PUBLICATIONS
DAVID LASOCKI
Last revised 25 May 2010
BOOKS
1. (Translator and editor) Jacques Hotteterre le Romain. Principles of the Flute, Recorder and Oboe.
An annotated translation of Principes de la flûte traversière ou flûte d’Allemagne, de la flûte à bec ou
flûte douce, et du hautbois (Paris, 1707, etc.). London: Barrie & Rockliff; New York: Praeger, 1968.
2. (Betty Bang Mather, co-author) Free Ornamentation for Woodwind Instruments, 1700–1775: An
Anthology with Introduction. New York: McGinnis & Marx, 1976.
3. (Betty Bang Mather, co-author) The Classical Woodwind Cadenza: A Workbook. New York:
McGinnis & Marx, 1978.
4. (Betty Bang Mather, co-author) The Art of Preluding, 1700–1830, for Flutists, Oboists, Clarinettists
and Other Performers. New York: McGinnis & Marx, 1984.
5. (Scott Paterson, co-author; with Dawn Culbertson) A Discography of the Recorder. Volume 1:
Recordings Available in North America, 1989. The American Recorder Society Discography Project.
New York: The American Recorder Society, 1992.
6. (Editor) Fluting and Dancing: Articles and Reminiscences for Betty Bang Mather on her 65th
Birthday (New York: McGinnis & Marx, 1992).
Includes my reminiscence, “Betty and David.”
1 review: Jeremy Montagu in FoMRHI Quarterly, no. 69 (October 1992): 10.
7. (Richard Griscom, co-author) The Recorder: A Guide to Writings about the Instrument for Players
and Researchers. New York: Garland, 1994.
Chosen as a Choice Outstanding Academic Book 1995.
18 reviews: Mark Davenport in American Recorder 36, no. 1 (January 1995): 24–26 (with
response by me in 36, no. 2 [March 1995]: 22); Jeremy Montagu in FoMRHI Quarterly, no. 78 (January
1995): 10–11 (with response by me in no. 79 [April 1995]: 13–14); Clifford Bartlett in Early Music
Review, no. 7 (February 1995): 7; Andrew Mayes in The Recorder Magazine 15, no. 1 (March 1995):
25–26; H. J. Diamond in Choice (April 1995): 1276; Scott Paterson in Continuo 19, no. 2 (April 1995):
37; Anthony Rowland-Jones in NEMA News (June 1995): 6; Greg Dikmans in Australia’s Journal of
Recorder and Early Music 19 (August 1995): 29–30; G. Peñalver in Revista de flauto de pico 3
(September 1995): 27–28; Karsten Erik Ose in Concerto: Das Magazin für Alte Musik 106 (September
1995): 16–17; “M–B–TH” in Tibia 20, no. 4 (1995): 619–21; John Turner in Music & Letters 76, no. 4
(November 1995): 615–17; William E. Hettrick in Notes 52, no. 3 (March 1996): 796–97; Guido van
Oorschot in Tijdschrift voor Oude Muziek 11, no. 2 (May 1996): 39; Piers Adams in Early Music Today
(October/November 1996): 22; Edgar Hunt in Galpin Society Journal 49 (1996): 245–46; Robert
Ehrlich in Early Music 25, no. 2 (May 1997): 311–13; Dale Higbee in Journal of the American Musical
Instrument Society 23 (1997): 161–63.
8. (with Roger Prior) The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–
1665. Aldershot, Hampshire: Scolar Press, 1995.
16 reviews: Clifford Barlett in Early Music Review 13 (September 1995): 3; Christopher
Brodersen in Continuo 19, no. 5 (October 1995): 41–42; Anthony Rowland-Jones in Leading Notes 5,
no. 2 (1995): 28–30; Early Music Today 3 (October–November 1995): 23; Jeffrey Nussbaum in Journal
of Synagogue Music 24, no. 2 (December 1995): 139–40; Trevor Herbert in Historic Brass Society
Journal 7 (1995): 207–09; Michael Fleming in Chelys: The Journal of the Viola da Gamba Society 24
(1995): 62–64; Emile Roi in The Jerusalem Post Magazine, 26 January 1996, 20; Brett Usher in The
Consort 52, no. 1 (May 1996): 43–44; Douglas Kirk in American Recorder 37, no. 5 (November 1996):
33–35; Gordon Callon in Notes 53, no. 2 (December 1996): 451–53 (with response by me in 54, no. 1
[September 1997]: 306); Kenneth Marcus in Sixteenth Century Journal 27, no. 2 (summer 1996): 599;
A. L. Rowse in Contemporary Review 268 (1996): 33–37; Giulio Ongaro in Journal of the American
Musical Instrument Society 23 (1997): 158–61; Edgar Hunt in Galpin Society Journal 50 (1997): 290–
91; Jeremy Montagu in FoMRHI Quarterly, no. 92 (July 1998): 6–7.
9. (Editor) The Recorder in the 17th Century: Proceedings of the International Recorder Symposium
Utrecht 1993. Utrecht: STIMU, Foundation for Historical Performance Practice, 1995.
Includes my articles: “The Recorder’s Role in Seventeenth-Century Music, Then and Now: A
Reply to Bart Kuijken” (203–10). “Barthold Kuijken and David Lasocki, An Exchange of
Correspondence” (211–15). Dutch translation as “Lijden blokfluitisten aan arrangitis? Barthold
Kuijken en David Lasocki dienen elkaar van replieek.” Tijdschrift voor oude muziek 11, no. 1 (February
1996): 17–20. “Gaps in Our Knowledge of the Recorder in the Seventeenth Century and How They
Could Be Filled” (257–74). (with Richard Griscom) “Bibliography of Writings about the Recorder in
the Seventeenth Century” (277–86).
9 reviews: Clifford Bartlett in Early Music Review, no. 29 (April 1997): 4; Robert Ehrlich in
Early Music 25, no. 2 (May 1997): 311–13; Jeff Nussbaum in Historic Brass Society Newsletter, no. 10
(Summer 1997): 35; Wendy Hancock in The Consort 53, no. 1–2 (1997): 61–63; Early Music Today 5,
no. 5 (1997): 18; Hermann Moeck in Tibia 22, no. 3 (1997): 530; Wendy Powers in American Recorder
38, no. 5 (November 1997): 27–28; Karsten Erik Ose in Concerto, no. 130 (February 1998): 9–10;
Friedrich von Huene in Galpin Society Journal 51 (1998): 236–38.
10. (Compiled by Andrew Ashbee and David Lasocki assisted by Peter Holman and Fiona Kisby) A
Biographical Dictionary of English Court Musicians, 1485–1714, 2 vols. Aldershot, Hampshire and
Brookfield, VT: Ashgate, 1998.
Winner of the C.B. Oldman Prize awarded by the International Association of Music Libraries,
Archives and Document Centres (UK Branch) for the best music reference book published in 1998.
6 reviews: Clifford Bartlett in Early Music Review, no. 41 (March 1999): 3–4; Roger Bowers in
Early Music 27, no. 3 (August 1999): 481–83; Robert Shay in Notes 57, no. 1 (September 2000): 108–
09; Trevor Herbert in Historic Brass Society Newsletter, no. 14 (Summer 2001): 57; Craig Monson in
Sixteenth Century Journal 31 no. 3 (2000): 797–99; John Milsom in Journal of Seventeenth-Century
Music 6, no. 2 (2000).
11. (Editor) A Time of Questioning: Proceedings of the International Early Double-Reed Symposium
Utrecht 1994. Utrecht: STIMU, Foundation for Historical Performance Practice, 1997 [1999].
Includes: (with Geoffrey Burgess and Laura Goetz), “A Bibliography of Writings about the Oboe
and Bassoon, 17th–19th Centuries” (225–58).
12. Richard Griscom and David Lasocki, The Recorder: A Research and Information Guide, 2nd ed.
New York: Routledge, 2003.
1 review: James Harris in Journal of Seventeenth-Century Music 12, no. 1 (2006); http://sscmjscm.press.uiuc.edu/v12/no1/harris.html.
A third edition is in process of publication.
13. (Editor) Musicque de joye: Proceedings of the International Symposium on the Renaissance Flute
and Recorder Consort, Utrecht 2003. Utrecht: STIMU Foundation for Historical Performance Practice,
2005.
