bach y la flauta traversa.-bach_and_his_pieces

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Bach and the Flute: The Players, the Instruments, the MusicAuthor(s): Ardal Powell and David LasockiReviewed work(s):Source: Early Music, Vol. 23, No. 1, Flute Issue (Feb., 1995), pp. 9-10+13-14+17-29Published by: Oxford University PressStable URL: http://www.jstor.org/stable/3137801 .Accessed: 05/10/2012 11:59

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Ardal Powell with David Lasocki

Bach and the flute: he players,

the instruments, he music

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Ardal Powell is editor of the newsletterTraverso and a Baroque lautist withNew York's Bach Chamber Soloists. Asa partner in Folkers & Powell he hasmade 500 copies of historical flutes forperformers around the world. He iscurrently inishing a translation andstudy of . G. Tromlitz's 18oo tutorfor the keyed lute, to be publishedby Oxford University Press.David Lasocki, a prolific writer on thehistory of woodwind instruments, sHead of Reference Services n the MusicLibrary at Indiana University,Bloomington.

J. . Bach's amiliarity with the flute and flute players, or his lack of it,has been the topic of some of the most controversial ommentary onthe flute solos composed by or ascribed to him.' It is sometimes sug-gested, on the basis of the style of some of the pieces unquestionablywritten by him, that he did not understand he instrument or the char-acteristic kind of writing it required. Other views are that he wrotemuch of the music for a particular virtuoso who did not need to avoid

difficulties, or that he did not intend it for the flute.Over the course of Bach's lifetime composition for the instrument

was extremely varied, with no single style predominating n Germansolo flute music. Thus, general considerations of what constitutes a typ-ical and idiomatic style for the instrument become secondary to thequestion of how much Bach knew about current ideas on the variousoccasions when he wrote for the flute. At the same time the instrumentitself was the subject of vigorous experimentation,3 o that survivingexamples which originate n the same time and place can have basic dif-ferences n sound-pitch, timbre, ntonation, balance between registersand carrying power. Critical study of the sources and style of the flute

music should not overlook these special details of how it was played andheard.

The flautists Bach met and worked with (see appendix for a list ofthese) include three of the most famous players of the epoch, yetnumerous other individuals n his circle played the instrument.4 Otherflute music from the period suggests that Bach's pieces may not havebeen singular n their difficulty or musical concept, though of coursethey stood out in that they were by Bach. Recent progress n the studyof 18th-century woodwind instrument makers and their work5 makes tpossible to consider the kinds of flute in use during Bach's ife with aview to distinguishing which of these types are more or less likely to

have been in the hands of certain players at particular imes. Exploringall these links can provide mportant clues to Bach's purposes n writingfor the flute.

T ransverse lutes, along with a serpent and a harp, were on a list ofinstruments repaired at Weimar during Bach's tenure in 1715-16,6

though we do not know who played hem. Bach first worked with fluteplayers we can put a name to when he was Kapellmeister n Cothen

EARLY MUSIC FEBRUARY 1995 9


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from December 1717. .H. Freytag and J. G. Wtirdighad been engaged by A. R. Stricker, Bach's predeces-sor. A comparison between their salaries and thoseof other musicians at C6then shows that bothflautists were considered assets to the court, andtheir playing must have been adequate if not out-standing.7 Freytag's tarting annual salary n 1716was94 Thaler, compared with the 34earned by his father,a ripieno violinist with the court, and with the 150(raised rom an initial 20) his brother, also a violinistat C6then, earned after further education in music,which he undertook on Bach's advice in Berlin dur-ing 1720-21. Wiirdig, who led the town band from1721 o 1728,was paid 84 Thaler a year when he joinedthe court in 1714as a chamber musician.' An earlyversion of Brandenburg Concerto no.5 from 1719seems to be Bach's first extant ensemble composi-tion involving the flute.9 Both Freytag and Wiirdigwould certainly have been competent to play this, aswell as the B minor Suite, Bwvio67,") if it was ever

played as a flute suite at C6then."The Dresden lautists P. G. Buffardin, .J. Quantz,

Friese and J. M. Blockwitz had an opportunity tomeet Bach when he visited the city in the autumn of1717, lthough t is unlikely hat he heard any of themplay at that time because of an official mourningperiod.12 In view of Bach's ater friendship with Buf-fardin it has been suggested that this was the occa-

sion on which the two musicians met.'3 The A minorsolo (Partita), Bwv1io3, may date from as early as theend of 1717, hough a case has also been made for1724.14

In his autobiography5 Quantz describes he stateof composition for the flute during Bach's Cothenyears:

At that time there were few compositions written especiallyfor the flute. One had to make do for the most part withcompositions for the oboe and violin, which one had toarrange swell as possible or one's purpose.

Although French influences at the Dresden courthad been strong in the early years of the 18th centuryand Buffardin at least must have been aware of someof the kinds of flute music being published at Paris,'^the influence of Italy began to be felt in the seconddecade. The Hofkapelle returned o Dresden from atrip to Italy in 1716-17, where Johann Georg Pisendel

had studied with Vivaldi; n the 1720sVivaldi manu-scripts began to be copied in large numbers, and in1728 Italian music became dominant when Pisendelsucceeded Volumier as Konzertmeister. The Italianviolin style had its effect on flute music in London,Amsterdam, Paris and Dresden, and thus on the de-mands performers made on their instruments. Dif-ferences in playing technique and style which mayhave been very marked n the first decade of the 18thcentury began in the following decade to be subjectto the common influences of Italy and the violin.The 'violinization' of flute music in Paris was of longduration: Corrette's flute tutor'7 of c.1739containsinstructions for transposing, as well as tricks formaking arpeggiated passages n violin music fit thecompass of the flute, indicating both that Corelli wasstill popular and that, despite the quantity of flutemusic printed, it seems to have lagged behind thedemand."

A glimpse nto the diversity of the flute's repertoryin Germany n the second decade of the century isgiven by Brussels MS Litt. XY 15.115,'9 a manuscriptcollection of 54 instrumental solos, the largest pro-portion of which are specifically or flute (illus.2). Itsearliest pieces copied from dated prints come fromJ. C. Schickhardt's op.1 (1709-10), and its latest fromLoeillet's op.5 (1717).2o It contains solos by Freytag,Blockwitz, Stricker, Christoph F6rster (violinist in

Merseburg 1717-23, whose music was known toBach),2 Johann Sigismund Weiss (brother of themore famous lutenist at Dresden, Silvius LeopoldWeiss), and Quantz, as well as better known com-posers such as Telemann and Handel. The Italian n-fluence and the 'violinized' style are both very muchin evidence in the collection. The first solos fortransverse lute printed in Germany were in JohannMattheson's Der brauchbare Virtuoso (1720; com-

posed 1717). Mattheson's sonatas have much incommon with pieces transmitted under the names

of Quantz, Blockwitz, J. D. Braun23 and J. C. Nau-dot,24 and with the A minor solo, Bwv1io3:25 a stylecharacterized y constant semiquaver or quaver mo-tion, arpeggiated assagework, nd other 'violinistic'features. In Dresden c.1719 Quantz and Pisendelcopied Telemann violin sonatas,26 and his 1716KleineCamrnmer-Music ives a list of suitable instruments,including the 'Flhite traverse'. Telemann's solos

10 EARLY MUSIC FEBRUARY 1995


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demonstrate the range of influences on the instru-mental sonata: Corelli and Caldara are his models inItalian nstrumental style, and Lully and Campra n

suites, and he writes direct mitations of both Corelliand Lully. The Mattheson, Telemann and Quantzpieces have a low tessitura and avoid the highestrange, while those by Blockwitz/Braun se the wholecompass of the instrument and a wide range of keys,including B6minor.

The diversity in the music of this period ismatched by the variety of instruments available oFreytag, Wtirdig, Buffardin, Quantz, Friese andBlockwitz, he flautists Bach knew or had occasion tomeet in his pre-Leipzig period. Recent work, which

has largely been on French sources, might lead us toexpect a list of French makers' names here, but abroader view (see appendix 2.1) reveals that flutemaking in Germany, the Low Countries, Italy,Switzerland nd even England was already highly de-veloped by 1720, and that certain makers, perhapsmany of them, had reputations not confined to theirimmediate geographical area. The Parisian maker

J. J. Rippert made woodwinds for customers n Lon-don and Frankfurt, hose made for London (to sup-plement ones by Nicolas (Colin) Hotteterre already

in use) being tuned to the higher pitch standardthere.27Three-joint flutes made in Berlin, Nuremberg,

Berchtesgaden and Leipzig survive to show that atthis early date more than one centre of excellentwoodwind making activity existed within Germany,one of them in Saxony."8 n Nuremberg Jacob Den-ner, whose father Johann Christoph had begun toimitate the new French-style oboe and recorder by1696,29 made two three-joint lutes which survived othis century. Both have alternative oot-joints, one of

which plays low c'; this associates hem with a pan-European vogue for extended foot-joints whichseems to have occurred around 172030 and certainlywould have helped extend the flute's range for play-ing oboe or violin music:31 besides Denner they weremade by Bressan London) and J. J. Schuchart Ger-many, then London). German makers associatedwith three-joint flutes are J. Denner (Nuremberg),



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3 Fluteby J.H. Eichentopf Leipzig,Musikinstrumenten-Museum o. 1244)-reconstruction yFolkers&Powell, 993

Heitz (Berlin) nd G. Walch Berchtesgaden). ar-ther afield, Bressan London) and Haka (Amster-dam) also left three-joint nstruments, nd otherswho presumably made examplesnow lost includeAnciuti, Beukers, Boekhout, Borkens, Eerens,Eichentopf, Liebau,32 . W. Oberlender , Poer-schmann, . H. Rottenburgh, chell, C. Schlegel,Scherer, tanesby unior, Terton, van Aardenbergand vanHeerde, o saynothing f the FrenchmakersBizey,Chevalier, ornet,Delerablke, ortier,Hotte-terre, Leclerc,Naust, Panon, Pelletier nd Rippert,or any of the activewoodwindmakers f the periodby whom no flutes at all survive. The three-jointfluteswe do have share a generally ow pitch (a' =c.388-400ooz) and favour mean-tone ntonation,but their characteristics f sound quality nd effect-iverange, swellastechnical etails uch asbore izeand aper,wall hickness nd onehole xecution, re

too diverse-and probably lso oo small sample--to allow much insight nto national distinctions.What heydo reveal s that deals f flute ound, andthus performance tyle, covered he whole rangefrom the moaning nd amorous ighs n which heFrench n generalwere aid o excel, o the brilliancethat seems o have characterized uffardin's layingin particular.33

ach'smove o Leipzig n 1723began newperiodin his use of the flute. C. G. Wecker nd F. G.

