Abstract
In assuming that the violin family of instruments is the staple of Western instrumental art music, Hautboisten, among the most important musicians of the seventeenth and eighteenth centuries, constitute a neglected area of research. Hautboisten are known to have been among the major suppliers of musical entertainment in the German-speaking lands in the first half of the eighteenth century. The term Hautboistenbande has often been translated by contemporary scholars as ‘oboe band’. Indeed, these ensembles developed into wind bands known as Harmoniemusik; Hautboisten, however, were originally routinely trained to perform on multiple wind instruments as well as string instruments.
The Lilien Partbooks, which are part of the Sonsfeld Collection (the Sonsfeldsche Musikalien Sammlung; now held in the Bibliotheca Fürstenbergiana in Herdringen; D-HRD Fü 3741a), represent the most comprehensive primary source of music for such an ensemble. A detailed incipit catalogue of the compositions compiled in these partbooks draws together our current knowledge of the Lilien Partbooks and of eighteenth-century Prussian Hautboisten. The extensive catalogue of the works collated in the six partbooks constitutes a valuable aid for future research.
Note on contributor
Georg Corall is an Honorary Research Fellow with the ARC Centre of Excellence for the History of Emotions, and with the UWA School of Music, where he was awarded the degree of Doctor of Musical Arts. Subsequently, he commenced his studies for a PhD in historical musicology (Monash University, Melbourne). Before entering academia, he trained as a teacher and performer of historical oboes, recorder and harpsichord. With his ensemble les hautboïstes de prusse, he strives to find practical answers to his scholarly interest in the music of Hautboisten, and in the rediscovery of the sound of double-reeds made according to historical information.
ORCID
Georg Corall http://orcid.org/0000-0003-4237-1478
The Lilien Partbook Catalogue (LPb) – Manuscript: D-HRD Fü 3741a
Categories of Instrumentation (with corresponding LPb-Numbers)
1. Double-Reed Ensemble – Hautboy Band (12 works)
LPb-Numbers: 6, 8, 20, 27, 28, 29, 37, 44, 46, 47, 49, 50
2. Trumpet
Double-Reed Ensemble and Trumpet (10 works)
LPb-Numbers: 1, 3, 9, 11, 22, 30, 31, 35, 38, 43
Double-Reed Ensemble, Strings and Trumpet(s) (5 works)
LPb-Numbers: 5, 21, 32a, 33, 40
3. Horns
Double-Reed Ensemble and Horns (3 works)
LPb-Numbers: 23, 24, 25
Double-Reed Ensemble, Strings and Horns (2 works)
LPb-Numbers: 26, 36
4. Double-Reed Ensemble and Strings (10 works)
LPb-Numbers: 2, 4, 10, 12, 13, 18, 32, 34, 45, 51
5. Solo Concertos (8 works)
LPb-Numbers: 14, 15, 16, 17, 19, 39, 41, 42
6. Miscellaneous (3 works)
LPb-Numbers: 7, 48, 52
LPb 0 (Lilien Partbook Catalogue Work Number)
0-0 (Movement Numbers as in Partbooks) Title – key signature (Minimum number of Players required)
Instrumentation: (spelling generally as in the partbooks)
Partbook I – HAUTBOIS. I. ET.
Partbook II – HAUTBOIS. II. ET.
Partbook III – HAUTBOIS. III. ET.
Partbook IV – TAILLE. ET.
Partbook V – BASSON. I. ET.
Partbook VI – BASSON. II. ET.
Additional information for each partbook: instrument names given as in the original manuscript, / = different players, & = same player changing instruments, --- = no music in that part, […] = suggestions by the author, (-) = no title for this movement.
Composer: … (Incipits generally from Partbook I but occasionally from other parts.
Clefs according to the original manuscript).
Movements:
Number of movement as in the partbooks
Name of movement usually as it appears in Partbook 1; occasionally changed to modern spelling or as it appears in a different Partbook. Added information by the author in parentheses [ ].
Comments:
Additional information.
Reference:
in: Deutsches Musikgeschichtliches Archiv Kassel (DMgA), Katalog der Filmsammlung, Die Musikalien der Bibliotheca Fürstenbergiana zu Herdringen, ed. Jürgen Kindermann (Kassel, 1987/88), 4/204–486.
LPb 1
1–12 Ouverture – C minor (6 Players)
Instrumentation:
Hautbois Pr.
Hautbois Secundo
[Hautbois 3]
La Taille
Passon
Tromba [in E-flat]
Composer: Anonymous
Movements:
1. Ouverture
2. Gigue
3. Aria vivace
4. Gavotte alternativement
5. L’autre
6. Aria molto adagio
7. Rigaudon
8. Trio
9. Menuet alternativement
10. Trio
11. Gigue alternativement
12. Gigue
Comments:
Overture suite in C minor. Hautboy 1 in unison with trumpet in alteration with hautboy 2. Hautboy 2 in unison with hautboy 1 in alteration with hautboy 3. Ornaments in hautboy 2 but not in hautboy 1 when in unison. Trios: either trumpet, hautboy 1 and bassoon or hautboy 1, hautboy 2 and bassoon.
Reference:
DMgArchiv, Katalog, 124.
Nos. 13–15 do not exist in the partbooks
LPb 2
16–22 Symphonia – G minor (8 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2]/Flauto Pr & Flauto 2do
Violino Primo
La Taille
Passon Primo/Basson Secundo – Violoncello
Violino 2do
Composer: Anonymous
Movements:
16. Symphonia
17. Bourée
18. Andante
19. Vivace
20. Allemande
21. Sarabande
22. Tempo di Menuet
Comments:
Overture suite in G minor. Partbook ‘Hautbois II’; 18. Andante – instrument change to two recorders. In that movement in ‘La Taille’ partbook a note: ‘the first 4 bars should be marched with loud Hautboy’. Range of ‘La Taille’ part down to c, therefore it requires to be performed on viola rather than Taille de hautbois. Hautboy 1 in several movements solo with violins/viola ‘basset’, indicating that the bassoons rest and 4' string bass accompanies the solo hautboy. Bassoons form regularly a duet; then the other instruments rest. In the middle of 16. Symphonia in bassoon 2 part a note: ‘Violoncello’.
Reference:
DMgArchiv, Katalog, 128.
LPb 3
23–28 Concerto – D major (6 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2]
Hautbois 3me
[-]
Basson Primo/Basson Secundo
Trompett [in D]
Composer: Anonymous
Movements:
23. Concerto
24. Aria
25. Menuet alternativement
26. L’autre Menuet
27. Allegro
28. L’autre Allegro
Comments:
Italian-style concerto-type first movement followed by dances. See Albert Lee Moore, 'Two Anonymous Eighteenth-Century Manuscripts for Trumpet with Oboe Ensemble from the Lilien Part-Books' (DMA Dissertation, North Texas State University, 1981).
Reference:
DMgArchiv, Katalog, 118–19.
LPb 4
29–38 Sinfonia – B-flat major (8 Players)
Instrumentation:
[Hautbois 1]/Flauto
Hautbois tous & Flauto solo
Violin 1/Violin 2
[Viola 1/Viola 2]
Basson Primo/Basson Secundo
Basson Secundo/Basson 3
Composer: Anonymous
Movements:
29. Sinfonia
30. Allemande
31. Aria Allegro
32. Passepied alternativement
33. Trio
34. Adagio
35. Aria Menuet
36. Aria Menuet Primo Hautbois seul
37. Grave e staccato
38. Allegro
Comments:
Overture suite in B-flat major. Partbook ‘Hautbois II’ – in several short passages change of instrument to recorder. Viola part does not specify two players, but has two voices in several movements. Those movements without the second voice for viola have a third bassoon part, which implies one player changing between these two instruments for some movements.
Reference:
DMgArchiv, Katalog, 128–9.
LPb 5
39–45 Sinphonia – E-flat major (7 Players)
Instrumentation:
[Hautbois1]
[Hautbois 2]
Hautb. 3tro
Viola Alto
Basson Primo/Basson Secundo
Tromba [in E-flat]
Composer: Anonymous
Movements:
39. Sinphonia
40. Grave
41. Aria
42. Aria
43. Gigue alternativement
44. Duetto [for two bassoons]
45. Aria
Comments:
Italian-style concerto first movement followed by dances. Although manuscripts specifically marked ‘viola alto’, this part never exceeds below f and is accordingly possible to be realised on a Taille de hautbois. Tutti at beginning of first movement without trumpet, but in the da Capo the trumpet joins. Movement 40 (Grave) shows two notes in the last bar of the 1st hautboy part.
Reference:
DMgArchiv, Katalog, 127–8.
LPb 6
46–48 Concerto – B-flat major (6 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2]
Hautbois 3.
Hautbois 4do
[Basson 1]
Basson 2do
Composer: Anonymous
Movements:
46. Concerto
47. Duetto
48. Allegro
Comments:
Concerto in three movements for ‘hautboy band’ in B-flat major. Second bassoon down to BB-flat. First hautboy often solo. Concertino passages usually with either two hautboys or two bassoons.