Includes my: “Tracing the Lives of Players and Makers of the Flute and Recorder in the
Renaissance” (pp. 363–405), “Introductory Remarks for the Panel Discussion: Imperative of Historical
Information in Performance or Performers’ Choice?” (pp. 409–13), “A Listing of Inventories and
Purchases of Flutes, Recorders, Flageolets, and Tabor Pipes, 1388–1630” (pp. 419–511), “A
Bibliography of Writings about Medieval and Renaissance Flutes” (pp. 523–31).
4 reviews: Anthony Rowland–Jones in Early Music 34, no. 2 (2006): 293–96; Ardal Powell in
Traverso: Historical Flute Newsletter 19, no. 2 (April 2007): 5–7; Scott Paterson in American Recorder
48, no. 4 (November 2007): 8; Jim Kopp, Newsletter of the American Musical Instrument Society 36, no.
3 (2007).
14. A Listing of Inventories, Sales, and Advertisements Relating to Flutes, Recorders, and Flageolets,
1631–1800. Bloomington, Indiana: InstantHarmony, 2010. E-book available from
http://www.instantharmony.net.
15. James Singleton: Rhythm Crusader. The Life and Work of the New Orleans Jazz Bassist and
Bandleader. Bloomington, Indiana: InstantHarmony, 2010. E-book available from
http://www.instantharmony.net.
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SCHOLARLY ARTICLES
1. “The Baroque Flute and its Rôle Today.” Recorder & Music Magazine 2, no. 4 (February 1967): 96–
104. In German as “Die barocke Querflöte und ihre heutige Bedeutung.” Das Musikinstrument 19, no.
2 (February 1970): 187–89.
2. “Diderot and the Recorder.” Recorder & Music Magazine 2, no. 6 (August 1967): 190.
3. “The Tongueing Syllables of the French Baroque.” American Recorder 8, no. 3 (Summer 1967): 81–
82.
4. “A Newly Rediscovered Recorder Tutor.” American Recorder 9, no. 1 (Winter 1968): 18–19.
5. “A Spanish Recorder Tutor.” American Recorder 9, no. 2 (Spring 1968): 49–50.
6. “Vivaldi and the Recorder.” American Recorder 9, no. 3 (Fall 1968): 102–7; reprinted in Recorder &
Music Magazine 3, no. 1 (March 1969): 22–27.
7. “Freillon-Poncein, Hotteterre, and the Recorder.” American Recorder 10, no. 2 (Spring 1969): 40–
43.
8. “The Compleat Flute-Master Reincarnated.” American Recorder 11, no. 3 (Summer 1970): 83–85.
9. “The C Recorder in the 18th Century.” American Recorder 11, no. 1 (Winter 1970): 20–21.
10. “17th- and 18th-Century Fingering Charts for the Recorder.” American Recorder 11, no. 4 (Fall
1970): 128–37.
11. “Flute and Recorder in Combination: Recent Additions to the Baroque Repertoire.” Recorder &
Music 4, no. 11 (September 1974): 391–95.
12. “Johann Christian Schickhardt (ca. 1682-1762): Woodwind Composer, Performer and Teacher.”
Recorder & Music 5, no. 8 (December 1976): 254–57; 5, no. 9 (March 1977): 287–90.
13. “Johann Christian Schickhardt.” Recorder [Japan] 1976 No. 4: 15–19; 1977 No. 1: 37–39.
14. “Johann Christian Schickhardt.” Tibia 2, no. 3 (1977): 337–43.
15. “Johann Christian Schickhardt (ca. 1682–1762): A Contribution to his Biography and a Catalogue
of his Works.” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 27, no. 1 (1977):
28–55.
16. “‘Authenticity’ in Performances of Early Music.” Recorder & Music 5, no. 12 (December 1977):
384–87. In Hungarian as “A régi zene elöadásának ‘hitelessége.’” In Régi Zene: Tanulmányok, Cikkek,
Interjúk, ed. Judit Péteri, 9–15. Budapest: Zenemükiadó, 1982.
17. “A New Look at Handel’s Recorder Sonatas. I: Ornamentation in the First Movement of the F
major Sonata.” Recorder & Music 6, no. 1 (March 1978): 2–9, 19.
18. “Johann Christian Schickhardt (ca. 1682–1762).” Introduction to an edition of Schickhardt’s 24
Sonatas in all keys, Opus 30, for treble recorder and basso continuo, ed. Frans Bruggen & Walter
Bergmann. Tokyo: Zen-On, 1978.
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19. “A New Look at Handel’s Recorder Sonatas. II: The Autograph Manuscripts.” Recorder & Music
6, no. 3 (September 1978): 71–79.
20. “Quantz and the Passions: Theory and Practice,” Early Music 6, no. 4 (October 1978): 556–67. In
Italian as: “Quantz e la teoria delle passioni: Gli effetti del clima estetico sulla prassi esecutiva nei secoli
XVII e XVIII.” Syrinx: Bollettino Ufficiale Accademia Italiana del Flauto 17 (July–September 1993):
30–34. In Polish as “Quantz i namiętności: Teoria i praktyka.” Canor 5, no. 2 (1995): 19–24.
21. “A New Look at Handel’s Recorder Sonatas. III: The Roger and Walsh Prints: A New View.”
Recorder & Music 6, no. 5 (March 1979): 130–32.
22. “Preluding on the Recorder in England in the early 18th Century.” Recorder & Music 6, no. 7
(September 1979): 194–97.
23. “Schickhardt in London.” Recorder & Music 6, no. 7 (September 1979): 203–5.
24. Preface to facsimile of Jacques de Vaucanson, Le Mécanisme du flûteur automate (Paris, 1738) =
An Account of the Mechanism of an Automaton or Image playing on the German-Flute (London, 1742).
Buren, The Netherlands: Frits Knuf, 1979.
25. “Die Theorien der Akustik und Spieltechnik der Flöte des Jacques Vaucanson (1738).” Tibia 5, no.
2 (1980): 87–90.
26. “Händels Sonaten für Holzbläser in neuem Licht.” Tibia 5, no. 3 (1980): 166–76. In English as
“New Light on Handel’s Woodwind Sonatas.” American Recorder 21, no. 4 (February 1981): 163–70.
In Italian as “Le sonate per legni di Händel: Lo studio comparato di parti autografe, manoscritti e antiche
edizioni a stampa getta una nuova luce sull’autenticità e sull’esatta destinazione strumentale di queste
composizioni.” I fiati 1, no. 2 (October–November 1994): 32–40.
27. (Terence Best, co-author) “A New Flute Sonata by Handel.” Early Music 9, no. 3 (July 1981):
307–11.
28. “Professional Recorder Playing in England 1500–1740. I: 1500–1640.” Early Music 10, no. 1
(January 1982): 23–29; “II: 1640–1740,” 10, no. 2 (April 1982): 183–91.
29. “The Detroit Recorder Manuscript (England c.1700).” American Recorder 23, no. 3 (August 1982):
96–102.
30. “The Recorder in the Elizabethan, Jacobean and Caroline Theater.” American Recorder 25, no. 1
(February 1984): 3–10.
31. “A New Look at the Life of John Loeillet (1680–1730).” Recorder & Music 8, no. 2 (June 1984):
42–46. Another version in Concerning the Flute, ed. Rien de Reede [Festschrift for Frans Vester].
Amsterdam: Broekmans & Van Poppel, 1984, 65–73.
32. “The Recorder Consort at the English Court 1540–1673.” American Recorder 25, no. 3 (August
1984): 91–100; 25, no. 4 (November 1984): 131–35.
33. “A New Dating for Handel’s Recorder Sonatas.” Recorder & Music 8, no. 6 (June 1985): 170–71.
34. “The Anglo-Venetian Bassano Family as Instrument Makers and Repairers.” Galpin Society
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Journal 38 (1985): 112–32.
35. “Mrs. Midnight, Dr. Burney, the Jew’s Harp, and the Salt-Box.” VIM 2 (1985): 15–35.
36. “The Bassanos: Anglo-Venetian and Venetian.” Early Music 14, no. 4 (November 1986): 558–60.
37. “Dudley Ryder, An Amateur Musician and Dancer in England (1715–16).” American Recorder 28,
no. 1 (February 1987): 4–13.
38. “Late Baroque Ornamentation: Philosophy and Guidelines.” American Recorder 29, no. 1
(February 1988): 7–10.