Wild, both students t the university, ereavailableas flautists.They must have been at least adequateplayers: achwroteWild a 1727estimonial n whichhis fluteplayingwasmentioned,34 nd hough sim-ilar document or Wecker of 1729 is not specificabout his flute playing, eferring nly to his profi-ciency on a number of instruments, nother con-temporary oted his 'barely-matched exterity nd

experience n the Flaute Traver'.35 ach's hird on,'der Windige', ohann Gottfried Bernhard, as byC.1727 old enough o have begun earning he flute,and is recorded s having played lute duets withJacob von Stahelin36 himself sometime oloist inBach's ollegiummusicum) n many occasionsbe-fore 'der Windige' left home in 1735. From 1731Bach's eyboard tudent L. C. Mizler on Kolofmayalso have participated n the collegium s a flautist;inasmuch s he wrote of music as a sort of audiblemathematics, is musical astes were on the side ofratio against ensus, nd he seems also to have beenfond of music that was demanding o play.37 uf-fardin visited Bach n Leipzig t an indeterminatedate,perhaps searly s1724,38 and mentioned otheBach family that the composer's brother JohannJakob ad aken lute essons rom him n 1713.39Thishas been cited as evidence hat Bach had personalcontact with a flautist before 717,40but in fact theoriginal report states41hat he first learned of thelessonson Buffardin's isit,whichcannot havebeenbeforehe took up his Leipzig ost. He therefore adnot learned f the lessons rom Johann akob im-self-thus removing he only certain ndication hathe knew before1723 f his brother's luteplaying.

Leipzig42ather han Dresden was the home ofSaxonwind instrument making at this period, andduring Bach's enure Leipzigmakers Eichentopf,J. C. E. Sattler, Poerschmann, . Crone and J. G.

Bauermann ll made lutes hat have urvived o thepresent. Other Leipzig makers active during theperiod but not represented y any surviving lutesareA.Bauermann, .R.and J.G.Poerschmann suc-cessors o J. Poerschmann), . Noack, G. Ebicht,J. P. Otto, J. C. Haupt, J. K. Grahl known o haveworked or Hirschstein-see below) and D. Wolff,some of whom mayhavebeen ourneymen hodid



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not use their own stamp. J. C. or J. G. Hartwig andAugust Grenser are each represented by one surviv-ing flute perhaps dating from as early n their careersas the last decade of Bach's ife.

This might seem an extraordinary number ofwoodwind instrument makers for a town of only21,000 inhabitants. It is partly explained by the factthat instrument making in Leipzig was at no timeregulated by a guild. Anyone who wished could setup in business, without serving an apprenticeship,submitting a masterpiece, or even holding citizen-ship. This must have made for more diversity hanwas the case in guild-controlled cities where estab-lished Masters had a say in the attitudes, lifestylesand work of their junior colleagues or competitors.The merchant Mathias Hirschstein (c.1695-1760)took advantage of this plethora to set up a trade in

1744 n which he bought instruments (at least somestamped with his own name)43 rom many of themakers and shipped them to his warehouse inFrankfurt an der Oder for distribution to easternparts.

Many of the Leipzig woodwind makers had per-sonal connections with one another, and with theThomaskantor. The violin maker Johann ChristianHoffmann, who shared a house with J. Poerschmannfrom 1721,delivered nstruments o the Thomas andNikolai churches, and bequeathed his 'good friend'

Bach another instrument in his 1748will. Poersch-mann's wife, the merchant Hirschstein and Bach'soboist J. C. Gleditsch were godparents o children ofEichentopf, who in turn stood godfather o childrenof Poerschmann along with Christian Noack andJ. C. Hoffmann and his sister. The oak leaves sug-gested by Eichentopfs name and used by him as adecoration also appear (suggesting a continuity of'trademark') n the work of other makers, ncludingA. Bauerman and, later, C. F. Sattler.

Influences on the style of writing or the flute con-

tinued to multiply during Bach's Leipzig period,while the effect of others was moderated by contin-ued use. If Telemann's early sonatas were alreadyeclectic, the 'methodical sonatas' of 1728 and 1732,Der getreue Music-Meister (Hamburg, 1728-9) andXII Solos (Hamburg, 1734) drew on an even widerarray of highly distinctive genres, including Polishfolk music.44 The 'mixed taste' became practically a

German national style, and flute music in whichthere is almost no interest today was generated bycomposers such as J. A. Hasse, who left numerousconcertos, solos and trios in manuscript, and waspublished by Walsh in many editions from 1734 o1750.45 The formerly distinctive French style of per-forming had thoroughly absorbed and naturalizedthe 'violinistic' influence by the time the SonatesmAl es de pi ces by the virtuoso Michel Blavet werepublished in 1732.Composers from Dresden and itsenvirons, including Bach, wrote concerto-like solosin a form strongly nfluenced by Vivaldi.46

Bach's surviving Leipzig chamber music for flutebegins with the continuo sonata in E minor,Bwvlo34, dated c.1724, the same time as featuredflute parts began to appear in the cantatas. LaterLeipzig compositions are the C major (c.1731), Ebmajor (1730-34), B minor and A major sonatas(c.1736). Of these the B minor and C major are en-

tirely or partially based on earlier works. The Gmajor trio sonata for two flutes, BWV1o27, is datedc.1729-31. A number of these works have a distinctlylower tessitura han others: the G major trio sonata,Bwvlo27, the E minor and A major sonatas and eventhe B minor sonata if played in its original key of Gminor.47 Like many of the flute solos of Telemann,Blavet and others, these pieces seem a good matchwith the most comfortable and effective range of

some of the larger-bored our-joint flutes made dur-ing Bach's ifetime, which have a very powerful anddirect low register, hough in a few cases at the ex-pense of ease in the highest. Bwvlo30 in G minor fitson a three-joint instrument with a C foot; of thosementioned above, the flutes of J. J. Schuchart, whobegan his career in Germany before 1720, have acharacteristically arge bore especially suited to thelow range of the piece in this key. Jeanne Swack48reads Bwvlo32's low tessitura and avoidance of the

highest register o indicate Quantz as the performer.

These features would apply equally to any contem-porary flautist who used a large-bored nstrument:Quantz stands out only because we have unique in-dications of his tastes n flutes. The range and copy-ing errors may indicate transposition from anotherkey of a part originally written for another instru-ment, as Michael Marissen has argued.49

The low chamber pitch50 ntroduced by Kuhnau



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in 1702 (a' = c.388-4oo) as the standard or perfor-mances in the Thomaskirche was probably not ingeneral use there after c.1720, though it was em-

ployed in exceptional cases, including some cantataperformances. Of course this standard need not haveaffected the pitch at which chamber music wasplayed n any case. But evidence of a desire to estab-lish a'= c.41oas a German tandard pitch exists fromabout 1715, nd the surviving lutes we can associatewith Bach's Leipzig period, such as those by J. C. E.Sattler and the St Petersburg Poerschmann F flute,seem to belong to the period when the higher cham-ber pitch was in use there. The considerable numberof flutes made in all parts of Europe n the 173os, ndfor at least half a century after, which continued tobe supplied with corps de rechange t lower pitches,show that the higher standard was far from uni-

versally accepted during Bach's lifetime. Quantzwas one of those who held out against t in favour ofthe old low pitch long after it had gone out ofgeneral use.

In 1731, gain n Dresden, Quantz was able to hearBach play the organ,5' hough there remains consid-erable doubt as to whether they met on this occa-sion, or indeed any other.i2 Quantz's knowledge ofBach's flute music has been called into question:there are no references o it in any of the survivingprinted or manuscript sources associated with

Quantz.53 urthermore, when Bach visited Potsdamin the company of Wilhelm Friedemann in 1747,Quantz is quite absent from all the accounts. Butnone of this can be taken to show that the two mendid not meet: Quantz knew and admired Handel,54his music too is absent from the Quantz sources wehave.

C. P. E. Bach was appointed Frederick he Great'skeyboard player in 1740; the E major sonata,BWV1i35, dating from, at the earliest, the followingyear, is connected on the authority of its two 19th-

century sources with the king's valet and duet part-ner Fredersdorf, nd appears o be the last of Bach'ssurviving lute solos.i Although Quantz did not ar-rive in Potsdam until December 1741t would be sur-prising if, as one of the two other flautists in resi-dence at court, he should have been entirely gnorantof the piece's existence, even if it was not altogetherto his taste. Though differing markedly from

Quantz's and Frederick's onservative compositionstyles, the musical excerpts in the probably latercompilation of Quantz's Solfeggi6 show that a widevariety of up-to-date composers and styles were infavour with Quantz and his royal pupil.

