An Ashgate Book
Vivaldi’s Music for Flute and Recorder Federico Maria Sardelli Translated by Michael Talbot Vivaldi’s Music for Flute and Recorder
Vivaldi’s Music for Flute and Recorder
Federico Maria Sardelli
Translated by Michael Talbot
in association with First published 2007 by Ashgate Publishing
Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA
Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright © Federico Maria Sardelli 2007 federico Maria sardelli has asserted his moral right under the copyright, designs and Patents act, 1988, to be identified as the author of this work.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
British Library Cataloguing in Publication Data Vivaldi’s music for flute and recorder 1. Vivaldi, Antonio, 1678–1741 – Criticism and interpretation 2. Flute music – History and criticism 3. Recorder music – History and criticism i. Sardelli, Federico Maria 788.3'092
Library of Congress Cataloging-in-Publication Data Vivaldi’s music for flute and recorder /F ederico Maria Sardelli. p. cm. Includes bibliographical references and index. ISBN 0-7546-3714-X (alk. paper) 1. Vivaldi, Antonio, 1678–1741—Bibliography. 2. Flute—Italy—History—18th century. 3. Recorder (Musical instrument)—Italy—History—18th century. I. Sardelli, Federico Maria.
ML134.V7V5 2006 788.3092—dc22 2006002005
ISBN-13: 978-0-7546-3714-1 (hbk) Contents
List of Plates vii List of Tables ix List of Numbered Music Examples x Preface xiv Translator’s Note xix Conventions and Abbreviations xxi
PART I: THE RECORDER AND FLUTE IN ITALY IN VIVALDI’S TIME
1 The Emancipation of the Recorder and Flute 3
2 Straight and Cross Flutes 7
3 The Recorder and Flute in Venice: the Role of Amateur Players 17
4 The Recorder and Flute in Venice: the First Professional Players 21
5 Other Players of the Recorder and Flute Associated with Vivaldi 37
6 Missing Workshops and Instruments 45
PART II: VIVALDI’S MUSIC FOR RECORDER AND FLUTE
7 Vivaldi’s Sonatas for Recorder and Flute 57 Sonatas for Transverse Flute 57 Sonatas for Recorder 70 A Distinguished Forgery: Il pastor fido 73 Sonatas for Two Instruments and Continuo 84
vi Vivaldi’s Music for Flute and Recorder 8 Vivaldi’s Chamber Concertos with Recorder or Flute 91 The Chamber Concerto: a New Genre 91 Lost and Spurious Works 93 The Earliest Examples 96 Other Chamber Concertos 104 The Choice of Instrument 125
9 Vivaldi’s Flute Concertos 139 True and False Attributions 139 New Works, Old Music: Vivaldi’s Opera decima 141 Beyond Op. 10 149
10 Vivaldi’s Recorder Concertos 163
11 Vivaldi’s Concertos for Flautino 177 The Instrument’s Identity 177 The Type of Flautino Used by Vivaldi 188 Date, Style and Special Characteristics 198
12 The Concerto for Two Flutes 205
13 The Concertos with Multiple Soloists and Orchestra 207
14 The Recorder and Flute in Vivaldi’s Vocal Music 233 Sacred Works 233 Cantatas 241 Serenatas 243 Operas 246
15 Remarks on Instrumental Technique 273
16 Conclusions 279
17 Postscript: A Late Discovery 283
Inventory of the Works for Recorder and Flute by Antonio Vivaldi 287 Bibliography 305 General Index 315 Index to the Vivaldi Works Mentioned 331 List of Plates
1 Giambattista Piazzetta: Girl with a recorder. Oil on canvas, 55 × 46 cm, c.1740. Venice, private collection (courtesy Professor Egidio Martini). 2 anonymous, first half of the eighteenth century:Portrait of a lady with a small recorder. Oil on copper, 20 × 24 cm. Udine, Civici Musei e Gallerie di Storia e Arte (reproduced with permission). 3 Gian Lorenzo Tiepolo: Flautist. Oil on canvas, c.1760–70. Trieste, Museo Sartorio. 4 Pier Leone Ghezzi: Sonator del Boè […] si chiama Gioseppe, ed è veneziano (Oboe player […] he is called Giuseppe and is Venetian). Rome, Gabinetto Nazionale delle Stampe, no. 2606, fol. 114, no. 274. Portrait probably of Giuseppe Micheli, one of the oboists employed by Cardinal Ottoboni, at the time of Vivaldi’s Roman sojourn of 1722–23. 5 Treble recorder in G made in ivory by Johannes Maria Anciuti, undated. Maker’s mark ‘Anciuti A’ Milan’, surmounted by a lion of St Mark, Milan. Museo Teatrale alla Scala (reproduced with permission). 6 recorder made by Domenico Perosa, undated. Maker’s mark ‘D. Perosa’. Vienna, Kunsthistorisches Museum, Sammlung Alter Musikinstrumente, Nr. 153 (reproduced with permission). 7 transverse flute by Giuseppe Castel. Pelzel Collection, Bensheim. This transverse flute, the only one so far known to carry this maker’s mark, has had its head-joint noticeably shortened through a subsequent alteration aimed at raising the original pitch (courtesy Peter Spohr). 8 Quirino Colombani, cantata with obbligato flute Suscende in campo armato (D-WD, 890, Nr. 15). Composed in Rome before 1711. 9 Antonio Vivaldi, Concerto RV 585, first movement, bars 14–23, autograph (D-Dl, 2389-O-77). This is the first known use of the flute in Vivaldi’s music. 10 Antonio Vivaldi, Concerto for transverse flute, oboe, violin, bassoon and continuo, Tempesta di mare, RV 98, first movement, bars 1–17, copy (I-Tn, Giordano 31, fols 353–56). This is one of the very first concertos for the transverse flute ever written and can be dated to the 1710s. 11 antonio Vivaldi, Concerto for transverse flute, violin, bassoon and continuo, RV 106, first movement, bars 21–30, autograph (I-Tn, Giordano 31, fols 324–31), showing simplifications made to the flute part.