39. (Helen Neate, co-author) “The Life and Works of Robert Woodcock, 1690–1728.” American
Recorder 29, no. 3 (August 1988): 92–104.
40. “The French Hautboy in England, 1673–1730.” Early Music 16, no. 3 (August 1988): 339–57.
41. (Rebecca Troxler, co-author) “New Ideas on Interpreting the Ornaments in Mozart’s Flute
Concertos. Part One: Single-Note Ornaments and Turns.” Flutist Quarterly 13, no. 4 (Fall 1988): 19–
29.
42. (Eva Legêne, co-author) “Learning to Ornament Handel’s Sonatas Through the Composer’s Ears.
Part 1: Rhetoric, Variation, and Reworking,” The American Recorder 30, no. 1 (February 1989): 9–14.
Part 2: Essential Graces, Free Ornamentation, and Contemporaneous Examples.” The American
Recorder 30, no. 3 (August 1989): 102–6. Part 3: Conclusions.” The American Recorder 30, no. 4
(November 1989): 137–41. Revised one-part version in Recorder Education Journal 6 (2000): 44–59.
For German version see item 58.
43. “The Life of Daniel De Moivre (fl. 1687–1731).” The Consort 45 (1989): 15–17.
44. Note on the repertory of the bass recorder in the Baroque period. American Recorder 31, no. 3
(September 1990): 34.
45. “More on the Life of Francesco Barsanti.” Brio 27, no. 2 (Autumn/Winter 1990): 78–79.
46. “More on Echo Flutes.” The Recorder: Journal of the Victorian Recorder Guild 13 (July 1991):
14–16.
47. “Paisible’s Echo Flute, Bononcini’s Flauti Eco, and Bach’s Fiauti d’Echo.” The Galpin Society
Journal 45 (March 1992): 59–66.
48. “The Levashers and the Le Vachers.” The Galpin Society Journal 45 (March 1992): 111–13.
49. “The Bassanos’ Maker’s Mark Revisited.” The Galpin Society Journal 46 (1993): 114–19.
50. “Historical Recorder Methods and ‘Authentic’ Performance.” The Recorder Education Journal 1
(1994): 47–53.
51. (Ardal Powell with David Lasocki) “Bach and the Flute: The Players, The Instruments, The
Music.” Early Music 23, no. 1 (February 1995): 9–29.
52–54. “Instruction Books and Methods for the Recorder from Around 1500 to the Present Day” (pp.
119–35), “Professional Recorder Players I: Pre-Twentieth Century” (pp. 167–74), and (with Anthony
Rowland-Jones) “The Eighteenth-Century Recorder Concerto” (pp. 107–18). In The Cambridge
Companion to the Recorder, ed. John Mansfield Thomson. Cambridge: Cambridge University Press,
1995.
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55–57. “The Recorder’s Role in Seventeenth-Century Music, Then and Now: A Reply to Bart Kuijken,”
“Barthold Kuijken and David Lasocki, An Exchange of Correspondence,” and “Gaps in Our Knowledge
of the Recorder in the Seventeenth Century and How They Could Be Filled.” See under Books, 9.
58. (with Eva Legêne) “Wie man lernt, beim Verzieren von Händel-Sonaten mit dem Ohr des
Komponisten zu hören.” Tibia 22, no. 3 (1997): 488–503.
59. “The London Publisher John Walsh (1665 or 1666–1736) and the Recorder.” In Sine musica nulla
vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16. September 1997, ed. Nicholaus Delius.
Celle: Moeck, 1997, 343–74.
60. “Die Blockflöte als Symbol der Liebe.” ERTA Österreich News 4, no. 2 (1 July 1998): 1–5.
61. “Die Blockflöte als Liebhaber-Instrument vor dem 20. Jahrhundert.” ERTA Österreich News 4, no.
3 (1 October 1998): 1–5; 4, no. 4 (1 December 1998): 1–2, 5–6. English version as “Amateur Recorder
Players in Renaissance and Baroque England.” American Recorder 40, no. 1 (January 1999): 15–19.
62. “Fiauto, fiauto d’echo.” In J. S. Bach, ed. Malcolm Boyd. Oxford Composer Companions.
Oxford: Oxford University Press, 1999, 169–70.
63. “The Philosophy of Baroque Ornamentation: Editorial.” Recorder Education Journal 5 (1999): 2–
5.
64. “A Short History of the Recorder Ensemble” in Bart Spanhove, The Finishing Touch of Ensemble
Playing: A Flanders Recorder Quartet Guide for Recorder Players and Teachers (Peer, Belgium:
Alamire, 2000), 53–62. German translation as “Zur Geschichte des Blockflöten-Ensembles: ein
historischer Abriss” in Bart Spanhove, Das Einmaleins des Ensemblespiels: ein Leitfaden des Flanders
Recorder Quartet für Blockflötenspieler und -lehrer, mit einem historischen Kapitel von David Lasocki
(Celle: Moeck Music, 2002), 53–62. I was also the editor of the English version of this book.
65. “The Doubles in Jacques Hotteterre’s Airs et brunettes (ca. 1721).” Recorder Education Journal 5
(1999): 21–52; addendum in 6 (2000): 60.
66–86. In: The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 2nd ed. (London:
Macmillan, 2000) (also online at: www.grovemusic.com): “Ashe, Andrew,” “Banister, John (ii),”
“Bassano [sections 1–3],” “Baston, John” (co-author with Owain Edwards), “Echo flute,” “Flauto,”
“Flautino,” “Freillon-Poncein, Jean Pierre,” “Guillemant, Benoit” (co-author with Elizabeth Keitel),
“HIER.S,” “La Riche, François,” “Mercy, Luis,” “Moeck,” “Paisible, Jacques,” “Petri, Michala,”
“Recorder,” “Salter, Humphry,” “Schickhardt, Johann Christian” (co-author with Pippa Drummond),
“Tonguing” (co-author with Bruce Dickey), “Vetter, Michael,” and “Woodcock, Robert.”
87. “Are There Any ‘Shoulds’ for Traverso Playing?” Traverso: Historic Flute Newsletter 13, no. 2
(April 2001): 5–7.
88. “Die Bassanos: Holzbläser, Instrumentenbauer und Komponisten des 16. und 17. Jahrhunderts in
London und Venedig.” Tibia 27, no. 1 (2002): 3–10.
89. “The Flute in Handel’s Vocal Works.” Traverso 14, no. 2 (April 2002): 5–7.
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90. “Spuren aus der Renaissance.” Windkanal: das Forum für die Blockflöte 4/2003, 7–12.
91–95. Entries on “Adson, John,” “Bassano, Alvise,” “Bressan, Peter,” “Keller, Gottfried,” and
“Paisible, James,” in Oxford Dictionary of National Biography, 60 vols. (Oxford: Oxford University
Press, 2004); also available on www.oxforddnb.com (by subscription).
96. “Tracing the Renaissance Flute in Contemporaneous Documents.” Traverso: Historical Flute
Newsletter 16, no. 1 (January 2004): 1–4.
97. “Renaissance Recorder Players.” American Recorder 45, no. 2 (March 2004): 8–23.
98. “Tracing the Lives of Players and Makers of the Flute and Recorder in the Renaissance.” Included
in Books, 13.
99. (with Adrian Brown) “Renaissance Recorders and their Makers.” American Recorder 47, no. 1
(January 2006): 19–31.
100. (with Adrian Brown) “Blockflötenbauer der Renaissance, Teil 1.” Tibia 32, no. 1 (2007): 322–28;
“Teil 2,” 32, no. 2 (2007): 402–12; “Teil 3,” 32, no. 3 (2007): 482–88; “Teil 4,” 32, no. 4 (2007): 562–
66.
101–113. Twelve articles for the Lexicon der Flôte (Laaber, Germany: Laaber-Verlag, 2009):
“Barsanti, Francesco,” “Bassano,” “Bressan, Peter,” “Folkers & Powell,” “Ganassi, Sylvestro,”
“Hotteterre,” “Loeillet,” “Moeck,” “Paisible, James,” “Schickhardt, Johann Christian,” “sixth flute,” and
“Vetter, Michael.”