Reference:
DMgArchiv, Katalog, 123.
LPb 7
49–54 Concerto – F major (10 Players)
Instrumentation:
Hautbois 1 & Violin basset
Flauto Primo/Flauto Secundo/Hautbois solo or primo/Hautbois 2do
Hautbois Secundo
Cors de chasse Premier/Secundo Cors de chasse
Basson Primo
Basson Secundo
Composer: Anonymous
Movements:
49. Concerto
50. Adagio
51. Tempo di Bourée
52. L’autre [for two cors de chasse and two bassoons]
53. Gigue alternativement
54. L’autre
Comments:
Italian-style concerto first movement followed by dances. In first movement both hautboy parts marked ‘Violin Basset’ and exceed down to g. Most likely for ten rather than eight players with hautboy parts doubled by violins. Recorders in this concerto not in exchange, but with distinct parts throughout the concerto.
Reference:
DMgArchiv, Katalog, 121.
LPb 8
55–58 Concerto – C major (6 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2]
Hautbois 3.
[Taille de hautbois]
Basson Primo
Basson Secundo
Composer: Sydow
Movements:
55. Concerto
56. Andante
57. Ritornelle
58. Allegro
Comments:
Concerto in four movements for ‘hautboy band’ in C major. First hautboy often solo. ‘Trio’ (Concertino) passages usually with two bassoons; sometimes also one solo hautboy and two bassoons. According to the entry in the Sonsfeld Catalogue composed by Sigr. Sydow.
Reference:
DMgArchiv, Katalog, 111.
LPb 9
59–65 Concerto – C minor (7 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2]
Hautb. Tertio
[Taille de hautbois]
Basson Primo/Basson Secundo
Tromba [in E-flat]
Composer: Anonymous
Movements:
59. Concerto
60. March
61. (-)
62. Aria
63. Menuet alternativement
64. Duetto [for two bassoons]
65. Gigue
Comments:
Concerto-type first movement followed by dances in C minor. Concertino mostly trumpet, hautboy 1 and bassoon 1. Trumpet and hautboy 1 also regularly as Concertino. Occasionally the bassoons form a duet, in which the other instruments rest.
Reference:
DMgArchiv, Katalog, 117.
LPb 10
66–73 Sinphonia – G minor (7 Players)
Instrumentation:
[Hautbois 1]
Violino 1mo
Hautbois 2do/Violino 2do
La Taille
Basson Primo
Basson Secundo
Composer: Anonymous
Movements:
66. Sinphonia
67. Rondeau
68. Aria andante
69. Arietta
70. La Speranza
71. Menuet alternativement
72. Duetto [for two bassoons]
73. (-)
Comments:
Overture suite in G minor. ‘La Taille’ never below f and can therefore be realized on a Taille de hautbois. Occasionally the bassoons form a duet, in which the other instruments rest. ‘Orchestral’ instrumentation with strings doubling the hautboys, but also hautboy 1 and violin 1 as Concertino.
Reference:
DMgArchiv, Katalog, 128.
LPb 11
74–80 Concerto – D major (7 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2]
Hautbois 3
Hautbois 4do
Basson Primo/Basson Secundo
Tromba [in D]
Composer: Sydow
Movements:
74. Concerto
75. Aria
76. Rondeau
77. Aria
78. Gigue
79. Aria
80. Allegro
Comments:
Concerto-type first movement followed by dances in D major. Concertino mostly trumpet, hautboy 1 and bassoon 1. Occasionally the bassoons form a duet, in which the other instruments rest. According to the entry in the Sonsfeld Catalogue composed by Sigr. Sydow.
Reference:
DMgArchiv, Katalog, 111.
LPb 12
81–90 Ouverture – G minor (6 Players)
Instrumentation:
[Hautbois 1]
Hautb: 2do
Violino Primo
Viola
Basso continuo
Violino 2do
Composer: Anonymous
Movements:
81. Ouverture
82. Gavotte
83. Bourée alternativement
84. Bourree 2
85. Sarabande
86. Rigaudon alternativement
87. Trio
88. Passacaille
89. Passepied alternativement
90. Trio
Comments:
Overture suite in G minor. Concertino usually consists of the hautboys with the violins (occasionally also viola) forming a 4' bass. Basso continuo without figures. Passacaille marks in violin 1 part ‘Flauto et Violin’. Flauto (recorder) could be played by violin 2, viola or Basso continuo player, since those instruments rest in these bars.
Reference:
DMgArchiv, Katalog, 126.
LPb 13
91–94 Concerto – C major (6 Players)
Instrumentation:
[Hautbois 1]
Hautbois Secundo
Violino Primo
Viola
Basson [!] continuo
Violino Secundo
Composer: Anonymous
Movements:
91. Vivace
92. Adagio
93. Menuet alternativement
94. Trio
Comments:
Italian-style double-concerto for two hautboys and ‘orchestra’ in C major. Bass line for Basson continuo instead of Basso continuo, which might indicate one bassoon rather than a group comprising a keyboard instrument and bass string instruments. The marking ‘Basset’ in the violin and viola parts indicating that the bass instrument rests.
Reference:
DMgArchiv, Katalog, 115.
LPb 14
95–97 Concerto – E-flat major (6 Players)
Instrumentation:
Hautbois
Violino 1mo
Violino Secundo
Viola
Basson [!] continuo
Violoncello
Composer: Anonymous
Movements:
95. Concerto
96. Siciliana
97. Allegro
Comments:
Italian-style solo-concerto for hautboy and ‘orchestra’ in E-flat major. Bass 1 for Basson continuo instead of ‘Basso continuo’, which might indicate a bassoon rather than a group comprising a keyboard instrument and bass string instruments. Bassoon and violoncello part throughout in unison.
Reference:
DMgArchiv, Katalog, 122.
LPb 15
98–100 Concerto – C minor (6 Players)
Instrumentation:
[Hautbois]
Violino Primo
Violino 2do
Viola
Basso [!]
Basson Secundo
Composer: G. Ph. Telemann (?)
Movements:
98. Concerto
99. Adagio
100. Allegro
Comments:
Italian-style solo-concerto for hautboy and ‘orchestra’ in C minor. Solo passages of the hautboy usually accompanied by first bassoon. According to RISM Georg Philipp Telemann, TWV 44:31. See: opac.rism.info.
Reference:
DMgArchiv, Katalog, 116–17.
LPb 16
101–104 Concerto – F major (6/8 Players)
Instrumentation:
Hautbois
[Violino]
Violin Secunde unisoni
Viola
[Basson 1]
[Basson 2]
Composer: George Friderick Handel (?)
Movements:
101. Concerto
102. (-)
103. Aria
104. (-)
Comments:
Italian-style concerto for hautboy, strings and two bassoons in F major. In second movement violin 1 has very prominent solo. According to pencil mark in partbooks by G. F. Handel. In Partbook II movement 102 at beginning ‘unisoni’ and later ‘Violino Solo’, which perhaps indicates to double first and second violins.
Reference:
DMgArchiv, Katalog, 120.
LPb 17
105–107 Concerto – B-flat major (6 Players)
Instrumentation:
[Hautbois 1]
Violino Primo
Violino Secundo
Viola
Basson Concerto
Basson
Composer: Anonymous
Movements:
105. Allegro
106. Adagio
107. Allegro
Comments:
Solo concerto for bassoon and ‘orchestra’ in B-flat major. Very virtuosic bassoon part. Hautboy 1 features as ripieno instrument.
Reference:
DMgArchiv, Katalog, 122–3.
LPb 18
108–113 Ouverture – G major (6 Players)
Instrumentation:
[Hautbois 1]
Hautbois 2do/Violino 1mo
Hautb: 3to
[Viola]
[Basson]
Violino 2do
Composer: Anonymous
Movements:
108. Ouverture
109. Tremolo adagio
110. Allegro
111. Largo
112. Menuet alternativement
113. Trio
Comments:
‘Orchestral’ overture suite in G minor.
Reference:
DMgArchiv, Katalog, 126.
LPb 19
114–121 Concerto – D major (7 Players)
Instrumentation:
Flaute traverse
Violino concerto
Violino 1. Ripieni/Violino 2do Ripieno
Viola
[Bass 1]
[Bass 2]
Composer: Anonymous
Movements:
114. Concerto
115. Largo
116. Allegro
117. Rigaudon alternativement
118. Rigaudon solo
119. Menuet alternativement
120. Trio
121. Gigue
Comments:
Concerto for ‘Flauto traverso’solo and ‘orchestra’ in D major.
Reference:
DMgArchiv, Katalog, 119.