The Musical offering trio sonata in C minor,Bwvio79, of 1747shows that the broadmindedness ofQuantz and Frederick xtended to Empfindsamkeit,and that Bach was very familiar with the tastes ofBerlin's composers or the flute, such as his son. CarlPhilipp Emanuel's olos and trio sonatas of the 1730sand 40oseature he flute as a natural exponent of thismannered, expressive tyle: revisions of six of his triosonatas for flute and violin, which originated n theearly 1730s, were made at Berlin and Potsdam in thesame year Johann Sebastian wrote the C minor triosonata,57 wo new ones were written n the same year,and the E major trio sonata for two flutes and con-tinuo, H580 (wq162), stylistically the most advancedof the trio sonatas, dates from 1749. ThoughQuantz's flutes with their low pitch, mean-tone in-tonation and powerful, serious sound were certainlyused at Frederick's ourt after 1739for the perfor-mance of his and Quantz's concertos, the royal in-strument collection contained examples of flutes byother well known German makers. The rapid dy-namic extremes, strongly accented appoggiaturasand agility between registers demanded by the more

progressive style of music are hard to achieve on aQuantz flute; hey are much more natural and effect-ive on the newest instruments of the 1740s, whichwere quite probably at hand.

It was in the 1740s hat August Grenser, after anapprenticeship with Poerschmann n Leipzig,movedto Dresden and eventually set up as a woodwind in-strument maker, using mass-production echniqueshe may have picked up from French makers.5" tabout the same time, instruments with the outerprofile turned in a new 'streamlined' tyle, without

the usual ornamental beads above the mounts,began to be made in workshops such as that ofThomas Lot in Paris, hough Grenser himself stayedwith the classic style of turning until as late as 1796,even for instruments with additional keys. The sur-viving instruments of the period which began in thelast decade of Bach's ife, of which the most familiartoday from modern copies are certain examples by



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August Grenser (Nuremberg Museum), G. A. Rot-tenburgh (a probably rather ater one used by Bar-thold Kuijken), Schuchart and Stanesby Junior,show that there had been a definite shift in the gen-eral concept of the flute's sound: their tone seemslighter and sweeter han that of earlier ypes-partlyon account of their higher pitch, which favoured hequalities makers were probably aiming at in any case.

Bach may alsohave earned omething bout heflute from sources other than the players heknew. Christopher Addington59 upposed the exis-tence of a body of common knowledge of whichBach would have been aware, and even suggestedthat he had studied Hotteterre's writings n order tolearn about transposition, hough it is not at all easyto take seriously the idea of Germany's greatest or-

ganist studying his subject n a French work on pre-luding, or improvising, addressed to amateurs.60Addington's bas dessus theory-a claim that allBach's flute chamber music was intended for the

flUite 'amour pitched a major or a minor 3rd belowthe ordinary flute, and that every flautist of Bach'stime would have recognized his at a glance-will beseen to be altogether nconsistent with the evidencepresented here. The accepted position remains that'flutes ... lower than the standard-sized nstrumentmust have been very rare; hey may have been made

in the early eighteenth century ... as a sort of carry-over from the Renaissance bass flute, but they seemto have ceased being manufactured at some pointand do not reappear until after 1760'.61 Though a notinsignificant number of fltes d'amour do appear nappendix 2 and several of the instruments with corpsde rechange re supplied with a 'transposing' middlejoint to play a 3rd or a 4th lower, they are over-whelmed in number by the surviving lutes of ordi-nary D pitch.62 As yet no satisfactory xplanation hasappeared or the paucity of specific repertory or the

fliate d'amour, and the absence of contemporarycommentary, as well as evidence for how such in-struments might have been used.63

he more details are known about Bach's contactwith the flute, the more there is to conjecture.

He worked with and met players of all levels of abil-ity, who because of their heterogeneous back-

grounds and tastes must have used a wide variety ofthe very different instruments being made at thetime. Far from being hampered by ignorance, or bypartisanship or one particular aspect of the flute'scharacter, Bach seems in fact to have been engagedin experiments with most or all of the musical stylesunder consideration (temporarily r more lastingly)as suitable for the flute during the entire course ofhis life. Knowledge of contemporary instrumentsand flute compositions can indeed affect our inter-pretation of Bach's lute music: according o the em-phasis given to this knowledge the Solo, Bwvlol3, iseither a somewhat awkward experiment by a com-poser unfamiliar with the instrument, or an espe-cially audacious incursion by the flute into stylisticterritory hat had seemed to belong to the violin-anincursion which might be armed with the playingcharacteristics developed in particular types ofinstrument. The diversity in pitch, timbre, intona-tion, balance between registers and carrying powerof surviving nstruments, even those originating nthe same time and place, would support the viewthat ideals of sound and expression as well as tech-niques of playing differed among individuals at leastas much as they do today. Further tudy of and expe-rience with the German flute music and the surviv-ing instruments of the period will surely serve tobroaden rather than restrict our understanding of

Bach's writing for the instrument.

Appendix i Flautists known to Bach

1.1 Flautists Bach is known to have met

Bach, Johann Gottfried Bernhard (1715-39)Third son of J. S. Bach, nicknamed 'der Windige'. Lived inLeipzig until 1735.

Bach, Johann Jakob (1682-1722)Elder brother of J. S. Bach. 1704-12 oboist in Swedish guard;1712-22 chamber musician at Swedish court; 1712 or 1713 hadflute lessons with Buffardin in

Constantinople.Buffardin, Pierre Gabriel (1690-1768)contact 1713; met 1717?1712 or 1713 in Constantinople (age 23), where he gavelessons to J. Jakob Bach; 1715 appointed first flute of DresdenRoyal Orchestra; 1726 appeared at Concert Spirituel (Quantzin Paris this year); 1728 presented a flute to Crown PrinceFrederick of Prussia (age 16) who had begun taking lessonswith Quantz; 1733 became friends with W. F. Bach; 1737



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played at Concert Spirituel; 1742first book of sonatas (lost);641749 (age 59) left Dresden orchestra; by 1752,possible inven-tor of foot-register and screw-cork;65 1764 wrote to Mercurede France"6 laiming to have developed a sophisticated sys-tem of quarter-tones. Painting, of very uncertain date, byJohann Sebastian Bach Junior (1748-78)."

Frederick the Great (1712-86)met 17471728 began lessons with Quantz; received a flute of Buf-fardin's as a present; 1738offered a position to Blavet, visitingPrussia, who declined it; 174o became King of Prussia,appointed C. P. E. Bach; 1741Quantz entered his service on apermanent basis; 1745 wrote to Fredersdorf that Quantz wasgoing to make him two 'extraordinaire' new flutes; 1747Bach's visit to Potsdam, was presented with Musical offering.

Fredersdorf, Michael Gabriel (1708-58)contact 1741;met 17471741 E major sonata.

Freytag, Johann Heinrich (d 1720)

met 17171713flautist at Cothen,"1716 at a salary of 94 Thaler a year;six sonatas (4 flute, i oboe, i flute or violin) appeared inBrussels MS XY 15.115; 766 Solo del Sigr. Freytag appeared inBreitkopf catalogue.

Gleditsch, Johann Caspar (1684-1747)wnet 1723Leipzig Stadtpfeiffer from 1712; Kuhnau's and Bach's solooboist (first dated solo 1717). May have played recorder andsometimes flute in cantatas when not busy on oboe."6

Koloff, Lorenz Christoph Mizler von (1711-78)contact 1731;met ?

Keyboard student of Bach, to whom he referred as his 'goodfriend and patron'; founder of Leipzig Correspondirende oci-etiit der musikalischen Wissenschaften, of which Bach was amember. May have played flute in Bach's collegium. A self-taught flautist, was interested in playing very difficult flutemusic: in letter of 6 November 1736 o J. G. Walther, he askedcould you please send me a flute concerto-one that is diffi-cult to play'. He mentioned the Musical offering rio sonata ina 1752 etter to Manfred Speift."

Quantz, Johann Joachim (1697-1773)contact 1717; net 17311707 began musical training; 1716 oined Dresden town band;1718replaced Friese at Kleine Kammermusik n Dresden; 1724

visited Rome, possibly bringing back a flute with a low c#'key, but if so it was not the Biglioni instrument US-Boston,Museum of Fine Arts 44; 1725 met Alessando Scarlatti, whowrote some pieces for him despite his distaste for windinstruments; 1726 visited Paris, had D# key added, beganfriendship with Blavet; 1727 visited London, where Weide-mann and Festing were flautists; 1728began teaching CrownPrince Frederick; 1731heard J. S. Bach play the organ in Dres-den; 1739began making flutes; 1741entered Frederick's ser-

vice on a permanent basis; 1747 was he present for Bach'svisit to Potsdam?; 1752Versuch, n which he did not mentionBach's flute music; 1754autobiography.

Stiihelin, Jacob voncontact ?Often played flute duets with Johann Gottfried BernhardBach ('Der Windige'); occasionally appeared as a soloist in

Bach's collegium musicum.

Wecker, Christoph Gottlobcontact 1724His 'barely matched ... dexterity and experience on theFlaute Traver'. was noted by a contemporary, and Bach men-tioned his ability on 'various instruments'.7'

Wild, Friedrich Gottliebmet 1724Bach himself testified to Wild's 'well-learned accomplish-ments on the Flaute traversidre' n 1727.72

Wtirdig, Johann Gottlieb (d 1728)73nmet 7171713appears in C6then ensemble payroll; 1722/3 disappears;1717became leader of the town band.74

1.2 Flautists Bach may possibly have metBlockwitz, Johann Martin (fl. c.1720-30)contact 17171717-33 flautist of Royal Orchestra in Dresden; i piece inBrussels XY 15.115; 766 III Soli dal Sigr. Blochwitz appear inBreitkopf catalogue.

Friese, ?contact 1717

1718 replaced by Quantz as first flute of Kleine Kammermusikin Dresden.71

Kirchhoff, [Johann Friedrich] (fl. 1737-69)Solo oboe, doubling flute in Grosse Konzertgesellschaft,1746-8.7"

Landvoigt, ?Solo flute in Leipzig Grosse Konzertgesellschaft, 746-8."

