The Lilien Partbooks in the Sonsfeld Collection (D-HRD Fü 3741a): A Reconsideration of the Role of Eighteenth-Century Prussian Hautboisten and their Engagement in ‘Art’ Music

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.

Keywords:

• Lilien Partbooks
• Georg von Lilien
• Hautboisten
• D-HRD Fü 3741a
• Sonsfeldsche Musikalien Sammlung
• Bibliotheca Fürstenbergiana

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

  1. Double-Reed Ensemble and Trumpet (10 works)

  2. LPb-Numbers: 1, 3, 9, 11, 22, 30, 31, 35, 38, 43

  3. Double-Reed Ensemble, Strings and Trumpet(s) (5 works)

  4. LPb-Numbers: 5, 21, 32a, 33, 40

• 3.  Horns

  1. Double-Reed Ensemble and Horns (3 works)

  2. LPb-Numbers: 23, 24, 25

  3. Double-Reed Ensemble, Strings and Horns (2 works)

  4. 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:

1. Hautbois Pr.

2. Hautbois Secundo

3. [Hautbois 3]

4. La Taille

5. Passon

6. 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:

1. [Hautbois 1]

2. [Hautbois 2]/Flauto Pr & Flauto 2do

3. Violino Primo

4. La Taille

5. Passon Primo/Basson Secundo – Violoncello

6. 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:

1. [Hautbois 1]

2. [Hautbois 2]

3. Hautbois 3me

4. [-]

5. Basson Primo/Basson Secundo

6. 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:

1. [Hautbois 1]/Flauto

2. Hautbois tous & Flauto solo

3. Violin 1/Violin 2

4. [Viola 1/Viola 2]

5. Basson Primo/Basson Secundo

6. 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:

1. [Hautbois1]

2. [Hautbois 2]

3. Hautb. 3tro

4. Viola Alto

5. Basson Primo/Basson Secundo

6. 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 1^st hautboy part.

Reference:

DMgArchiv, Katalog, 127–8.

LPb 6

46–48 Concerto – B-flat major (6 Players)

Instrumentation:

1. [Hautbois 1]

2. [Hautbois 2]

3. Hautbois 3.

4. Hautbois 4do

5. [Basson 1]

6. 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:

1. Hautbois 1 & Violin basset

2. Flauto Primo/Flauto Secundo/Hautbois solo or primo/Hautbois 2do

3. Hautbois Secundo

4. Cors de chasse Premier/Secundo Cors de chasse

5. Basson Primo

6. 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:

1. [Hautbois 1]

2. [Hautbois 2]

3. Hautbois 3.

4. [Taille de hautbois]

5. Basson Primo

6. 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:

1. [Hautbois 1]

2. [Hautbois 2]

3. Hautb. Tertio

4. [Taille de hautbois]

5. Basson Primo/Basson Secundo

6. 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:

1. [Hautbois 1]

2. Violino 1mo

3. Hautbois 2do/Violino 2do

4. La Taille

5. Basson Primo

6. 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:

1. [Hautbois 1]

2. [Hautbois 2]

3. Hautbois 3

4. Hautbois 4do

5. Basson Primo/Basson Secundo

6. 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:

1. [Hautbois 1]

2. Hautb: 2do

3. Violino Primo

4. Viola

5. Basso continuo

6. 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:

1. [Hautbois 1]

2. Hautbois Secundo

3. Violino Primo

4. Viola

5. Basson [!] continuo

6. 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:

1. Hautbois

2. Violino 1mo

3. Violino Secundo

4. Viola

5. Basson [!] continuo

6. 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:

1. [Hautbois]

2. Violino Primo

3. Violino 2do

4. Viola

5. Basso [!]

6. 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:

1. Hautbois

2. [Violino]

3. Violin Secunde unisoni

4. Viola

5. [Basson 1]

6. [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:

1. [Hautbois 1]

2. Violino Primo

3. Violino Secundo

4. Viola

5. Basson Concerto

6. 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:

1. [Hautbois 1]

2. Hautbois 2do/Violino 1mo

3. Hautb: 3to

4. [Viola]

5. [Basson]

6. 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:

1. Flaute traverse

2. Violino concerto

3. Violino 1. Ripieni/Violino 2do Ripieno

4. Viola

5. [Bass 1]

6. [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:

1. Hautb: 1mo

2. Hautb: 2do

3. Hautbois

4. Taille

5. [Basson 1]

6. [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:

1. (Hautbois 1)

2. (Hautbois 2)

3. Hautb: 3to & Violino 1.

4. Taille/Violini 2.

5. [Basson]

6. 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:

1. [Hautbois 1]

2. Hautboi 2do

3. Hautbois 3me

4. ---

5. Basson Primo/Basson Secundo

6. 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:

1. [Hautbois 1] & Flauto 1mo

2. [Hautbois 2] & Flauto 1mo

3. [Hautbois 3] & Flauto 2do/Flauto Primo

4. Corno chasse Primo

5. [Basson]

