

s

A

1708

Weimar

Walther

1700

Florence

Court inventaries

1700

Paris (Opéra)

Campra

1701

Amsterdam

1701

So 4F

Sm So

"Praecepta der musicalischen Composition"

65

A

Flauto piccolo Flauto = Flutte douce = Fletuse TB

Sm

A

1 709

London

adapted from Conti, A. Scarlatti , and A. M. Bononcini

171 1

Pari s

Martin Hotteterre inventory

171 1

Vienna

JohannJacob Stupan

Drama Nundinae Deorum

1 7 1 1-25

London

Bononcini

Camilla, arr.

S-D/ V

1715

Pari s

Bourgeoi s

Cantata Zéphire et Flore

S-D

1717

London

Handel

Water Music, nos. 20-2 1

by 1 7 1 7

Venice

Di ogeni o Bigaglia

Sonata

1 7 1 7-1 8

Cannons

Handel

Concerto Grosso, Op. 3 No. 3

1 72 1

London

James Pai sible inventory

1 722

Hamburg

Telemann

Opera Sieg der Schonheit, TWV II, 2 1 : 1 0

1 724

London

Pepusch?

Short Explication

Sm

Clotilda

A

Sm

Sm

s s S-D/ S? V

2S-D Flautino . . . like what we cal! a sixth jlute, ar an octave flute (So)

66

A

Sm

S-D

A

1725

Leipzig

1726

Mantua

Bach

1hr werdet weinen und heulen,

S-D

BWV 103

Court, concert (accademia) including virtuoso on the

Sm

kleinen jleute ca. 1726

London

William Babell (posthumous)

1727

Amsterdam

Richters inventory

ca. 1727

London

Robert Woodcock

XII Concertos in Eight Parts

strings, bc

S-D 2S-D

late 1720searly 1730

Venice

Vivaldi

Con'º P Flautino, RV 443--445, also beginning of RV 312 RV 443, 445 added !ater:

strings, bc

S-D/ So

Concertos in 7 Parts

strings, bc

S-D 2S-D

A 4F

A

Gl 'Istromen:'i alia 4ª Bassa

1729

Hamburg

Telemann

Opera Aesopus bei Hoje, "Piu dei fiume dà diletto = Einem eingezognen Laben"

or Ob or Vn

1729

London

John Baston

Six Concertos in Six Parts

strings, bc

1729-35

London (ms. Stockholm)

Giuseppe Sammartini

Concerto a piu Istromenti & la Fluta

strings, bc

1732

London

Schickhardt

Benefit concert of his own compositions. Two similar ones for Flute Octave listed in Selhof sale catalogue, 1759

So

67

4F

S-D

Sm

s s

A

flúte douce . . . En Fl@yte Duus . . . En dito . . . En dito . . . Nok en dito beskadiget . . . En Qvart-Fl@te . . . En par smaa Fl@yte . . .

1732

Helsingor

Stephen Kenckel auction

1735

Leiden

auction

Een paar Quart-jluyten van Beukers accoort

1735

London

Handel

Alcina

S-D/

1736 or later

Ms. The Hague

Handel, arr.

Arias from Ata/anta, Floridante, Lotaria, Muzio Scevola, Radamisto

S-D

1737

Esterháza

Gregor Joseph Wemer

Christmas Gloria

1735

Leiden

sale

1738

Erfurt

Eisel

1739

Kremsmünster

monastery inventory

1740

London

Ame

1741

Berleburg

Court inventory

1743

Amsterdam

Le Cene inventory

Sm

A

4F

[S A T survive]

4F

s

Sm

Musicus autodidactos

A

4F

Sm

s

Quart-fleute

ATB

m A S/ So

Song "Under the Greenwood Tree"

A

Sm So

68

A

4F

A

1744

Drottningsholm

Johan Helmich Roman

Drottningholms-musique,

1744

Hamburg

Telemann

Kapitãnsmusik

1744

Trondheim

Berlin

Musicaliske Elementer

S-D?

BeR1 2

4F

Qvint-Floite Qvart-Floite Floite

S-D

s

A

So T

by 1745

Ms. in Lund

Giuseppe Torelli et ai., arr.