O[f]schatz, [Johann Christian] (fl.1738-63)Second oboe, doubling flute (and trumpet) in Grosse Konz-ertgesellschaft, 746-8.71

Poerschmann, Johann (1680-1757)Leipzig wind-instrument maker working by 1708. One of twosolo bassoonists in Grosse Konzertgesellschaft, layed secondflute to Landvoigt when Ofschatz and Kirchhoff busy onoboe.'9 Gleditsch (q.v.) and Leipzig wind-instrument makerJohann Heinrich Eichentopf (see appendix 2) were godfa-thers to one of Poerschmann's children.

Tromlitz, Johann George (1725-1805)Law student at Leipzig in 1740s; after Bach's death becamesolo flute of Grosse Konzertgesellschaft.8"



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Appendix 2 Woodwind makers of Bach'slifetime

This appendix lists woodwind instrument makersactive during Bach's ifetime, together with survivingexamples of their work. It is intended to include allthose flutes used in Bach's ime-and any lost ones-details of which are still available or study.

Criteria or inclusion are that the maker:

1 was working at some time during the period1685-1750;

2 is represented y at least one surviving onical-boreone-key transverse lute, whether or not it can bedated o the period or currently ocated.Limitations o the accuracy nd completeness f the

register f instruments re:

1 where uncertainty xists about a maker's workingdates or identity e.g. Castel);

2 where several makers of the same name or the samefamily worked successively; n some cases modernresearch has been able to suggest datings and attri-butions, but in other cases (e.g. Scherer) this isextremely problematic;

3 where a maker's or a workshop's active periodextends past 1750.

In all these cases a full list of instruments has beengiven irrespective f when they may have been made.Thus, not all the listed examples by prolific or long-lived makers were necessarily made during the1685-1750 eriod, and in certain cases it is altogetherprobable hat none of them were.

Anonymousnstruments re not able to contribute

much to a knowledge of flute making during Bach'slifetime. They are much more difficult o attribute nddate reliably han stamped nstruments. Though thisstudy does not completely xclude hem, it places ittleemphasis on them.

The appendix s divided into two sections corre-sponding broadly to Bach's C6then and Leipzigperiods. Section 2.1refers o the period of Bach's ifebefore his appointment s Thomaskantor n Leipzig n1723. Subsection .1.1ists three-joint nstruments nly,though t is possible hat instruments f this type con-tinued to be used or even manufactured up to adecade after four-joint instruments first appearedaround 1720.Subsection 2.1.2 s a list of makers whowere working before 1723, nd/or whose surviving ut-put appears to contain at least one example frombefore that date (though it may contain many fromafter t). Section 2.2 is a list of makers who had not yetbegun work by the time Bach moved to Leipzig.8'

2.1 Bach's early career

2.1.1 Three-joint instruments

Anonymous late 17th entury)Assisi82

Anonymous probably aris,before 720)private ollectionStuttgart,8' erlin2666ex Snoeck,84private ollectionEngland,85 issonet86

Bressan, Pierre Jaillard (London, 1663-1731)Oldham, DCM 1207,87 albot MS8

Chevalier (Paris: i. 1680-1715)89Boston ex Galpin

Denner, Jacob (Nuremberg: 1681-1735)Nuremberg two foot-joints, ne to c'),9)BerlinGrosskopf oan (two foot-joints, ne to c') (lost)91

Haka, Richard (Amsterdam: 1646-1705)*Ehrenfeld92

Heitz, Johann (Berlin: 1672-1737; l. post 1702-37)Vienna Rothschild oan93

Hotteterre (probably Martin or Jean, before 1720)94Graz,95 rivate ollectionParis96

Leclerc, eanNicolas Paris, 1752)97private ollection aoPaulo x Cotte

Naust, Pierre, workshop f (Paris: l. 1692-1734)98Berlin, Paris, rivate ollection rookline, A,99tPetersburg 65ex Snoeck

Panon ?)Toulouse ,

Rippert, eanJacques Paris: egan1696, l. 1701)Glasgow, tMoritz,"" orgeuillex e Roy102

Walch, Georg Berchtesgaden: 690-1764; l. 1716-64)unlocated 03

2.1.2 Early four-joint flutes

t A maker who has already made an appearance n thelist of three-joint nstruments n section 2.1.1$ A maker who may have made three-joint flutes,though none has survived

SAardenberg, braham an Amsterdam:672-1717)Reported y Jan Bouterse144

tAnciuti, Johannes Maria (Milan: c.1690-1740o)MilanCastello forzesco2014

Anonymous place, ateunknown)RitzloS= Flute d'amour



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Bauer, Johannes Gottlob (Leipzig: 1696-c.1736; fl. 1719-24)*Zurichl"'"

tBeuker, Jan Barend (Amsterdam: 1691-?; another,1737-1816)

Brtiggen, Ehrenfeld, Paris (three examples: one is 'bass'),Gruskin, private collection The Hague, private collection

Portugal,"'' The Hague (bass)

tBeukers, Willem (Willem Sr.: Amsterdam: c.1669-1750o,Willem Jr.: 1703-81)Ehrenfeld, The Hague

tBizey, Charles (Paris: c.1685-1752; began working 1716)Nuremberg,"'" Bate 106, Paris, Bate i, Edinburgh U 11,1"9

Edinburgh U 12 ex Glen,"' The Hague (attrib.), Paris,Balestracci, Linz, LeVezinet, Beaudin, Vermillion,Horniman ex Dolmetsch,"' private collection,"l Bingham

tBoekhout, Thomas Coenraet (Amsterdam: 1666-1715)Berlin 2678 "'

tBorkens, Philip (Amsterdam: 1693-c.1765)The Hague (two examples), Horniman, The Hagueauction "14

tBressanVictoria and Albert Museum

tCornet, Louis (Paris: c.1678-1745; fl. c.1710-45)

Hamburg, Zimmerman I"l

Crone, Gottlieb (Leipzig: 1706-66)Ehrenfeld, Sneiders, Spohr,"" *see appendix 2.1.2, s.v.'J. Poerschmann' and note

tDelerable[e, Antoine (Paris: 1686-1734)]"1Bate ex Jeans ex Morley-Pegge

tDenner, JacobNuremberg, Htinteler,"" Brussels, private collection

Stuttgart ex van Zuylen, Poznan "19

tDumont (Paris: l. 1692)*DCM 870, Berlin

SEerens, Frederick (Utrecht and Den Bosch: 1694-1750)NY Metropolitan ex Frank, private collection Delft,private collection Groningen, private collection Japan exSotheby's 2.

tEichentopf, Johann Heinrich (Leipzig: 1678-1769, working1710-49)

Leipzig 24412 (illus.3)

Eisenmenger, Johann Georg (Mannheim: 1698-1742)Ruhland, *Nuremberg, ex Frankfurt'-

tFortier [,Jean-Baptiste] Rouen: l. c.1708)1'23Paris,24 Sax sale 1877

SHeerde, Jan Juriaens van (Amsterdam: 1638-91) (widowand sons, Albertus (1674-c.1720) and Johannes (1704-50),continued trade after his death)*The Hague Ea 292-1933,Ea 8o-X-1975,145 Ea 68-1983,'14private collection Alkmaar,147 rivate collection Haren,private collection Alphen a/d Rijn 4

tLeclerc

Naples, Brussels 197,Brussels 1075ex Sax, Asakura

tLiebau (fl. c.1700)Bonn, Joppig ex Klemt 125

tNaustCopenhagen, Antwerp,"26 private collection Doorn,27private collection Tokyo ex Sotheby's,12 private collectionParis 29

$Oberlender, Johann Wilhelm I (Nuremberg: 1681-1763;fl. c.1705-45)Rome, Modena,130 urger (two examples), Vermillion,private collection Stuttgart,131 irich, *Boston, Leipzig'3

SPoerschmann, Johann (Leipzig: 1680-1757; working by1708)*Schmitz ex Burger,133 t Petersburg

:Rottenburgh, Johann Hyacinth (Brussels: 1672-1756;fi. c.1700-1735)Brussels (six examples),"34 tockholm,'3 Berlin 2654,Berlin 2668 ex Snoeck (lost),136 DCM 1128,de Keyser, linoex van Zuylen, Kuijken, Sotheby's 31March 1988,Antwerp 137

$Schell, Johann (Nuremberg: 1660-1732;fl. post 1697)Private collection Celle

tScherer, Johannes Junior (Butzbach: 1664-1722)

numerous examples, difficult to attribute and date'3tSchlegel, Christian (Basel: c.1667-1746; fl. 1712-46)

*Bern,Paris'3-9

$Schuchart, ohn Just (Germany: c.1695,hen Londonwhere fl. C.1726-c.1753) and his son Charles (London:1720-65; fi. 1753-67)Bate ioi, Bate Baines loan, DCM 1183,14(1233,Tribschen,Edinburgh,4" pohr, Dodman, Horniman 4 examples),Bristol, ones,Straus, Willoughby 2examples), Preston,Morley-Pegge, B.?]Galpin, KnellerHall, Friis,Christie's16 March 1988, ex van Zuylen, Sotheby's.'42 Made fluteswith C-foot c.172o.43Many of these instruments quiteprobably date from after Bach's lifetime.

$Stanesby, Thomas Junior (London: 1692-1754; fl. c.1713-50)very numerous examples: see Young, 49oo historicalwoodwind instruments.

tTerton, Engelbert (Amsterdam: 1676-1752; fl. 1710-52)The Hague

tWalch, GeorgSalzburg, Zurich'49



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2.2 After 1723Makers rom section 2.1 till active:

Anciuti, J. B. Beuker I,W. Beukers r. and Jr., Bizey,Borkens,Bressan,Cornet, G. Crone, Delerable,J. Denner, J. H. Eichentopf, Eisenmenger, erens,Heitz,Leclerc,Naust, J.W. Oberlender , Poerschmann,

I.H.

Rottenburgh, chell,J.Scherer

r.,G.

Walch.Anonymous (? Nuremberg, c.173o)

Spohr

Anonymous German)Paris E.1188 (C.11o3), E.94, E.95'50

Castel, Giuseppe Italy: everalmakers, econd quarter oend of 18th entury)Private ollection;'151tockholm 5

Clapisson, (Lyons: )Stockholm'53

Grenser, August (Leipzig: 1720-1807; began working 1744)most or all of the numerous xamples seeYoung, 4900historical oodwind nstruments) ate rom after Bach'slifetime; he one exception s DCM 140,made between1744 and 1756.