114. “Lessons from Inventories and Sales of Flutes and Recorders, 1650–1800.” In Flötenmusik in
Geschichte und Aufführungspraxis von 1650 bis 1850: XXXIV. Wissenschaftliche Arbeitstagung
Michaelstein, 5. bis 7. Mai 2006, herausgegeben von Ute Omonsky und Boje E. Hans Schmuhl/Stiftung
Kloster Michaelstein. Michaelsteiner Konferenzberichte, Band 73. Augsburg: Wißner-Verlag, 2009,
299–330.
115. “New Light on the Early History of the Keyed Bugle from Newspaper Advertisements. Part 1: The
Astor Advertisement and Collins v. Green.” Historic Brass Society Journal 21 (2009): 11–50. DOI:
10.2153/0120090011002.
116. “New Light on the Recorder and Flageolet in Colonial North America and the United States,
1700–1840, from Newspaper Advertisements.” Journal of the American Musical Instrument Society 36
(2010): 5–80.
117. “New Light on Eighteenth-Century English Woodwind Makers from Newspaper Advertisements.”
Galpin Society Journal 63 (2010): 73–142.
In process of publication:
“New Light on the Early History of the Keyed Bugle from Newspaper Advertisements. Part 2: More on
England and Ireland; the United States.” Historic Brass Society Journal 22 (2010).
BIBLIOGRAPHIES AND BIBLIOGRAPHIC ESSAYS
1. “A Review of Research on the Recorder, 1985–1986.” American Recorder 28, no. 4 (November
1987): 145–56.
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2. “Ein Überblick über die Blockflötenforschung, 1985–1987.” Tibia 13, no. 4 (1988): 237–58.
3. “The Recorder in Print: 1987–88.” American Recorder 31, no. 1 (March 1990): 11–13, 35–42.
4. “A Bibliography of Writings about Historic Brass Instruments, 1988–89.” Historic Brass Society
Journal 2 (1990): 190–202. Italian translation as “Gli scritti sugli ottoni d’epoca: una sistematica
raccolta di saggi sugli ottoni nel XIX secolo, apparsi a partire dal 1988. In questa prima parte, quelli
pubblicati nel 1988 e nel 1989.” I fiati 2, no. 5 (April/May 1995): 48–51.
5. “Ein Überblick über die Blockflötenforschung, 1988–1989.” Tibia 16, no. 4 (1991): 585–99.
6. “A Bibliography of Writings about Historic Brass Instruments, 1989–90.” Historic Brass Society
Journal 3 (1991): 23–32. Italian translation as “Gli scritti sugli ottoni d’epoca: una sistematica raccolta
di saggi sugli ottoni nel XIX secolo, apparsi a partire dal 1988. Nella terza parte, quelli pubblicati tra il
1989 e il 1990.” I fiati 2, no. 7 (August/September 1995): 42–45.
7. “The Recorder in Print: 1989–90.” American Recorder 33, no. 1 (March 1992): 15–19, 38–44.
8. “Überblick über die Blockflötenforschung 1990.” Tibia 18, no. 1 (1993): 355–64.
9. “A Bibliography of Writings about Historic Brass Instruments, 1990–91.” Historic Brass Society
Journal 4 (1992): 12–26. Italian translation as “Gli scritti sugli ottoni d’epoca: una sistematica raccolta
di saggi sugli ottoni nel XIX secolo, apparsi a partire dal 1988. In questa seconda parte, quelli pubblicati
tra il 1990 e il 1991.” I fiati 2, no. 6 (June 1995): 52–56.
10. “A Bibliography of Writings about Historic Brass Instruments, 1991–93.” Historic Brass Society
Journal 5 (1993): 132–45. Italian translation as “Gli scritti sugli ottoni d’epoca: una sistematica raccolta
di saggi sugli ottoni nel XIX secolo, apparsi a partire dal 1988. Nella quarta parte, quelli pubblicati tra il
1991 e il 1993.” I fiati 2, no. 8 (October/November 1995): 46–49.
11. “Ein Überblick über die Blockflötenforschung, 1991.” Tibia 19, no. 1 (1994): 1–13.
12. “The Recorder in Print 1991–92: What’s Been Written About the Recorder in Other Publications
Around the World.” American Recorder 35, no. 2 (March 1994): 5–11, 30–35.
13. “Ein Überblick über die Blockflötenforschung, 1991.” Tibia 19, no. 1 (1994): 1–13.
14. “Ein Überblick über die Blockflötenforschung 1992–93.” Tibia 19, no. 4 (1994): 257–74.
15. “The Recorder in Print, 1993.” American Recorder 36, no. 2 (March 1995): 9–13, 34–35.
16. “A Bibliography of Writings about Historic Brass, 1992–94.” Historic Brass Society Journal 6
(1994): 216–30.
17. “A Preliminary Bibliography of Ensemble Pieces for Recorder, 16th–18th Century.” Recorder
Education Journal 2 (1995): 79–85.
18. “A Bibliography of Writings about Historical Brass Instruments, Largely 1993–95.” Historic Brass
Society Journal 7 (1995): 149–67.
11
19. See under Books, 9.
20. “Ein Überblick über die Blockflötenforschung 1994.” Tibia 21, no. 4 (1996): 241–51.
21. “Bibliography of Writings About Historic Brass Instruments, 1995–96.” Historic Brass Society
Journal 8 (1996): 115–23.
22. “The Recorder in Print: 1995. What’s Been Written About the Recorder in Other Publications
Around the World.” American Recorder 38, no. 2 (March 1997): 9–15.
23. “The Recorder in Print: 1996.” American Recorder 39, no.2 (March 1998): 9–14, 39.
24. “Ein Überblick über die Blockflötenforschung 1995.” Tibia 23, no. 2 (1998): 85–91; 169–75.
25. “Handel’s Original Recorder Music: A Bibliography.” Recorder Education Journal 3 (1996): 38–
44.
26. “Historical Flute Bibliography, 1989–1998.” In Traverso, Historical Flute Newsletter: The First
Ten Years, 1989–98, 161–90. Hudson, NY: Folkers & Powell, 1999.
27. “The Recorder in Print: 1997.” American Recorder 40, no. 3 (May 1999): 9–13, 35–36.
28. “A Bibliography of Writings about Historic Brass Instruments, 1996–97.” Historic Brass Society
Journal 9 (1997): 97–107.
29. “Estudios sobre la flauta dulce publicados en 1995.” Revista de flauta de pico no. 13 (1999): 17–
21; no. 14 (1999): 17–22.
30. “Ein Überblick über die Blockflötenforchung 1996.” Tibia 24, no. 3 (1999): 521–30.
31. “The Recorder in Print: 1998.” American Recorder 41, no. 3 (May 2000): 9–16, 30, 36–37.
32. “A Bibliography of Writings about Historic Brass Instruments, 1998–99.” Historic Brass Society
Journal 11 (1999): 163–74.
33. “Ein Überblick über die Blockflötenforschung 1997: Was in anderen Publikationen aus aller Welt
über die Blockflöte geschrieben wurde.” Tibia 25, no. 3 (2000): 181–202.
34. “Ein Überblick über die Blockflötenforschung 1998: Was in Publikationen aus aller Welt über die
Blockflöte geschrieben wurde.” Tibia 26, no. 2 (2001): 441–54.
35. “The Recorder in Print: 1999. What’s Been Written about the Recorder in Other Publications
around the World.” American Recorder 42, no. 3 (May 2001): 9–16.
36. “The Recorder in Print 2000.” American Recorder 43, no. 3 (May 2002): 7–15.
37. “Divisions on a Ground for the Recorder: A Bibliographic Essay.” The Recorder Education
Journal 7 (2002): 10–19. German translation as “Divisions on a Ground: Recherchen im
Blockflötenrepertoire.” Windkanal 3/2009, 8–13.
38. “Ein Überblick über die Blockflötenforschung 1999: Was in Publikationen aus aller Welt über die
Blockflöte geschrieben wurde.” Tibia 27, no. 3 (2002): 161–74.
12
39. “A Bibliography of Writings About Historic Brass Instruments, 1999–2000.” Historic Brass
Society Journal 12 (2000): 244–54.
40. “A Bibliography of Writings About Historic Brass Instruments, 2000–2001.” Historic Brass
Society Journal 13 (2001): 210–21.
41. “Überblick über die Blockflötenforschung 2000.” Tibia 28, no. 1 (2003): 321–31; 28, no. 2 (2003):
401–9.
42. “The Recorder in Print, 2001: What’s Been Written About the Recorder in Other Publications
Around the World.” American Recorder 45, no. 3 (May 2003): 14–21.
