This thesis presents an in-depth study and detailed exploration of the eighteenth-century recorder concerto repertoire as a whole. Whilst there has already been useful research on the recorder concertos of Bach, Telemann, Vivaldi, and some of the concertos from English sources, there are still large gaps needing to be filled. In this respect, my research focuses on several areas across Europe where there are a number of substantial recorder concerto sources, but which have had little investigation. These include Bentheim- Tecklenburg-Rheda, Mecklenburg-Schwerin, the ‘Harrach’ family collection, as well as Sweden more generally. Since concertos are such a significant part of any instrument’s repertoire, offering some of the greatest technical challenges and musical rewards, there is a considerable need for an up-to-date and detailed study of recorder concertos. This thesis gives a clearer picture of the advent and popularity of the recorder concerto in Europe, and shows recorder concertos to be popular in certain areas of Europe well into the 1730s (and even into the 1740s). I also show evidence of the recorder remaining in use in professional settings in many places around northern Europe as late as the 1740s and 1750s. In addition, I provide insights into the repertoire from my own perspective as a performer, and I also address the perceptible lack of knowledge on the size and scope of recorder concerto sources. My research draws connections between a number of concerto sources, and also offers suggestions regarding some works with ambiguous or disputed authorship. A catalogue of all known recorder concertos is included as an Appendix.

The Eighteenth-Century Recorder Concerto in England, Italy, Germanyand Sweden: A Commentary and Catalogue

OF THE DISSERTATION French Accompanied Keyboard Music (1738 – 1760): A Study of Texture and Style Mixture by Nga-Hean Ong Doctor of Philosophy in Music Washington University in St. Louis, 2009 Professor Craig Monson, Chairperson French accompanied keyboard music published between the late 1730s and early 1760s generally contains a written-out keyboard part with one or more accompanying instruments. In this genre we find, for the first time, that the keyboard plays an equal, if not the more dominant, role in ensemble chamber music. This repertory has been largely misunderstood and underappreciated because it has frequently been evaluated, not on its own terms, but in terms of accompanied collections from other regions and also in terms of the substantial and substantially different repertories of keyboard music with optional accompanying instrument(s) that flooded the market during the second half of the

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French accompanied keyboard music (1738--1760): A study of texture and style mixture

espanolEl archivo conocido como «Schrank II» de la «Sachsische Landesbibliothek - Staatsund Universitatsbibliothek Dresden» contiene gran parte de la inmensa coleccion personal de musica instrumental que Pisendel se ocupo de reunir durante casi toda su vida. En el archivo se encuentran los manuscritos para uso personal que contienen las anotaciones de Pisendel para su trabajo diario como interprete y compositor. Un raro tesoro, ya que este tipo de manuscritos no estaban destinados a ser conservados despues de su uso. De especial interes son los manuscritos de sus propias composiciones. Entre los tachones y enmiendas compositivas encontramos tambien multitud de anotaciones destinadas a la interpretacion, entre las que destacan las que servian para la ornamentacion. Estos «manuscritos de trabajo» conviven en ocasiones con copias a limpio, el estudio combinado de estas fuentes arroja una interesante y novedosa vision de las multiples facetas de Pisendel como compositor e interprete. Este legado se hace eco de la practica interpretativa de su epoca y nos invita a replantearnos de nuevo consideraciones basicas de la interpretacion historica como el papel del compositor y del interprete asi como a expandir los conceptos de composicion, improvisacion y ornamentacion, dando a esta ultima un papel fundamental en la elaboracion final de la obra musical EnglishThe archive known as "Schrank II" from the "Sachsische Landesbibliothek - Staats- und Universitatsbibliothek Dresden" holds much of the vast personal collection of instrumental music of Pisendel. The archive contains manuscripts for personal use that include Pisendel’s notes for his daily work as a performer and composer. This is a rare treasure, as these types of manuscripts were not intended to be preserved after its use. Of special interest are the manuscripts of his own compositions. Among the compositional amendments we also find annotations intended for performance, among which those used for ornamentation stand out. These “working manuscripts”, sometimes coexist with clean copies, the combined study of these sources yields an interesting and novel vision of the multiple facets of Pisendel as a composer and performer. This legacy echoes the performance practice of his time and invites us to rethink basic considerations of historical interpretation such as the role of the composer and the performer as well as to expand the concepts of composition, improvisation and ornamentation, giving the latter a fundamental role in the final elaboration of the musical work

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Completando lo inacabado: consideraciones sobre el compositor, el intérprete y la ornamentación a través de los manuscritos de Johann Georg Pisendel

Quantz's Quatuors and other works newly discovered

Much recent writing concerning the early eighteenth-century sonata has focused on a subgenre that appropriates stylistic elements from more fully scored works. Thus several of J. S. Bach’s solo and trio sonatas signify the concerto in certain movements by adopting ritornello form and establishing instrumental roles of ‘soloist’ and ‘orchestra’, only to undermine the integrity of these roles during the course of a movement. These Sonaten auf Concertenart, and a number of similar examples by Bach’s German contemporaries, have been viewed as responses to Vivaldi’s solo concertos and especially his so-called ‘chamber concertos’, which feature similar kinds of role playing. This study, by re-examining the phenomenon of the sonata in concerto style from a number of perspectives, shows that the genre was more widespread and its origins and meanings more complex than previously recognized. Evidence for this revised view takes the form of generic titles on manuscripts and prints; music by German, Italian and French composers spanning much of the eighteenth century, from Molter to Mondonville to Mozart; some three dozen sonatas by Telemann, who exhaustively explored the genre over several decades and was perhaps its originator in Germany; and literary amalgamations of genre indicative of a broader eighteenth-century fascination with mixed types.

The sonate auf concertenart and conceptions of genre in the late baroque

Das instrumental repertoire der dresdner hofkapelle in den ersten beiden dritteln des 18. jahrhunderts: überlieferung und notisten sächsische landesbibliothek – staats- und universitätsbibliothek, dresden, 23–25 june 2010

Steven Zohn

Papers

The sonate auf concertenart and conceptions of genre in the late baroque

Das instrumental repertoire der dresdner hofkapelle in den ersten beiden dritteln des 18. jahrhunderts: überlieferung und notisten sächsische landesbibliothek – staats- und universitätsbibliothek, dresden, 23–25 june 2010