vii viii Vivaldi’s Music for Flute and Recorder 12 Antonio Vivaldi, Concerto for recorder, strings and continuo, RV 441, first movement, bars 54–62, autograph (I-Tn, Giordano 31, fols 374–85), showing the deletion of bars in which the flute ascends to the note '''g . 13 Antonio Vivaldi, Tito Manlio, RV 738, copy with autograph inscriptions (I-Tn, Foà 37, fols 120–306), aria with flautino‘ Sempre copra notte oscura’, III.10. The autograph directions ‘Mezo Tuono più Basso’ and ‘come stà’ after the words ‘Flautino Solo’ have been deleted, whereas in the autograph manuscript (Giordano 39) these markings stand. 14 Antonio Vivaldi, La verità in cimento, RV 739, copy with autograph inscriptions (I-Tn, Foà 33, fols 149–316), aria with flautino ‘Cara sorte di chi nata’, III.5, new version of the aria ‘Sempre copra notte oscura’. Note the markings ‘Flautino Solo’ and ‘Viol:lo Solo sempre, e mezzo tuono più alto anco il Soprano, mà il Flauto come stà’. 15 Antonio Vivaldi, La verità in cimento, RV 739, aria with flautino ‘Io son frà l’onde’, autograph, III.5. New version of the aria set to the same text in La Candace, III.11 (I-Tn, Foà 28, fols 156–60). 16 Antonio Vivaldi, Orlando furioso, RV 728, autograph (I-Tn, Giordano 39 bis, fols 2–153), aria with transverse flute ‘Sol da te, mio dolce amore’, I.11. List of Tables
4.1 external maestri employed at the Pietà, 1703–22 25 8.1 outline plan of the chamber concerto La notte, RV 104 112 8.2 instrumental designations in Il gardellino, RV 90/90a, and La pastorella, RV 95/95a 115 8.3 ‘Flauto Traversier’ and ‘Flauto’ in Vivaldi’s chamber concertos 128 9.1 the make-up of Vivaldi’s Op. 10 144 11.1 the nomenclature of ‘small’ flutes 180
ix List of Numbered Music Examples
This list omits the many short musical quotations, such as incipits, that are inserted directly into the text.
4.1 comparison between Ignazio Siber, Sonata VII, first movement, and Antonio Vivaldi, Sonata III from Sonate a violino e basso per il cembalo, Op. 2, first movement 32 7.1 a) solos, [Part I], Sonata VI, fourth movement, bars 17–24 67 b) rV 48, second movement, bars 51–8 67 c) RV 48, second movement, bars 12–21 67 d) Solos, [Part I], Sonata II, second movement, bars 37–40 67 7.2 a) rV 52, third movement, bars 1–4 72 b) anonymous, [Sonata I], fourth movement, bars 1–6 (I-Vqs, Cl. VIII Cod. 27, f. 3r–v) 72 7.3 rV 192a, fourth movement, extracts 73 7.4 concordances of themes in Il pastor fido 81 7.5 rV 800, first movement, bars 1–13 85 7.6 a) Orlando furioso, RV 728, I.11, ‘Sol da te, mio dolce amore’, bars 31–3 88 b) rV 86, second movement, bars 17–21 88 8.1 rV 84, first movement (Allegro), bars 79–89 102 8.2 rV 103, illustration of a deleted passage in the third movement 106 8.3 representations of birdsong by Vivaldi a) rV 269, La primavera, first movement, bars 59–64: ‘Canto de gl’ucelli’ [unspecified birds] 116 b) rV 90, Il (Del ) gardellino, first movement, bars 61–7 [goldfinch] 116 c) Arsilda, regina di Ponto, RV 700, II.9, ‘Quell’usignolo’, bars 5–7 [nightingale] 117 d) Arsilda, regina di Ponto, RV 700, II.10, ‘Ancor la tortorella’, bars 56–8 [turtle dove] 117 e) rV 315, L’estate, first movement, bars 59–70: ‘Canta la tortorella’ [turtle dove] 117 f) rV 90, Il (Del) gardellino, first movement, bars 13–16 [goldfinch] 117 g) rV 315, L’estate, first movement, bars 72–7: ‘il Gardellino’ [goldfinch] 117
List of Numbered Music Examples xi 8.4 a) rV 90, Il (Del) gardellino, second movement, ‘Largo’, bars 1–3 119 b) rV 95, La pastorella, second movement, ‘Largo’, bars 1–3 119 8.5 instances of downward transposition in RV 88 a) rV 88, first movement, bars 17–19 133 b) rV 88, first movement, bars 58–9 133 8.6 rV 88, first movement, bars 74–5 134 8.7 simpler alternatives provided for the recorder in RV 108 a) rV 108, first movement, bars 50–52 134 b) rV 108, first movement, bars 64–6 135 c) rV 108, third movement, bars 32–3 135 d) rV 108, first movement, bars 38–42 135 8.8 instances of the note e''' in the flute parts of chamber concertos by Vivaldi a) rV 90, third movement, bars 35–8 136 b) rV 99, first movement, bars 26–7 136 c) rV 99, first movement, bar 90 136 8.9 rV 106, first movement, bars 21–6 137 9.1 rV 104, fourth movement, ‘Presto’, bars 35–47 145 9.2 rV 442, second movement, ‘Largo e cantabile’, opening 145 9.3 rV 433, first movement, bars 51–8 146 9.4 rV 433, second movement, bars 15–20 146 9.5 opening of Il gardellino (flute and violin parts) in RV 428 and RV 90 147 9.6 solo passages in RV 429 a) rV 429, first movement, A‘ llegro’, bars 59–62 151 b) rV 429, third movement, ‘Allegro’, bars 44–9 151 9.7 comparison of the openings of RV 432 and RV 484 a) rV 432, first movement, A‘ llegro’, bars 1–5 156 b) rV 484, first movement, A‘ llegro poco’, bars 1–5 156 9.8 rV 438, third movement, bars 105–8 (flute part) 158 9.9 first-movement incipits of the two versions of RV 438 a) rV 438, first movement, A‘ llegro’, bars 1–5, copy 159 b) rV 438, first movement (without tempo indication), bars 1–5, autograph 159 9.10 rV 440, first movement, bars 37–44 160 10.1 the abandoned slow movement of RV 442 164 10.2 the openings of ‘Se lascio d’adorare’ and the second movement of RV 442 compared a) ‘Se lascio d’adorare’, RV 740 (II.4), bars 1–3 165 b) rV 442, second movement, bars 1–3 165 10.3 deletions in the second movement of RV 442 165 xii Vivaldi’s Music for Flute and Recorder 10.4 extracts from the solo parts of RV 441 and related concertos 167 10.5 rV 441, third movement, bars 92–3 171 10.6 rV 441, first movement, original bars 56–60 171 10.7 a) rV 441, third movement, bars 73–86, as originally written 172 b) rV 441, third movement, bars 73–86, as revised 172 10.8 lodovico Ferronati (anonymous transcription), Op. 1 no. 8, second movement, ‘Allegro’, bars 28–9 (and 31–2) 173 10.9 informal fingering for RV 441, third movement, bars 85–6 173 11.1 avoidance of the low F in Vivaldi’s flautino concertos a) rV 443, first movement, bars 114–19 191 b) rV 443, first movement, bars 114–19, showing progression of ‘bass’ part 191 c) rV 444, first movement, bars 40–42 192 11.2 transposed and non-transposed parts in Sammartini’s recorder concerto 195 11.3 recurrent figures in Vivaldi’s group of ‘advanced’ recorder compositions a) arpeggios based on octave-leaps (very frequent and diverse in form) 199 b) Pedal-notes 200 c) triplet semiquavers forming patterns of very many kinds 200 11.4 Parallel passages in RV 312 and RV 445 a) rV 312, first movement, bars 41–5 as originally written 203 b) rV 445, first movement, bars 79–83 203 11.5 rV 312, bars 66–7 as originally written 204 13.1 Writing for paired recorders in RV 585 213 13.2 Parallel passages in the outer movements of RV 555 a) first movement, bars 87–9 215 b) third movement, bars 20–21 215 13.3 rV 556, first movement, bars 41–3 and 126–8 215 13.4 stereotypical patterns for paired recorders in Vivaldi concertos a) rV 