43. “Ein Überblick über die Blockflötenforschung, 2001.” Tibia 28 no. 4 (2003): 561–65; 29, no. 1
(2004): 3–7.
44. “The Recorder in Print: 2002.” American Recorder 45, no. 3 (May 2004): 8–15.
45. A Listing of Inventories and Purchases of Flutes, Recorders, Flageolets, and Tabor Pipes, 1388–
1630; http://www.music.indiana.edu/reference/bibliographies/inventoriesto1630.pdf; posted 1 July 2004.
Included in Books, 13.
46. “Bibliography of Writings about Historic Brass Instruments, 2003–04.” Historic Brass Society 17
(2004): 125–31.
47. “The Recorder in Print: 2003. What’s Been Written about the Recorder in Other Publications
Around the World.” American Recorder 45, no. 2 (May 2005): 11–18.
48. “A Bibliography of Writings about Medieval and Renaissance Flutes.” Included in Books, 13.
49. “Ein Überblick über die Blockflötenforschung, 2002.” Tibia 30, no. 2 (2005): 410–16; 30, no. 3
(2005): 490–96.
50. “Bibliography of Writings about Historic Brass Instruments, 2004–05.” Historic Brass Society
Journal 17 (2005): 115–21.
51. “Ein Überblick über die Blockflötenforschung 2003.” Tibia 30, no. 2 (2006): 82–88; 30, no. 3
(2006): 175–82.
52. The Recorder in Print: 2004—What's Been Written about the Recorder in Other Publications around
the World.” American Recorder 47, no. 3 (May 2006): 12–21
53. “Bibliography of Writings about Historic Brass Instruments, 2005–2006.” Historic Brass Society
Journal 18 (2006): 73–83.
54. “The Recorder in Print: 2005: What’s Been Written about the Recorder in Other Publications
around the World.” American Recorder 48, no. 3 (May 2007): 27–41.
55. “Ein Überblick über die Blockflötenforschung 2004” Tibia 33, no. 2 (2008): 82–89; 33, no. 3
(2008): 162–67; 33, no. 4 (2008): 269–71.
56. “The Recorder in Print: 2006; What’s Been Written about the Recorder in Other Publications
around the World.” American Recorder 49, no. 3 (May 2008): 13–24.
13
57. “Ein Überblick über die Blockflötenforschung 2005.” Tibia 34, no. 2 (2009): 431–36; 34, no. 3
(2009): 502–8; 34, no. 4 (2009): 593–98; 35, no. 1 (2010): 20–25.
58. “The Recorder in Print: 2007; What’s Been Written about the Recorder in Other Publications
around the World.” American Recorder 50, no. 3 (May 2009): 8–20.
59. “Bibliography of Writings about Historic Brass Instruments, 2007–2008.” Historic Brass Society
Journal 20 (2008): 205–12.
60. “Historical Flute Bibliography, 1999–2008.” In Traverso: Historical Flute Newsletter. The Second
Decade, 1999–2008, ed. Ardal Powell, 169–206. Hillsdale, NY: Pendragon Press, 2009.
61. “Ein Überblick über die Blockflötenforschung 2006.” Tibia 35, no. 2 (2010): 82–88, etc.
62. “Bibliography of Writings about Historic Brass Instruments, 2008–2009.” Historic Brass Society
Journal 21 (2009): 103–11. DOI: 10.2153/0120080011006.
63. “The Recorder in Print: 2008; What’s Been Written about the Recorder in Other Publications
around the World.” American Recorder 51, no. 3 (May 2010): 10–20.
OTHER WRITINGS
1. “What Kind of Editions of 18th-Century Woodwind Music Do We Want?” Woodwind World—Brass
& Percussion 15, no. 1 (Winter 1976): 10–11, 49; reprinted in Recorder & Music 5, no. 7 (September
1976): 223–24.
2. “Recorder Players and I.” Early Music New Zealand 1, no. 4 (December 1985): 3–10.
3. “Writing Well When You Have No Time: Advice for Music Librarians and Other Busy Persons.”
Annotations: A Publication of Indiana’s Music Library 4, no. 2 (Spring 1988): 6–13; reprinted in Cum
Notis Variorum: The Newsletter of the Music Library, University of California at Berkeley 122 (June
1988): 3–8.
4. “The Third Recorder Age of Bernhard Heiden.” The American Recorder 30, no. 3 (August 1989):
109–12.
5. “Thoughts on Information, Knowledge, and the Music Research Guide.” Annotations: A Publication
of Indiana’s Music Library 5, no. 1 (Summer/Fall 1989): 4–11; reprinted in Cum Notis Variorum: The
Newsletter of the Music Library, University of California at Berkeley 135 (September 1989): 9–13.
6. “And You Think Your Library Has Rules.” Cum Notis Variorum: The Newsletter of the Music
Library, University of California at Berkeley 136 (October 1989): 11.
7. “Scott Reiss and Baroque Recorder Concertos: The Making of a CD.” Continuo 14, no. 4 (August
1990): 2–4.
8. “19th-Century Flute and Guitar Music on Original Instruments: An Interview with the Boland–
Dowdall Duo.” Continuo 15, no. 5 (October 1990): 2–7.
9. “What’s Up with the Recorder Down Under?” American Recorder 31, no. 4 (December 1990): 5, 24.
14
10. “The Art of Becoming a Recorder Player: Four European Professionals in Conversation with David
Lasocki.” American Recorder 32, no. 3 (September 1991): 9–13.
11. “Walter Bergmann (1902–1988) as Editor, Author, and Mentor.” Continuo 15, no. 5 (October
1991): 2–6.
12. “The Great Authenticity Debate.” The Recorder: Journal of the Victorian Recorder Guild 14
(December 1991): 1–8.
13. “Betty and David.” See under Books, 6.
14. “The Recorder in the 17th Century: Report on the Utrecht Symposium.” American Recorder 34, no.
4 (November 1993): 3, 29–31.
15. “Bimbetta.” San Francisco Bay Area Early Music News, January 1994: 6–7.
16. “Bimbetta.” Historical Performance 7, no. 1 (Spring 1994): 11–12.
17. (David Hunter, et al.) “Music Library Association Guidelines for the Preparation of Music
Reference Works.” Notes 50, no. 4 (June 1994): 1329–38. Prepared by the Subcommittee on
Bibliographic Standards for Reference Works, Reference and Public Service Committee, Music Library
(of which I was a member for five years).
18. Obituary of Thomas Binkley. EMA Bulletin 1995 no. 4, p. 1.
19. “Die Blockflöte und Crossover-Musik: Scott Reiss im Gespräch mit David Lasocki.” Tibia 20, no.
4 (1995): 595–98. English version as “Crossover and Blues on the Recorder; Scott Reiss Interviewed
by David Lasocki.” American Recorder 37, no. 4 (September 1996): 15–16.
20. “The Several Lives of Tom Binkley: A Tribute.” Early Music America: The Magazine of Historical
Performance 1 (Fall 1995): 16–24. In Polish as “Wszyscy byliśmy `zbinkleyowani’: wspomnienie o
Thomasie E. Binkley’u (1931–1995).” Canor 5, no. 4 (1995): 4–18.
21. “Folkers & Powell: A Couple of Flute Makers.” Early Music America: The Magazine of Historical
Performance 2, no. 2 (Summer 1996): 10–16.
22. “New Landscapes for the Recorder: An Internet Conversation with David Bellugi.” American
Recorder 38, no. 1 (January 1997): 16–17.
23–24. “Improvising with Alan and Bruce: A Memoir” (pp. 14–15) and “Tribute to Fred Morgan” (p.
29). In Recorder Education Journal 4 (1998).
25. My opinion quoted by Ardal Powell in “Select Music Facsimiles from Italy.” Traverso 11, no. 3
(July 1999): 9–12.
26. “In Memoriam J. M. Thomson (1926–1999).” American Recorder 30, no.5 (November 1999): 7.
27. Translation of the composer’s foreword for the facsimile of Louis-François Dauprat, 20 Duos for
Horns in Different Keys (Bloomington, IN: Birdalone Music, 1999).
28. “Reference.” Music Librarianship at the Turn of the Century. Notes 56, no. 3 (March 2000): 605–
15
10. Reprinted in Music Librarianship at the Turn of the Century, ed. Richard Griscom and Amanda
Maple, 43–48. Lanham, MD: Scarecrow Press, 2000.
