Historic Repertoire


This bibliography concerns the recorder’s historic repertoire.  A more convenient and flexible way of exploring it is via the Zotero citation database underlying this site. The Zotero interface is straightforward to use and allows you to export selected entries in a variety of formats and to create your own citation lists in a range of journal styles. All you need is your web-browser. This will be of particular assistance to students and researchers.

  • Albertyn, Erik. 2005. “The Hanover Orchestral Repertory, 1672–1717: Significant Source Discoveries.” Early Music 33 (3): 339–71.
  • Alexander, McGrattan. 1995. “The Solo Trumpet in Scotland, 1695–1800.” In Perspectives in Brass Scholarship: Proceedings of the International Historic Brass Symposium, Amherst, 1995, edited by Stewart Carter, 79–90. Stuyvesant, NY: Pendragon Press.
  • Allain-Dupré, Philippe. 2010–2011. “Les flûtes traversière et à bec dans les orchestres de Lully et Charpentier [The flute and Recorder in the Orchestras of Lully and Charpentier].” Tempo flûte 3: 17–22.
  • Alton, Edwin H. 1973. “La Musica per Flauto Dolce Di Alessandro Scarlatti.” Il Flauto Dolce 4 (July-December): 7–9.
  • Avena Braga, Inês de. 2015. “Dolce Napoli : Approaches for Performance – Recorders for the Neapolitan Baroque Repertoire, 1695-1759.” Ph.D dissertation, Leiden: Leiden University. Academy of Creative and Performing Arts, Faculty of Humanities, Leiden University. http://hdl.handle.net/1887/33729.
  • Bach, Carl P.E., and Paul Corneilson. 2015. “Carl Philipp Emanuel Bach, the Complete Works.” Accessed October 18. http://cpebach.org/searchresults?F6177180301312WMBCV=_.
  • Balestracci, Sergio. 2000. “La sonata solistica per flauto dolce nel Seicento italiano [The Solo Sonata for Recorder in Seventeenth-century Italy].” In Il flauto dolce: Dallo scolaro al virtuoso, edited by Vittorio Nicolucci, 76–89. Bologna: UT Orpheus Edizioni.
  • Baron, Samuel. 1992. “J. S. Bach: The Flauto and Traverso.” In Johann Sebastian Bach: A Tercentenary Celebration, edited by L. Benstock Seymour, 11–18. Contributions to the Study of Music and Dance 19. Westort, CT: Greenwood Press.
  • Beeks, Graydon. 1985. “Handel and Music for the Earl of Carnarvon.” In Bach, Handel, Scarlatti: Tercentenary Essays, edited by Peter Williams, 1–20. Cambridge: Cambridge University Press.
  • Benedikt, Erich. 1972. “Ungewohnte Stimmlagen der Blockflöte und ihre Bedeutung [Recorders with Unusual Ranges and Their Significance].” Musikerziehung, 25 (4): 156–59; (5): 210–12.
  • Bergmann, Walter. 1960. “Three Pieces of Music on Henry Purcell’s Death.” Consort 17: 13–19.
  • Bergmann, Walter. 1961. “Francesco Barsanti.” Consort 18: 67–77.
  • Best, Terrence. 2006. “A Newly Discovered ‘Water Music’ Source.” Händel Jahrbuch 52: 225–34.
  • Best, Terrence. 1977. “Handel’s Solo Sonatas.” Music & Letters 58 (4): 430–38.
  • Betz, Marianne. 1992. Der Csakan und seine Musik: Wiener Musikleben im frühen 19. Jahrunder, dargestellt am Beispiel einer Spazierstockblockflöte [The Csakan and its Music: Viennese Musical Life in the Early Nineteenth Century, Presented by the Example of a Walking-stick Recorder]. Tutzing: Hans Schneider.
  • Böhmer, Karl. 1996. “Bachs mythologisches Geheimnis: Philip Pickett, Reinhard Goebel und das verborgene Programm der Brandenburgischen Konzerte [Bach Mythological Mystery: Philip Pickett, Reinhard Goebel and the Hidden Program of the Brandenburg Concertos].” Concerto: Das Magazin för alte Musik 109: 15–17.
  • Boresch, Hans-Werner. 1993. Besetzung und Instrumentation: Studien zur kompositorischen Praxis Johann Sebastian Bachs [Scoring and Instrumentation: Studies on the Compositional Practices of Johann Sebastian Bach]. Bochumer Arbeiten zur Musikwissenschaft 1. Kassel: Bärenreiter.
  • Bornstein, Andrea. 2015. “Gardane [A Repository of Music Sites. Includes a Vast Collection of Original Music and Arrangements for Recorder, Together with Information on Their Composers, Titles, Sources, Sound Files, Printable Scores (in English and Italian)].” Accessed October 15. http://www.gardane.info/.
  • Braun, Gerhard. 1997. “Bachsonaten Für Blockflöte? Quellen, Analyse, Bearbeitungsmöglichkeiten, Interpretation [Bach Sonatas for the Recorder? Sources, Analysis, Possibilities for Arrangements, Interpretation].” In Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1997, Kongressbericht, Vorträge Und Dokumentation, 1–9. ERTA – European Recorder Teachers’ Assocciation.
  • Braun, Gerhard. 1996. “Händels Opern und Oratorien in Bearbeitungen für Flöteninstrumente [Handel’s Operas and Oratorios Arranged for Flutes].” Tibia 21 (1): 10–14. http://www.moeck.com/uploads/tx_moecktables/1996-1.pdf.
  • Brock, John E. 1982. “A Checklist of Music for Unaccompanied Recorder.” American Recorder 23 (3): 103–6.
  • Busch, Siegfried. 1997. “Original und Bearbeitung bei Praetorius: Hinweise zur Aufführungspraxis [Original and Arrangement in Praetorius: Advice on Performance Practice].” In Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1997, Kongressbericht, Vorträge und Dokumentation, 10–20. ERTA – European Recorder Teachers’ Assocciation.
  • Busch, Siegfried. 2018. “Bachs Blockflötenpartien [Bach’s recorder parts].” Windkanal, no. 2.
  • Buse, Caren. 2003. “‘For the Flute’: Published Songs and the Amateur Recorder Player in London in the Late Seventeenth and Early Eighteenth Centuries.” Ph.D. dissertation, Bangor: University of Wales.
  • Careri, Enrico. 1998. “The First Publications in England of Geminiani, Castrucci and Barsanti.” Studi Musicali 27 (2): 311–37.
  • Cassignol, Jean, and Anne Napolitano-Dardenne. 1999. “Le concerto RV 312 est-il le quatrième ‘Conto P Flautino Del Viualdi’?” [Is the Concerto RV 312 Vivaldi’s Fourth Flautino Concerto?].” Informazioni e studi vivaldiani 20: 83–110.
  • Clark, Paul. 1971. “A Guide to the Sopranino (For Younger Players).” Recorder and Music Magazine 3 (12): 472–74.
  • Cornsweet, Amy. 1889. “Handel’s Use of Flute and Recorder in Opera and Oratorio.” M.M. thesis, University of Arizona.
  • Dart, Thurston. 1947–1948. “Morley’s Consort Lessons of 1599.” Proceedings of the Royal Musical Association 74: 1–9.
  • Dart, Thurston. 1952. “Four Dutch Recorder Books.” Galpin Society Journal 5: 57–60.
  • Dart, Thurston. 1960. “Bach’s ‘fiauti D’echo’.” Music & Letters 41 (4): 331–41.
  • Davenport, Mark. 2005. “Recorder Music Center (RIMC), an International Repository & Research Center for Recorder Music.” Regis University, Denver. http://www.regis.edu/About-Regis-University/Centers-and-Institutes/Recorder-Music-Center.aspx.
  • Davis, Alan. 1972. “Bach’s Recorder Parts: Some Problems of Transposition.” Recorder and Music Magazine 4 (2): 47–50.
  • Delius, Nikolaus. 1992. “Johann Fischer: Allemande für Flöte und Generalbaß [John Fischer: Allemande for Flute and Basso Continuo].” Tibia 17 (3): xiii – xix (de gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/1992-3.pdf.
  • Denecker, Patrick. 1997. “De blokfluit in de 19de eeuw [The Recorder in the Nineteenth Century].” Musica antiqua 14 (4): 167–72.
  • Dikmans, Greg. 1986. “Florid Italian Instrumental Music circa 1600: An Introduction.” Recorder: Journal of the Victorian Recorder Guild 4: 5–13.