555, first movement, bars 53–5 216 b) rV 576, first movement, bars 13–15 and later 216 13.5 sequential passages in Vivaldi and Veracini compared a) Vivaldi, RV 566, first movement, bars 59–67 218 b) Veracini, Ouverture VI, third movement, bars 130–37 218 13.6 doubling of flauto and violino parts in RV 558, third movement, bars 96–103 222 13.7 rV 577, first movement, bars 59–62 224 13.8 Il Proteo, RV 572, third movement, bars 63–72 228 List of Numbered Music Examples xiii 13.9 Il Proteo, RV 572, third movement, bars 63–72 (adjusted flute parts) 229 13.10 adjustments to the recorder parts in RV 556 a) rV 556, third movement, bars 35–41 231 b) rV 556, third movement, bars 85–91 231 14.1 Juditha triumphans, RV 644, ‘Umbrae carae’, end of ‘A’ section 236 14.2 Salve Regina, RV 616, ‘Ad te suspiramus’, opening 239 14.3 Laudate pueri, RV 601, ‘Gloria Patri’, opening 240 14.4 All’ombra di sospetto, RV 678, ‘Avezzo non è il core’, opening of flute part 242 14.5 Arsilda, regina di Ponto, II.4, aria ‘Se un cor soffrir saprà’ 250 14.6 Arsilda, regina di Ponto, III.9, suppressed aria ‘Cara gioia e bel diletto’ 252 14.7 Tito Manlio, RV 738, III.10, aria ‘Sempre copra notte oscura’, bars 5–10 a) as notated 256 b) as played 257 14.8 Michel Blavet, Troisième Livre, Sonata III, first movement, bars 26–32 257 14.9 La Candace o siano Li veri amici, RV 704, III.11, aria ‘Io son fra l’onde’, bars 1–23 259 14.10 La fede tradita e vendicata, RV 712, III.3, aria ‘Sin nel placido soggiorno’, opening 264 14.11 Orlando furioso, RV 728, I.11, aria ‘Sol da te, mio dolce amore’, opening of flute part 266 15.1 Orlando furioso, RV 728, I.11, aria ‘Sol da te, mio dolce amore’, bars 29–33 275 15.2 rV 106, first movement, bars. 26–7 275 17.1 a) rV 806, second movement, bars 1–9 284 b) Juditha triumphans, RV 644, aria ‘Transit aetas, volant anni’, bars 1–8 284 17.2 a) rV 806, first movement, bars 8–14 285 b) ignazio Siber, Sonata VII, first movement, bars 20–24 285 Preface
The enormous quantity of music produced by Vivaldi, extending to almost every genre, form and instrument in use during the early eighteenth century, still poses a great number of questions to students of his music, who, in order to confront them successfully, have to concentrate their attention on chosen areas. One example of this kind of focused approach is Michael Talbot’s study, now ten years old, of Vivaldi’s sacred vocal music. There is a need for similar specialized, up-to-date investigations into many other domains cultivated by Vivaldi: for example, his music for violin, which dominates his output, and his surprisingly extensive music for bassoon. In my own case, it was not difficult to decide to devote myself to Vivaldi’s music for recorder and flute (both of which are described in Italian by the single term flauto), since my first-hand knowledge of playing these instruments in their Baroque form and my great passion for researching into Vivaldi and his music led me in that direction. This dual background has allowed me to capitalize on my long-standing familiarity with this very large and diverse corpus of music, to penetrate many dark corners within it, and also to lay to rest a few ghosts. Vivaldi’s contribution to the literature of both the flute and the recorder is of central historical and musical importance. The music for flauto from his pen impresses by its quantity (it comprises sixty-four instrumental works and twenty- one vocal ones), by the variety of genres it encompasses (sonata, trio, chamber concerto, solo concerto, concerto for several solo instruments, chamber cantata, sacred music, opera), and, not least, by its artistic quality. Vivaldi is, among other things, a composer who with remarkable precocity anticipates or establishes fashions, appreciates the value of instruments that are still rare and brings into being new genres: his chamber concertos are the first examples of their type in the whole of Europe, and those among them that include a transverse flute employ this instrument in a more virtuosic and path-breaking way than one finds anywhere else during that period. His Op. 10 is the first collection of concertos for transverse flute and strings ever published. Within Italy, Vivaldi is the composer who writes most copiously for, shows the most interest in, and is the readiest to experiment with, wind instruments of all kinds. Every size and type of flauto attracts him and finds its proper niche in his output: the alto (treble) recorder; the sopranino recorder; the flageolet; the transverse flute.T he musical languages that he creates for the treble recorder (in the concerto RV 441), for the sopranino recorder (in the concertos RV 443, 444 and 445) and for the transverse flute (in the concertos ofO p. 10) rise right to the summit of
xiv Preface xv the technique of the respective instruments as these existed in the entire first half of the eighteenth century. Vivaldi’s stupendous contribution to the stylistic codification, to the technical evolution and to the Europe-wide dissemination of all these kinds of flauto, and to the consolidation of their collectively vast repertory, is paralleled only by that of Telemann in the musical period that we today are accustomed to describe as ‘late Baroque’. Up to the appearance of the first, Italian edition of this book, few studies of this subject had been undertaken, and most of those that had appeared focused narrowly on a particular organological question. Their authors were, for the most part, players of the instruments or experts on the members of the flute family whose main concern was to identify for which particular flauto a given composition by Vivaldi was written. Vivaldi’s music for flauto has also furnished the subject of four first-degree dissertations (inI taly, we call these tesi di laurea), which have investigated the question in rather general terms. All these approaches, notwithstanding their evident diversity, have, in my opinion, suffered from one common limitation. While asking what the flautino or the flauto grosso used in Vivaldi’s music was, or drawing deductions from the compass of the parts written by him for these instruments, or pondering whether the recorder and flute are interchangeable in his chamber concertos, few investigators have in the past paid much attention to the broader historical context, to the chronology of the works, or to the contrasting levels of development and diffusion reached by different types of instrument in different geographical areas. There has therefore been a perceptible lack of knowledge about several areas of vital relevance: about the dissemination, employment and technical level achieved by the various species of flauto in Italy – and, in particular, in Venice – during Vivaldi’s time; about the nature and size of the repertory for each; about the identity of the native and foreign flautists