Hartwig, ohann Christoph Leipzig: i. 1746-50)/JohannGottfried (Leipzig: c.1705-48)Leipzig

Heise, Johann Conrad Cassel: l. 1741-63)Korbach 54

Hemsing, B. (Flemish r Dutch: i.before 1749)The Hague, Hastings,Amsterdam cheepvaartmuseum'55

Hirschstein, Mathias fl.post 1744)*DCM 1267,156 *Berlin, Stockholm157

Lot, Martin Paris: 718-85; l. 1743-85)DCM 804,Brussels, t Petersburg, he Hague, Paris twoexamples)'58

Lot, Thomas Paris: 708-86)numerous xamples: eeYoung, 49oohistorical oodwindinstruments.Many probably ate from after Bach'slifetime Giannini, Chapter ).

Oberlender, ohann Wilhelm I (Nuremburg: 712-79;fi. 1735-79)DCM 1343

Palanca, Carlo (Turin: fi. 1719-83)Spohr, Stockholm159 F.179, tockholm 95,StockholmF.191,DCM 851,160Fermi, Ann Arbor, The Hague Ea o-1949,The Hague Ea 80-1950, Horniman x Dolmetsch,Bologna,Turin, Copenhagen, Musashino, Rome, ParisSavoyesale,16'Morgan 62

Pelletier, Charles II (Paris: l. C.1743)Oldham 63

Quantz, Johann Joachim (1697-1773:made flutes from 1739)DCM 916, Berlin 4229, Berlin 5076, Hamamatsu exRosenbaum ex Hohenzollern, Paris, Bizzi,'64 *Halle,165Hohenzollern,'66 Schlofg Hechingen,'67 everal otherslost 68

Rottenburgh, G. A. (Brussels: l. c.1740-1803)Most or all of the 17examples in Young, 49oo historical

woodwind instruments and St Petersburg 460169 veryprobably date from after Bach's lifetime.

Rydiger, Johann Georg (Breslau, Berlin, Danzig, Augsburg,Pressburg, Vienna, Brixen, Trient, Meran: 1722-35; Bozen:

post 1735)'70Leipzig

Sattler, Johann Cornelius E. (Leipzig: c.1691-1739;fl. 1718-39)Yasui ex Joppig, Sotheby's'7'

Scherer, Georg Henrich (Butzbach: 1703-78)numerous examples, difficult to attribute and date'72

Villars, Paul (Paris: l. 1741-76)

Vienna, Paris,'73t

Petersburg 464,Stockholm

F738,Edinburgh U 15'74

Wijne, Robert (Nijmegen: 1698-1774)The Hague Ea 11-1935,Ea 22-1981,private collectionHeinkesand,'75 Nijmegen, Ehrenfeld, Stolk,'76 Ede,'77Schloss Albstadt

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13/18

This article was written by Ardal Powellwith extensive contributions of ideas andbibliographic help rom David Lasocki.Further valuable contributions of sub-stance were made by Michael Marissen.Phillip T. Young kindly shared unpub-lished material or appendix 2. Thanksfor specific nformation are also due toPhilippe Allain-Dupre, Tony Bingham,Rod Cameron, Tula Giannini, BruceHaynes, Jan Hermans, John Henry vander Meer, Wilson Melo, Peter Spohr,Jeanne Swack, Peter Thalheirmer ndSteven Zohn.

1 The flute solos examined here com-prise Bach's music for flute with con-tinuo, with written-out keyboard, andwithout accompaniment; ensembleand orchestral music with a prominentflute part is also considered.

2 The chronology of the flute works

presented here follows R. L. Marshall,'The compositions for solo flute: areconsideration of their authenticityand chronology', The music of JohannSebastian Bach: the sources, he style, thesignificance New York, 1989), pp.224-5(a revised version of 'J. S. Bach's com-positions for solo flute: a reconsidera-tion of their authenticity and chrono-logy', Journal of the AmericanMusicological Society, xxxii (1979),pp.463-98), and C. Wolff, 'Bach'sLeipzig chamber music', Early music,xiii (1985), pp.165-75, which gives a

critical summary of other work on thesubject, including Marshall's. Objec-tions are raised to a number of Mar-shall's points in H. Eppstein, 'ZurProblematik von Johann SebastianBachs F16tensonaten', Bach-Jahrbuch,lxvii (1981), PP.77-90, and R. Jones,review in Music and letters, xxi (1990),PP-555-7.

3 J. Bowers, 'New light on the develop-ment of the transverse flute betweenabout 1650 and about 1770', Journal ofthe American Musical Instrument Soci-ety, iii (1977), pp.5-56, the most recentstudy of the flute in this period, con-centrates on the appearance of theinstrument rather than its constructionand playing qualities, of which so farno systematic study exists.

4 E.g. Carl Friedrich Pfaffe performed'quite well' on a long list of instru-ments, including the 'Flute Travers' nhis 1745examination for promotion

from apprentice to assistant in theLeipzig Stadtpfeifer: W. Neumann andH.-J. Schultze, Bach-Dokumente,(Kassel, 1963), p.147, cited in M. Maris-sen, 'J. S. Bach's Brandenburg Concer-tos as a meaningful set', Musical quar-terly, xxvii (1993), pp.228-9. However,contacts with persons like this, whoseflute playing was rather insignificant,will not be considered in this study.

5 P. T. Young, 4900oo istorical wood-wind instruments London, 1993);W.Waterhouse, The new Langwill ndex(London, 1993);T. Giannini, Greatflute makers of France (London, 1993);detailed measured drawings of manyinstruments by Jean-Frangois Beaudin;numerous articles by Marcelle Benoit,Jane Bowers, Maurice Byrne, NorbertDufourcq, Herbert Heyde, Phillip T.Young and others.

6 R. Jauernig, Johann Sebastian Bachin Weimar: neue Forschungsergebnisseaus Weimarer Quellen', Johann Sebast-ian Bach in Thiiringen: Festgabe zumGedenkjahr 950,ed. H. Besseler and G.Kraft (Weimar, 1950), pp.49-105, seeP.5o, n.53.

7 Though not comparable with theCothen figures, an interesting list ofsalaries for Dresden Hofkapelle musi-cians ranging from 200 to 1,200 Thaler,and a caution on interpreting them,appear in O. Landmann, 'The DresdenHofkapelle during the lifetime ofJohann Sebastian Bach', Early music,xvii (1989), p.24. In 1715Buffardin'ssalary was 500 Thalers, raised to 800 in1733and i,ooo in 1741.8 E. K6nig, 'Die Hofkapelle desFursten Leopold', Bach-Jahrbuch, lv(1959), pp.16o-67.

9 A. Dtirr, 'Zur Entstehungsgeschichtedes 5. Brandenburgischen Konzerts',Bach-Jahrbuch, xi (1975), pp.63-9;Wolff, 'Bach's Leipzig chamber music',p.173.io Pace M. Bernstein, 'Bach problems',Report of the Eighth Congress of theIMS, New York, 1961 Kassel, 1962),p.127, stating that no C6then flautistcould have played the B minor suite.

11 I. Godt, 'Politics, patriotism, and apolonaise: a possible revision in Bach'sSuite in B minor', Musical quarterly,lxxiv (1990), pp.61o-22, places the sur-viving version of the piece in the mid-

1730s,with the original version as avariation suite possibly not includingthe flute. Y. Kobayashi, 'Zur Chrono-logie der Spatwerke Johann SebastianBachs: Kompositions- und Auf-fuiihringstitigkeiten on 1736bis 1750',Bach-Jahrbuch, xxiv (1988), pp.7-72,gives dates of c.1738/1739 nd c.1743-6for performing parts for the work.Thus there were probably two Leipzigperformances with flautists whoseidentity we can only guess at.

12 M. Marissen, 'On linking Bach's F-major Sinfonia and his Hunt Cantata',Bach (Journal of the RiemenschneiderBach Institute), xxiii/2 (1992),pp.31-46, see p.36, n.22.

13 Marshall, The music ofJohannSebastian Bach, p.212.

14 M. Castellani, 'I1 Solopour la flutetraversiere di J. S. Bach:

C6theno

Lipsia?', lflauto dolce, no.13 (Oct 1985),PP.15-21 (and in German as 'J. S. Bachs"Solo pour la fl te traversiere": K6thenoder Leipzig', Tibia, xiv (1989),PP-567-73).

15 'Herrn Johann Joachim QuantzensLebenslauf, von ihm selbst entworfen',in F. W. Marpurg, Historisch-critischBeytriige zur Aufnahme der Musik, i(Berlin, 1755), pp.197-25O; rans. in P.Nettl, Forgotten musicians (New York,1951), pp.280-319.

16 See J. Bowers, 'A catalogue ofFrench works for the transverse flute,1692-1761', Recherches' ur la musiquefrangaise classique, xviii (1978),pp.89-125.

17 Anon. [Michel Corrette], Methodepour apprendre aisement a oiier de laflute traversiere Paris: Boivin, c.1739;2/1773).

18 See also Castellani, 'J. S. Bachs"Solo"'. The stylistic observationsmade by Castellani on the 'violiniza-tion' of flute technique are valid,though the period of its effect is not

accurately defined by the publicationof flute music, which was only a symp-tom, and a necessarily delayed one, ofits occurrence. Castellani's argument,especially as it concerns instruments,has a bias toward France, and does notaccount for the evidence of activities inthe Low Countries and Germany pro-vided by appendix 2. The conclusion(his n.11) that 'violinization' had an



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instant and a direct effect on instru-ment-making, to the extent that post-1722 lutes were 'more brilliant, moreagile and better in tune' than earlierones is a grave and misleading over-simplification.19 A facsimile of the MS appears inManuscrit allemand du XVIIe siecle,Thesaurus Musicus, Nova Series(Brussels, 1979).20 J. Swack, The solo sonatas of GeorgPhilipp Telemann: a study of the sourcesand musical style (PhD diss., Yale U.,1988), p.295. In her opinion the worksnot copied from prints may cover awider chronological range, and thecomposers represented are mostlyThuringian or connected with Dres-den, Dusseldorf or Neuburg an derDonau.