LPb 20
122–126 Concerto – C major (6 Players)
Instrumentation:
Hautb: 1mo
Hautb: 2do
Hautbois
Taille
[Basson 1]
[Basson 2]
Composer: Anonymous
Movements:
122. Concerto
123. Duetto adagio
124. Allegro
125. Stringilo
126. Quinto peno
Comments:
Concerto in five movements for ‘hautboy band’.
Reference:
DMgArchiv, Katalog, 115.
LPb 21
127–132 Concerto – C major (9 Players)
Instrumentation:
(Hautbois 1)
(Hautbois 2)
Hautb: 3to & Violino 1.
Taille/Violini 2.
[Basson]
Violino Primo & Tromba Primo/Tromba Secundo
Composer: Anonymous
Movements:
127. Concerto
128. Adadio
129. (-)
130. Menuet
131. (-)
132. (-)
Comments:
Concerto for two trumpets and ‘orchestra’ in C major.
Reference:
DMgArchiv, Katalog, 116.
No. 133 does not exist in the partbooks
LPb 22
134–139 Concerto – B minor (6 Players)
Instrumentation:
[Hautbois 1]
Hautboi 2do
Hautbois 3me
---
Basson Primo/Basson Secundo
Tromba [in D]
Composer: Anonymous
Movements:
134. Concerto
135. Andante Vivace
136. (-)
137. (-)
139. Guige [sic]
Comments: Instrumentation:
One of very few concertos for trumpet and double-reed ensemble in a minor key. Movement 138 does not exist in the partbooks.
Reference:
DMgArchiv, Katalog, 129.
LPb 23
140–149 Ouverture – F major (6 Players)
Instrumentation:
[Hautbois 1] & Flauto 1mo
[Hautbois 2] & Flauto 1mo
[Hautbois 3] & Flauto 2do/Flauto Primo
Corno chasse Primo
[Basson]
Corn chasse Segonto
Composer: Anonymous
Movements:
140. Ouverture
141. Combattans
142. Aria
143. Fantassia [sic]
144. Trio
145. Aria
146. March
147. Menuet alternativement
148. Trio
149. March
Comments: Instrumentation:
Overture suite in F major. Instrumentation predecessor of ‘Harmoniemusik’. Hautboy 2 and 3 exchange their instruments for recorders in two movements.
Reference:
DMgArchiv, Katalog, 125.
Nos. 150-151 do not exist in the partbooks
LPb 24
152–156 Ouverture – F major (7 Players)
Instrumentation:
[Hautboy 1]
[Hautboy 2]
[Hautboy 3]
Cornu de chass Primo/Cornu de Chass Secunde
[Bassoon 1]
[Bassoon 2]
Composer: Anonymous
Movements:
152. Ouverture
153. Paysane
154. Aria
155. Passepied alternativement
156. Trio
Comments:
Overture suite in F major. Instrumentation predecessor of ‘Harmoniemusik’. Movement 157 does not exist in the partbooks.
Reference:
DMgArchiv, Katalog, 125.
No. 157 does not exist in the partbooks
LPb 25
158–163 Intrade – B-flat major (8 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2]
[Hautbois 3]
Pr: Cornu la Chasse & Hautb.
[Basson]
Cornu la Chasse/Corno de Poste & Hautb. 4to
Composer: Anonymous
Movements:
158. Intrade
159. Gavotte
160. March
161. Air
162. Menuet alternativement
163. l’autre
Comments:
Post horn requires only two notes – the fundamental B-flat and the octave.
Reference:
DMgArchiv, Katalog, 127.
LPb 26
164–166 Concerto – B-flat major (8 Players)
Instrumentation:
[Hautbois 1]
Violino Primo
Hautbois Secundo
Pr. Cors de Post/ 2me Cors de Post
Basson Primo/Basson Secundo
Violino Secundo
Composer: Anonymous
Movements:
164. (-)
165. Adagio
166. Allegro
Comments:
Post horns require only two notes – the fundamental B-flat or F and the octave, respectively.
Reference:
DMgArchiv, Katalog, 124.
LPb 27
167–171 Concerto – F major (6 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2] & Flauto Primo
Hautb 4 & Flautino
Hautbois 3.
[Basson 1]
[Basson 2]
Composer: Anonymous
Movements:
167. (-)
168. Aria Adagio alternativement
169. March
170. Menuet Alternativement
171. Trio
Comments:
Concerto in five movements for ‘hautboy band’. Hautboy 2 and 4 exchange their instruments for recorders.
Reference:
DMgArchiv, Katalog, 120–1.
LPb 28
172–174 Concerto – A minor (6 Players)
Instrumentation:
[Hautbois 1]
[Hautbois 2]
Hautboe 3tio
Hautbois 4.
[Bassoon 1]
[Bassoon 2]
Composer: Anonymous
Movements:
172. (-)
173. Adagio
174. Allegro
Comments:
Concerto in three movements for ‘hautboy band’.
Reference:
DMgArchiv, Katalog, 123.
LPb 29
175–177 Concerto – C major (6 Players)
Instrumentation:
[Hautbois 1]
Hautbois 4
Hautbois Tertio
Hautbois Secundo
Basson Primo
Basson 2do
Composer: Anonymous
Movements:
175. (-)
176. Adagio
177. Allegro
Comments:
Concerto in three movements for ‘hautboy band’.
Reference:
DMgArchiv, Katalog, 116.
LPb 30
178–185 Ouverture – C major (6 Players)
Instrumentation:
[Hautbois 1]
Tromba [in C]
Hautbois Tertzio
[Hautbois 2]
Basson Primo
Basson 2do
Composer: Anonymous
Movements:
178. (-)
179. Allemande
180. March
181. Aria
182. Tempo di Gavotte
183. Duetto [for two bassoons]
184. Aria en Menuet
185. Trio
Comments:
Overture Suite in C major for trumpet and ‘hautboy band’.
Reference:
DMgArchiv, Katalog, 124.
LPb 31
186–192 Ouverture – E-flat major (5 Players)
Instrumentation:
Hautbois Primo
Hautbois Secundo
Hautbois Tertzio
---
Basson
Tromba [in E-flat]
Composer: Anonymous
Movements:
186. (-)
187. Bourree
188. L’autre
189. Aria Siciliana
190. Aria
191. Menuet Alternativement
192. Trio
Comments:
Overture suite in E-flat major. For a different copy of this work see also D–Rou, Mus. Saec. XVII.18.–51.53.
Reference:
DMgArchiv, Katalog, 125.
LPb 32
193–196 Concerto – G major (7 Players)
Instrumentation:
Hautb: Solo
Violino Primo
Violini/Travers/tous
Viola
Basson Primo/Basson Secundo
Hautbois Secundo [for 193. tacet]
Composer: Anonymous
Movements:
193. (-)
194. Allegro mano Presto
195. Duetto
196. Grave
Comments:
First part called ‘Hautb. Solo’ because there is only one hautboy in the first movement. Hautboy 2 tacet in this movement.
Reference:
DMgArchiv, Katalog, 122.
LPb 32a
197–199 Sÿmphonia – D major (8 Players)
Instrumentation:
Hautbois Primo/Hautbois Secundo
Violino Primo
[Violino 2]
[Viola]
[Basson]
Trompett Primo/Tromba Secundo
Composer: Anonymous
Movements:
197. Sÿmphonia
198. Adagio
199. Allegro
Comments:
Concerto for two trumpets and ‘orchestra’ in D major. See Albert Lee Moore, 'Two Anonymous Eighteenth-Century Manuscripts for Trumpet with Oboe Ensemble from the Lilien Part-Books' (DMA Dissertation, North Texas State University, 1981).
Reference:
DMgArchiv, Katalog, 127. Here as No. 32.
LPb 33
200–229 L'opera d’Amadigi del Seign: Hendel [sic] (7 Players)
Instrumentation:
Hautbois Primo
Hautbois Primo/Hautbois Secundo
Violino Secundo/Tromba (Tromba only in movements 223, 224, 226)
Basson Secundo/Taille & Viola & Hautbois Primo
Basson Primo
Violino Primo
Composer: George Friderick Handel
Movements:
200. Ouverture
201. Gavotte
202. Aria Largo [Gioje, venite in sen]
203. Aria unison [Ti pentirai, crudel!]
204. Aria Allegro
205. Aria [Dolce vita del mio petto]
206. Aria allegro [Ch’io lasci mai d’amare]
207. Aria Largo [Ah! Spietato]
208. Aria
209. Symphonia
210. Aria adagio-allegro [T’amai, quant’il mio cor]
211. Aria Largo [S’estino è l’idol mio]
212. Aria Unisoni [Io godo, scherzo e rido]
213. Aria Largo [Cangia al fine]
214. Aria Unisoni [Vanne lungi dal mio petto]
215. Aria Largo/Staccato [Oh caro mio tesor]
216. Aria Unisoni [Non sà temere]
217. Largo Staccato [O rendetemi il mio bene]
218. Aria [Crudel, tu non farai]
219. Solo Aria [Vado, corro, al mio tesoro]
220. Aria
221. Aria Adagio [Notte amica]
222. Aria Allegro
223. Sÿmphonia
224. Allegro [Desterò dall’empia Dite]
225. Aria Allegro [È si dolce il mio content]
226. Aria Allegro [Sento la gioja]
227. Aria allegro [Se tub rami di gedere]
228. Ballo
229. Trio
Comments:
Arrangement of the entire opera except for the recitatives. See Winton Dean, 'A New Source for Handel's “Amadigi”', in Music & Letters, 72 (1991), 27–37.