and recorder-players (most often, the same persons) who came into contact with Vivaldi’s music; about the manufacture of wind instruments in Vivaldi’s day; and about the precise types of instrument that played, or did not play, his music. Turning to the composer himself, we have had to establish exactly which works for flauto attributed to him (their number is, unfortunately, not small) are doubtful or definitely spurious, and to attempt to discover their true composers; to undertake a hermeneutic analysis of Vivaldi’s music for flute and recorder that goes beyond simple technical description, in association with an attempt to shed light on sources, alternative versions and the composer’s working methods; to reveal the many links between Vivaldi’s music for flauto and his other works; to relate them to his biography and, wherever possible, to date them accurately. Several vexed questions that have bedevilled Vivaldian studies for years also demanded resolution: the debates (one might almost call them diatribes) surrounding the identity of Vivaldi’s flautino and flauto grosso; the supposed encounter between xvi Vivaldi’s Music for Flute and Recorder Quantz and Vivaldi; the myth of the late arrival of the transverse flute in Italy and in Venice; and not a few other matters that have given rise to misconceptions that could not go unchallenged. These topics provide the essential framework of my study, which I have divided into two parts. The first, shorter, part is primarily historical and charts the early dissemination of the flauto in Italy and Venice, identifies the first players of these instruments to whom Vivaldi entrusted his works and sheds light on the makers of wind instruments in Venice. The second, mainly analytical, scrutinizes individually every work by Vivaldi in which a flauto appears in a major or minor role. In an appendix I provide a newly updated inventory listing all the relevant works of which we have knowledge today, including lost ones. The problem of adequately cataloguing Vivaldi’s musical production, which overwhelms by its vastness and complexity (like that of any major, prolific composer), is complicated further by the fact that no year passes – and I mean this literally – without a lost or overlooked composition by him turning up somewhere in the world. While I was preparing the original Italian version of this book, the trio for two transverse flutes and bass RV 800 suddenly came to light, just in time for me to discuss and list it. Similarly, during my work on this revised and expanded version three more works with parts for flute, RV 804, RV 805 and RV 806 descended from the skies. Research into Vivaldi and his music never fails to yield pleasant surprises, some of which I have been able (testing the patience of my translator) to include in this book at the very last moment. I confess that I have mostly found the verbal descriptions of music in which the majority of musicological writings delight of little use – and sometimes positively off-putting: the expert becomes weary because he or she already knows what is being said or prefers to refer directly to the score; the non-specialist becomes weary because talk of diatonic scalewise motion or of dactyls and spondees fails to connect with his or her musical experience. It is very difficult to satisfy both parties equally. However, I believe that a well-chosen music example can save a thousand words of description and on occasion relieves the reader of the need to part with even more money. Equally, I have tried to avoid dwelling too much on organological matters and ‘flautists’ lore’, limiting the discussion of the physical structure and playing technique of instruments to places where this is vital for the understanding of a particular practice or for the explanation of a conscious choice made by the composer. My overriding aim has been to offer the reader, whether scholar, player or simple music lover, a useful collection of data, documents and commentary on the chosen subject – mindful of the fact that assembling and making available the relevant documentation, even before evaluating and forming theories about it, is the first and most fundamental service that scholars can offer their readers. In the present study I have often drawn on my own, still unpublished, catalogue of Vivaldi’s self-quotations – a massive accumulation, to which I periodically Preface xvii add, and which I hope will appear in print before too long. I am convinced that critical analysis of the dense network of borrowings, reworkings and quotations that pervades the entire output of this composer can play its part, alongside investigations into biography, bibliography and graphology, in establishing more firmly the chronology and filiation of the sources, thereby assisting the study of the origin and chronology of the composition of the works themselves. Having now had my say about my intentions and methodology – which will be judged by their results and not by a manifesto – it is time to make acknowledgement to all those persons who have, in their various ways, helped me. I will start by mentioning a person to whom I owe a lot: Michael Talbot, who in his double role as musicologist and friend, took on the difficult task of translating, and at the same time offering comment on, my work.H e and I have exchanged ideas and information incessantly, and he has contributed in no small way to the enrichment of the book through his data, documents, original points of view and ever-provocative arguments. Through this, he has become almost a co-author of large parts of this book. This is a collaboration of which I am proud and which raises my gratitude to him to new heights. While the revision and translation of this book were taking place, Peter Ryom was putting the finishing touches on his work of many decades: the large and complete version (Grosse Ausgabe) of his monumental catalogue, the Verzeichnis der Werke Antonio Vivaldis, which is soon to appear from Breitkopf & Härtel. To my friendship with him and to his generosity I owe the privilege of having had early sight, through a long-running correspondence, of large portions of his new catalogue. This has allowed me to include in the present book some numbers appearing for the first time in the new edition of the catalogue, from which I have also taken information not yet generally available concerning sources and versions of Vivaldi’s music in manuscript. I owe a particular debt of gratitude to two other people: to Nikolaus Delius, who with boundless kindness and generosity has given me over the years documents, notes and valued advice regarding the sources of music for flute and recorder in European collections; and to Marcello Castellani, who in the course of innumerable highly enjoyable conversations has constantly made me richer in information – and