29. “Music Reference as a Calling: An Essay.” Notes 56, no. 4 (June 2000): 879–93.
30. (with Lynn Waickman) “Robert Paul Block (1942–2001).” American Recorder 47, no. 3 (May
2001): 4; reprinted in The Recorder Magazine 21a, no. 2 (Summer 2001): 47.
31. Communication to Notes 58, no. 3 (March 2002): 699–700; with responses.
32. Obituary of Gerald Deatsman, Fanfare (Indiana University School of Music), 6 September 2002.
33. “A Modern Recorder Player in Four Worlds: Pamela Thorby Interviewed by David Lasocki.”
American Recorder 43, no. 5 (November 2002): 6–9, 24–25.
34. “Reflections on the Publication of The Recorder: A Research and Information Guide.” The
Recorder Education Journal, no. 8 (2002): 38–43.
35–36. Two letters to the editor, “Welcome, Alan!” and “... and While I’m Thinking About It.”
American Recorder 45, no. 2 (March 2003): 23.
37. “A Web-based Catalogue of Recorder Music Before 1800.” Recorder Education Journal 9 (2003
[2004]): 35–37.
38. “Raising Uri.” Early Music America 10, no. 2 (summer 2004): 20. In German as “Der TIBIA
Hörtipp.” Tibia 29, no. 3 (2004): 218–19.
39. “Musique de Joie, ein internationales Symposium in Utrecht über Renaissanceflöten- und
Renaissanceblockflöten-Consorts.” Tibia 29 no. 2 (2004): 111–14.
40. “Introductory Remarks for the Panel Discussion: Imperative of Historical Information in
Performance or Performers’ Choice?” Included in Books, 13.
41. “Ten Issues of REJ.” Recorder Education Journal 10 (2005): 2.
42. “Thiemo Wind’s ‘Promotion.’” American Recorder 47, no. 4 (September 2006): 8–9.
PROGRAM NOTES FOR RECORDINGS
1. Jacques Hotteterre, Premier Flûtiste Français: Suiten, Sonaten, Pièces, Brunettes. Performed by
Frans Brüggen, recorder, with Danny Bond, Ku Ebbinge, Shelley Gruskin, Bruce Haynes, Barthold and
Wieland Kuijken, Marjanne Kweksilber, Gustav Leonhardt, Oswald van Olmen, and Toyohiko Satoh.
Philips SEON 6776 002, 1977.
2. Georg Philipp Telemann: Trios für Block- oder Traversflöte mit anderen Instrumenten = Trios for
Recorder or Transverse Flute Accompanied by Other Instruments. Performed by Frans Brüggen,
recorder and baroque flute, with Bob van Asperen; Anner Bijlsma; Paul Dombrecht; Walter van Hauwe;
Barthold, Sigiswald, and Wieland Kuijken; Gustav Leonhardt; Brian Pollard; and Anthony Woodrow.
RCA SEON RL 30343, 1979.
3. G. F. Handel: Flute Sonata in D (First Recording on Original Instruments) and Sonatas in G, E
16
minor and B minor. Performed by Peter Harrison, baroque flute, with John Treherne, spinet, and
Alastair Mitchell, bassoon. Plant Life PLR041, ca. 1982.
4. Baroque Recorder Concerti. Performed by Scott Reiss, recorder, and Hesperus. Golden Apple GAC
7550, 1989.
5. Mozart: The Flute Concertos (K. 313, 314). Performed by Ransom Wilson, flute, with the London
Symphony Orchestra, conducted by Raymond Leppard. EMI Digital CDC 7 49099 2, 1989.
6. Händel: The Recorder Sonatas. Performed by Dan Laurin, recorder, with Hidemi Suzuki, cello, and
Masaaki Suzuki, harpsichord and organ. BIS CD–955, 1999.
7. Bassano: Viva l’amore XVI–XVII secolo. Performed by the Flanders Recorder Quartet with Capilla
Flamenca. Opus 111, OPS 30–239, 1999.
8. Entertainments for a Small Flute (English recorder concertos by Babell, Baston, Sammartini, and
Woodcock), performed by Dan Laurin with the Orchestra “Van Wassenaer,” conducted by Makato
Akatsu (BIS CD–985, 2000).
9. Magic, performed by the Flanders Recorder Quartet and guests (Opus 111 OPS 30–272, 2000).
10. Piracy, Baroque Music Stolen for the Recorder, a CD by Genevieve Lacey, recorder, and Linda
Kent, harpsichord and chamber organ (Sydney, Australia, ABC Classics 472 226–2, 2002).
11. Baroque Recorder Concertos, a CD by Pamela Thorby, recorder, and Sonnerie ([Glasgow], UK:
Linn Records, CDK 183, 2002).
12. Sammartini: Sonaten für die Blockflöte, a CD by Ensemble Mediolanum (Heidelberg, Christophorus
CHR 77252, 2002).
13. Musica Pacifica, Judith Linsenberg and Elizabeth Blumenstock, directors, Vivaldi: La Notte:
Concerti per strumenti diversi (Dorian Records DOR 93252, 2003).
14. Flanders Recorder Quartet, Matthew Locke: Consort of Fower Parts: Six Suites, Aeolus AE–10106,
2004.
INTERVIEWS WITH ME ABOUT MY RESEARCH
1. Malcolm Tattersall. “Profile: David Lasocki.” The Recorder: Journal of the Victorian Recorder
Guild 12 (1990): 7–12.
2. Penelope Mathiesen. “Woodwinds and Research: An Interview with David Lasocki.” Continuo 15,
no. 3 (June 1991): 8–12.
3. Marianne Mezger. “Blockflötisten dürfen tun, was sie wollen: Ein Interview mit Dr. David Lasocki,
Musikhistoriker und Bibliothekar der Musikabteilung an der Indiana University, Bloomington, USA.”
SAJM — Zeitschrift 23, no. 4 (June 1995): 10–17.
4. Ulrich Thieme and Sabine Haase-Moeck, “David Lasocki — Forscher in Sachen
Holzblasinstrumente.” Das Porträt, Tibia 26 no. 3 (2001): 541–47.
17
SCHOLARLY REVIEWS OF BOOKS, SCORES, AND RECORDINGS
1. Ann Basart, The Sound of the Fortepiano: A Discography of Recordings on Early Pianos (Berkeley,
CA.: Fallen Leaf Press, 1985). Early Keyboard Journal 4 (1985–86) [1987]: 64–68
2. Giovanni Platti, Sonata in C minor for Oboe and Basso Continuo, ed. Gregory Hayes (New York:
McGinnis & Marx, 1985); Thomas Vincent, Sonata in A minor for Oboe and Basso Continuo, ed.
George Pratt (London: Oxford University Press, 1983); Johann Christoph Pepusch, Sonata in E-Flat for
Oboe and Basso Continuo, ed. Himie Voxman (London: Nova Music, 1983); Matthäus Nikolas Stulick,
Concerto in C minor for Oboe, Strings, and Basso Continuo, ed. Richard Lauschmann (Hove: Nova
Music, 1986); François Devienne, Three Sonatas, Op. 71, Nos. 1–3, for Oboe and Basso Continuo, ed.
David Ledet (Monteux: Musica Rara, 1985). Notes 45, no. 3 (March 1989): 622–25.
3. Raymond Meylan, The Flute, trans. Alfred Clayton (Portland, OR: Amadeus Press, 1988); HansPeter Schmitz, Quantz heute (Kassel: Bärenreiter, 1987); Antoine Mahaut, A New Method for Learning
to Play the Transverse Flute, trans. Eileen Hadidian (Bloomington: Indiana University Press, 1989).
Notes 47, no. 4 (June 1991): 1150–53. “Briefly Noted” column (reviews of the same books). Traverso
3, no. 2 (April 1991): 3.
4. Venice Preserved: Bassano, Gabrieli, Monteverdi, performed by Gentlemen of the Chappell; His
Majesties Sagbutts and Cornetts; Peter Bassano, cond. (ASV Gaudeamus CD GAU 122, 1990). Historic
Brass Society Newsletter 4 (Summer 1992): 47–48.
5. Eve O’Kelly, The Recorder Today (Cambridge: Cambridge University Press, 1990); John Solum, The
Early Flute (Oxford: Clarendon Press, 1992). Notes 51, no. 1 (September 1994): 181–85.