Reference:
DMgArchiv, Katalog, 100–1.
LPb 34
230–236 [Arias from Giove in Argo (Dresden 1717)] (7 Players)
Instrumentation:
Hautbois 1 or Flauto o Traversiere solo
Violino 1
Violino 2
Viola
Basson
Flauto 1 & Hautbois 1/Flauto 2 & Hautbois 2
Composer: Antonio Lotti (1667–1740)
Movements:
230. Vieni ò de viventi dolce orror
231. Vuo seguir [d’eroe l’impegno]
232. La Tortorella (Ritornello)
233. Aria à Voce sola [La Tortorella – vocal part to 232. La Tortorella]
234. Bramo aver
235. Aria Sospirando [lagrimando]
236. Da quei begl occhi
Comments:
Arrangement of several arias in varying instrumentation. I am grateful to Steffen Voss (RISM, Munich) for pointing out the provenance of the original versions for these arrangements. Previously the composer of these arias was anonymous.
Reference:
DMgArchiv, Katalog, 131.
LPb 35
237–246 Ouverture – D major (6 Players)
Instrumentation:
Hautbois Primo
Hautbois Secundo & Flauto 1
Hautbois 3me & Flauti
Tromba
Basson Primo
Basson Secundo
Composer: Anonymous
Movements:
237. Ouverture
238. Angloise Alternativement
239. Trio
240. Largo Staccato
241. Menuet
242. Arietta Alternativement
243. Adagio
244. Duetto [for two bassoons]
245. Gavotte
246. Rondeaux
Comments:
Concerto for trumpet and ‘hautboy band’ in D major. Hautboy 2 and 3 exchange their instruments for recorders only for several bars.
Reference:
DMgArchiv, Katalog, 124–5.
LPb 36
247–254 Concerto – B-flat major (6 Players)
Instrumentation:
Hautbois Primo
Violino Primo
Violino 2do.
Corne de Post 1mo
Basson
Corne de Poste 2do
Composer: Anonymous
Movements:
247. Concerto
248. Aria Andante
249. Bourree
250. Menuet Alternativement
251. Trio
252. Gavotte
253. Gigue
254. Passepied
Comments:
Post horns require only two notes – the fundamental B-flat or F and the octave, respectively.
Reference:
DMgArchiv, Katalog, 123.
LPb 37
255–260 (---) – C major (6 Players)
Instrumentation:
Hautbois Primo
Hautbois Secundo
Haut 3.
Hautb. 4
Basson Primo
Basson Secundo
Composer: Francesco Mancini / Alessandro Scarlatti / George Friderick Handel
Movements:
255. (-) [Mancini: Farò che si penta from L’Idaspe fedele]
256. Aria Largo [Mancini: A mischiar faro le lagrime from L’Idaspe fedele]
257. Aria [Mancini: Mostro crudel che fai from L’Idaspe fedele]
258. Aria Adagio
259. Aria [G. F. Handel: Ho un non so che nel cor from Agrippina. Also in in Pirro e Demetrio]
260. Aria [Scarlatti: If of my sorrow (S’ha pietà del mio dolore) from Pirro e Demetrio]
Comments:
Six aria arrangements from operas for ‘hautboy band’. I am grateful to Steffen Voss (RISM, Munich) for pointing out the provenance of the original versions for these arrangements. Previously the composers of these arias were anonymous.
Reference:
DMgArchiv, Katalog, 130.
LPb 38
261–266 Concerto – C minor (8 Players)
Instrumentation:
Hautbois Primo
Hautbois Secundo/Hautboy Ribieno
Hautbois 3./Tromb.
Tallie & (Basson 3)
Basson Primo
Basson Secundo
Composer: Anonymous
Movements:
261. Concerto
262. Menuet Alternativement
263. Trio
264. [staves but no music in either part]
265. Gigue Alternativement
266. Duetto
Comments:
Concerto for trumpet and ‘hautboy band’ in C minor. Movement 264 does not exist.
Reference:
DMgArchiv, Katalog, 117.
LPb 39
267–269 Concerto – E minor (6 Players)
Instrumentation:
Hautbois Primo
Violino Primo
(Violino 2)
Talli
Basson (Primo)
Basson Scundo
Composer: Anonymous
Movements:
267. Concerto
268. Adagio
269. Allegro
Comments:
Italian style solo-concerto for hautboy and ‘orchestra’ in E minor.
Reference:
DMgArchiv, Katalog, 119–20.
LPb 40
270–277 Concerto – D major (5 Players)
Instrumentation:
Hautbois Primo
Violino Primo
Violino Secundo
Tromba
(---)
Basson
Composer: Alessandro Scarlatti [and others?]
Movements:
270. Concerto
271. Aria Largo [Scarlatti: Per le campagne pascendo from Pirro e Demetrio]
272. (-)
273. Aria [Scarlatti: Love would invade me from Thomyris. Originally Se geloso è il mio core aus from Serenata: Endimione e Cinzia.]
274. Grave
275. (-)
276. Adagio
277. (-)
Comments:
Pencil mark by twentieth-century librarian: ‘Telemann’ (?), but possibly all movements composed by Scarlatti. I am grateful to Steffen Voss for pointing out the provenance of the original versions for these arrangements. Previously the composers of these arias were anonymous.
Reference:
DMgArchiv, Katalog, 117–18.
LPb 41
278–282 Concerto Flauto Traverso – D major (6 Players)
Instrumentation:
Flauto Traverso
Violino Primo
Violino 2d
Viola
Basson Primo
Violon
Composer: Georg Philipp Telemann
Movements:
278. Affettuoso
279. Allegro
280. Adagio
281. Menuet
282. Presto
Comments:
Concerto in D major for ‘Flauto Traverso’. This Concerto is also known for recorder and orchestra in F major (TWV 51:F1).
Reference:
DMgArchiv, Katalog, 112.
LPb 42
283–291 Ouverture – G minor (6 Players)
Instrumentation:
Hautbois Primo
Violino Primo
Violino 2.
Taille & Basson 2
Basson Primo
Basson Secundo
Composer: Anonymous
Movements:
283. Ouverture
284. Rigaudon Alternativement
285. Trio
286. Sarabande
287. Aria Angloise
288. Aria Adagio
289. Menuet
290. Aria Adagio
291. Gigue
Comments:
Overture suite in G minor for ‘orchestra’.
Reference:
DMgArchiv, Katalog, 126–7.
LPb 43
292–306 Concerto – D major (6 Players)
Instrumentation:
Hautbois Primo
Hautbois Secundo
(---)
(Taille)
Basson Primo/Basson Secundo
Tromba
Composer: Anonymous
Movements:
292. Concerto
293. Rigaudon Alternativement
294. Aria
295. Gigue
296. Duetto
297. Angloise
298. L’autre Angloise
299. Sarabande
300. Hornpipe
301. L’autre
302. [staves but no music]
303. Menuet
304. Menuet
305. Menuet
306. Lira
[staves but no music]
Comments:
Concerto-type first movement followed by dances. Renate Hildebrand names G. F. Handel (?) as the composer in one of her concert programmes.
Reference:
DMgArchiv, Katalog, 118.
LPb 44
307–309 Concerto – F major (6 Players)
Instrumentation:
Hautbois Primo
Hautbois Secundo
Hautbois 3tio
Hautbois 4.
Basson Primo
Basson Secundo
Composer: Anonymous
Movements:
307. Concerto
308. Adagio
309. Allegro
Comments:
Concerto in three movements for ‘hautboy band’.
Reference:
DMgArchiv, Katalog, 121.
LPb 45
310–314 Sÿmphonia – D minor (7 Players)
Instrumentation:
Hautbois Primo
Hautbois Secundo
Violin 2
Violletta
Basson Primo/Basson Secundo
Violino Primo/Basson Secundo
Composer: George Friderick Handel – Il Pastor Fido
Movements:
310. Sÿmphonia
311. (-)
312. (-)
313. Menuet
314. (-)
Comments:
Arrangement of the entire overture movements from Il Pastor Fido by G. F. Handel.
Reference:
DMgArchiv, Katalog, 102.
LPb 46
315–318 Concerto – C major (6 Players)
Instrumentation:
Hautbois Primo
Hautbois Secundo
Hautbois 3
Hautbois 4.
Basson Primo
Basson 2do
Composer: Anonymous
Movements:
315. Concerto
316. Adagio
317. Allegro
318. Allegro
Comments:
Concerto in four movements for ‘hautboy band’.