Concerti â 5

1746, 1772

London

Tans'ur

A New Musical Grammar

S-D

a Concert Flute; a Third Flute; a Fifth, and a Sixth

S-D

s

3F

A

So

1747

Kremsmünster

Benedictine Abbey, bequest of former prior

1749-57

Dublin

1750

Gotha

Court inventory

ca. 1750

Rheda

Johann Martin Dõmming

4 concertos

ca. 1750-55

Leipzig

Gottlob Harrer

Cantata

1751

London

William Boyce

The Shepherd 's Lottery, "The Drum is unbrac'd"

13 advertised performances by the flutist Luke Heron;; 11 concertos plus "The Lark's Shrill Notes Awake the Mom" by Matthew Dubourg

2 Paar Flautten . . . 2 Paar detto . . . 4 Fleti

Sm

So

Sm

A

Sm

A 4F

Sm

69

4F

s

1 75 1-65

Pari s

Di derot

1 752

Darmstadt

Albrecht Ludwi g Abele, ducal pedagogical cantor, owned

1 753

London

1 754

The Hague

sale

1 755

Hamburg

Telemann

1 75 8

Amsterdam

sale (lawyer)

1 759

Cranigstein

Johann Samuel Endler

Sinfoni a

1 759

Darmstadt

Endler

Pieces pour 2 Flutes, 2 Flütes travers, 2 Violons, Viole et Basse

2 Flauto dolce

1 759

Hamburg

Telemann

Die Hirten bey der Krippe zu Bethlehem, TWV I:797

2Tr

2 4F

by 1 759

Selhof catalogue, The Hague

Beckurs

1 . Concerto 2. Concerto 3 . Concerto

2So

2 4F

1 759

The Hague

Selhof aucti on

So

4F

1 759

Utrecht

sal e ( doctor)

Encyclop édie

haute contre de jlute à bec So A T B

4F

Ein paar Quartfloten

Sm

Performance of "Solo onthe little Flute" by Benj amin Hallet, Jr.

A

Sm Kapitiinsmusik, TVWV II, 1 5 :20

4F

So

A

Sm 2S 2S

Sm

Sm by Haka

70

2 A

A

A

1760

Hamburg

Telemann

Kapitansmusik, TVWV II,

4F

ca. 1760

Hamburg

Telemann

Cantata Der May, TWV 20:40

4F

1761

Hamburg

Telemann

Serenade Don Quixotte, der Lowenritter, TWV 21:32

4F

1762

Philadelphia

newspaper ad.

So

1762

The Hague

auction (army general)

So

1763

Ms. Einsiedeln

Markus Zech

1763

Franeker

Klaas van Hallum, maker, ad

kwartfluiten van 3 stukken

1763

The Hague

sale

So

1764

Groningen

auction (lawyer)

by 1765

Ms. Kõln

Santo Lapis

1765

Paris

Thomas Lot III inventory

1766

The Hague

auction (administrator)

So

Sm

A

1768 (also 1773)

Cõthen

Court inventory

2 Flauti à Bec, 2 Flauti Piccoli

Sm

A

15:23

Gloria with Sinfonia

So

(S

4F

s

3F

2F)

A A

2S m 4F

Sm "Usignuolo abbandonato fra il ruscello"

s

Sm S-D

Sm Sm

71

1 768

Middelburg

aucti on (bri dgemaster)

1 769

The Hague

sale

1 769-88

Salzburg

Michael Haydn

A

Sm

Sm by Haka

A

3F

So Sm in F, G, A,

5 Danzmenuette

e

1 770

Leiden

sale

Sm by Debey

1 770

London

Hoyle

Dictionarium musica

1771

Mi ddelburg

sale (regi strar)

1 770s?

Ms. Einsi edeln

Pasquale Anfossi

1 774

' s-Hertogenbosch

sale

1 777

New York

newspaper ad.

1 778

Schwerin

Ludwig inventory

A

Sm

s

the concert, the second, third, fourth, fifih, and eighthflutes (So) kleine doar J. G. Zick; kleine . . . doar Boekhout

4F

3F

2F

A

Sm

Terzetto

A

4F A

Sm

Sm

72

4F

3F

4F

3F

2F

A A

1779-86

Ms. Einsiedeln

Andrea Favi

1. Sinfonia, 1779, 2. Sinfonia, 3. Divertimento per Camera, 1779, 4. Quintetto, 5. Divertimento per Camera, 1779, 6. Ouverture, 1786, 7. Sonata

1780

Ms. Einsiedeln

Domenico Mancinelli

Sei Quintetti

2 4F

n.d.