6. 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:

1. [Hautboy 1]

2. [Hautboy 2]

3. [Hautboy 3]

4. Cornu de chass Primo/Cornu de Chass Secunde

5. [Bassoon 1]

6. [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:

1. [Hautbois 1]

2. [Hautbois 2]

3. [Hautbois 3]

4. Pr: Cornu la Chasse & Hautb.

5. [Basson]

6. 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:

1. [Hautbois 1]

2. Violino Primo

3. Hautbois Secundo

4. Pr. Cors de Post/ 2me Cors de Post

5. Basson Primo/Basson Secundo

6. 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:

1. [Hautbois 1]

2. [Hautbois 2] & Flauto Primo

3. Hautb 4 & Flautino

4. Hautbois 3.

5. [Basson 1]

6. [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:

1. [Hautbois 1]

2. [Hautbois 2]

3. Hautboe 3tio

4. Hautbois 4.

5. [Bassoon 1]

6. [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:

1. [Hautbois 1]

2. Hautbois 4

3. Hautbois Tertio

4. Hautbois Secundo

5. Basson Primo

6. 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:

1. [Hautbois 1]

2. Tromba [in C]

3. Hautbois Tertzio

4. [Hautbois 2]

5. Basson Primo

6. 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:

1. Hautbois Primo

2. Hautbois Secundo

3. Hautbois Tertzio

4. ---

5. Basson

6. 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:

1. Hautb: Solo

2. Violino Primo

3. Violini/Travers/tous

4. Viola

5. Basson Primo/Basson Secundo

6. 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:

1. Hautbois Primo/Hautbois Secundo

2. Violino Primo

3. [Violino 2]

4. [Viola]

5. [Basson]

6. 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:

1. Hautbois Primo

2. Hautbois Primo/Hautbois Secundo

3. Violino Secundo/Tromba (Tromba only in movements 223, 224, 226)

4. Basson Secundo/Taille & Viola & Hautbois Primo

5. Basson Primo

6. 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:

1. Hautbois 1 or Flauto o Traversiere solo

2. Violino 1

3. Violino 2

4. Viola

5. Basson

6. 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:

1. Hautbois Primo

2. Hautbois Secundo & Flauto 1

3. Hautbois 3me & Flauti

4. Tromba

5. Basson Primo

6. 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:

1. Hautbois Primo

2. Violino Primo

3. Violino 2do.

4. Corne de Post 1mo

5. Basson

6. 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:

1. Hautbois Primo

2. Hautbois Secundo

3. Haut 3.

4. Hautb. 4

5. Basson Primo

6. 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:

1. Hautbois Primo

2. Hautbois Secundo/Hautboy Ribieno

3. Hautbois 3./Tromb.

4. Tallie & (Basson 3)

5. Basson Primo

6. 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:

1. Hautbois Primo

2. Violino Primo

3. (Violino 2)

4. Talli

5. Basson (Primo)

6. 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:

1. Hautbois Primo

2. Violino Primo

3. Violino Secundo

4. Tromba

5. (---)

6. 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:

1. Flauto Traverso

2. Violino Primo

3. Violino 2d

4. Viola

5. Basson Primo

6. 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:

1. Hautbois Primo

2. Violino Primo

3. Violino 2.

4. Taille & Basson 2

5. Basson Primo

6. 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:

1. Hautbois Primo

2. Hautbois Secundo

3. (---)

4. (Taille)

5. Basson Primo/Basson Secundo

6. 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:

1. Hautbois Primo

2. Hautbois Secundo

3. Hautbois 3tio

4. Hautbois 4.

5. Basson Primo

6. 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:

1. Hautbois Primo

2. Hautbois Secundo

3. Violin 2

4. Violletta

5. Basson Primo/Basson Secundo

6. 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:

1. Hautbois Primo

2. Hautbois Secundo

3. Hautbois 3

4. Hautbois 4.

5. Basson Primo

6. 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:

1. (Hautbois Concerto)

2. (Hautbois 1)

3. Seconde

4. (Hautbois 3)

5. ---

6. (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:

1. Hautbois Primo

2. Oboe [!]

3. Flauto Secondo

4. (---)

5. Flauto Primo

6. (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:

1. Hautbois Primo

2. (Hautbois Secundo)

3. Hautbois 3

4. Hautb. 4.

5. (Basson Primo)

6. (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:

1. (Hautbois 1)

2. (Hautbois 2)

3. (---)

4. (---)

5. Basson Primo

6. (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:

1. Hautbois Primo et Viol

2. Violino Primo et Hobo 2nd

3. (---)

4. (---)

5. Basso 1mo/Basso 2do

6. 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:

1. Hautbois

2. Violin

3. (---)

4. (---)

5. Basso

6. (---)

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 (2^nd 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. 2^o (1) and (2).

150 See bottom right corner of Fig. 2: 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.