  • Dolmergue, Sylvie. 1990. “Jouer les partitas de Bach à la flûte à bec: Essai autour de l’allemande de la partita no. 2 en re mineur [Play Bach’s Partitas on the Recorder: Essay on the Allemande of Partita no. 2 in D Minor].” Crescendo 33 [i.e. 34]: 24–30.
  • Duron, Jean. 1986. “L’orchestre de Marc-Antoine Charpentier [The Orchestera of Marc-Anatoine Charpentier].” Revue de musicologie 72 (1): 23–65.
  • Edridge, Tom. 1972. “Arranging Keyboard Bach for Recorders.” Recorder and Music Magazine 4 (1): 4–5.
  • Eppelsheim, Jürgen. 1961. Das Orchester in den Werken Jean-Baptiste Lullys [The Orchestra in the Works of Jean-Baptiste Lully]. Münchner Veröffentlichungen zur Musikgeschichte 7. Tutzing: Hans Schneider.
  • Fiedler, Jörg. 1988. “Brunettes ou petits airs tendres: Unterrichts-und Unterhaltungsmusik des französischen Barock [Brunettes or petits airs tendres: Instructional and Entertainment Music of the French baroque].” Basler Jahrbuch für historische Musikpraxis 12: 65–79.
  • Fitzgibbon, H. Macaulay. 1934. “Of Flutes and Soft Recorders.” Musical Quarterly 20 (2): 219–29.
  • Fox, Charles W. 1949. “An Early Duet for Recorder & Lute.” Guitar Review 9: 84–85.
  • Franklin, Zöe. 2007. “William Babel’s Concertos in 7 Parts.” Consort 63: 62–73.
  • Freeman, Daniel E. 1998. “J.S. Bach’s ‘Concerto’ Arias: A Study in the Amalgamation of Eighteenth-Century Genres.” Studi Musicali 27 (1): 123–62.
  • Ganty, Henry. 1984. “Petit plaidoyer pour les grandes flûtes [Small Speech in Defense of the Large Recorders].” Flûte à bec & instruments anciens 11: 35.
  • Giannini, Tula. 1993. “Jacques Hotteterre Le Romain and His Father, Martin: A Re-Examination Based on Recently Found Documents.” Early Music 21 (3): 377–195.
  • Goebel, George H. 1995. “New Evidence on the Echo Flute.” Galpin Society Journal 48: 205–7.
  • Gordon, Edgar. 2004. “Bach and Telemann Transpositions.” Recorder Magazine 24 (3): 91.
  • Griffioen, Ruth van Baak. 1995. “A Field Guide to the Flowers of the Fluyten Lust-Hof: Notes on the Familiarity of the Tunes van Eyck Chose.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht 1993, edited by David R.G. Lasocki, 159–75. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
  • Griffioen, Ruth van Baak. 1991. Jacob van Eyck’s Der Fluyten Lust-Hof (1644–c1655). Utrecht: Vereniging voor Nederlanse Musiekgeschiendenis.
  • Griffioen, Ruth van Baak. 1988. “Jacob van Eyck’s Der Fluyten Lust-Hof (1644–c1655).” Ph.D. dissertation, Stanford University.
  • Gronefeld, Ingo. 2007. Flauto traverso und Flauto dolce in den Triosonaten des 18. Jahrhunderts: Ein thematisches Verzeichnis [Flute and Rcorder in the Trio Sonatas of the Eighteenth Century: A Thematic Catalogue]. 3 vols. Tutzing: Hans Schneider.
  • Gronefeld, Ingo. 1995. Flötenkonzerte bis 1850: Ein thematisches Verzeichnis [Flute Concertos to 1850: A Thematic Catalogue]. 4 vols. Tutzing: Hans Schneider.
  • Großpietsch, Christoph. 1994. Graupners Ouverturen und Tafelmusiken: Studien zur Darmstädter Hofmusik und thematischer Katalog [Graupner’s overtures and table music: studies of court music in Darmstadt, and a thematic catalog]. (Beiträge zur mittelrheinischen Musikgeschichte 32. Mainz: Schott.
  • Harras, Manfred. 1996. “Die Blockflöte bei Johann Sebastian Bach [J. S. Bach and the Recorder].” Intrada 2 (3): 32–37.
  • Harras, Manfred. 2017. “A replenishment of Telemann fantasies.” Windkanal, no. 4.
  • Hauwe, Walter van, Paul Leenhouts, and Jorge Isaac. 19982016. “Catalogue of Historical Recorder Repertoire.” Stichtung Blokfluit. http://www.blokfluit.org/historical/.
  • Haynes, Bruce. 1986. “Questions of Tonality in Bach’s Cantatas: The Woodwind Perspective.” Journal of the American Musical Instrument Societyy 12: 40–67.
  • Haynes, Bruce. 2001. The Eloquent Oboe, a History of the Hautboy from 1640 to 1760. Early Music Series. Oxford: Oxford University Press.
  • Haynes, Bruce. 1986. “Telemann’s Kleine Cammer-Music and the Four Oboists to Whom It Was Dedicated.” Musik 7 (4): 30–35.
  • Heberle, Anton. 1987. Sonata (1808) für Sopranblockflöte solo. Edited by Hugo Reyne. Celle: Edition Moeck Nr. 1119. http://www.fletny-noty.cz/attachment.php?id_attachment=205.
  • Heidecker, Martin. 1996. “Block- und Querflöten in den Opern Georg Friedrich Händels [Recorder and Flute in the Operas of George Frideric Handel].” Tibia 21 (1): 2–10. http://www.moeck.com/uploads/tx_moecktables/1996-1.pdf.
  • Heindlmeier, Barbara. 2016. “Die sechs barocken Sonaten von A.H. Schultzen [The six baroque sonatas by A.H. Schultzen].” Windanal, no. 2.
  • Henricksen, Olav C. 1994. “Two Centuries of Recorder and Lute.” American Recorder 25 (1): 13–16.
  • Heyghen, Peter van. 1995. “The Recorder in Italian Music, 1600–1670.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht 1993, edited by David R.G. Lasocki, 3–63. Utrecht: STIMU Foundation for Historical Performance Practice.
  • Heyghen, Peter van. 2005. “The Recorder Consort in the Sixteenth Century: Dealing with the Embarrassment of Riches.” In Musique de Joye. Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003, edited by David R.G. Lasocki, 227–321. Utrecht: STIMU Foundation for Historical Performance Practice.
  • Higbee, Dale. 1978. “J.S. Bach’s Sonatas for Recorder and Harpsichord after BWV 525-530.” American Recorder 18 (4): 112–13.
  • Higbee, Dale. 1999. “On Playing the Baroque Treble Recorder in G Today.” Galpin Society Journal 52: 387–88.
  • Higbee, Dale. 1977. “Alternate Instrumentation in Bach’s Second Brandenburg Concerto.” American Recorder 18 (1): 11.
  • Higbee, Dale. 1991. “Recorders in Bach Cantata 161, Komm, Du Süße Todesstunde.” Journal of the American Musical Instrument Society 17: 83–84.
  • Hijmans, Ita. 2005. “The Recorder Consort Ca. 1500: Pictures, Extant Instruments, and Repertoire.” In Musique de Joye. Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003, edited by David R.G. Lasocki, 203–25. Utrecht: STIMU Foundation for Historical Performance Practice.
  • Hochreither, Karl. 2002. Performance Practice of the Instrumental–vocal Works of Johann Sebastian Bach. Translated by Melvin Unger. Lanham, MD: Scarecrow Press.
  • Höffer-von Winterfeld, Linde. 1953. “Die Blockflöte in den Kantaten J. S. Bachs [The Recorder in the Cantatas of J.S. Bach].” Hausmusik 17: 106–16.
  • Höffer-von Winterfeld, Linde, and Harald Kunz. 1959. Handbuch der Blockflöten‑Literatur [Handbook of recorder literature]. Berlin: Bock & Bock.
  • Hofmann, Klaus. 1981. “Zu Händels Fitzwilliam-Sonate in G-dur: Eine Replik” [On Handel’s Fitzwilliam Sonata in G major: A reply].” Tibia 6 (3): 391–96. http://www.moeck.com/uploads/tx_moecktables/1981-3.pdf.
  • Hofmann, Klaus. 1992. “Gesucht: Ein Graunsches Trio mit obligater Bassblockflöte. Ein Ermittlungsbericht—mit Seitenblicken auf ein Trio Carl Philipp Emanuel Bachs [Sought: A Trio by Graun with Obbligato Basset Recorder—A Research Report, with Side-glances].” Tibia 17 (4): 253–62. http://www.moeck.com/uploads/tx_moecktables/1992-4.pdf.