Reference:
DMgArchiv, Katalog, 116.
LPb 47
319–322 Concerto – B-flat major (5 Players)
Instrumentation:
(Hautbois Concerto)
(Hautbois 1)
Seconde
(Hautbois 3)
---
(Basson)
Composer: Francesco Mancini
Arias from Idaspe Fedele (London version of Gli amanti generosi)
Movements:
319. Aria Vivace [Cara si che ognor sarà]
320. Aria [Vive sperando nel petto il core]
321. Aria Adagio [È vano ogni pensiero]
322. Aria Allegro [Con volto sereno]
Comments:
According to pencil mark in partbooks this work was previously assumed to be by Telemann. I am grateful to Steffen Voss for pointing out the provenance of the original versions for these arrangements. Previously the composer of these arias was anonymous.
Reference:
DMgArchiv, Katalog, 130–1.
LPb 48
323–325 Concerto – F major (5 Players)
Instrumentation:
Hautbois Primo
Oboe [!]
Flauto Secondo
(---)
Flauto Primo
(Basson)
Composer: Anonymous (G. Ph. Telemann)
Movements:
323. Allegro
324. Largo
325. Vivace
Comments:
Original ink marking for second part: Oboe. According to RISM Georg Philipp Telemann, TWV 44:15. See: opac.rism.info.
Reference:
DMgArchiv, Katalog, 120.
LPb 49
326–329 (---) (6 Players)
Instrumentation:
Hautbois Primo
(Hautbois Secundo)
Hautbois 3
Hautb. 4.
(Basson Primo)
(Basson Secundo)
Composer: Johann David Heinichen / Reinhard Keiser
Movements:
326. Aria [Rido e peno e il mio dolor from Le Passioni per troppo amore]
327. Aria [E pur gradita al cor from Mario / Calfurnia]
328. Duetto [For two hautboys and two bassoons. Reinhard Keiser: Dagli amori flagellato from Caro autor di mia doglia. Previously assumed to be by Händel; HWV 183.]
329. Aria [Fuggi nasconditi nelle caverne from Le Passioni per troppo amore]
Comments:
Aria arrangements. First hautboy in C1 clef, third hautboy in C2 clef. I am grateful to Steffen Voss for pointing out the provenance of the original versions for these arrangements. Previously the composers of these arias were anonymous.
Reference:
DMgArchiv, Katalog, 131.
LPb 50
330–332 Sinfonia – F major (4 Players)
Instrumentation:
(Hautbois 1)
(Hautbois 2)
(---)
(---)
Basson Primo
(Basson 2)
Composer: Anonymous
Movements:
330. Sinfonia
331. Cantabile
332. Aria Allegro
Comments:
331 follows 332 in the parts. Second part has two notes simultaneously in three bars (double stop on violin?).
Reference:
DMgArchiv, Katalog, 128.
LPb 51
333–336 Ouverture – F major (6/8 Players)
Instrumentation:
Hautbois Primo et Viol
Violino Primo et Hobo 2nd
(---)
(---)
Basso 1mo/Basso 2do
Violino 2do et Hautbois 3.
Composer: George Friderick Handel
Movements:
333. Ouverture
334. Andante
335. Allegro
336. Menuet Alternativement
336a. L’autre
Comments:
Arrangement of Concerto grosso op. 3 No. 4 by G. F. Handel.
Reference:
DMgArchiv, Katalog, 99–100.
LPb 52
337–340 Sonata – B-flat major (3/4 Players)
Instrumentation:
Hautbois
Violin
(---)
(---)
Basso
(---)
Composer: G. F. Handel
Movements:
337. Adagio
338. Allegro
339. Largo
340. Allegro
Comments:
Published as Georg Friedrich Händel, Sonate für Oboe und Geige mit Generalbass, ed. W. Hinnenthal (Kassel: Bärenreiter-Verlag, 1935).
Reference:
DMgArchiv, Katalog, 102.
Notes
1 John Spitzer and Neal Zaslaw, ‘Orchestra’, Grove Music Online. Available from: Oxford Music Online. Accessed on 26 August 2010.
2 Bruce Haynes, The Eloquent Oboe: A History of the Hautboy, 1640–1760 (Oxford, 2001), 158.
3 Haynes, The Eloquent Oboe, 4–6. I will follow the terminology introduced by Haynes, the major scholar on historical oboe playing, in using ‘hautboy’ (‘o’boy’) when referring to instruments of the type commonly known today as the ‘Baroque oboe’.
4 Bruce Haynes, Music for Oboe, 1650–1800: A Bibliography (2nd edn, Berkeley, 1992), 362.
5 Haynes, Music for Oboe, 362. There are in fact 53 rather than 52 works in the Lilien Partbooks, which will be discussed here.
6 David Whitwell, ‘A Baroque Wind Band Library in Germany’, The Wind Band and its Repertoire, ed. Michael Votta (Miami, 2003), 43–8.
7 Whitwell presumably means Christian Franz Dietrich, also known as Christian Franz Theodor von Fürstenberg (1689–1755), who did indeed study for two years at the Sorbonne in Paris. See Michael Jolk, ‘Grundherrschaftliche Anweisungen für die Kötter des Christian Franz Theodor Reichsfreiherr von Fürstenberg’, Südwestfalen Archiv. Landesgeschichte im ehemals kurkölnischen Herzogtum Westfalen und der Grafschaft Arnsberg, 4 (2004), 165–78.
8 Deutsches Musikgeschichtliches Archiv Kassel (DMgA), Katalog der Filmsammlung, Die Musikalien der Bibliotheca Fürstenbergiana zu Herdringen, ed. Jürgen Kindermann (Kassel, 1987/88), iv, 204–486.
9 Werner Braun, ‘The “Hautboist”: An Outline of Evolving Careers and Functions’, The Social Status of the Professional Musician from the Middle Ages to the 19th Century, ed. Walter Salmen (New York, 1983), 126.
10 Spitzer and Zaslaw, ‘Orchestra’, Grove Music Online.
11 Michael Robertson, The Courtly Consort Suite in German-speaking Europe (Farnham, 2009).
12 See Johann Sigismund Kusser, Adonis, Recent Researches in the Music of the Baroque Era, Vol. 154, ed. Samantha Owens (Middleton, 2009).
13 Spitzer and Zaslaw, ‘Orchestra’, Grove Music Online.
14 Martin Ruhnke, ‘Kapelle’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd edn, Kassel, 1994–2008), 28 vols., Sachteil, iv.
15 John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an Institution, 1650–1815 (Oxford, 2004), 222.
16 Johann Mattheson, Critica Musica, ii (Hamburg, 1725), 169–70. Available from: https://archive.org/details/bub_gb_shdDAAAAcAAJ. Accessed on 11 February 2018.
17 Werner Greve, ‘Stadtpfeifer’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd edn, Kassel, 1994–2008), Sachteil, viii.
18 Heinrich W. Schwab, ‘Stadtpfeifer’, Grove Music Online. Accessed on 28 March 2013. For further information see also Tanya Kevorkian, ‘Town Musicians in German Baroque Society and Culture’, German History, 30/3 (2012), 350–721; and Werner Greve, Braunschweiger Stadtmusikanten: Geschichte eines Berufsstandes 1227–1828 (Braunschweig, 1991).
19 Wolfgang Caspar Printz, Historische Beschreibung der Edlen Sing- und Kling-Kunst (Dresden, 1690), 179.
20 Renate Hildebrand, ‘Das Oboenensemble in Deutschland von den Anfängen bis ca. 1720’ (Diplomarbeit, Schola Cantorum Basiliensis, 1975), 65.
21 See Haynes, The Eloquent Oboe, 362–7.
22 Achim Hofer, Studien zur Geschichte des Militärmarsches, 2 vols. (Tutzing, 1988).
23 Personal conversation with Jacques Rensch during a visit to the Regionaal Historisch Centrum Limburg in December 2010.
24 Werner Braun, ‘Entwurf für eine Typologie der “Hautboisten”’, Der Sozialstatus des Berufsmusikers vom 17. bis 19. Jahrhundert, ed. Walter Salmen (Kassel, 1971), 43–63.
25 Braun, ‘The “Hautboist”’, 125–58.
26 See: Bruce Haynes, ‘Der Hautboy’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd rev. edn, Kassel, 1994–2008), 28 vols., Sachteil, vii. See also Janet K. Page et al., ‘Oboe’, Grove Music Online. Accessed on 4 February, 2013.