21 J. R. Swack, 'On the origins of the

Sonate auf Concertenart', Journal of theAmerican Musicological Society, xlvi(1993), PP-369-414. I am grateful toProf. Swack for sharing unpublishedversions of this and other articles.

22 Stephen Zohn, letter to the author,20 July 1993,writes: 'The distinction ofhaving printed the first music for flutein Germany may be Telemann's: hisSix Trio (Frankfurt, 1718;dedicated toDuke Friedrick II of Saxony) includes atrio "a Violon, Flte traverse et Bassechiffre" (Trio 3) ... The fast move-ments ... include much "violinistic"writing. I don't believe that this piecewas Telemann's first go at writing forflute. In fact, there are good reasons todate six or seven manuscript trios withone or two flutes (some at Dresden) to1720 or before.'

23 See F. Vester, Flute music of the 18thcentury (Monteux, 1985), listings B 943,Q 374.24 Castellani, 'J. S. Bachs "Solo"',p.569.25 Castellani, 'J. S. Bachs "Solo"',P-573.26 Swack, The solo sonatas of GeorgPhilipp Telemann, pp.197ff.27 See the letter of Louis Rousselet toJulien Bernier, 24 January 1711/12, citedin Giannini, Great lute makers ofFrance, pp.44-6, n.11, and E. Preutiner,Die musikalischen Reisen des Herrn vonUffenbach Kassel, 1949). Rippert mayhave had an unusually cosmopolitan

outlook: he is credited with the firstbook of French Sonatas (as opposed tosuites or other French forms), pub-lished in Paris in 1722:Bowers, 'A cata-logue of French works for the trans-verse flute', p.1o3.28 Quantz, who has been followed byall

subsequentauthorities, states that

the three-joint flute was divided intofour about 1720principally to allowchanges of pitch by means of corps derechange. Another possibility is sug-gested in A. Powell, 'Die EichentopfFl6te: die alteste erhaltene vierteiligeTraversfl6te?', Tibia (forthcoming).The earliest documented four-jointflute can be dated 1715 r before (seeappendix 2.1.2, s.v. 'Boekhout' andnote), but the division is here assumedto have become widely accepted-though probably not to the total exclu-sion of the three-joint flute-by about1720.

29 E. Nickel, Der Holzblasinstru-mentenbau in der Freien ReichsstadtNiirnberg (Musich, 1971), p.204.

30 M. Byrne, 'Schuchart and theextended foot-joint', Galpin Societyjournal, xviii (Mar 1965), PP-7-13; M.Byrne, 'Pierre Jaillard, Peter Bressan',Galpin Society ournal, xxxvi (Mar1983), pp.2-28; Joseph Friedrich Bern-hard Caspar Majer, Museum musicumtheoretico practicum (Schwibisch Hall,1732); Johann Joachim Quantz, Versucheiner Anweisung die Flite Traversiere uspielen (Berlin, 1752), 1.16, ranslated asOn playing the flute, trans. and ed. E. R.Reilly (New York, 2/1985), P-34.

31 In the Solo, Bwvio13, a C-footwould allow the c" in bar 50 of the

Bourte angloiseto be played an octave

lower, to match the d' in bar 48. Thiscould be taken to suggest that it wasintended for a flute with a C-foot,another factor which would suggest itwas composed around 1720. B.Kuijken, Postface to his edition of the

Solo, Bwvio13 (Wiesbaden, 1990o), p.16,states that 'The early 18th-centurytransverse flute only very rarely had ac' foot', but of the surviving Germanthree-joint flutes in appendix 2.1.1, 40per cent do in fact have a C-foot. Dur-ing the short period of their popularity,therefore, it is possible that a large pro-portion of instruments had theextended range.

32 See note to appendix 2.1.2, S.V.'Liebau'.

33 For further discussion of the originsof differing flute sound ideals, seeJ. Bowers, 'Mozart and the flute', Earlymusic, xx (1992), pp.31-42.

34 Marshall, The music of Johann

Sebastian Bach, p.215assesses the likeli-hood that Wild could play some of the1724cantata solos.

35 Marshall, The music of JohannSebastian Bach, p.323, n.63.

36 H.-J. Schultze, 'Vier unbekannteQuittungen und ein Briefsauszug Jacobvon Stthelins', Bach-Jahrbuch, ix(1973), p.88.

37 See the listing s.v. Mizler in appen-dix 1.

38 Marshall, The music of ohannSebastian Bach, p.211.Marshall suggests(p.213) that a superior flautist may havespent some months in Leipzig in 1724on the basis of a number of composi-tions employing unusually prominentand 'difficult' flute parts.

39 Buffardin may have meant 1712:Johann Jakob passed through Constan-tinople after being a prisoner of warwhile an oboist in the Swedish guardin 1704-12.

40 C. Addington,'The Bach flute',Musical quarterly, xxi (1985), p.280,n.19, where the date is given incorrectly

as 1707.41 The statement, cited in Marshall,The music ofJohann Sebastian Bach,pp.211-12, s from a genealogy by J. S.Bach, annotated by Carl PhilippEmanuel, and sent to Forkel.

42 H. Heyde, 'Der Instrumentenbauin Leipzig zur Zeit Johann SebastianBachs', 300 Jahre Johann SebastianBach, ed. U. Prinz (Tutzing, 1985), andconversations with Dr Heyde havebeen relied on for a description ofLeipzig woodwind making.

43 P. Hailperin, 'Three oboes d'amorefrom the time of Bach', Galpin Societyjournal, xxviii (Apr 1975), pp.26-36.44 J. Swack, 'G. P. Telemann: the cos-mopolitan composer', Traverso, 4.3 (Jul1992), p.2.

45 Vester, Flute music of the 18thcentury, s.v. 'Hasse, J. A.'.

46 Swack, 'On the origins of the



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Sonate auf Concertenart', p.412.47 See Marshall, The music ofJohannSebastian Bach, p.324, nn.65, 66.

48 J. Swack, 'Bach's A major FluteSonata

(Bwvao32)revisited', forth-

coming.49 M. Marissen, 'A critical reappraisalof J. S. Bach's A-major Flute Sonata',Journal of musicology, vi (1988),pp.367-86.50 B. Haynes, 'Johann SebastianBach's pitch standards: the woodwindperspective', Journal of the AmericanMusical Instrument Society, xi (1985),pp.64-5, and communications fromBruce Haynes have been relied uponfor details of Leipzig pitch standards.

51 Giannini, Great lute makers ofFrance, p.io, suggests that Quantz wasplaying an instrument from the Naust

workshop at this period.52 Swack, 'On the origins of the SonateaufConcertenart', p.391, makes thepoint that Bach's familiarity withQuantz as a composer s certain.

53 Kuijken, Postface to BwvioI3,pp.12-13. Kuijken also cites the lack ofsource material presently located inDresden as evidence that Bach did notwrite BwvioI3 for a Dresden flautist;this is a precarious line of reasoning,considering the fate of that city in thewars of the past two centuries. Swack,in 'Bach's A major Flute Sonata' and in'Quantz and the Sonata in EPmajor forflute and cembalo, Bwvio31' (elsewherein this issue), advocates a personal con-nection between Bach and Quantz onthe basis of musical style and otherconsiderations.

54 C. P. E. Bach, letter of 27 February1788,quoted in The Bach reader, ed.H. T. David and A. Mendel (New York,2/1966), p.285. Whether Quantz knewHandel's flute music is another ques-tion: some of it was published in Lon-don, and may have circulated in manu-

script.55 Bach may have planned a perfor-mance of the Musical offering riosonata for solo instrument and obbli-gato keyboard: in 1748or 1749, JohannChristoph Friedrich Bach began a copyof the piece on two staves marked'Cembalo' and containing the first fivebars of the first movement's violin andcontinuo lines. (See the Neue Bach-

Ausgabe, viii/i, KB, pp.74-5 and Y.Kobayashi, 'Zur Chronologie derSpitwerke Johann Sebastian Bachs',pp.58, 6o-61.) I am grateful to MichaelMarissen for bringing this matter tomy attention.

56 Solfeggipour la flute traversiere vec

l'enseignement, parMonsr.

Quantz, MS,Copenhagen Royal Library, ed. W.Michel and H. Teske (Winterthur,1978). Michel and Teske date thecompilation of the MS to the period1728-42, though H. Augsbach (prefaceto the facsimile edition of JohannJoachim Quantz, Sonate E-moll firFlite und obligates Cembalo (Leipzig,1982), p.7) argues for a much laterdating, between 1775and 1782.

57 Vester, Flute music of the 18thcentury, s.v. 'Bach, C. P. E.'.

58 Indications of mass-production influte making are discussed in A. Pow-ell, 'Science, technology and the art offlutemaking in the eighteenth century',Flutist quarterly, xix/3 (Spring 1994),PP-33-41.

59 Addington propounded his theoriesin 'In search of the Baroque flute',Early music, xii (1984), PP.34-47, a let-ter to the editor, Early music, xiii(1985), PP.331-5, and 'The Bach flute',pp.264-8o0. The unrewarding task ofdismantling all Addington's argumentsin order to certify where he has mademistakes has not so far been under-taken. Refutations of certain of hismisreadings can be found in: M.Castellani, 'L'art de "transposer" urla flite traversi re. La pratica dellatraspositione secondo Jacques Hotte-terre', Ilflauto dolce, no.17 (Apr 1987),pp.26-31; U. Thieme, 'Die Blockfl6teim Kantate, Oratorium und Oper. II:Das 17.Jahrhundert (2)', Tibia, xi(1986), p.171;P. Riedemeister,"'Neueste Forschungen" auf demHolzweg: Die "Bachfl6te"', Tibia, xi(1986), pp.200-203; Marissen, 'A crit-ical reappraisal of J. S. Bach's

A-majorFlute Sonata', p.379, n.23. But despitetheir surprising nature Addington'sconclusions have been all too easilyaccepted: for example in the Introduc-tion to Antoine Mahaut: A new methodfor learning to play the transverse lute,ed. E. Hadidian (Bloomington, IN,1989).