  • Hoggart, Ian Richard. 2016. “The Eighteenth-Century Recorder Concerto in England, Italy, Germany and Sweden: A Commentary and Catalogue.” Ph.D dissertation, York: University of York. https://etheses.whiterose.ac.uk/20643/1/Ian%20Richard%20Hoggart%20-%20PhD%20Thesis%20Final.pdf.
  • Holman, Peter. 2004. “An Early Edinburgh Concert.” Early Music Performer 13: 9–17.
  • Holman, Peter. 1999–2000. “Recorder Music in England c1680–1730.” Early Music Performer 4: 10–14.
  • Holman, Peter. 2010. “The Sale Catalogue of Gottfried Finger’s Music Library: New Light on London Concert Life in the 1690s.” Research Chronicle [Royal Music Association] 43: 23–38.
  • Hopkins, Bernard J. 1977. “Polychoralism, Anyone?” American Recorder 18 (2): 40–43.
  • Hosoda, Tsutomu. 1987. A Descriptive Catalogue of Recorder Music. Tokyo: Academia Musica.
  • Hunt, Edgar H. 1978. “Trio Sonatas with Two Recorders.” Recorder & Music 6 (2): 35–38.
  • Hunt, Edgar H. 1957. “The Voice Flute.” Galpin Society Journal 10: 86–87.
  • Hunt, Edgar H. 1980. “Quartet Sonatas.” Recorder & Music 6 (9): 277.
  • Hunt, Edgar H. 1968. “Recorder  and Flute.” Recorder and Music Magazine 2 (8): 244–45.
  • Hunt, Edgar H. 1983. “Fitting the Instrument to the Music.” Recorder & Music 7 (9): 227–28.
  • Hunt, Edgar H. 1977. “Trio-Sonatas with Recorder.” Recorder & Music 5 (9-11): 293–95, 325–27, 360–61.
  • Hunt, Edgar H. 1973. “Exploring the Repertoire 2: Renaissance Music.” Recorder and Music Magazine 4 (6): 194–95.
  • Hunt, Edgar H. 1988. “The Right Instrument.” Recorder and Music Magazine 9 (6): 150–51.
  • Hunt, Edgar H. 2002. The Recorder and Its Music. Revised and enlarged. Hebden Bridge: Peacock Press.
  • International Music Score Library Project. n.d. “Petrucci Music Library [96,000 Printable Scores in PDF Format, amongst Them over 1,500 Works of Interest to Recorder Players by Bach, Corelli, Lully, Marcello, Monteverdi, Quantz, Sammartini, Telemann, Vivaldi, Etc.].” IMSLP. http://imslp.org/.
  • Jolibert, Bernard. 1988. “Les sonates de chambre baroques [Baroque Chamber Sonatas].” Flûte à bec & instruments anciens 26: 20–22.
  • Kenyon de Pascual, Beryl. 1995. “The Recorder Revival in Late Seventeenth-Century Spain.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht, 27-30 August 1993, edited by David R.G. Lasocki, 65–74. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
  • Kenyon de Pascual, Beryl. 1987. “Instrumentos e instrumentistas españoles y extranjeros en la Real Capilla desde 1701 hasta 1749 [Spanish and Foreign Instruments and Instrumentalists in the Royal Chapel between 1701 and 1749].” In Españaenlamúsica de occidente: Actas del Congreso Internacional celebrado en Salamanca 29 de octubre–5 de noviembre de 1985: Añodela Música, edited by Emilio C. Rodicio, Ismael F. de la Cuesta, and José López-Calo, 93–97. Madrid: Instituto Nacional de la Artes Escénicas y de la Música, Ministerio de Cultura.
  • Kmetz, John. 1988. Die Handschriften der Universitätsbibliothek Basel. […]: Katalog der Musikhandschriften des 16. Jahrhunderts: quellenkritische und historische Untersuchung. Basel: Universitätsbibliothek Basel.
  • Kneihs, Hans M. 2002. “A Dialogue about Interpretation, by Way of Barsanti.” Recorder Education Journal 8: 2–5.
  • Krainis, Bernard. 1961. “Bach and the Recorder in G.” American Recorder 2 (4): 7.
  • Kreitner, Kenneth. 2003. “The Cathedral Band of León in 1548, and When It Played.” Early Music 31 (1): 41–62.
  • Kroesbergen, Willem, and Marijke Schouten. 1986. “Bachs triosonates gereconstrueerd [Bach’s Trio sonatas Reconstructed].” Tijdschrift voor oude muziek 1 (5): 115–18.
  • Kubitschek, Ernst. 1987. “Block- und Querflöte in Umkreis von Johann Joseph Fux—Versuch einer Übersicht [Recorder and flute in Johann Joseph Fux’s circle: An attempt at a synopsis].” In Johann Joseph Fux und die Barocke Bläsertradition, edited by Bernhard Habla, 99–119. Tutzing: Hans Schneider.
  • Kuijken, Barthold. 1995. “Lack of Seventeenth-Century Recorder Repertoire: Consequences for the Practical Musician.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht, 27-30 August 1993, edited by David R.G. Lasocki, 197–202. Utrecht: Stichting Muziekhistorische uitvoeringspraktijk.
  • Kuijken, Barthold, and David R.G. Lasocki. 1995. “An Exchange of Correspondence.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht, 27-30 August 1993, edited by David R.G. Lasocki, 211–15. Utrecht: Stichting Muziekhistorische Uitvoeringspraktijk (STIMU).
  • Lasocki, David R.G., ed. 2005. “The Recorder’s Role in Seventeenth-Century Music, Then and Now: A Reply to Barthold Kuijken.” In Musique de Joye. Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003, 203–10. Utrecht: STIMU Foundation for Historical Performance Practice.
  • Lasocki, David R.G. 2015. Marc-Antoine Charpentier and the Flûte: Recorder or Traverso? Part 1, The Text. Part 2, Musical Examples. 2 vols. French Baroque Flûte Series 3. Portland, Oregon: Instant Harmony. http://instantharmony.net/Music/eb16.php.
  • Lasocki, David R.G. 2014. “The Recorder and Its Music at the Jacobite Courts in England and France, 1685-1712.” American Recorder 55 (3): 15–30. http://www.instantharmony.net/Music/AR1409_Jacobite_proof2.pdf.
  • Lasocki, David R.G. 2014. “Die Blockflöte und ihre Musik an den jakobitischen Höfen in England und Frankreich von 1685 bis 1712.” Tibia 38 (3): 483–98.
  • Lasocki, David R.G. 2003. “A Web-Based Catalogue of Recorder Music before 1800.” Recorder Education Journal 9: 33–37.
  • Lasocki, David R.G. 2002. “Die Bassanos: Holzbläser, Instrumentenbauer und Komponisten des 16. und 17. Jahrhunderts in London und Venedig [The Bassanos: Woodwind Players, Instrument Makers, and Composers of the Sixteenth and Seventeenth Centuries in London and Venice].” Tibia 27 (1): 3–10. http://www.moeck.com/uploads/tx_moecktables/2002-1.pdf.
  • Lasocki, David R.G. 2001. “Recorder.” In The New GROVE Dictionary of Music and Musicians, edited by Stanley J. Sadie and John Tyrell. Basingstoke: Macmillan. http://www.oxfordmusiconline.com.
  • Lasocki, David R.G. 2001. “Divisions on a Ground for the Recorder: A Bibliographic Essay.” Recorder Education Journal 7: 10–19. http://www.instantharmony.net/Music/REJ-7-2001.pdf.
  • Lasocki, David R.G. 1999. “Amateur Recorder Players in Renaissance and Baroque England.” American Recorder 40 (1): 15–19. http://www.instantharmony.net/Music/AR-1-1999.pdf.
  • Lasocki, David R.G. 1997. “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 [Without Music, No Life: Festschrift for Hermann Moeck on His Seventy-Fifth Birthday on 16 September 1997], edited by Nikolaus Delius, 343–74. Celle: Moeck Verlag.
  • Lasocki, David R.G. 1996. “Handel’s Original Works for Recorder: A Bibliography.” Recorder Education Journal 3: 38–44.
  • Lasocki, David R.G. 1995. “The Recorder’s Role in Seventeenth-Century Music, Then and Now: A Reply to Barthold Kuijken.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht, 27-30 August 1993, edited by David R.G. Lasocki, 203–10. Utrecht: Stichting Muziekhistorische Uitvoeringspraktijk (STIMU).