27 Marin Mersenne, Harmonie universelle: contenant la théorie et la pratique de la musique (Paris, 1636), 295.
28 Michael Praetorius, Syntagma Musicum II (Wolfenbüttel, 161; facsimile repr. Kassel, 2001), 36.
29 David Hogan Smith, Reed Design for Early Woodwinds (Bloomington, 1992), 26.
30 As with the hautboy this instrument features a double reed; however, the player does not have direct contact with this reed as it is covered with a wooden cap into which one blows. Only with a very steady wind stream can good intonation be achieved and no dynamic changes are possible. Articulation can only be achieved by varying the lengths of notes – for example, by playing staccato, legato and so on. Refined articulation as described in sources before 1800 emphasizing the importance of different syllables and various attacks – such as t, d and r as well as g, k and l – are not possible on a wind cap instrument. For further information on articulation see: Georg Corall, ‘Vom Gebrauche der Zunge, beym spielen auf allerley Blasinstrumenten’ (Diplomarbeit, Hochschule für Musik und Theater, Hamburg, 1998).
31 From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, eds. Peter Holman and Jonathan Wainwright (Aldershot, 2005).
32 Marc Ecochard, ‘A Commentary on the Letter by Michel de La Barre Concerning the History of Musettes and Hautboys’, From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, eds. Peter Holman and Jonathan Wainwright (Aldershot, 2005), 47–61.
33 Ecochard, ‘A Commentary’, 47–8.
34 Marcelle Benoit, Musiques de Cour: Chapelle, Chambre, Écurie 1661–1733. Documents recueillis par Marcelle Benoit (Paris, 1971), 17–8.
35 See also: Bruce Haynes, ‘Baptiste's Hautbois: The Metamorphosis from Shawm to Hautboy in France, 1620–1670’, From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, eds. Peter Holman and Jonathan Wainwright (Aldershot, 2005), 24.
36 See La Barre’s letter: Ecochard, ‘A Commentary’, 48.
37 Haynes, ‘Baptiste's Hautbois’, 26.
38 Haynes, ‘Baptiste's Hautbois’, 28.
39 Haynes, ‘Baptiste's Hautbois’, 34–8.
40 Haynes, The Eloquent Oboe, 39.
41 Haynes, The Eloquent Oboe, 50, 51.
42 The French term hautbois is used here as a generic term for any double-reed instrument of the period, whether it be the shawm, the cromorne or the newly developed hautboy; likewise the French term basson encompasses the different stages in the development of bassoon-type instruments at the seventeenth-century French court.
43 Benoit, Musiques de Cour, 13.
44 For more information see: Bruce Haynes, A History of Performing Pitch: the Story of ‘A’ (Oxford, 2002).
45 James R. Anthony, et al., ‘Paris, §V,1., (i,c)’, Grove Music Online. Accessed on 4 May, 2012.
46 Haynes, The Eloquent Oboe, 53.
47 Haynes, The Eloquent Oboe, 54.
48 Susan Marie Goertzel Sandman, ‘Wind Band Music under Louis XIV: The Philidor Collection, Music for the Military and the Court’ (PhD Dissertation, Stanford University, 1974).
49 See Laurence Decobert, ‘La “Collection Philidor” de l’Ancienne Bibliothèque du Conservatoire de Paris’, Revue de Musicologie, 93/2 (2007), 269–316.
50 Susan Sandman, ‘The Wind Band at Louis XIV's Court’, Early Music, 5/1 (Jan, 1977), 27–37.
51 For the discussion on transitional hautboys see the articles in From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, eds. Peter Holman and Jonathan Wainwright (Aldershot, 2005).
52 As yet, scholars are largely uncertain regarding the nature of the cromorne; however, it seems to be generally agreed that it was an instrument without a cap covering the double reed and thus the term should not be translated as crumhorn.
53 Haynes, The Eloquent Oboe, 55.
54 Haynes, The Eloquent Oboe.
55 Haynes, The Eloquent Oboe, 49.
56 Haynes, The Eloquent Oboe, 137.
57 Janice B. Stockigt, ‘The Court of Saxony-Dresden’, Music at German Courts, 1715–1760, eds. Samantha Owens, Barbara M. Reul and Janice B. Stockigt (Woodbridge, 2011), 23.
58 Haynes, The Eloquent Oboe, 141–2.
59 Published in English translation as ‘The “Hautboist”’, 123–58. Original edition: Braun, ‘Entwurf’, 46–63.
60 Hildebrand, ‘Das Oboenensemble’.
61 Achim Hofer, ‘Harmoniemusik-Forschung: Aktuell situiert – Kritisch hinterfragt’, Zur Geschichte und Aufführungspraxis der Harmoniemusik, eds. Boje E. Hans Schmuhl and Ute Omonsky (Augsburg, 2006), 28.
62 Haynes, The Eloquent Oboe, 158.
63 Haynes, The Eloquent Oboe, 322. Haynes mentions a total of 1,266 musicians employed with the Prussian military in 1713.
64 Braun, ‘The “Hautboist”’, 125.
65 See, for example, the evidence regarding the expectations of proficiency on different instruments in the collection of certificates for students taught by J. S. Bach, in Werner Neumann and Hans Joachim Schulze, Schriftstücke von der Hand Johann Sebastian Bachs. Vorgelegt und erläutert von Werner Neumann und Hans-Joachim Schulze. Kritische Gesamtausgabe (Kassel: Bärenreiter, 1963), 127–51.
66 Johann Joachim Quantz, ‘Herrn Johann Joachim Quantzens Lebenslauf, von ihm selbst entworfen’, in Friedrich Wilhelm Marpurg, Historisch-Kritische Beyträge zur Musik (5 vols, Berlin, 1754–1778), vol. 1, ‘Drittes Stück’ (1755), 199–200.
67 Hans Friedrich von Fleming, Der vollkommene teutsche Soldat (Leipzig, 1726; fascimile reprint, Bibliotheca rerum militarium 1, Osnabrück, 1967), 181: ‘Der Premier unter ihnen muß das Componiren verstehen, um die Musique desto besser darnach zu reguliren.’
68 Regarding the distinction between the King in Prussia and King of Prussia see Section 4.
69 General-Reglement (1724), cited in Hans-Joachim Bandt, ‘Die ehem. Hoboistenschule im Kgl. Potsdamschen Militärwaisenhause’, Deutsche Militär-Musiker-Zeitung, No. 49, 51. Jahrgang (7 December 1929), 425.
70 General-Reglement (1724).
71 Braun, ‘The “Hautboist”’, 130.
72 Braun, ‘The “Hautboist”’, 128.
73 Bernhard Höfele, ‘Militärmusik’, in Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik (2nd edn, Kassel, 1994–2008), 28 vols., Sachteil, vi.
74 Höfele, ‘Militärmusik’, col. 275.
75 One example is the music for the Catalonian circle dance, the sardana, which is still accompanied by a wind band led by the tible and the tenora (modern keyed versions of the shawm and alto shawm respectively, from the era before the hautboy was invented).
76 Haynes, The Eloquent Oboe, 160–1.
77 Scholars, to date, are uncertain as to whether the taille de hautbois should be considered an alto or tenor instrument.
78 Braun, ‘The “Hautboist”’, 125.
79 Reinhard Quenstedt, ‘Alte Armee: Kesselpauker, Trompeter, Hautboisten’. Historischer Bilderdienst Website (2011). Available from: http://www.historischer-bilderdienst.de. Accessed on 24 March 2011.
80 Braun, ‘The “Hautboist”’, 126.
81 Braun, ‘The “Hautboist”’.
82 See, for example, the references to Erhardt Eberlen as ‘Hautbois und Hofmusikus’ (1706–1728) and Johann Michael Glockhardt, ‘Hautboist’ and ‘Hautboist and Hofmusikus’ (1704–1728) in: Walter Pfeilsticker, Neues Wuerttembergisches Dienerbuch (Stuttgart: J. G. Cotta'sche Buchhandlung Nachf., 1957), i, §894–97 and 894.
83 See Samantha Owens, ‘The Württemberg Hofkapelle c.1680–1721’ (PhD Dissertation, Victoria University of Wellington, 1995), 330–50.
84 Peter C. Marten, Die Musik der Spielleute des Altpreussischen Heeres, Das Altpreussische Heer, Erscheinungsbild und Wesen 1713–1807, ed. H. Bleckwenn (Osnabrück, 1976), vol. v, Band 1, 14. According to a lost Infanterie-Reglement from 1718: ‘ … die Hautbois und Pfeiffers aber sollen bei jedem Regiment einen aparten Marsch haben’ (… the hautboys and pipers of each regiment shall have a distinguished march).
85 Braun, ‘The “Hautboist”’, 135. See Johann Mattheson, Critica Musica, ii (Hamburg, 1725), 169.
86 Marten, Die Musik der Spielleute, 9 and 14. Marten notes that Friedrich Wilhelm I had introduced brass drums into his No. 6 regiment, the materials coming from the brass factory Hegermühle in Eberswalde, founded in 1698. Interestingly, the sound of these fifes and drums can still be heard in Basel, Switzerland, as the traditional music for the Basler Fastnacht (the local carnival).
