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