  • Lasocki, David R.G. 1995. “A Preliminary Bibliography of Ensemble Pieces for Recorder, 16th–18th Century.” Recorder Education Journal 2: 79–85.
  • Lasocki, David R.G. 1994. “Paisible’s Echo Flute, Bononcini’s Fiauti Eco, and Bach’s Fiauti D’echo.” Galpin Society Journal 47: 59–66.
  • Lasocki, David R.G. 1990. “Note on the Repertory of the Bass Recorder in the Baroque Period.” American Recorder 31 (3): 34.
  • Lasocki, David R.G. 1990. “More on the Life of Francesco Barsanti.” Brio 27 (2): 78–79.
  • Lasocki, David R.G. 1989. “The Life of Daniel De Moivre (fl. 1687-1731).” Consort 45: 15–17.
  • Lasocki, David R.G. 1984. “A New Look at the Life of John Loeillet (1680–1730).” Recorder & Music 8 (2): 42–46.
  • Lasocki, David R.G. 1983. “Professional Recorder Players in England, 1540-1740.” Ph.D dissertation, Iowa City: The University of Iowa.
  • Lasocki, David R.G. 1982. “The Detroit Recorder Manuscript (England c.1700).” American Recorder 23 (3): 96–102. http://www.instantharmony.net/Music/AR-aug-1982.pdf.
  • Lasocki, David R.G. 1982. “Professional Recorder Playing in England 1500-1750. I: 1500-1640. II: 1640-1740.” Early Music, 10: (1): 23–29, (2): 183–91.
  • Lasocki, David R.G. 1981. “New Light on Handel’s Woodwind Sonatas.” American Recorder 21 (4): 163–70. http://www.instantharmony.net/Music/AR-feb-1981.pdf.
  • Lasocki, David R.G. 1980. “Händels Sonaten für Holzbläser in neuem Licht [Handel’s Sonatas for Wind Instruments in a New Light].” Translated by Nikolaus Delius. Tibia 5 (3): 166–76. http://www.moeck.com/uploads/tx_moecktables/1980-3.pdf.
  • Lasocki, David R.G. 1979. “Schickhardt in London.” Recorder and Music 6 (7): 203–5.
  • Lasocki, David R.G. 1977. “Johann Christian Schickhardt.” Tibia 2, Nr. 3 (1977): S. 337-43.” Tibia 2 (3): 337–43. http://www.instantharmony.net/Music/T-3-1977.pdf.
  • Lasocki, David R.G. 1977. “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 (1): 28–55.
  • Lasocki, David R.G. 1976–1977. “Johann Christian Schickhardt (ca. 1682–1762): Woodwind Composer, Performer and Teacher.” Recorder and Music, 5 (8): 254–57, (9): 287–90.
  • Lasocki, David R.G. 1974. “Flute and Recorder in Combination: Recent Additions to the Baroque Repertoire.” Recorder & Music 4 (11): 391–95.
  • Lasocki, David R.G. 1970. “The C Recorder in the Eighteenth Century.” American Recorder 11 (1): 30.
  • Lasocki, David R.G., and Anthony Rowland-Jones. 1995. “The Eighteenth-Century Recorder Concerto.” In The Cambridge Companion to the Recorder, 107–18. Cambridge: Cambridge University Press.
  • Lasocki, David R.G. and Helen Neate. 1988. “The Life and Works of Robert Woodcock, 1690-1728.” American Recorder 29 (3): 92–104. http://www.instantharmony.net/Music/AR-aug-1988.pdf.
  • Leenhouts, Paul. 1999. “A Noble Noyse of Musicke: Die Anmut und Würde englischer Instrumentalmusik von 1540-1620 [The Grace and Dignity of English Instrumental Music from 1540-1620].” Windkanal, 2: 6–9; 3: 6–9. http://www.windkanal.de/de/archiv.
  • Lehmann, Jenniver W. 1990. Music for Mixed Ensembles. American Recorder Society Chapter Information Packet 3. Littleton, CO: ARS Education Committee.
  • Lemaître, Edmond. 1988–1990. “L’orchestre dans le Théâtre Lyrique Français chez les continuateurs de Lully 1687–1715 [The Orchestra of the Théâtre Lyrique Français Under Lully’s Successors, 1687–1715].” “Recherches” sur la musique française classique 26: 83–131.
  • Letteron, Claude. 1982. “Répertoire partitions: Flûte à bec et guitare” [Printed Repertory: Recorder and Guitar].” Flute à bec 2: 25–32.
  • Letteron, Claude. 1981. “Bach et la flûte à bec [Bach and the Recorder].” Flûte à bec 1: 16–30.
  • Letteron, Claude. 1984. “Des thèmes pour 1985 [On Themes for 1985].” Flûte à bec & instruments anciens 13-14: 16–23.
  • Letteron, Claude. 1989. Catalogue général: musique pour flûte à bec 1989 = General Katalog: Musik für Blockflöte = General Catalogue: Music for Recorder = Catálogo general: Música para flauta dulce. Paris: Éditions Aug. Zurfluh.
  • Levin, Lia S. 1981. “The Recorder in the Music of Purcell and Handel.” Ph.D dissertation, Los Angeles: International College.
  • Lewis, Edgar J., Jr. 1964. “Use of Wind Instruments in Seventeenth-Century Instrumental Music.” Ph.D. dissertation, Madison: University of Wisconsin.
  • Linde, Hans-Martin. 1968. “The Simultaneous Use of Recorder and Flute by Baroque Composers.” Recorder and Music Magazine 2 (9): 281–82.
  • Loonen, Martin A. 1971. “A Listing of Late Baroque Solo Sonatas for Alto Recorder.” American Recorder 12 (3): 86–90.
  • Loretto, Alec V. 2004. “The Problems Bach Gives Recorder Players.” Recorder Magazine 24 (1): 14–15.
  • Macmillan, Douglas. 1991. “The Voice Flute: An Historical Survey.” The Consort 47: 5–7.
  • MacMillan, Douglas. 2006. “The Small Flute Concerto in 18th-Century England.” The Consort 62: 91–106.
  • Madry, Alina, and Patryck Frankowski. 2012. “Perneckher’s ‘Harmonia Patorella’ and C.P. Bach’s Trio in F — a Rare Example of Compositions for Concertato Bass Recorder.” Musicologia Brunensia 47: 189–97. http://digilib.phil.muni.cz/bitstream/handle/oktavo/125878/1_MusicologicaBrunensia_47-2012-1_16.pdf.
  • Mann, Alfred. 1950. “The Use of the Recorder in the Works of Bach and His Contemporaries.” Master’s essay, Columbia University.
  • Margules, Anna. 1997. “Ars subtilior con flauta de pico? [Ars Subtilior on the Recorder?].” Revista de flauta de pico 7: 25–26.
  • Marissen, Michael. 2001. The Social and Religious Designs of J.S. Bach’s Brandenburg Concertos. Princeton: Princeton University Press. http://public.eblib.com/choice/publicfullrecord.aspx?p=581623.
  • Marissen, Michael. 1991. “Scoring, Structure, and Signification in J. S. Bach’s Brandenburg Concertos.” Ph.D. dissertation, Brandeis University.
  • Marissen, Michael. 1995. The Social and Religious Designs of J. S. Bach’s Brandenburg Concertos. Princeton: Princeton University Press.
  • Marissen, Michael. 1995. “Bach and Recorders in G.” Galpin Society Journal 48: 199–204.
  • Marissen, Michael. 1985. “A Trio in C Major for Recorder, Violin and Continuo by J. S. Bach?” Early Music 13 (3): 384–90.
  • Martin, Anne. 1980. “The Recorder and ‘bird Music.’” Recorder and Music 6 (9): 261–63.
  • Martin, Mariano. 1985. “La flauta de pico y la flauta travesera en el siglo XVIII en españa [The Recorder and Flute in Spain in the Eighteenth Century].” Revista de musicología 8: 115–18.
  • Martin, John. 1989. “Echoes from the Past.” Recorder: Journal of the Victorian Recorder Guild 9: 1–3.
  • Martin, John. 1994. The Acoustics of the Recorder. Celle: Edition Moeck 4054.
  • Martin, John. 1996. “Los fiauti d’echo en el 4˚ Concierto de Brandenburgo de J. S. Bach.” Revista de flauta de pico 4: 13–17.