in humanity. Many others have assisted my research: Micky White, the maker of many valuable discoveries that she has kindly shared with me in the course of her trawls through the archives of the Ospedale della Pietà; Anthony Rowland- Jones, who on many occasions shared with me his great knowledge of recorder- playing and of the iconography of the flute and recorder; Olivier Fourés, a brilliant ‘vivaldologist’, who has introduced me to ideas, arguments and sources that I did not know before; Giovanni Tardino, who has often enlightened me on organological problems related to flauti; Giulia Nuti, a harpsichordist, flautist and scholar of rare merit; and, finally, the librarians Raimund Jedeck xviii Vivaldi’s Music for Flute and Recorder (Landesbibliothek Mecklenburg-Vorpommern, Schwerin), Claudia Canella (Fondazione Levi, Venice) and Cristina Celegon (Fondazione Querini-Stampalia, Venice). This book owes its ultimate origin to Francesco Fanna, director of the Istituto Italiano Antonio Vivaldi in Venice, who encouraged me to write it and included it, in its original Italian version, as the eleventh volume (2001) in the ‘Quaderni vivaldiani’ series published by the house of Leo S. Olschki in Florence under the Institute’s auspices. My last, but certainly not least, debt is to Bettina Hoffmann, to whom I owe various felicitous intuitions and a constant, well-informed and wise consultancy.
Federico Maria Sardelli Florence, October 2005 Translator’s Note
Federico Maria Sardelli is one of Nature’s fortunate polymaths. He is equally distinguished as a player, as a director of ensembles and as a musicologist. This all-round accomplishment within the musical sphere extends to other domains, including the pictorial arts. Such a combination of talents and experiences places him, as a practical musician, in an ideal position to apply the findings of musicology. Conversely, it places him, as a musicologist, in an ideal position to arrive at insights and judgements provoked by his activity as a performer. It is this quality of being informed and inspired by practitioner experience that makes Sardelli’s musicological writings so unusually original and penetrating, and which first attracted me, as a fellow Vivaldian, to the prospect of making the present book available, via an English translation, to a wider, more international readership. There was a second reason why I was keen to make this translation. In the last forty years or so, musicology and early music performance have advanced by leaps and bounds in Italy, which (may the author forgive me!) was previously too often sceptical of both. Yet the English-speaking world remains insufficiently aware of these advances. Regrettably few recent musicological books in Italian are translated into English (at least, in comparison with the reverse process), and some Italian authors, like Mahomet going to the mountain, are reduced to publishing in English ab initio. Bringing out this book in its new English-language version will obviously do nothing immediately for the Anglo-Saxon reluctance to obtain and read texts in Italian, but it has a chance to acquaint students of the musical Baroque, admirers of Vivaldi and players of wind instruments with a representative example of the best current Italian scholarship in its chosen field and thereby stimulate further exploration. Not that there is anything narrowly ‘Italian’ in Sardelli’s treatment or coverage: his book bristles with references to works ancient and modern in German, French and English. The five years that have elapsed since the author signed his preface to the first edition of this book represent a long time in musicology. The volume of new writings on Vivaldi, on recorders and flutes, and on the uncountable number of related and relevant areas has been huge, and all this mass of new information and opinion has had to be evaluated and, where necessary, absorbed. These intervening years have also given the author an opportunity to stand back, take stock and sometimes give voice to second thoughts. The result has been a very considerable expansion of the book’s dimensions and an enrichment of its content. Some entirely new sections (such as that on Il pastor fido) have been
xix xx Vivaldi’s Music for Flute and Recorder created, and no part of the book is without its share of extra material. The aim, right from the start, has been to deliver added value. If there are a few people already in possession of the original edition of this book who come to buy or consult this second edition for the sake of its new content rather than its new language, both author and translator will be feel that their labours have been rewarded. Translators constantly make hard choices. The old adage ‘as strict as possible, as free as necessary’ is very true – if only one can first determine what is possible and what is necessary, for both concepts are notoriously negotiable. My bias has been towards producing a text that reads – at least, that is my goal – as if it had been written from the start in English. Doing this removes some of the original flavours and adds new ones in their place.I n the present book, my task has been rendered more difficult by the inconvenient fact that in Italian the term flauto is commonly used in a generic, organological sense to refer equally to end-blown and side-blown instruments, whereas in ordinary English usage ‘recorder’ and ‘flute’ are mutually exclusive concepts. For this reason, the crisp original title La musica per flauto di Antonio Vivaldi has emerged as the accurate but slightly laborious Vivaldi’s Music for Flute and Recorder. In this and other matters I have been fortunate to have the opportunity for frequent consultation with the author, who knows English well and has kept a close eye on my operations. Since, for obvious reasons, I have been unable to put my thoughts as an independent Vivaldi scholar entirely into abeyance, I have been tempted – subject to the author’s consent – into making small contributions to the book’s content. This input has been a little different from that made by a colleague to whom an author sends a manuscript for comment prior to publication in that it has resulted from a running dialogue between author and translator during the processes of revision and translation, and, in that sense, has been woven directly into the fabric of the final product.T he vast majority of the additions to the text of the book, relative to the original edition, stem from the author himself, and I hope that the small fraction that are by origin ‘mine’ are well concealed. I offer this translation tomaestro Federico Maria Sardelli as a token of friendship and admiration, and to the wider world as a contribution to the appreciation and continuing rediscovery of a composer and of a repertory that deserve alike to be still more widely known.