87 See also: Höfele, ‘Militärmusik’.
88 Braun, ‘The “Hautboist”’, 126.
89 Marten, Die Musik der Spielleute, 13. Marten cites a total of 839 Spielleute employed by the Prussian military in 1714, although he also states that 100 drummers and nine pipers had deserted by the end of that year.
90 Curt Jany, Geschichte der Preußischen Armee vom 15. Jahrhundert bis 1914 (Osnabrück, 1967), i, 653.
91 Spitzer and Zaslaw, The Birth of the Orchestra, 82.
92 Braun, ‘The “Hautboist”’, 129.
93 Celle was one of the most Francophile German Courts at the time.
94 A detailed list of Hautboisten and their employment between 1600 and 1760 can be found in Haynes, The Eloquent Oboe, 452–65, where the first appearance of a French player at the German court of Celle is dated as early as 1670.
95 Braun, ‘The “Hautboist”’, 141.
96 Haynes, The Eloquent Oboe, 163.
97 Haynes, The Eloquent Oboe, 322.
98 Johann Mattheson, Grundlage einer Ehren-Pforte (Hamburg, 1740), 195.
99 Braun, ‘The “Hautboist”’, 131.
100 Braun, ‘The “Hautboist”’.
101 Braun, ‘The “Hautboist”’, 137.
102 Braun, ‘The “Hautboist”’, 150.
103 Braun, ‘The “Hautboist”’, 132.
104 Johannes Reschke, ‘Studie zur Geschichte der brandenburgisch-preußischen Heeresmusik’ (Dissertation, Friedrich-Wilhelms-Universität, 1936), 31.
105 Haynes, The Eloquent Oboe, 322.
106 Reschke, ‘Studie’.
107 Peter Panoff, Militärmusik in Geschichte und Gegenwart (Berlin, 1938).
108 On alta capella see Lorenz Welker, ‘“Alta capella” – Zur Ensemblepraxis der Blasinstrumente im 15. Jahrhundert’, Basler Jahrbuch für Historische Musikpraxis 7 (1983), 119–65.
109 An analysis of instrumentations in the collection is to be found in the section below, which is specifically dedicated to compositions in the partbooks.
110 Geoffrey Burgess and Bruce Haynes, The Oboe, The Yale Musical Instrument Series (New Haven, 2004), 31.
111 It seems to appear that Haynes’ suggestion contradict Georg Muffat’s instructions in his publication of orchestral suites Florilegium Primum (1695) regarding Lully’s performance practice. See discussion of Muffat’s writing in the following part of this article.
112 See: Spitzer and Zaslaw, The Birth of the Orchestra, 82–7, 93.
113 Eric Halfpenny, ‘A Seventeenth-Century Oboe Consort’, Galpin Society Journal 10 (1957), 60–2. Pl. 5 shows the bell of an oboe dating from the last decade of the seventeenth century at the Victoria & Albert Museum in London with a carving of musicians in exactly this instrumentation.
114 Fleming, Der vollkommene teutsche Soldat, 181.
115 Braun, ‘The “Hautboist”’, 153.
116 For further information see: Holger Eichhorn, liner notes for Johann Sebastian Bach, Stil'Antico-Motetten, Rondeau Production, CD ROP6021 (Leipzig, 2008).
117 There are a substantial number of marches existent; however, this article focuses on concerted ‘art’ music for Hautboisten.
118 See the information provided regarding Johann Sebastian Bach’s motet, Der Geist hilft unsrer Schwachheit auf (BWV 226) in: Wolfgang Schmieder, Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV) (2nd edn, Wiesbaden, 1990), 367.
119 Fleming, Der vollkommene teutsche Soldat, 376: ‘Vor der Leiche gehen die Hautboisten mit gedämpften Hautbois, und blasen ein Sterbe-Lied’ (The Hautboisten walk before the body and play a funeral song on muted hautboys). See also the two compositions entitled the ‘Queen’s Farewell’ in: John Banister, The Sprightly Companion (London, 1695), no. 18 and no. 19.
120 Hofer, Studien.
121 Marten, Die Musik der Spielleute.
122 Sascha Möbius, ‘Ein feste Burg ist unser Gott … ! und das entsetzliche Lärmen ihrer Trommeln. Preußische Militärmusik in den Schlachten des Siebenjährigen Krieges’, Mars und die Musen’. Das Wechselspiel von Militär, Krieg und Kunst in der Frühen Neuzeit, eds. Jutta Nowosadtko and Matthias Rogg (Münster, 2008), v, 261–89.
123 Haynes, Music for Oboe, 300. This work is available in a modern edition: Johann Georg Christian Störl (1675–1719): Marsch für 2 Oboen, 2 Hörner und Fagott, ed. Achim Hofer (Remagen: Edition Tilo Medek, 2010).
124 Haynes, Music for Oboe, 4. Faksimile in: Hofer, Studien zur Geschichte des Militärmarsches, 328–30.
125 See also Joachim Toeche-Mittler, Armeemärsche (Neckargemünd, 1975), iii, 62.
126 Möbius, ‘Ein feste Burg ist unser Gott … !’, 184.
127 Marten, Die Musik der Spielleute, 13.
128 Hildebrand, ‘Das Oboenensemble’, 62.
129 Achim Hofer, ‘“Preußens Gloria” – Was ist preußische Militärmusik? Vom “Soldatenkönig” bis zu Kaiser Wilhelm II’, ed. Frank-Lothar Kroll, Musik in Preußen – Preußische Musik’ (Berlin, 2016).
130 Harold E. Samuel, ‘Krieger, Johann Philipp’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd edn, Kassel, 1994–2008), 28 vols., Personenteil, x.
131 Steven Zohn, ‘The Ouverture-Suite, Concerto Grosso, Ripieno Concerto, and Harmoniemusik in the Eighteenth Century’, The Cambridge History of Eighteenth-Century Music, ed. Simon Keefe (Cambridge, 2009), 557, 561.
132 Regarding instrumentation Muffat advises in the preface of Florilegium Primum that the work is ‘ … diligently arranged for four or five strings, together with the basso continuo (if you wish)’, qtd. from Georg Muffat in David K. Wilson, Georg Muffat on Performance Practice: The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik: A New Translation with Commentary (Bloomington, 2001), 11.
133 Ibid., 75.
134 See Philipp Heinrich Erlebach, Ouvertüre VI g-moll für fünfstimmiges Streichorchester und Basso continuo (ad lib.), ed. Helmut Mönkemeyer (Wilhelmshaven, 1992).
135 Spitzer and Zaslaw, The Birth of the Orchestra, 92.
136 Robert Eitner, ‘Johann Philipp Krieger. Eine Sammlung von Kantaten, einer Weihnachts-Andacht, einer Begräbnis-Andacht, Arien und Duette aus seinen Singspielen, zwei Sonaten für Violine, Viola da gamba und Bassus continuus und zwei Partien aus der Lustigen Feldmusik zu 4 Instrumenten’, Beilage zu den Monatsheften für Musikgeschichte, 29 (1897–98), 114–28.
137 The term taille solely indicates a tenor part in a composition and thus can mean a string or a wind instrument.
138 On the self-publishing of music and intended customers see also Steven Zohn, ‘Telemann in the Marketplace: The Composer as Self-Publisher’, Journal of the American Musicological Society, 58/2 (2005), 275–356.
139 One well-known example is the Prussian king Friederich II, whose teacher was Johann Joachim Quantz. As can be seen from both the music written for him to perform and his own compositions, he was a competent player, yet he would still have been referred to as a Liebhaber (amateur or music lover) or perhaps a Kenner (connoisseur) rather than as a professional musician who had to earn his living with his music.
140 Johann Philipp Krieger, Partita in F, ed. Max Seiffert (Lippstadt, 1925?).
141 Günter Thomas, ‘Johann Michael Müller’, The New Grove Dictionary of Music and Musicians (London, 1980), xii, 771. It appears that no entry on ‘Johann Michael Müller’ is included in Grove Music Online.
142 Haynes, Music for Oboe, 232.
143 Jean-Michel Muller, XII Sonates, ca. 1712, ed. Jean Saint-Arroman, Collection Dominantes (Bressuire Cedex, 2003), vol. 5820.
144 Gerber, ‘Müller (Johann Michel)’, Neues historisch-biographisches Lexikon der Tonkünstler (Leipzig, 1813), iii, col. 513.
145 Andreas Waczkat, ‘Venturini, Francesco, François’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd edn, Kassel, 1994–2008), 28 vols., Personenteil, xvi.
146 It is important to note that he is not related to an Italian court musician with the same name employed at the Württemberg court in Stuttgart during that same period; see Owens, ‘The Württemberg Hofkapelle’, 22.
147 David Plantier, liner notes for Francesco Venturini: Concerti da Camera Op. 1, Zig Zag Territories ZZT 060502 (Paris, 2007).
148 Georg Philipp Telemann, Singen ist das Fundament zur Music in allen Dingen: eine Dokumentensammlung, ed. Werner Rackwitz (Leipzig, 1981), 198.