  • Maunder, Richard. 2004. The Scoring of Baroque Concertos. Woodbridge, Suffolk: The Boydell Press.
  • Maute, Matthias. 2007. “A New Baroque Revival: Breaking through the Final Taboo.” Early Music America 13 (2): 36–45, 54–55.
  • Mayes, Andrew. 2005. “Charpentier’s ‘Messe de Minuit Pour Noël’: Some Observations on the ‘Flute’ Parts.” Recorder Magazine 25 (4): 121–24.
  • McGee, Timothy J. 2005. “Florentine Instrumentalists and Their Repertory circa 1500.” Basler Jahrbuch Für Historische Musikpraxis 29: 145–59.
  • McGee, Timothy J. 2009. The Ceremonial Musicians of Late Medieval Florence. Bloomington & Indianapolis: Indiana University Press.
  • McGowan, R.A. 1974. “Italian Baroque Solo Sonatas for the Recorder and the Flute.” Ph.D. dissertation, Ann Arbor: University of Michigan.
  • McGowan, Richard A. 1978. Italian Baroque Solo Sonatas for the Recorder and the Flute. Detroit Studies in Music Bibliography 37. Detroit: Information Coordinators.
  • Meierott, Lenz. n.d. Die geschichtliche Entwicklung der kleinen Flötentypen und ihre Verwendung in der Musik des 17. und 18. Jahrhunderts [The Historical Development of the Small Members of the Flute Family and their Use in the Music of the Seventeenth and Eighteenth Centuries]. Wurzburger Musikhistorische Beiträge 4. Tutzing: Hans Schneider.
  • Mitchell, David. 1975–1976. “Antony Holborne and His Five Part Dances.” Recorder & Music, 3 (9): 313–15 (1974); 3 (10): 375–370 (1974); 5 (1): 28–32 (1975); 5 (2): 53–55 (1975), (5): 162–64 (1976).
  • Moeck, Hermann A. 1994. “Con flauti dolci: Zur Historie des Blockflötenzusammen-spiels [With Recorders: On the History of Recorder Ensembles].” Tibia 19 (3): 179–85. http://www.moeck.com/uploads/tx_moecktables/1994-3.pdf.
  • Möller, Dirk. 1989. Besetzung und Instrumentation in den Opern Georg Friedrich Händels [Scoring and Instrumentation in Georg Frideric Handel’s Operas]. Vol. 38. Europäische Hochschulschriften, 36: Musikwissenschaft. Frankfurt-am-Main: P. Lang.
  • Montagu, Jeremy. 1981. “What Was the Flauto D’echo?” FoMRHI Quarterly 23: 20–21.
  • Monteiro, Isabel. 2001. “La flauta dulce en Portugal: Breve panorama de la Flauta de pico en Portugal – siglos XVI a XVIII.” Revista de flauta de pico 17 (1): 17–21.
  • Morgan, Frederick G., John Martin, and Malcolm Tattersall. 1989. “Echoes Resounding.” Recorder: Journal of the Victorian Recorder Guild 10: 19–24.
  • Müller-Busch, Franz. 1991. “Alessandro Scarlattis Kantaten mit obligaten Blockflöten.” Tibia 16 (1): 337–46. http://www.moeck.com/uploads/tx_moecktables/1991-1.pdf.
  • Music, David W. 1983. “The Recorder in Early America.” American Recorder 24 (3): 102–5.
  • Myers, Herbert W. 1995. “The Idea of ‘consort’ in the Sixteenth Century.” In The Recorder in the 17th Century. Proceedings of the International Recorder Symposium. Utrecht, 27-30 August 1993, edited by David R.G. Lasocki, 31–60. Utrecht: STIMU Foundation for Historical Performance Practice.
  • Newman, Joel. 1964. “Handel’s Use of the Recorder.” American Recorder 5 (4): 4–9.
  • Newman, Joel. 1963. “A Walsh Catalog of Recorder Music. (eighteenth-Century).” American Recorder, 4(3): 6–9, (4): 3–4.
  • Nitz, Martin. 1990. “G. B. Fontana: ‘6 Sonaten für Violine (Sopranblockflöte) und B.c.’ Ueberlegungen zu den Temporelationen ihrer 2er- und 3er-Taktabschnitte” [G. B. Fontana, ‘Six Sonatas for Violin (Soprano Recorder) and Basso Continuo:’ Reflections on the tempo relations of its duple- and triple-meter sections].” Tibia 15 (3): 205–8. http://www.moeck.com/uploads/tx_moecktables/1990-3.pdf.
  • Oestreicher, Klaus. 1981. “Zur Geschichte der Baßblockflöte [On the History of the Bass Recorder].” Musik International 35 (12): 794–96.
  • Oleskiewicz, Mary, Johnathan Wainwright, and Peter Holman. 2005. “The Flute at Dresden: Ramifications for Eighteenth-Century Woodwind Performance in Germany. In From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century: Proceedings of the National Early Music Association Conference Held, in Asscoiation [sic] with the Department of Music, University of York and the York Early Music Festival, at the University College of Ripon and York St John, York, 2–4 July 1999 , 145–65. Edited by Jonathan Wainwright and Peter Holman. Aldershot & Brookfield, VT: Ashgate, 2005. ISBN 0754604039, 9780754604037; OCLC 56128495.” In From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century: Proceedings of the National Early Music Association Conference Held, in Asscoiation [sic] with the Department of Music, University of York and the York Early Music Festival, at the University College of Ripon and York St John, York, 2–4 July 1999. Aldershot & Brookfield, VT: Ashgate.
  • Paterson, Scott. 1997. “Performing Four Dances by Antony Holborne.” American Recorder 38 (3): 12–16.
  • Paterson, Scott. 1998. “Performing Handel’s Cantata ‘Nel Dolce Dell’oblio’.” American Recorder 39 (4): 9–14.
  • Paterson, Scott, David R.G. Lasocki, and Dawn Culbertson. 1989–1994. A Discography of the Recorder . Vol. 1: Recordings Available in North America, 1989 . Vol. 2 (by Scott Paterson): New Recordings Available in North America, 1990–1994. Littleton, CO: American Recorder Society (ARS).
  • Peeters, Vanessa. 1999. “De blokfluit in Frankrijk in de 17de eeuw: Haar gebruik in het werk van Jean-Baptiste Lully (1632–1687)” [The Recorder in France in the Seventeenth Century: Its Use in the Works of Jean-Baptiste Lully (1632–1687)].” Musica antiqua 16 (3): 129–39.
  • Peterman, Lews E. Jr. 1985. “The Instrumental Chamber Music of Joseph Bodin de Boismortier with Special Emphasis on the Trio Sonatas for Two Treble Instruments and Basso Continuo.” Ph.D. dissertation, College-Conservatory of Music, University of Cincinnati.
  • Polk, Keith. 2005. German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice. Cambridge Musical Texts and Monographs. Cambridge: Cambridge University Press.
  • Portell, Patricio. 2007. Répertoire de Musique Imprimée (1670–1780) Pour La Flûte à Bec, Le Flageolet et Le Galoubet [Catalog of Printed Music, 1670–1780, for the Recorder, Flageolet, and Galoubet]. Courlay: J.M. Fuzeau.
  • Portell, Patricio. 1970. “Il flauto dolce e la musica champêtre [The recorder and pastoral music].” In Il flauto dolce: Dallo scolaro al virtuoso [The recorder: from student to virtuoso], edited by Nicolucci Vittorio, 44–50. Bologna: UT Orpheus Edizioni.
  • Pottier, Laurence. 1992. “Le répertoire de la flûte à bec en France à l’époque baroque (musique profane) [The Repertory of the Recorder in France during the Baroque Period (Secular Music)].” Ph.D. dissertation, Lille: Université de Lille.
  • Power, Tushaar. 1994. “On the Pitch Dispositions of Bach’s Fiauti D’echo and Other Treble Recorders.” Galpin Society Journal 47: 155–60.
  • Prieto, Mariano Pérez. 1985. “Presencia de la flauta de pico y de la traversera en tres capillas musicales salmantinas: Catedralica, universitaria y de San Martin, durante el periodo 1700–1750 [The Recorder and Flute in Three Music Chapels in Salamanca: The Cathedral, The University, and San Martin, during the period 1700–1750].” Revista de flauta de pico 2: 3–6.
  • Prinz, U. 2005. “J.S. Bach’s Instrumentarium.” Schriftenreihe der Internationalen Bachakademie Stuttgart 10: 205.