Michael Talbot Liverpool, 2005 Conventions and Abbreviations
Notes of specified pitch are identified by the old German system (often called the ‘Helmholz’ system), where Middle C is c', italicized. Notes of unspecified pitch (as in the description of keys) use capital letters in roman font. In references to fingering on the flute and recorder the convention is followed whereby finger-holes are numbered in ascending sequence as one goes from the embouchure towards the instrument’s foot. In the case of the flute, the numbers 1 to 6 indicate the six fingered holes, while the number 7 indicates the key. In the case of the recorder, the numbering opens with the speaker key at the back and then progresses from 2 to 8 along the front of the instrument. ‘Barred’ numbers refer to half-covered holes. In each description of fingering, the numbers show which holes are covered by the appropriate fingers pressed against the instrument. The same principle applies to the number ‘7’ for the flute, even though, in this unique instance, the hole is opened instead of closed by the action of the finger.
Several libraries to which this book refers are identified by sigla created by the international cataloguing project RISM. In alphabetical order, these sigla are:
A-KR Kremsmünster, Benediktinerstift A-Wgm Vienna, Bibliothek der Gesellschaft der Musikfreunde A-Wn Vienna, Österreichische Nationalbibliothek B-Bc brussels, Bibliothèque du Conservatoire Royal de Musique CH-e einsiedeln, Stiftsbibliothek CH-Zz Zürich, Zentralbibliothek D-Bsb berlin, Staatsbibliothek Preussischer Kulturbesitz D-Dl dresden, Sächsische Landesbibliothek – Staats- und Universitätsbibliothek D-ds darmstadt, Hessiche Landes- und Hochschulbibliothek D-hrd arnsberg-Herdringen, Schloss D-LEm leipzig, Musikbibliothek der Stadt Leipzig D-Mbs Munich, Bayerische Staatsbibliothek D-MGs Marburg, Hessisches Staatsarchiv D-MÜs Münster, Santini-Bibliothek D-ROu rostock, Universitätsbibliothek D-SWl schwering Landesbibliothek Mecklenburg-Vorpommern
xxi xxii Vivaldi’s Music for Flute and Recorder D-WD Wiesentheid, Bibliothek des Grafen von Schönborn- Wiesentheid DK-Kk copenhagen, Royal Library F-Pc Paris, Bibliothèque du Conservatoire National Supérieur de Musique GB-Cu cambridge, University Library GB-Lbl london, British Library GB-Mp Manchester, Henry Watson Music Library H-Bn budapest, Országos Széchényi Könivtár I-Bc bologna, Civico Museo Bibliografico Musicale I-BEc bergamo, Biblioteca Civica ‘Angelo Mai’ I-Fn florence, Biblioteca Nazionale Centrale I-FEas ferrara, Archivio di Stato I-FZc faenza, Biblioteca Comunale I-Nc naples, Conservatorio di Musica ‘San Pietro a Majella’ I-Pada Padua, Archivio dell’arca della Basilica del Santo I-PAp Parma, Biblioteca Nazionale Palatina I-Rc rome, Biblioteca Casanatense I-Rvat rome, Biblioteca Apostolica Vaticana I-REm reggio Emilia, Biblioteca Panizzi I-Tn turin, Biblioteca Nazionale Universitaria I-Vas Venice, Archivio di Stato I-Vc Venice, Conservatorio Statale di Musica ‘Benedetto Marcello’ I-Vmc Venice, Museo Civico Correr I-Vnm Venice, Biblioteca Nazionale Marciana I-Vqs Venice, Biblioteca Querini-Stampalia S-l lund, Universitetsbibliotek S-Skma stockholm, Statens Musikbibliotek S-Uu uppsala, Universitetsbibliotek Part I The Recorder and Flute in Italy in Vivaldi’s Time
Chapter 1 The Emancipation of the Recorder and Flute
It is hard to trace the history of flutes (of all types) and their performers in Italy during the first half of the eighteenth century. Following a practice that in Italy persisted up to the 1770s or thereabouts, flautists were equated almost totally with oboists and were identified as such. This lack of precise identification stemmed from a long tradition of polyinstrumentalism that only at the end of the century began to give way to a separation of the function and idiom of each instrument, due in part to the crystallization of the classical orchestra, in which flute and oboe parts, entrusted to different players, were heard simultaneously. However, even as early as the first years of the eighteenth century some of these woodwind players – in Italy as elsewhere – achieved recognition for their merits as performers on the flute or recorder (in Italian the single, generic term flauto denotes both instruments equally) and became virtuosos of the instrument who disseminated works especially written for it. Such players included most notably Michel de La Barre and his successor Jacques Hotteterre ‘Le Romain’, Michel Blavet, Jacques Lœillet, Johann Joachim Quantz, Giovanni Platti and Giovanni Battista Ferrandini. Between the last years of the seventeenth century and the first years of the eighteenth there emerged in France a distinct fashion for the flute. In 1707 we find Hotteterre openly referring to this vogue in justification of his new treatise:
Comme la Flute Traversiere, est un Since the transverse flute is among Instrument des plus agréables, & des plus the most pleasant and fashionable of à la mode, j’ay cru devoir entreprendre instruments, I thought it my duty to ce petit ouvrage.1 undertake this short work. In Italy, on the other hand, the flute’s emancipation from the domination of the oboe seems, to judge from the infrequency of mentions of early flautists or of works written for their instrument, to have lagged behind in comparison with France or Germany. Nikolaus Delius writes:
1 Jacques Hotteterre ‘Le Romain’, Principes de la flute traversiere, ou flute d’Allemagne […], Paris: C. Ballard, 1707, Preface.