6. Michael Talbot, Antonio Vivaldi: A Guide to Research (New York: Garland, 1988). Fontes artis
musicae 42, no. 3 (July–September 1995): 288–89.
7. Matthew Cron and Don Smithers, A Calendar and Comprehensive Source Catalogue of Georg
Philipp Telemann’s Vocal and Instrumental Music with Brass (Tallahassee, FL: International Trumpet
Guild, 1995). Historic Brass Society Journal 8 (1996): 125–26.
8. Graham Strahle, An Early Music Dictionary: Musical Terms from British Sources, 1500–1740
(Cambridge: Cambridge University Press, 1995). Notes 54, no. 1 (September 1997): 68–69.
9. G. B. Lane, The Trombone: An Annotated Bibliography (Lanham, MD: Scarecrow Press, 1999).
Historic Brass Society Journal 11 (1999): 201–4.
10. Paul Carroll, Baroque Woodwind Instruments: A Guide to their History, Repertoire and Basic
Technique (Aldershot & Brookfield, VT: Ashgate, 1999). Notes 57, no. 2 (December 2000): 386–88.
11. Federico Maria Sardelli, Vivaldi’s Music for Flute and Recorder (Burlington, VT: Ashgate, 2007).
Notes 61, no. 3 (March 2008): 496–98.
EDITIONS
Musica Rara, London (later Monteux, France; now distributed by Breitkopf & Härtel,
Wiesbaden)
1. Giovanni Battista Viotti, Quartet in B♭ major, Opus 22 No. 1, for flute, violin, viola, and
violoncello. (1969. MR 1168)
2. Antonio Vivaldi, Concerto in A minor, P. 83 [RV 445], for sopranino recorder, strings, and basso
18
continuo. (1969. MR 1184)
3. Antonio Vivaldi, Concerto in G minor, P. 342 [RV 439], for flute, bassoon, 2 violins, and basso
continuo. (1969. MR 1185)
4. Antonio Vivaldi, Concerto in C minor, P. 440 [RV 441], for alto recorder, strings, and basso
continuo. (1969. MR 1203–1204)
5. Antonio Vivaldi, Concerto in D major, P. 155 [RV 90], “Del Gardellino,” for flute, oboe, violin,
bassoon, and basso continuo. (1969. MR 1217)
6. Antonio Vivaldi, Concerto in B♭ major, P. 401 [RV 501], “La Notte,” for bassoon, strings, and basso
continuo. (1970. MR 1246)
7. Carl Stamitz, Quartet in B♭ major, Opus 19 No. 2, for clarinet, violin, viola, and violoncello. (1970.
MR 1247)
8. Jean Baptiste Bréval, Symphonie Concertante in F major, Opus 31, for flute, bassoon, and piano
(reduction). (1970. MR 1248)
9. Antonio Vivaldi, Concerto in D minor, F. XII/42 [RV 96], for flute, violin, bassoon, and basso
continuo. (1970. MR 1251)
10. Antonio Vivaldi, Concerto in D major, F. XII/43 [RV 84], for flute, violin, and basso continuo.
(1970. MR 1252)
11. Johann Gottlieb Janitsch, Sonata da camera in C major, Opus 4, for flute, violin, oboe, and basso
continuo. (1970. MR 1255)
12. (with William Blackwell) Anton Reicha, Quintet in E♭ major, Opus 106, for horn, 2 violins, viola,
and violoncello (string bass ad lib.). (1971. MR 1260)
13. Antonio Vivaldi, Concerto in G minor, P. 402 [RV 103], for alto recorder, oboe, and basso
continuo. (1971. MR 1504)
14. Antonio Vivaldi, Concerto in C major, P. 78 [RV 444], for sopranino recorder, strings, and basso
continuo. (1972. MR 1529)
15. Franz Danzi, Quartet in D major, Opus 56 No. 1, for flute, violin, viola, and violoncello. (1972.
MR 1531)
16. Ignace Pleyel, Quartet in F major, Opus 19 No. 2, for flute, violin, viola, and violoncello. (1972.
MR 1536)
17. Alessandro Besozzi, Concerto in G major for oboe, strings, and basso continuo. (1972. MR 1556)
18. Johann Joachim Quantz, Concerto in D minor for flute, strings, and basso continuo. (1973. MR
1567)
19. Ignace Pleyel, Symphonie Concertante in F major for flute, oboe, bassoon, horn, and piano
(reduction). (1973. MR 1601)
19
20. Antonio Vivaldi, Sonata in E minor (Stockholm) [RV 50] for flute and basso continuo. (1973. MR
1620)
21. Antonio Vivaldi, Trio Sonata in G minor (Lund) [RV 80] for 2 oboes and basso continuo. (1973.
MR 1622)
22. Carl Philipp Emanuel Bach, Concerto in G major, Wq 169, for flute, strings, and basso continuo.
(1973. MR 1623)
23. Antonio Vivaldi, Concerto in G major, P. 105 [RV 101], for alto recorder, oboe, violin, bassoon,
and basso continuo. (1973. MR 1636)
24. Antonio Vivaldi, Concerto in D minor, P. 302 [RV 535], for 2 oboes, strings, and basso continuo.
(1973. MR 1641)
25. Antonio Vivaldi, Concerto in C minor (Lund) [RV Anh 17, thought to be possibly by Telemann] for
oboe, violin, strings, and basso continuo. (1973. MR 1642)
26. François Couperin, Concerts royaux Nos. 1–4 for flute or oboe or violin and basso continuo (second
melody instrument and viola da gamba ad lib.). (1974. MR 1648)
27. Antonio Vivaldi, Concerto in G minor, P. 403 [RV 105], for alto recorder, oboe, violin, bassoon,
and basso continuo. (1974. MR 1635)
28. Johann Christoph Pepusch, Six Concertos, Opus 8, for 2 alto recorders, 2 flutes or oboes or violins,
and basso continuo. (1974. MR 1659a-f)
29. Arcangelo Corelli, Sonata in C major, Opus 5 No. 3, for alto recorder and basso continuo (arr. anon.
18th-century Master). (1974. MR 1664)
30. Antonio Vivaldi, Concerto in G major, P. 129 [RV 545], for oboe, bassoon, strings, and basso
continuo. (1974. MR 1665)
31. François Devienne, Sinfonie Concertante in G major for 2 flutes and piano (reduction). (1975. MR
1695)
32. Jacques Hotteterre le Romain, Six Trio Sonatas, Opus 3, for 2 alto recorders and basso continuo.
(1975. MR 1806–1807)
33. Johann Ladislaus Dussek, Trio in F minor, Opus 65, for flute, violoncello, and piano. (1975. MR
1808)
34. Johann Joachim Quantz, Trio Sonata in C minor for flute, oboe, and basso continuo. (1975. MR
1815)
35. Carl Philipp Emanuel Bach, Concerto in B♭ major, Wq 167, for flute, strings, and basso continuo.
(1975. MR 1827)
36. François Couperin, Les goûts réünis Nos. 5–14 for flute or oboe or violin and basso continuo.
(1975. MR 1832)
37. Johann Christian Schickhardt, Six Concertos, Opus 22, for 2 alto recorders, oboe, and basso
20
continuo. (1975. MR 1835–1840)
38. Johann Melchior Molter, Concerto in G major for flute, strings, and basso continuo. (1976. MR
1843)
Faber Music, London
39. (with Betty Bang) Jean-Pierre Freillon-Poncein and Jacques Hotteterre le Romain, Preludes for solo
treble recorder. (1969. F0207) Also published by G. Schirmer, New York, and Zen-On, Tokyo.