Ms. Einsiedeln

anon.

Sinfonia

2 4F

1780

Versailles

Court inventory

Deux petites fluttes a Becs d 'yvoire. Elles sont de Lot

1782

Koblenz

Court inventory

3 Quart Flautabeck, wovon eine nicht zum Gebrauch ist

1789

Amsterdam

sale

1791

Venice

Fomari list

1795

Amsterdam

Reynvaan

1799

London

Astor catalogue

So

S-D

1800

London

Goulding catalogue

So

S-D

So

Sm by Boekhout

4F

Sm

3 4F

Sm

A

So

Muzijkaal kunst-woordenboek

73

A

3F

s

discant

ATB

s s

A 4F

3F

2F

A

3F

2F

A

1801

Offenbach am Main

Johann Joseph Klein

Lehrbuch der theoretischen Musick

kleine Flote = flauto piccolo Discantflote ATB

74

S-D

s

A

Table J. The Voice Flute in Writings and Music

s

A

V

La grotte de Versailles, LWV 39 ( 1 668)

A

V

Lully

Le Grand Divertissement Royal de Versailles, George Dandin, LWV 3 8

A

V

Versai lles

Lully

Le Divertissement Royal (Les amants magnifiques), LWV 42

A

V

c l 6741 698

London

Thomas Britton

manuscript chart: "great flutes one note and half lower thanthe treble comrnon flute"

A

V

1 675

Yersai lles

Lully

Thésée, LWV 5 1

A

V

1 676

Yersai lles

Lully

Atys, LWV 53

A

V

1 677

Versai lles

Lully

Isis, LWV 54

A

V

1 680

Versai lles

Lully

Proserpine, LWV 5 8

A

V

B

1 684

Versai lles

Lully

Amadis, LWV 63

A

V

B

1 685

Versai lles

Lully

Ballet du temple de la paix, L WV 69

A

V

1 686

Versai lles

Lully

Armide, LWV 7 1

A

A/V

1 692-95

Cambri dge

Talbot

manuscript about instrurnents: voice, third lower

A

V

Date

Place

Composer or Author

Work

1 668

Versai lles

Jean-Bapti ste Lully

1 668

Versai lles

1 670

Other Instruments

75

So, T

s

B

GB

B

GB B

GB

1694

Hamburg

Kusser

Opera Erindo, "Wo bleibst du, mein Leben"

1701

Amsterdam

Dieupart

Six suittes de clavessin Divisées en Ouvertures, Allemandes, Courantes, Sarabandes, Gavottes, Menuets, Rondeaux & Gigues

1703

Düsseldorf

Wilderer

Opera La monarchia stabilita, "Potrai vedermi piangere"

1711-25

London

Bononcini

Opera Camilla, arr.

S-D/V

1725

London

Corelli, arr.

Concerti grossi, Op. 6

S-D, S

1 732

London

Court purchase

by 1738

York?

n.d.

Ms. Rostock

V/T bc

V

V

A

V

Voice Flutes and Consort Flutes

A

V

Rev. Edward Finch

fingering charts: Upper Voice Flute a lesser 3d Lower; Voice Flute a greater 3d Lower yn Consort Pitch; Flute a whole Note Lower yn Consort Pitch; Flute a whole note Higher yn Consort Pitch

A-G A-E b

upper lower

Jacques Loeillet?