Part I: The Recorder and Flute in Italy in Vivaldi’s Time La penuria di notizie sui flautisti inI talia The sparseness of references to flautists non induca però a pensare che non ve ne in Italy should nevertheless not lead fossero. Innanzitutto bisogna considerare to a conclusion that there were none. che i suonatori di legni acuti erano, nelle One must remember, first, that players orchestre, primariamente degli oboisti of high woodwind instruments in che, all’occorrenza, potevano passare orchestras were generally oboists who, al flauto. Era normale chiamare oboisti when the occasion demanded, could questi musicisti. […] Contrariamente switch to the flute.I t was normal to call alle importanti famiglie di oboisti such players ‘oboists’. […] In contrast (Besozzi, Sammartini, Ferlendis), il to the prominent dynasties of players flauto inI talia non ha, inizialmente, alcun of the oboe (Besozzi, Sammartini, rappresentante di fama.2 Ferlendis), we initially find, in Italy, no leading champion of the flute. Although we are ignorant of the names of many of the earliest virtuosos, there is no lack, going back as far as the last years of the seventeenth century, of occasions on which the recorder or the flute was used as an autonomous, named instrument. From 1698, the transverse flute appears in musical performances given by the Ruspoli household,3 and from that moment onwards, the flute – almost always in its transverse form – appears in numerous Roman academies, and especially in connection with the festivities accompanying the competitions sponsored by the Accademia del Disegno di San Luca.4 Among the concertos by Giuseppe Valentini preserved today at Manchester in the Henry Watson Music Library we find a C‘ oncerto con VV. Obuè e Flauti’ and a ‘Concerto con Flauti è Violini è Corni da Caccia a bene placito’.5 These works may well go back to a period, in the years leading up to 1714, when the composer held an appointment in the cappella of Michelangelo Caetani, Prince of Caserta. This supposition
2 Nikolaus Delius, ‘Note sulla tecnica e sulla musica flautistica nel ’700 inI talia’, Bollettino della Società Italiana del Flauto Traverso Storico, 1, 1998, 6–14, at 7. 3 saverio Franchi has recently discovered documents that establish the presence in Rome of Jacques Hotteterre, whom the Ruspoli family employed as a flautist between October 1698 and July 1700 alongside the Neapolitan flautist and composerD omenico Laurelli. See Saverio Franchi, ‘Il principe Ruspoli: l’oratorio in Arcadia’, in idem (ed.), Percorsi dell’oratorio romano. Da ‘historia sacra’ a melodramma spirituale, atti della giornata di studi (Viterbo, 11 settembre 1999), Rome: IBIMUS, 2002, pp. 246–316, at 280–81. 4 see: Hans Joachim Marx, ‘Die “Giustificazioni della casa Pamphilij” als musikgeschichtliche Quelle’, Studi musicali, 12, 1983, 121–87; Ursula Kirkendale, ‘The Ruspoli Documents on Handel’, Journal of the American Musicological Society, 20, 1967, 222–73; Franco Piperno, ‘Anfione in Campidoglio. Presenza corelliana alle feste per i concorsi dell’Accademia del Disegno di S. Luca’, in Sergio Durante and Pierluigi Petrobelli (eds), Nuovissimi studi corelliani. Atti del Terzo Congresso Internazionale (Fusignano, 4–7 settembre 1980), Florence: Olschki, 1982, pp. 151–208. 5 see Paul J. Everett, The Manchester Concerto Partbooks, New York and London: Garland, 1989; these are the concertos numbered 28 and 51, respectively, in Everett’s catalogue. The Emancipation of the Recorder and Flute is supported by Valentini himself, who in sonnets of his own composition accompanying his Concerti grossi, Op. 7, of 1710 writes of the ‘Suono di Flauto, & Oboe’ (playing of the flute [and/or recorder] and oboe) at the Prince’s court.6 Likewise originating from the Roman orbit are the works for recorder – and the first for transverse flute to have a confirmed Italian origin – by Niccolò Francesco Haym,7 as well as the extensive repertory for the recorder by Robert Valentine alias Roberto Valentini.8 From these early mentions it is evident that both instruments were commonly employed in Italy, even if their players were invariably identified as oboists.A case in point is the performance of Handel’s oratorio La resurrezione (Rome, 1708), whose score requires two flutes and two recorders, but of whose players no trace exists in the payment lists, which mention only four oboists.9