60 Addington, 'The Bach flute', p.265.

On p.269 Addington makes the aston-ishing suggestion that Bach was a slowlearner in transposition.61 J. Bowers, The French lute schoolfrom 1700ooo 1760 (PhD diss., U of Cali-fornia, Berkeley, 1971), PP.396-7.62 Addington asserts ('The Bach flute',

n.io, pp.271-2) that the ratio of surviv-ing flates d'amour to ordinary flutesmade in Germany before 1750 s about1:2.According to appendix 2, the ratiois 5:57,or roughly 1:10o.The count of 57'normal' flutes is inflated by an inde-terminate number which were actuallymade after 175o;but it excludes thenumerous examples by A. Grenser,Thomas Lot and the Scherers which arenot individually listed, and so can beconsidered a usable approximation inthis case.

63 A short study of the flite d'amouris given in P. Thalheimer, 'Flautod'amore, B-flat Tenor Flute und "TiefeQuartfl6te": ein Beitrag zur Geschichteder tiefen Querfl6ten im 18. und 19.Jahrhundert', Tibia, viii (1983),PP-334-42. Alan Lumsden's suggestionthat 'the fl ite d'amour enjoyed a voguein the late 1720's and early 1730's' inPerformance practice: music after 16oo,ed. H. M. Brown and S. Sadie (NewYork, 1990o), p.86, is disputed in A. R.Rice, Performance ractice review, v(1991), pp.76-7.

64 J. Bowers, 'Acatalogue

of Frenchworks for the transverse flute', p.1o3.65 Antoine Mahaut, Nouvelle MWthodepour Aprendre en peu de tems a Joiier dela Flute Traversiere/Nieuwe Manier ombinnen korte tyd op de Dwarsfluit teleeren speelen (Paris: Lachevardiere,[1759];Amsterdam: Hummel, [17591),p.2.66 Mercure de France, September 1764,pp.186-8; see also E. R. Reilly and J.Solum, 'De Lusse, Buffardin, and aneighteenth-century quarter tone piece',Historical performance, v (1992),

pp.19-23.67 Kuijken, Postface to Bwv0io3.68 G. Hoppe, 'K6thener politische,oekonomische und hofische Verhalt-nisse als Schaffensbedienungen Bachs(Teil 1)', Cathener Bach-Hefte, iv(1986), pp.13-62, esp. pp.28, 57.69 B. Haynes, 'Bach's pitch standards',p.81.



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70 F. W6hlke, Lorenz Christoph Mizler,Ein Beitrag zur musikalischen Gelehr-tensgeschichte es 18.Jahrhunderts(Wuirzburg-Aumuhle, 1940); JohannGottfried Walther: Briefe, ed. K. Beck-mann and H.-J. Schulze (Leipzig, 1987),p.202. I am grateful to Michael Maris-sen for these references.

71 Bach-Dokumente, , p.6o.72 Bach-Dokumente, , P.57.73 K6nig, 'Die Hofkapelle des FirstenLeopold'.74 Hoppe, 'K6thener ... Verhiltnisseals Schaffensbedienungen Bachs', p.19.

75 Quantz, autobiography.76 Bilddokumente zur LebensgeschichteJ. S. Bachs, ed. W. Neumann (Leipzig,1975),P.231.77 Bilddokumente zur LebensgeschichteJ. S. Bachs, p.231.78 Bilddokumente zur LebensgeschichteJ. S. Bachs, p.231.79 Bilddokumente zur LebensgeschichteJ. S. Bachs, p.231.80 E. Hadidian, Introduction to Thevirtuoso lute-player by Johann GeorgeTromlitz, trans. and ed. A. Powell(Cambridge, 1991), pp.xiii-xxvi.81 Notes to this appendix refer tosources and illustrations only for thosenot covered in Young, 4900oo istoricalwoodwind instruments. Where listingsfor instruments in the St

Petersburgand Stockholm museums differ fromYoung, further information can befound in A. Powell, 'Flutes in St Peters-burg', Traverso, 5.4 (Nov 1993), PP-1-3,and A. Powell, 'Flutes in Stockholm',Traverso, 6.2 (Apr 1994), PP-1-3.82 F. Puglisi, 'A three-piece flute inAssisi', Galpin Society ournal, xxxvii(Mar 1984), pp.6-9; V. de Gregorio,'I1 raversiere di Assisi', Ilflauto dolce,nos.io/ii (Jan-Jun 1984), pp.48-51.83 Illustrated in P. Spohr, Kunsthand-werk m Dienste der Musik (Frankfurt,1991), p.12.

84 The instrument's head-joint ismissing and its bore has been altered.

85 Reported by Bruce Haynes, letterto the author, 28 April 1993. Haynesis unable to trace the source of thereport, which includes the remark'Similar to the Hotteterres in Berlinand Leningrad.'

86 Horn mounts; reported by TonyBingham.

87 The consensus is that the middlejoint is not original. DCM = Dayton C.Miller Collection of the Library ofCongress, Washington DC.

88 A. Baines,'James Talbot's manu-

script (Christ Church Library MusicMS 1187)', Galpin Society ournal, i(Mar 1948), pp.9-26.

89 See Bowers, 'New light on thedevelopment of the transverse flute',pp.13-14.

90 Illustrated in J. Solum, The earlyflute (Oxford, 1992), p.4o.

91 The museum lists the instrument asa war loss. See also C. Sachs, Sammlungalter Musikinstrumente bei derStaatlichen Hochschule fr Musik zuBerlin (Berlin, 1922), col. 255.

92 Solum, The early lute, p.37 (illus.).

93 Unsigned, attrib. by M. Kirnbauerand D. Krickeberg, Musikinstru-mentenbau im Umkreis von SophieCharlotte', Sophie Charlotte und dieMusik in Lietzenburg Berlin, 1987),pp.29-60, (illus.) p.51. I am grateful toPhillip T. Young for directing myattention to this article. The museumdoes not allow proper study of this orany of its instruments; however, super-ficial observation raises possible ques-tions about the attribution.

94 T. Giannini, 'Jacques Hotteterre leRomain and his father, Martin: a re-examination based on recently founddocuments', Early music, xxi (1993),PP-377-95, following Thoinan, attrib-utes the surviving 'Hotteterre' trans-verse flutes to the workshop of MartinHotteterre (d 1712)and his son andsuccessor Jean (d 1720). See also thefollowing note.

95 Bowers, 'New light on the develop-ment of the transverse flute', p.23(illus.). Two other instruments marked

'Hotteterre' with an anchor below areBerlin 2670 ex Snoeck (Bowers, 'Newlight on the development of the trans-verse flute', p.13 (illus.)) and St Peters-burg 471 ex Snoeck (Solum, The earlyflute, p.38. (illus.)) However these, theunmarked St Petersburg 472, and aninstrument at La Couture are to thebest of my knowledge 19th-centurycopies of an instrument now lost.

96 Reported by John Henry van derMeer (letter to the author 8 July 1993),who saw the instrument in 1958. It isnot located at present.

97 Leclerc's trade name was used afterhis death by Gilles Lot, according toGiannini, Great lute makers of France,p.13.

98 Naust himself died in 1709. A chro-nology of the Naust workshop and anidentification of the various makersand associations under which thestamp was used can be found in Gian-nini, Great lute makers of France, p.12and chap. 1,passim.99 Spohr, Kunsthandwerk, pp.12-13(illus.).

loo Paul Dupuy. I am grateful toPhilippe Allain-Dupre for the report,and for arranging access to study thisinteresting instrument.

lol Illustrated in Solum, The earlyflute, p.40, and R. Meylan, Die Flite(Bern, 1974), p.64.102 Illustrated in R. Le Roy and C.Dorgeuille, Traite de la flIte (Paris,n.d.), p.15, fig.8.103 Reported by Peter Spohr as havingbeen offered for sale in Switzerland.

104 Three corps de rechange, dated 1725(Young, 49oo historical woodwindinstruments, p.2). For illustration seehis reference. Attribution doubtful.

105 Ebony flute with silver rings,pitched c.392, cf. V&A Bressan,reported by Bruce Haynes.106 Walterhouse, New Langwill ndex.

107 I am grateful to Jan Bouterse forinformation about the makers namedBeuker (letters to the author, 2 and 6April 1993).108 Dated 1736.

109 Historical musical instruments nthe Edinburgh University collection,ed. A. Myers (Edinburgh, 1990), p.68(illus.).

1io Historical musical instruments nthe Edinburgh University collection,p.68 (illus.).

111 Illustrated in Giannini, Great lutemakers ofFrance, pl.23b p.39, where itis dated in the period c.1755-75. n myopinion the instrument's low pitch,long head-joint, and unusual construc-tion (the middle socket is in the left-



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hand joint, rather than the right-handone) suggest it is an early four-jointinstrument, from the beginning ofBizey's career.

112 Illustrated in Giannini, Greatflutemakers of France, pl.22a (p.38).

113 Sachs, Sammlung alter Musik-instrumente, p.643. Listed by themuseum as a war loss, and mostunfortunately no details or photo-graph survive. As Boekhout died in1715, his would have been the earliestknown four-joint flute, indicating thatsuch instruments were made at leasthalf a decade before any other evid-ence (3o December 1721: ee Giannini,Great lute makers of France, p.9)seems to suggest. Boekhout claimed tohave invented the bass flute and a clar-inet by him is also known. See R. vanAcht, 'Dutch wind-instrument makers

from 1670to 1820', Galpin Societyjournal, xli (Oct 1988), p.91.