Quintet in B minor

2Tr, bc

76

2V

B

GB

Table K. Works including the Tenor Recorder not Covered in Earlier Tables A

T

Date

Place

Composer

Work

Other Instruments

1 697-1 709

Rome

Scarlatti

Cantatas 1 . "Quella pace gradita," 2. "Chi sà dove e la speranza," 3 . "E perche non seguite," 4. "Mentre Clori la bella sotto l'ombre"

basso continuo

1 699

Leipzig

JohannKuhnau

Cantata Schmücket das Fest mit Maien, "Gelinder W est, komm zu mir"

A

T

1 706

Pari s (Opéra)

Collasse

Polixêne et Pirrhus

A

T'

1 709

Hamburg

Reinhard Kei ser

Opera Orpheus, "Ihr fli egenden Sãnger"

4A

T

171 1

Vi enna

Prince Pá! Esterházy

Harmonia caelestis, Dormi, Jesu dulcissime

2A

T

1714

The Hague

Johann Georg Chri stian Stõrl, arr. Quirinus Gerbrandszoon vanBlankenburg

Cantatas

A

T

by 1 7 1 7

Gotha

Chri stian Fri edri ch Witt

Suite inF

2A

T

1 723

Prague

JohannJoseph Fux

Opera Costanza e Fortezza

A

T

n.d.

Naples?

Nicola Antoni o Porpora

Cantatas "Fi lie narrommi giomo i l dotto alceo" and "Movo i l pi e lo sguardo giro"

doubling Ob, Vn, Va Bn

77

T

T

before 1728

Schõnbom

Tomaso Albinoni

12 four-part Sonatas or Balletti for strings, arr.

78

2A

T

CHAPTER 2 BEFORE THE BAROQUE RECORDER, 1600-1668

2.1. Writings 1 Let us begin by briefly discussing the sizes of recorder available during the sixteenth century. S-D A T B. By early in the century, as first documented in Sebastian Virdung's Musica getutscht (Basel, 1511 ), recorders were available in three sizes, pitched a fifth apart: Discant in gl, Tenor in c1 , and bass in gO (Baj3contra or Bassus), but all notated an octave lower than sounding pitch, or in other words, at four-foot pitch. 2 His Bassus has a key and a fontanelle (perforated barrel as a cover). According to Virdung, a consort (coppel) ofrecorders was made up oftwo discants, two tenors, and two basses. A quartet consisted ofdiscant, two tenors, and bass, or else two discants, tenor, and bass, depending on the range ofthe alto part (contratenor altus) of the piece. Martin Agricola's Musica instrumenta/is deudsch (152 9 ; 2 nd ed. , 1545 ) depicts the sarne three sizes, calling them Discantus, both Altus and Tenor, and Bassus. 3 The reason for the double name ofthe middle size is spelled out by Philibert Jambe de Fer's Epitome musical (Paris, 1556): "Toe tenor and alto are similar in all matters, whether with a cometto, transverse flute, recorder, viols, violins, and other kinds of instruments.... All instruments are formed identically in shape, length, thickness, and other matters for the two parts. "4 That is to say, one size ofrecorder takes both alto and tenor parts in the music. Jambe de Fer calls his sizes dessus, taille or haute contre, and bas. Similar names and the sarne pitches of recorders, sopran or canto, tenore, and basso, are mentioned in the Italian treatises: by Sylvestro Ganassi (1535 ), 5 Jerome Cardan (ca. 1546; also an unnamed higher recorder in D), 6 and Lodovico Zacconi (15 96). 7 Toe names and ranges for these three different sizes of recorder mimic the four parts in vocal polyphony. This is understandable because vocal music was a model for instrumental music, and most of the recorder's repertory consisted ofvocal pieces, presumably read straight off the vocal partbooks. The typical four-part polyphony of the earlier sixteenth century could be played on discant, two alto/tenors, and bass. A T B. Moving into the seventeenth century, Domenico Pietro Cerone's encyclopedic El melopeo y maestro (Naples, 1613 ) still follows the majority ofsixteenth-century treatises in listing three sizes ofrecorder: Tiple (g0-f2), Tenor (cO-al ), and Baxo (range FO-bO), notated at four-foot pitch. 8 So S-D S A T B GB CB. Michael Praetorius's even more encyclopedic Syntagma musicum II (Wolfenbüttel, 161 9 ) describes what he calls a ganz Stimmwerck or Accort (whole consort) of recorders. 9 Beca use of the extended range of this consort, all but the tenor are renamed, and the ranges are now given partly in eight-foot pitch (as sounding): klein Flotlein, klein Floitlin, exilent,jlauto picciolo, Tíbio/a (g2 ) Discant a fifth higher than the Alt (d2 ) Discant a fourth higher than the Alt (c2 ) Alt (gl-f3) Tenor (cl-b b2 ) Basset (fD-