  • Prior, Susan. 1990. Improve Your Consort Skills. American Recorder Society Chapter Information Packet 4. Littleton, CO: ARS Education Committee.
  • Prior, Susan. 1983. “In Search of Recorder Music: Transcriptions.” American Recorder 24 (4): 146–49.
  • Rampe, Siegbert, ed. 2009. Händels Instrumentalmusik [Handel’s Instrumental Music]. Das Händel-Handbuch 5. Laaber: Laaber Verlag.
  • Rampe, Siegbert. 2010. “Neues und Altes zu Händels Sonaten für und mit Blockflöte(n) [New and Old Things About Handel’s Sonatas for and with Recorders].” Tibia 35 (3): 187–97.
  • Rampe, Siegbert, and Dominik Sackman, eds. 2000. “Blasinstrumente und ihre Spielpraxis: Blockflöte, Echoflöte [Wind Instruments and their Playing Practice: Recorder, Echo Flute].” In Bachs Orchestermusik: Entstehung, Klangwelt, Interpretation: Ein Handbuch [Bach’s Orchestral Music: Development, Sound World, Interpretation: A Handbook], 278–80. Kassel: Bärenreiter.
  • Rampe, Siegbert, and Michael Zapf. 1997–1998. “Neues zu Besetzung und Instrumentarium in Joh. Seb. Bachs Brandenburgischen Konzerten Nr. 4 und 5 [News on the Instrumentation and Instrumentarium in Bach’s Brandenburg Concertos Nos. 4 and 5].” Concerto: Das Magazin för alte Musik, 129 (14): 30–38 (1997); 130 (15): 19–22 (1998).
  • Rasch, Rudolf A. 2002. “How Much Is Lost, or: Do We Know What We Don’t Know? Observations on the Loss of Printed Music from the Seventeenth and Eighteenth Centuries.” In Album Amicorum Albert Dunning in Occasione Del Suo LXV Compleanno, edited by Giacomo Fornari. Brepols: Turnhout.
  • Rasch, Rudolf A. 1972. “Some Mid-Seventeenth Century Dutch Collections of Instrumental Ensemble Music.” Tijdschrift van de Vereniging Voor Nederlandse Muziekgeschiedenis 22 (3): 160–200.
  • Rawson, Robert G. 2002. “From Olomouc to London: The Early Music of Gottfried Finger (c.1655–1730).” Ph.D. dissertation, Royal Holloway, University of London. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396962.
  • Reidermeister, Peter. 2009. “The Song Tunes for the Flute.” In Flötenmusik in Geschichte Und Aufführungspraxis Zwischen 1650 Und 1850: XXXIV. Wissenschaftliche Arbeitstagung Michaelstein, 5. Bis 7. Mai 2006, edited by Boje E. Hans Schmuhl and Ute Omonsky. Michaelsteiner Konferenzberichte 73. Michaelstein: Stiftung Kloster Michaelstein.
  • Reyne, Hugo. 1985. “La flûte à bec romantique existe: Je l’ai rencontrée [The Romantic Recorder Exists: I Have Encountered It].” Flûte à bec & instruments anciens 15: 4–5.
  • Robinson, Andrew. 2003–2004. “Families of Recorders in the Baroque Period: The Denner Orders and Other Evidence.” Recorder Magazine, 23 (4): 113–17 (2003); 24 (1): 5–9 (2004). http://www.buyrecorders.com/PDF_Files/ARobinson_Consorts_Final.pdf
  • Robinson, Andrew. 1994. “Letter to the Editor: Handel’s Water Music—the Flutes and Recorders on the Barge.” Recorder Magazine 24 (3): 104–5.
  • Robinson, Andrew. 2003. “Flexibility, Multi-Instrumentation and Transposition in Baroque Music.” Recorder Magazine 23 (2): 46–49.
  • Rovatkay, Lajos, and Siri Rovatkay. 2008. “Neues vom Csakan: Krähmer, Széchenyi, Wien, Rossini und eine kürzliche Entdeckung [New Information on the Csakan: Krähmer, Széchenyi, Vienna, Rossini, and a Recent Discovery].” Tibia 33 (3): 184–91.
  • Rowland-Jones, Anthony. 2006. “Lully’s First Use of ‘Hotteterre-Style’ Late Baroque recorders—Some Conjectures.” Early Music Performer
  • Rowland-Jones, Anthony. 2010. “Thank You Mr Lully.” Recorder Magazine 30 (1): 4–5.
  • Rowland-Jones, Anthony. 1966. “Scottish Muses and the ‘Consort Lessons.’” Recorder and Music Magazine 2 (2): 34–36.
  • Rowland-Jones, Anthony. 2004. “Recorder Technique (3rd Edition)—Some Missing Bits; Part 1: The Recorder Orchestra. Part 2: Solos.” Recorder  Magazine, 24(1): 11–12, (2): 44–45.
  • Rowland-Jones, Anthony. 1995. “The Recorder’s Medieval and Renaissance Repertoire: A Commentary.” In The Cambridge Companion to the Recorder, edited by John Mansfield Thomson and Anthony Rowland-Jones, 26–50. Cambridge: Cambridge University Press.
  • Rowland-Jones, Anthony. 1995. “The Baroque Recorder Sonata.” In The Cambridge Companion to the Recorder, edited by John Mansfield Thomson and Anthony Rowland-Jones. Cambridge: Cambridge University Press.
  • Rowland-Jones, Anthony. 1995. “The Baroque Chamber-Music Repertoire.” In The Cambridge Companion to the Recorder, edited by John Mansfield Thomson and Anthony Rowland-Jones. Cambridge: Cambridge University Press.
  • Rowland-Jones, Anthony. 2003. Recorder Technique, Intermediate to Advanced. 3rd ed. Hebden Bridge: Ruxbury Publications.
  • Ruëtz, Manfred. 1935. “Die Blockflöte bei Bach [The Recorder in Bach].” Zeitschrift für Hausmusik, 4 (1): 13–19, (4): 75–82.
  • Ruëtz, Manfred. 1935. “Die Blockflöte in der Kirchenmusik Johann Sebastian Bachs [The Recorder in the Church Music of J .S. Bach].” Musik und Kirche 7: 112–12, 170–96.
  • Ruhland, Konrad. 1996. “Blockflöte Und Geistliche Vokalmusik Im 17. Jahrhundert [The Recorder and Sacred Vocal Music in the Seventeenth Century].” Intrada 2 (3): 12–25.
  • Sandford, Gordon. 1990. “Tielman Susato’s Dances of 1551.” American Recorder 32 (3): 33.
  • Sardelli, Federico M. 2007. Vivaldi’s Music for Flute and Recorder. Translated by Michael Talbot. Aldershot: Ashgate.
  • Sardelli, Federico M. 2006. “Una nuova sonata per flauto dritto di Vivaldi.” Studi Vivaldiani: Rivista annuale dell’Istituto Antonio Vivaldi della Fondazione Giorgio Cini 6: 41–51.
  • Scheinhammer-Schmid, Ulrich. 2009. “Die Familie Fugger und die Musik—Flöten, Noten und das große Geld [The Fugger Family and Music: Recorders, Music, and Big Money].” Tibia 34 (1): 337–46.
  • Schmidt, Lloyd J. 1964. “Bach and the Recorder.” American Recorder 5 (4): 30–36.
  • Schneider, Michael. 2010. “‘Neue’ Musik für Blockflöte!—Die Schätze des Grafen Harrach ‘New’ music for recorder!—The Treasures of Count Harrach].” Tibia 35 (2): 188–203.
  • Schneider, Michael. 1992. “Am Beispiel van Eyck: Probleme mit dem Block-flötenrepertoire [The Example of van Eyck: Problems with the Recorder Repertory].” In Internationales Blockflöten-Symposion, Vorträge und Dokumentation, Staatliche Hochschule für Musik Karlsruhe Schloß Gottesaue, 30. August bis 6. September 1992 , 49–55., 49–55.
  • Schneider, Michael. 2009. “Mis en concert: Ein Beitrag zur Aufführungspraxis nicht nur für Blockflötisten [ <i>Mis en concert<i>: A Contribution to Performance Practice, Not Only for Recorder Players].” Tibia 34 (2): 420–30.
  • Schneider, Michael. 1986. “Dekor oder Substanz?: Untersuchungen anhand der Sonate C-dur für Blockflöte und Bc von Francesco Barsanti [Decoration or Substance? Investigations into the Sonata in C major for Recorder and Basso Continuo by Francesco Barsanti].” Musica 40 (3): 239–44.