114 Reported by Jan Bouterse, letter tothe author, 6 April 1993.

115 Giannini, Great lute makers ofFrance, p.22. Cornet's 1745workshopinventory (Giannini p.49, n.48) listssome 500 instruments, including '25old transverse flutes'-could 'old' hererefer to obsolete, three-joint flutes? Iam grateful to Tula Giannini for draw-ing Cornet's work to my attention.

116 Spohr, Kunsthandwerk m Diensteder Musik, p.14 (illus.).

117 Tula Giannini (private communi-cation to the author) is uncertainwhether this instrument is by AntoineDelerablee, who seems to have usedthe Naust stamp during his workinglife (see note s.v. 'Naust').

118 K. Hiinteler, 'Ein neuentdeckteTraversfl6te von Jacob Denner', Tibia,xviii (1993), pp.461-4 (illus.).

119 Head-joint by Eisenmenger, threekeys added later. See M. Kirnbauerand P. Thalheimer, 'Jacob Denner andthe development of the flute in Ger-many' (elsewhere in this issue).

120 Sold December 1988;current loca-tion reported by Jan Bouterse, letter tothe author, 2 April 1993.Other infor-mation from J. Bouterse, 'Dutchrecorders and transverse flutes ofthe 17th and 18th century', FoMRHIquarterly, no.64 (July 1991), PP.33-7.

121 H. Heyde, FlBten Leipzig, 1978),p.84 and Tafel 9 (illus.). See also A.Powell, 'Die Eichentopf Flote' (illus.).122 Reported by Peter Spohr as havingbeen stolen from a violin dealer.

123 Langwill, Index, 6th edn, p.53.

124 F. G6treau, Inventaire descriptifdesfl'ites traversieres typescript] (Paris,1989), P-15.125 Peter Thalheimer's opinion is thatthis is a much later instrument andcannot have been made by the sameLiebau who made chalumeaux (pri-vate communication).126 Illustrated n J. Lambrechts-Douillez, Catalogus van de Muziek-instrumenten uit de versameling van hetMuseumnVleeshuis Antwerp, 1981),p.63.127 Repaired by Martin Wenner;measured by Jan Bouterse.128 Ivory flute with silver bands, keymounted in boss, Tokyo: Suga, exSotheby's London sale, 22 November1989, lot 66 (illus. [p.25]) cited inSolum, The early lute, p.42, n.15. I amgrateful to Bruce Haynes for reportingthe present location of this instru-ment.

129 Illustrated in Giannini, Great lutemakers of France, pl.4c p.5.130 Restored by Rainer Weber (per P.Thalheimer).

131 R. Weber, 'Die Rekonstruktioneiner Traversfl6te von I. W. Oberlen-der-ein Restaurierungsbericht',Tibia, xi (1986), pp.205-8.132 Listed as by J. W. Oberlender II inYoung, 49oo historical woodwindinstruments.

133 M. Wenner, 'Eine Flauto d'Amorevon Poerschmann/Crone', Glareana,38.2 (1989), pp.16-24 (illus.).

134 Instrumnents e musique anciens aBruxelles et en Wallonie-17e-2oe sie-cles, ed. P. Mardaga ([Brussels],[19851),PP-47, 49 has illustrations ofan ebony flute fragment stampedI H./ROTTENB URGH/ / PE RE, anda complete boxwood instrument.

135 C. Karp, Baroque woodwind inthe Musikhistoriska Museet, Stock-holm', Galpin Society ournal, xxv (lul1972), pp.80-86.136 Sachs, Sammlung alter Musik-

instrumente, col. 257.

137 VH76.1.228, catalogued as anony-mous.

138 P. T. Young, 'The Scherers ofButzbach', Galpin Society ournal,xxxix (Sep 1986), pp.112-24. One ofthe earliest may be the example in the

Vleeshuis museum, illustrated inLambrechts-Douillez, Catalogus van deMuziekinstrumenten uit de versamelingvan het Museum Vleeshuis, p.63, andon the cover. An argument for theearly date of the Eichentopf flute andthose, such as the Antwerp Schererand Brussels I. H. Rottenburgh, whichresemble it closely, is in A. Powell, 'DieEichentopf Flite'.

139 Illustrated n Addington, 'Insearch of the Baroque flute' p.46.

140 M. Seyfrit, Musical instruments n

the Dayton C. Millerflute collection atthe Library of Congress: catalog,(Washington, DC, 1982), p.325 (illus.).

141 Head-joint only.

142 Numerous examples, mostlyprobably by Charles Schuchart anddating from after Bach's lifetime.

143 Byrne, 'Schuchart and theextended foot-joint', pp.7-13.144 Fifth-flute: Jan Bouterse, letter tothe author, 2 June 1993.

145 This instrument is not included inBouterse, 'Dutch recorders and trans-verse flutes', and its existence is doubt-ful. See note in Young, 49oo historicalwoodwind instruments, s.v. 'vanHeerde'.

146 One of these instruments, for-merly in the Carel van LeeuwenBoomkamp Collection, is illustrated inThe Carel van Leeuwen BoomkampCollection of Musical Instruments, ed.C. van Leeuwen Boomkamp and J. H.van der Meer (Amsterdam, 1971),p.167.147 Bouterse, 'Dutch recorders and

transverse flutes of the 17th and 18thcentury'.148 The last two entries reported byJan Bouterse, letter to the author,2 June 1993.

149 H. Bruckner, 'Die Pfeifenmachereiin Berchtesgaden', Tibia, iv (1979),p.294.150 Reported by Bruce Haynes, letter



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to the author, April 1993.According toGetreau, Inventaire descriptif des flatestraversieres, E.94 and E.95 are inpainted Saxon porcelain.151 Instrument dated c.1736by Spohr,Kunsthandwerk m Dienste der Musik,p.14 (illus.).

152 Karp, 'Baroque woodwind in theMusikhistoriska Museet', p.8o.153 Karp, 'Baroque woodwind in theMusikhistoriska Museet', p.8o.154 See F. Brusniak, 'Johann ConradHeise (1703-1783)--ein wenig bekann-ter Holzblasinstrumentenbauer ausKassel', Glareana, 33.2 (1984), 8-21,(illus.) pp.12, 13,18. I am grateful toPhillip T. Young for bringing thisinteresting instrument to my attention.

155 Head-joint only, Bouterse, 'Dutchrecorders and transverse flutes of the17th and 18th century'.156 Seyfrit, Musical instruments n theMiller collection, p.334 (illus.).

157 Karp, 'Baroque woodwind in theMusikhistoriska Museet', p.8o.158 Illustrated in Giannini, Greatflutemakers of France, pl.22c p.38 (dated'c.1745') and pl.24 p.40 (dated'1775-1795').159 Karp, 'Baroque woodwind in theMusikhistoriska Museet', p.81.160 Seyfrit, Musical instruments n the

Miller collection, p.320 (illus.).161 Langwill, Index, 6th edn, p.131.162 Ivory flute, reported by PeterSpohr.163 Waterhouse, New Langwill index,p.324; Giannini, Great lute makers ofFrance, p.22.164 Illustrated in G. Bizzi, 'Flutes forroyalty', Continuo, 3.5 (Feb 1980), p.4.The listing under Y5 in Young, 4900historical woodwind instruments, p.182,doubtless refers to this example.165 Illustrated in H. Heyde, Katalog zuden Sammlung des Hiindel-Hauses inHalle: 7 Teil, Musikinstrumenten-sammlung (Halle an der Saale, 1980),pp.386-9.166 F. von Huene, 'Six Quantz flutes',Continuo, February 1980, pp.9-1o. Theextremely cryptic reference in this briefnotice is presumably to one of thoseinstruments mentioned in the follow-

ing note.

167 R. Weber, 'Was sagen die Holz-blasinstrumente zu Mozarts Kammer-ton?', Tibia, xvii (1992), pp.291-8, seep.293.168 The Hohenzollern Quantz instru-ments (three

ebony two-keyedflutes,

an amber two-keyed flute, an ebonyand an ivory one-keyed flute) areamong those described in D. C. Miller,Flutes of Frederick he Great, MS in theDayton C. Miller Collection, Library ofCongress, Washington DC (wherethere is also a photograph on a glassnegative), and by G. Muller, Friedrichder Grof3e, eine Flbten und sein Flbten-spiel (Berlin, 1932). Miller further liststwo instruments which, when he wrotein 1930-31, were at Schlofi Glienecke,another belonging in 1932 o to E.

Kramsta von Prittwitz, and stillanother 'in Hamburg'. Yet anotherQuantz flute is mentioned in the Ham-burger Freudenblatt, 24 Feb 1931.Mostof these have not reappeared sinceWorld War II. Further flutes possiblyby Quantz are an ivory two-keyed flutein Stockholm (no inventory number;see Powell, 'Flutes in Stockholm') anda boxwood two-keyed flute at presenton loan to Konrad Hunteler.

169 Catalogued in G. I. Blagodatov,Katalog Sobraniya Muzikalnich Instru-mentov

(Leningrad, 1972)as

anony-mous.

170 Waterhouse, New Langwill index,p.367.171 London sale 9 October 1981, ot 112(illus.).

172 Young, 'The Scherers of Butzbach'.

173 Illustrated in Giannini, Great lutemakers of France, pl.23a P.39.174 Historical musical instruments nthe Edinburgh University collection,

p.39; p.68 (illus.).

175 Bouterse, 'Dutch recorders andtransverse flutes of the 17th and 18thcentury'.

176 Head-joint missing, Bouterse,'Dutch recorders and transverse flutesof the 17th and 18th century'.

177 J. Bouterse, 'The flutes of Robertand Willem Wijne', FoMRHI quar-terly, no.55 (Apr 1989), pp.29-36.

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Hand-madetransverse lutes


bach y la flauta traversa.-bach_and_his_pieces

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