149 The print copy consulted for this article is held in D-W, 120.1 Musica div. 2o (1) and (2).
150 See bottom right corner of : Possessor JDitmar Ao. 1723 d. 26[?] Junÿ J. Ditmar Chori. Nuos. Adj. Anno 6. Julÿ 1723 JDitmar Ao. 1723 d. 10. Julÿ.
151 Haynes, Music for Oboe, 331.
152 Braun, ‘The “Hautboist”’, 144.
153 Generally, this means either one trumpet or two horns. For further information on the instrumentation of marches, see: Hofer, Studien zur Geschichte des Militärmarsches, 259–341.
154 Haynes, Music for Oboe, 312. Available in modern edition: Georg Philipp Telemann: Marsch, ed. Jean-Françcois Madeuf (Bologna: Ut Orpheus Edizioni, 2002).
155 Achim Hofer, ‘Geburtsmomente der Harmoniemusik: Beispiele – Perspektiven’, Zur Geschichte und Aufführungspraxis der Harmoniemusik, eds. Boje E. Hans Schmuhl and Ute Omonsky (Augsburg, 2006), 41–3.
156 Hofer, ‘Geburtsmomente der Harmoniemusik’, 46.
157 Martin Ruhnke, Georg Philipp Telemann Thematisch-Systematisches Verzeichnis seiner Werke: Telemann-Werkverzeichnis (TWV) (Kassel, 1984).
158 See also Wolf Hobohm, ‘Telemanns Musik für Hautboisten-Ensembles’, Zur Geschichte und Aufführungspraxis der Harmoniemusik, eds. Schmuhl and Omonsky, 72–4, listing TWV 55:D24 (44:3); TWV 55:F5 (44:8); TWV 55:F8 (44:9); TWV 55:F9 (44:10); TWV 55:F15 (44:12); TWV 55:deest (44:16); TWV 55:F18 (44:14); TWV 55:F4 (44:7); TWV 55:F17 (44:13); TWV 44:2; TWV 50:31–42; TWV 50:43; TWV 55:F11.
159 Hobohm, ‘Telemanns Musik für Hautboisten-Ensembles’, 71.
160 Hobohm, ‘Telemanns Musik für Hautboisten-Ensembles’, 72–6.
161 Hobohm, ‘Telemanns Musik für Hautboisten-Ensembles’, 80: ‘Das Komponieren für eine Besetzung mit zwei Oboen, zwei Naturhörnern und Fagott bedeutete natürlich den Verzicht auf den Reichtum des Streicherapparats’.
162 Whitwell, ‘A Baroque Wind Band Library in Germany’, 43.
163 Jürgen Kloosterhuis, Legendäre ‘lange Kerls’, Quellen zur Regimentskultur der Königsgrenadiere Friedrich Wilhelm I. 1713–1740 (Berlin, 2003), 426.
164 Bandt, ‘Die ehem. Hoboistenschule’, 425.
165 Mary Oleskiewicz, ‘The Court of Brandenburg-Prussia’, Music at German Courts, 1715–1760: Changing Artistic Priorities, eds. Samantha Owens, Barbara M. Reul and Janice B. Stockigt (Woodbridge, 2011), 81, 125.
166 Mary Oleskiewicz, e-mail message to the author, 12 February 2013.
167 Bandt, ‘Die ehem. Hoboistenschule’, 426.
168 Bandt, ‘Die ehem. Hoboistenschule’, 426.
169 Irmgard Hantsche, Preußen am Rhein (Bottrop, Essen, 2002), 9.
170 Hantsche, Preußen am Rhein, 26.
171 Hantsche, Preußen am Rhein, 38.
172 Preußen an Peel, Maas und Niers: das preußische Herzogtum Geldern im 18. Jahrhundert, ed. Stefan Frankewitz, Geldrisches Archiv 7; Führer des Niederrheinischen Museums für Volkskunde und Kulturgeschichte Kevelaer 45; Schriften des Preußen-Museums Nordrhein-Westfalen No. 5 (Kleve, 2003), 119–20.
173 Ernst Friedlaender, ‘Lilien, Georg von’, Allgemeine Deutsche Biographie 18 (online version, 1883), 645–6. Available from www.deutsche-biographie.de. Accessed 3 March 2013.
174 Erich Thurmann, ‘Die Sonsfeldsche Musikaliensammlung in der Bibliotheca Fürstenbergiana’, unpublished typescript dated 1971, Archiv Herdringen No. 7628/1, 3.
175 Wilhelmine von Bayreuth, Memoiren von Friederike Sophie Wilhelmine Markgräfin von Bayreuth, trans. Thomas Hell (Braunschweig, 1845), 60.
176 Hanne Buschmann, ‘Friedrich Otto Freiherr von Wittenhorst-Sonsfeld. Ein musikalischer preußischer General’, Mitteilungen aus dem Schloßarchiv Diersfordt und vom Niederrhein, 6 (1995), 72–7.
177 Buschmann, ‘Friedrich Otto Freiherr von Wittenhorst-Sonsfeld’, 74.
178 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 3.
179 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 5.
180 Joachim Domp, Studien zur Geschichte der Musik an Westfälischen Adelhöfen im 18. Jahrhundert (Düsseldorf, 1934).
181 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 1.
182 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 1: ‘Seine Darlegungen bedürfen der Ergänzung und der Berichtigung, um die Eigenart dieser Musikaliensammlung angemessen zu characterisieren.’
183 DMgA, Kindermann, Katalog der Filmsammlung.
184 Barry S. Brook, ‘A Tale of Thematic Catalogues’, Notes, 29/3 (1973), 407–15.
185 See Renate Hildebrand, ‘Das Oboenensemble in der deutschen Regimentsmusik und in den Stadtpfeifereien bis 1720’, Tibia, 1 (1978), 9.
186 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 12.
187 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 11.
188 Haynes, Music for Oboe, 362.
189 Jany, Geschichte der Preußischen Armee, i, 653.
190 Whitwell, ‘A Baroque Wind Band Library in Germany’, 43, where he refers to Friedrich Otto as ‘Generalmajor Frey Herr von Sons-Feldt of Holland’.
191 Whitwell is most likely referring to Christian Franz Dietrich (also known as Christian Franz Theodor; 1689–1755) Reichsfreiherr von Fürstenberg, who studied law and theology at the Sorbonne before 1712. See Jolk, ‘Grundherrschaftliche Anweisungen’.
192 Erich Schüttpelz, ‘In Wittenhorst, Sonsfeld und Aspel wohnte und wirkte mehr als 700 Jahre die Familie Wittenhorst – 2. Teil’, Haldern einst und jetzt, 79 (1997), 6.
193 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 5.
194 Erich Thurmann, ‘Westfälische Musikaliensammlungen’, Bibliothek in vier Jahrhunderten, 400 Jahre Bibliothek in Münster (Münster, 1988), 312.
195 Haynes, Music for Oboe, 362.
196 On questions of a standardization of Regiments-Hautboisten music see also Hofer, Studien.
197 Albert Lee Moore, ‘Two Anonymous Eighteenth-Century Manuscripts for Trumpet with Oboe Ensemble from the Lilien Part-Books’ (DMA Dissertation, North Texas State University, 1981).
198 See Winton Dean, ‘A New Source for Handel's Amadigi’, Music & Letters, 72 (1991), 27–37.
199 DMgA, Kindermann, Katalog der Filmsammlung, 111.
200 R-Rou, Mus. Saec. XVII.18.-51.53.
201 See Hofer, ‘Geburtsmomente der Harmoniemusik’.
202 See: Philipp Heinrich Erlebach, VI. Ouvertures, begleitet mit ihren darzu schicklichen Airs, nach französischer Art und Manier eingerichtet und gesetzet (Nürnberg, 1693).
203 Dean, ‘A New Source for Handel's Amadigi’, 27–37.
204 I am grateful to Steffen Voss (RISM, Munich) for pointing out the provenance of the original versions for these arrangements. Previously the composers of these arias were anonymous.
205 Georg Friedrich Händel, Sonate für Oboe und Geige mit Generalbass ed. W. Hinnenthal (Kassel, 1935). Scholars disagree whether this work is authentic.
206 Kloosterhuis, Legendäre ‘lange Kerls’, 188.
207 Haynes, The Eloquent Oboe, 158.
208 See translation of Krieger’s Feldmusik titlepage earlier in this article.
209 Robertson, The Courtly Consort Suite, 162.
210 See Ton Koopman, ‘Recording Bach’s Early Cantatas’, Early Music, 24/4 (1996), 605–21. See also Andrew Parrott, ‘Bach’s Chorus: A “Brief yet Highly Necessary” Reappraisal’, Early Music, 24/4 (1996), 551–80. See also Joshua Rifkin, ‘Bassoon, Violins and Voices: A Response to Ton Koopman’, Early Music, 25/2 (1997), 303–7.