  • Schneider, Michael. 1984. “‘Besonderes’ und ‘Allgemeines’: Larghetto aus der Senate C-Dur op. 1, 7 für Blockflöte und Basso Continuo von Georg Friedrich Händel [‘Special’ and ‘General’: the Larghetto from the Sonata in C Major, op. 1, no. 7, for recorder and basso continuo by George Frideric Handel].” Üben & musizieren 2: 80–84.
  • Selfridge-Field, Eleanor. 1991. “Instrumentation and Genre in Italian Music, 1600–1670.” Early Music 19 (1): 61–67.
  • Seviour, Madeline. 1993. A Discography of Recorder Music. Ipswitch: Society of Recorder Players (SRP).
  • Seviour, Madeline. 2001. “The Real Thing?” Recorder Magazine 21 [marked 21a] (2): 59–61.
  • Sharman, Ian. n.d. “Francesco Barsanti: A Discography and Worklist.” Brio 28 (1): 29–33.
  • Sherwood, Thomas. 1998. “Baroque G Recorders.” Galpin Society Journal 51: 267–69.
  • Simpson, Adrienne. 1995. “The Orchestral Recorder.” In The Cambridge Companion to the Recorder, edited by John Mansfield Thomson and Anthony Rowland-Jones, 91–106. Cambridge: Cambridge University Press.
  • Smith, Fabienne. 1996. “Communication 1421: ‘Fiauti D’echo’: Recorders off-Stage.” FoMRHI Quarterly 82: 41–42.
  • Smith, Fiona E. 2004. “Observations on the Flute Writing in the Operas of Christoph Willibald von Gluck (1714-1787).” Early Music Performer 14: 16–27.
  • Solmon, John. 1983. “Polyphemus’s Whistle in Handel’s ‘Acis and Galatea.’” Music & Letters 64 (1-2): 37–43.
  • Spanhove, Bart. 2000. The Finishing Touch of Ensemble Playing. Peer: Alamire.
  • Spitzer, John, and Neal Zaslaw. 2004. The Birth of an Orchestra: History of an Institution, 1650–1815. Oxford: Oxford University Press.
  • Springthorpe, Nigel. 2009. “Recorders in the Repertoire of the Court of Anhalt-Zerbst.” Recorder Magazine 29 (3): 90–98.
  • Staeps, Ulrich. 1966. Problems and Readings of Historical Models: Concerning the Recorder Literature of the Late Baroque. Vienna: Doblinger.
  • Starr, Mark. 2006. The Humorous Mystery of Bach’s Due Fiauti d’Echo: Being the Amusing Story—behind the Story—of Bach’s Brandenburg Concertos: A Baroque Thriller. CD-ROM. Privately distributed.
  • Steenhoven, Karel van. 1992. “Das Ricercar. Virtuose Improvisation und kreataive Ubermethode [The Ricercar. Virtuoso Improvisation and Creative Supermethod].” Tibia 17 (1): 2–9. http://www.moeck.com/uploads/tx_moecktables/1992-1.pdf.
  • Stefano, Giovanni Paolo di. 2000. “Le composizioni di Vivaldi per flauto dolce: Repertorio e versioni.” [The Recorder Compositions of Vivaldi: Repertory and Recordings].” In Il flauto dolce: Dallo scolaro al virtuoso [The Recorder: From Student to Virtuoso], 70–75. Bologna: UT Orpheus Edizioni.
  • Steger, Maurice. 2010. “Corellis Sonaten op. 5 in verzierten Fassungen des englischen Barock [Corelli’s Sonatas Op. 5 in an Ornamented Version from the English Baroque].” Windkanal, no. 3: 8–15. http://www.windkanal.de/images/stories/PDF/2010-3/Windkanal_2010-3_Schaetze-barocker-Verzierungskunst.pdf.
  • Steinmann, Conrad. 2016. “Memories of Nikolaus Harnoncourt.” Windkanal, no. 2.
  • Stratford, Michael 1987. “Daniel Demoivre (c.1675-c.1720) and His Music.” Consort 43: 13–16.
  • Suppan, Wolfgang. 1992. “The Use of Wind Instruments (excluding Chalumeau) in Fux’s Music].” In Johann Joseph Fux and the Music of the Austro-Italian Baroque, edited by Harry White, 95–108. Aldershot: Scolar Press.
  • Tarasov, Nik. 2007. “Bach and the Recorder. Part 1: Bach in Mühlhausen, Wemar, Köthen.  Part 2: Bach in Leipzig.” Translated by Ursula Burchette. Windkanal. https://www.windkanal.de/bach-and-the-recorder-part-2.
  • Tarasov, Nik. 2009. “Literaturliste: Neueditionen von Originalwerken aus Klassik & Romantik in zeitlicher Reihenfolge ihres Ersterscheinens [New Editions of Original Works from the the Classic and Romantic Periods in Chronological Order of their First Publication].” Mollenhauer. http://www.mollenhauer.com/images/stories/Images/Downloads/2009_Literaturliste.pdf.
  • Tarasov, Nik. 1999. “Vivaldis 4. Flautinokonzert [Vivaldi’s 4th Recorder Concerto].” Windkanal, no. 4: 6–9. http://www.windkanal.de/images/stories/PDF/1999-4/1999-4.pdf.
  • Tarasov, Nik. 2000. “A New Flautino Concerto by Vivaldi?” American Recorder 41 (2): 12–14.
  • Tarasov, Nik. 2005. “Die Blockflöte bei Bach. 1 Teil: Bach in Mühlhausen, Weimark, Köthen [Bach and the recorder. Part 1: Bach in Mühlhausen, Wemar, Köthen]. 2 Teil: Bach in Leipzig [Bach and the recorder. Part 2: Bach in Leipzig].” Windkanal, 2: 6–12; 3: 18–24. http://www.windkanal.de/en/archiv.
  • Tarasov, Nik. 2000. “Neues von Beethoven [News of Beethoven]: 1 Teil. Csakan-Recherchen in Beethovens Konversationsheften. [Csakan Researches in Beethoven’s Conversation Books]. 2 Teil. Csakan-Recherchen beim großen Wiener Klassiker [Csakan Researches on the Great Viennese Classical Composer].” Windkanal, 3: 6–10; 4: 6–9. http://www.windkanal.de/en/archiv/.
  • Tarasov, Nik. 2009. “Händel & Blockflöte: Einblicke in Händels umfangreiches Blockflötenwerk [Handel and the Recorder: Insights into Handel’s Extensive Recorder Works].” Windkanal, no. 4: 8–14. http://www.windkanal.de/images/stories/PDF/2009-4/Windkanal_2009-4_Haendel.pdf.
  • Tarasov, Nik. 2007. “Mozart & Blockflöte – Teil 1: Untersuchungen in Sachen Flauto piccolo oder Flautino. Teil 2: Das Flauto piccolo in der Entführung aus dem Serail.” Windkanal, 1: 8–15; 2: 14–20. http://www.windkanal.de/en/archiv.
  • Tarasov, Nik. 2007. “Die ‘Mundlflöte’ bei Richard Strauss.” Windkanal, no. 2: 26. http://www.windkanal.de/images/stories/PDF/2007-2/Windkanal_2007-2_Mundfloete.pdf.
  • Taylor, Stanley. 1961. “Balancing the Brandenburgs.” American Recorder 2 (3): 3–4.
  • Thalheimer, Peter. 2000. “Csakan-Musik—eine Nische im heutigen Blockflötenrepertoire [Csakan music—a niche in today’s recorder repertory].” Tibia 25 (4): 288–95. http://www.moeck.com/uploads/tx_moecktables/2000-4.pdf.
  • Thalheimer, Peter. 2007. “Mythen und Fakten – Blockflötentypen in Vergangenheit und Gegenwart. Ein Vortrag beim Europäischen Blockflöten-Festival 2006 Feldkirch/Österreich.” Tibia 32 (3): 505–11, 627–30.
  • Thalheimer, Peter. 1998. “Traversflöten-, Csakan- und Flageolettmusik als Quellen für das Blockflötenrepertoire (Kongress 1997) [Flute, Csakan, and Flageolet Music as Sources for the Recorder Repertory (1997 Congress)].” In ERTA Kongressbericht 1998, 68–84. ERTA.
  • Thalheimer, Peter. 2007. “Der Teufel im Detail: Vom langen Leben falscher Noten [The Devil in the Details: On the Long Life of Wrong Notes].” Tibia 32 (3): 499–504.