40. (with Walter Bergmann) George Frideric Handel, The Complete Sonatas for treble recorder and
basso continuo. (1979, rev. 1982. F0566)
41. George Frideric Handel, The Complete Sonatas for flute and basso continuo. (1983. F0663)
Hargail Music Press, New York
42. Arcangelo Corelli, Sonata in F major, Opus 5 No. 4, for alto recorder and basso continuo (arr. anon.
18th-century Master). (1971. H–101)
43. Daniel Demoivre, Suite in B♭ for bass [originally alto] recorder and basso continuo. (1972. H–
103)
44. Daniel Demoivre, Suite in E minor for bass [originally alto] recorder and basso continuo. (1972.
H–104)
45. William Babell, Concerto in C major, Opus 3 No. 1, for soprano recorder and piano (reduction).
(1975. H–128)
46. William Williams, Trio Sonata in C major for 2 alto recorders and basso continuo. (1977. H–140)
47. Antonio Vivaldi, Concerto in D major, P. 198 [RV 92], for alto recorder, violin, and basso continuo.
(1977. H–142)
48. Daniel Purcell, Sonata in C major for alto recorder and basso continuo. (1977. H–143)
49. Nicolo Francesco Haym, Trio Sonata in G minor for 2 alto recorders and basso continuo. (1978.
H–144)
50. Servaas de Konink, Trio Sonata in G minor for 2 alto recorders and basso continuo. (1978. H–145)
American Recorder Society Editions, Galaxy Music Corporation, New York
51. Johann Christian Schickhardt, Sonata in F minor, Opus 17 No. 11, for alto recorder and basso
continuo. (1978. ARS No. 86; 1.2839.3)
Hermann Moeck Verlag, Celle
52. Charles Buterne, Sonata in C minor, Opus 2 No. 6, for 2 alto recorders. (1976. Z.f.s. 443/444)
Zen-On Music Company, Tokyo (all sub-published later by Universal Edition, Vienna)
53. Raphael Courteville, Sonata in C major for alto recorder and basso continuo. (1978. R–146)
54. Gottfried Keller, Trio Sonata No. 5 in C major for 2 alto recorders and basso continuo. (1978. R–
147)
21
55. Charles Buterne, Sonata in C minor for alto recorder and basso continuo. (1978. R–148)
56. William Babell, Concerto in D minor, Opus 3 No. 3, for soprano recorder and piano (reduction).
(1978. R–149)
57. John Baston, Concerto No. 5 in C major for soprano recorder and piano (reduction). (1978. R–150)
58. Jean-Pierre Freillon-Poncein, Passacaille and 2 Menuets for alto recorder and basso continuo.
(1978. R–152)
59. Francis Dieupart, Concerto in A minor for soprano recorder and piano (reduction). (1979. R–154)
60. Giovanni Battista Riccio, Canzon a una flautin, for tenor recorder and basso continuo; Canzona con
il tremolo, “La Grimaneta,” for tenor recorder, dulcian, and basso continuo. (1980. R–157)
61. Jean-Baptiste Loeillet, Sonata in F major, Opus 3 No. 8, for alto recorder and basso continuo.
(1980. R–158)
62. Benedetto Marcello, Ciacona, Opus 2 No. 12, for alto recorder and basso continuo. (1980. R–159)
63. Gottfried Finger, Trio Sonata in G minor, Opus 6 No. 2, for 2 alto recorders and basso continuo.
(1980. R–160)
64. Gottfried Keller, Trio Sonata No. 3 in G minor for 2 alto recorders and basso continuo. (1981. R–
163)
Nova Music, London (later Hove, Sussex; now distributed by Spartan Press, Scotland)
65. George Frideric Handel, The Three Authentic Sonatas for oboe and basso continuo. (1979. N.M.
100)
66. Gottfried Keller, Sonata in G major for 2 treble recorders, 2 oboes or violins, and basso continuo.
(1979. N.M. 101)
67. Arcangelo Corelli, Trio Sonata in D minor for 2 treble recorders and basso continuo, arranged by
Johann Christian Schickhardt (and David Lasocki) from the Concerto Grosso in C minor, Opus 6 No. 3.
(1979. N.M. 102)
68. Johann Joachim Quantz, Trio Sonata in G major, K. 45, for oboe, bassoon or violoncello, and basso
continuo. (1979. N.M. 103)
69. Johann Christian Schickhardt, Sonata in G minor, Opus 2 No. 5, for oboe and basso continuo.
(1979. N.M. 106)
70. Johann Christian Schickhardt, Variations on La Folia, Opus 6 No. 6, for 2 treble recorders and basso
continuo. (1979. N.M. 107)
71. Charles Delusse, 12 Caprices for flute alone. (1979. N.M. 111)
72. Jacques Hotteterre le Romain, Suite in D major, Opus 2 No. 1, for flute or oboe or violin or treble
viol and basso continuo. (1980. N.M. 113)
73. Carl Philipp Emanuel Bach, Sonata in B♭ major, Wq. 161/2, for flute and obbligato harpsichord.
(1980. N.M. 116)
22
74. Francesco Barsanti, Sonata in C minor for treble recorder and basso continuo. (1980. N.M. 118)
75. Paolo Benedetto Bellinzani, Sonatas in C minor, Opus 3 No. 8, and B♭ major, Opus 3 No. 9, for
treble recorder and basso continuo. (1980. N.M. 120)
76. William Babell, Concerto in G major, Opus 3 No. 4, for descant recorder, strings, and basso
continuo. (1980. N.M. 122)
77. Paolo Benedetto Bellinzani, Sonata in D minor, Opus 3 No. 12, for treble recorder and basso
continuo. (1980. N.M. 123)
78. (with R. P. Block) Antonio Vivaldi, Sonata in G minor (Stockholm) [RV 50] for treble recorder and
basso continuo (from the flute original). (1980. N.M. 126)
79. Johann Joachim Quantz, Trio Sonata in E minor, K. 28, for 2 flutes and basso continuo. (1980.
N.M. 133)
80. Jacques Hotteterre le Romain, Suite in G major, Opus 2 No. 2, for flute or oboe or violin or treble
viol and basso continuo. (1981. N.M. 134)
81. Alessandro Marcello, Concerto di flauti, for descant, treble, tenor, and bass recorders, strings, and
basso continuo. (1980. N.M. 135)
82. Johann Joachim Quantz, Trio Sonata in C minor, K. 33, for 2 flutes and basso continuo. (1980.
N.M. 138)
83. Joseph Bodin de Boismortier, Sonata in G major, Opus 44 No. 3, for flute and basso continuo.
(1981. N.M. 143)
84. Jacques Hotteterre le Romain, Suite in E minor, Opus 2 No. 3, for flute or oboe or violin or treble
viol and basso continuo. (1981. N.M. 146)
85. Jacques Hotteterre le Romain, Ornamented Airs and Brunettes for flute solo (basso continuo ad
lib.). (1980. N.M. 150)
86. Gottfried Keller, Trio Sonata in B♭ major for treble recorder or violin, oboe or violin, and basso
continuo. (1981. N.M. 153)
87. Jacques Hotteterre le Romain, 6 Trio Sonatas, Opus 3, for 2 flutes or oboes or violins and basso
continuo. (1981. N.M. 156)
88. Jacques Hotteterre le Romain, Suite in F major, Opus 2 No. 1, for treble recorder and basso
continuo. (1981. N.M. 162)
89. Jacques Hotteterre le Romain, Suite in B♭ major, Opus 2 No. 2, for treble recorder and basso
continuo. (1981. N.M. 168)
90. Jacques Hotteterre le Romain, Suite in G minor, Opus 2 No. 3, for treble recorder and basso
continuo. (1981. N.M. 171)
91. Johann Joachim Quantz, Sonata in D major, K. 46, and Sonatina in D major, for 3 flutes. (1982.
N.M. 177)
23
92. James Paisible, Sonata in E♭ major for treble recorder and basso continuo. (1982. N.M. 182)
93. Giuseppe Sammartini, Sonata in G major for treble recorder and basso continuo. (1981. N.M. 183)
94. James Paisible, Sonata in D major for treble recorder and basso continuo. (1983. N.M. 187)
95. James Paisible, Suite in C minor for 2 treble recorders and basso continuo. (1982. N.M. 191)
96. More Preludes and Voluntaries (England, c.1700) for treble recorder solo. (1981. N.M. 195)
97. Gottfried Keller, Sonata in C major for 2 treble recorders, 2 oboes or violins, and basso continuo.
(1981. N.M. 196)
98. Johann Joachim Quantz, 6 Sonatas, Opus 2, for 2 oboes. (1982. N.M. 207)
Earlham Press, London
99. James Paisible, Sonata in D minor for treble recorder and basso continuo. (1982. E.P. 1002)
Anglo-American Music Publishers, Orlando, FL
100. Johann Josef Fux, Suite in F for flute or alto recorder, violin, horn and basso continuo. (1984.
1015)
101. Milling, Concerto in B♭ for Cor Anglais and Piano (ca. 1785).