  • Thalheimer, Peter. 1966. “Der flauto piccolo bei Johann Sebastian Bach [The flauto piccolo in the Works of J. S. Bach].” Bach-Jahrbuch 52: 138–46.
  • Thalheimer, Peter. 2008. “Selten gespielte Originalliteratur für Blockflöte [Seldom-played Original Literature for Recorder].” Tibia 33 (4): 242–52.
  • Thalheimer, Peter. 2000. “Spurensuche Im Repertoire Für ‘flauto Piccolo’: Händel Oder Montenari?—das Ist Hier Die Frage. … [Tracks on the Trail of Repertory for Flauto Piccolo . Handel or Montenari?—that Is the Question].” Windkanal, no. 2: 6–10.
  • Thalheimer, Peter. 2000. “Ein weiteres Flautino-Konzert von Vivaldi?” [Another Flautino Concerto by Vivaldi?].” Tibia 25 (3): 209–10. http://www.moeck.com/uploads/tx_moecktables/2000-3.pdf.
  • Thalheimer, Peter. 2000. “Traversflöten- Csakan- und Flageolettmusik als Quellen für das Blockflötenrepertoire (Kongress 1997) [Flute, Csakan, and Flageolet Music as Sources for the Recorder Repertory (1997 Congress)].” In ERTA Kongressbericht 1998, 68–84.
  • Thalheimer, Peter. 2004. “Blockflötenmusik von Richard Strauss? [Recorder Music by Richard Straus?].” Tibia 28 (2): 82–96.
  • Thalheimer, Peter. 2020. “Die Melodiebildung in den Block- und Querflötenstimmen von Helmut Bornefeld mit zwei Exkursen zu G. Ph. Telemann und W. A. Mozart [The Formation of Melodies in the Recorder and Flute Parts by Helmut Bornefeld with Two Excursions on G. Ph. Telemann and W.A. Mozart].” Tibia – Online. https://www.moeck.com/en/tibia/tibia-online/artikel/?article=2206.
  • Thieme, Ulrich. 1986–1987. “Die Blockflöte in Kantate, Oratorium und Oper [The Recorder in Cantata, Oratorio and Opera].” Tibia 11 (2-4): 81–88, 161–67, 558–66. http://www.moeck.com/en/tibia/tibia-early-issues/1980-1989.html.
  • Thomson, John Mansfield, and Anthony Rowland-Jones, eds. 1995. The Cambridge Companion to the Recorder. Cambridge: Cambridge University Press.
  • Thorn, Chris. 1987. “Susato’s ‘Danserye.” Recorder and Music Magazine 9 (1): 205.
  • Toffano, Giovanni. 2000. “Il Flauto Dolce in Compact Disc: Discografia [The Recorder on CD: Discography].” In Il Flauto Dolce: Dallo Scolaro Al Virtuoso [The Recorder: From Student to Virtuoso], edited by Vittorio Nicolucci, 110–14. Bologna: Ut Orpheus Edizioni.
  • Tremmel, Erich. 1993. “Kriterien zur ‘Instrumentation’ im 16. Jahrhundert: Pierre Attaingnants Besetzungsvorschläge für seine ‘Vingt & sept chansons musicales a quatre parties a la fleuste dallemant . . . et a la fleuste a neuf trous’ von 1533 [Criteria for Instrumentation in the Sixteenth Century: Pierre Attaingnant’s Proposals for Assigning Instruments in his ‘Vingt & sept chansons musicales à quatre parties à la fleuste dallemant . . . et à la fleuste à neuf trous’ of 1533].” Neues musikwissenschaftliches Jahrbuch 2: 7–38.
  • Turner, John. 2005. “John Parry’s Nightingale. A British Nineteenth-Century Concert Piece for Duct Flute.” British Music 27: 54–64.
  • Wagner, Josef. 2009. “Die “Fiauti d’Echo“ in Johann Sebastian Bach viertem Brandenburgischen Konzert (BWV 1049).” Tibia 17 (4): 576–85.
  • Waterman, Rodney. 1998. “Recorders—Relatively Speaking: Sixteen Recorders at Four Relative Pitches.” Recorder and Early Music [Australia] 22: 7–8.
  • Werner, Almut. 2015. “Flauto e voce [Recorder and voice].” Windkanal, no. 4.
  • Wells, Peter G. 2002. “The Recorder in 18th Century Dublin: Hidden Repertoire and Recent Discoveries.” Consort 58: 41–53.
  • White, Beverly. 1975. “Discovering the Tenor Recorder.” American Recorder 16 (2): 43–45.
  • White, Bryan, and Andrew Woolley. 2007. “Jeremiah Clarke (c. 1674–1707): A Tercentenary Tribute.” Early Music Performer 21: 25–36.
  • Williams, Alexandra. 2007. “The Instrument without Music: The Reconstruction of Recorder Repertoire in England (c. 1900-1939).” Musicology Australia: Journal of the Musicological Society of Australia 29: 69–92.
  • Wind, Thiemo. 2008. “Jacob van Eyck.” http://www.jacobvaneyck.info/main.htm.
  • Wind, Thiemo. 2011. Jacob van Eyck and the Others – Dutch Solo Repertoire for Recorder in the Golden Age. Muziekhistorische Monografieën 21. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (KVNM).
  • Wind, Thiemo. 2004. “Fantasia and Echo, Jacob van Eyck’s Ultimate Mastery.” American Recorder 45 (1): 18–24. http://www.americanrecorder.org/docs/ARJan04body.PDF.
  • Wind, Thiemo. 1991. “‘Some Mistakes or Errors …’” Recorder Magazine 11 (3): 82–86.
  • Wind, Thiemo. 1993. “‘Je ne puis éviter’: 17de-eeuwse blokfluitvariaties van een Nederlandse ‘groupe des trois’ [‘Je ne puis éviter’: Seventeenth-century Variations for Recorder by the Dutch ‘groupe des trois’].” Musica Antiqua 10 (3): 104–11.
  • Wind, Thiemo. 1984. “Bigaglia’s Sonata in A Minor: A New Look at Its Originality.” Recorder and Music Magazine 8 (2): 49–54.
  • Wind, Thiemo. 1984. “New Facts Concerning Bigaglia’s Sonata in A Minor.” Recorder and Music Magazine 8 (4): 106–8.
  • Wind, Thiemo. 1990. “‘Die Psalm-Variationen Jacob van Eycks: Geschichte, Analyse, Interpretation’ [Jacob van Eyck’s Psalm Variations: History, Analysis, Interpretation].” Tibia 15 (1): 22–32. http://www.moeck.com/uploads/tx_moecktables/1990-1.pdf.
  • Wind, Thiemo. 1993. “‘Stemme Nova’—eine neuentdeckte Komposition Jacob van Eycks” [’Stemme Nova’—A Newly Discovered Composition of Jacob van Eyck’s].” Tibia 18 (2): 466–69. http://www.moeck.com/uploads/tx_moecktables/1993-2.pdf.
  • Wright, Laurence. 1965. “The Music of the Renaissance.” Recorder and Music Magazine 1 (9): 264–66.
  • Zimmermann, Innes, and Franz Müller-Busch. 1994. “Ricercata sesta von Giovanni Bassano—Analyse und Übehilfe [Giovanni Bassano’s Sixth Ricercar: Analysis and Advice for Practice].” Tibia 19 (4): xiii – xvi (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/1994-4.pdf.
  • “Digital Image Archive of Medieval Music (DIAMM). [Portal to Worldwide Collections of Medieval Polyphonic Music Manuscripts . The Music and the Manuscripts Date from C. 800 to 1500, and the Original Documents Are Kept in Libraries and Archives around the Globe. Access If Free but Requires Registration].” 2015. Accessed October 15. http://www.diamm.ac.uk/.
  • “Music Treasures Consortium.” 2015. The Library of Congress, Music Division. Accessed October 15. http://lcweb2.loc.gov/diglib/ihas/html/treasures/treasures-home.html.
  • “Sibley Music Library Digital Scores Online.” 2015. Eastman School of Music, University of Rochester. Accessed October 15. https://urresearch.rochester.edu/browseCollectionItems.action?collectionId=63.
  • “Bach’s Brandenburgs and the Recorder.” 1964. Recorder and Music Magazine 1 (4): 113.

Cite this article as: Lander, Nicholas S. 1996–2024. Recorder Home Page: Repertoire: Historic Repertoire. Last accessed 21 November 2024. https://recorderhomepage.net/repertoire/historic-repertoire/