6 the question of the scoring and destination of Valentini’s concertos with wind instruments is discussed by Everett (op. cit.) and also in Michael Talbot, ‘A Rival of Corelli: the Violinist- Composer Giuseppe Valentini’, in Sergio Durante and Pierluigi Petrobelli (eds), Nuovissimi studi corelliani, pp. 347–65, as well as in Enrico Careri, ‘Giuseppe Valentini (1681–1753). Documenti inediti’, Note d’archivio per la storia musicale, n.s., 5, 1987, 69–125. The present state of knowledge is summarized in Stefano La Via, ‘Il Cardinale Ottoboni e la musica’, in Albert Dunning (ed.), Intorno a Locatelli, Lucca: Libreria Musicale Italiana, 1995, pp. 319–526, at 361–63. 7 the son of a German astronomer, Haym was born in Rome and worked there as a composer and cello virtuoso up to 1701. His Sonate à tre, cioè violini, flauti, violoncello e basso per il cembalo came out in 1704 from Estienne Roger in Amsterdam. The subsequent VI Sonate da camera a flauto traversa [sic], hautbois o violino solo di N.F. Haym e M. Bitti (Amsterdam: E. Roger [1708–12]), constitute the first Italian collection for the transverse flute ever to achieve publication. 8 disguising his English origin, Robert Valentine naturalized himself as ‘Valentini’, giving his name on the title-pages of his compositions as ‘Roberto Valentini, Inglese’ in order to avoid confusion with other composers called Valentini, the most famous of whom was Giuseppe, born in Florence, but who included also a Francesco and a Francesco Antonio. Valentine’s ten published opera for recorder (or, in one instance, transverse flute) testify to the vitality of these instruments in early-eighteenth-century Italy. 9 see Kirkendale, ‘The Ruspoli Documents on Handel’, 257. References Agazzari, Agostino , Del sonare sopra âl basso con tutti li stromenti [â¦]. Siena: Domenico Falcini, 1607. Agricola, Martino , Musica instrumentalis deudsch. Wittenberg: Rhaw, 1528. Antolini, Bianca Maria , Morelli, Arnaldo , and Vita Spagnuolo, Vera (eds), Atti del Convegno internazionale âLa musica a Roma attraverso lefonti dâarchivioâ. Lucca: Libreria Musicale Italiana, 1994. Antonetto, Roberto , Un documento della civiltà piemontese del Settecento: il castello di Guarene. Turin: Grafiche Alta editrice, 1979. Arbeau, Thoinot [pseudonym of Jehan Tabourot], Orchesographie. Metode, et teorie en forme de discourset tablature [â¦], 3rd edn. Langres: Jehan des Preyz, 1596. Becker-Glauch, Irmgard , Die Bedeutung der Musik für die Dresdener Hofeste bis in die Zeit Augusts des Starken. Kassel and Basel: Bärenreiter, 1951. Bellay, J. , and Vizien, A.F. de , fils, Nouvelle méthode de flageolet. Paris: Pleyel, n.d. [1800]. Benoît, Marcelle , âLa dynastie des Marchandâ. Recherches sur la musique classique française, 1, 1960, 127â129. Bernardini, Alfredo , âOboe Playing in Italy from the Origins to 1800â. Unpublished dissertation, University of Oxford, 1985. Bernardini, Alfredo , âThe Oboe in the Venetian Republic, 1692â1797â. Early Music, 16, 1988, 372â387. Billio DâArpa, Nicoletta , âFestività solenni al Santo di Padova. Testimonianze inedite sui Vivaldi e su altri musicisti e virtuosiâ. Il Santo, 32, 1992, 345â359. Bismantova, Bartolomeo , Compendio musicale (1677, I-REm Regg. E. 4), facs. edn. Marcello Castellani . Florence: SPES, 1978. Bonanni, Filippo , Gabinetto armonico pieno dâistromenti sonori indicati e spiegati [â¦]. Rome: Placho, 1722. Bonta, Stephen , âThe Church Sonatas of Giovanni Legrenziâ. Unpublished PhD dissertation, Harvard University, 1964. Bouquet-Boyer, Marie-Thérèse , Musique et musiciens à Turin de 1648 à 1775. Turin: Accademia delle Scienze, 1969. Brenet, Michel , âLa librairie musicale en France de 1653 à 1790 dâaprès les Registres de privilègesâ. Sammelbände der Internationalen Musikgesellschaft, 8, 1906â1907, 401â466. Brizi, Bruno , âVivaldi a Vicenza: una festa barocca del 1713â. Informazioni e studi vivaldiani, 7, 1986, 35â45. 306 Brook, Barry S. (ed.), The Breitkopf Thematic Catalogue. New York: Dover Publications, 1966. Brosses, Charles de , Lettres familières écrites dâItalie en 1739 et 1740, ed. Romain Colomb . Paris: Didier, 1858. Bruers, Antonio , La rivendicazione di Antonio Vivaldi. Siena: Ticci, 1948. Careri, Enrico , âGiuseppe Valentini (1681â1753). Documenti ineditiâ. Note dâarchivio per la storia musicale, n.s., 5, 1987, 69â125. Cassignol, Jean , and Napolitano-Dardenne, Anne , âLe Concerto RV 312 est-il le quatrième âConto P Flautino del Vivaldiâ?â. Informazioni e studi vivaldiani, 20, 1999, 83â110. Castiglione, Baldesar , Il libro del cortegiano, ed. Walter Barberis . Turin: Einaudi, 1998. Cataldi, Luigi , âI rapporti di Vivaldi con il âTeatro detto Il Comicoâ di Mantovaâ. Informazioni e studi vivaldiani, 6, 1985, 88â109. Cataldi, Luigi , âLâattività operistica di Vivaldi a Mantovaâ. In Antonio Fanna and Giovanni Morelli (eds), Nuovi studi vivaldiani, pp. 131â145. Cataldi, Luigi , âLa rappresentazione mantovana del Tito Manlio di Antonio Vivaldiâ. Informazioni e studi vivaldiani, 8, 1987, 52â89. Catalogue dâune trés belle Bibliotheque de Livres , [â¦] Deslaissez par Feu Monsieur Nicolas Selhof [â¦]. The Hague: widow of Adrien Moetjens, 1759. Cellini, Benvenuto , La vita, ed. Carlo Cordié . Milan: Mondadori, 1991. Colzani, Alberto , Dubowy, Norbert , Luppi, Andrea , and Padoan, Maurizio (eds), Relazioni musicali fra Italia e Germania nellâetà barocca. Atti del VI Convegno Internazionale sulla musica italiana nei secc. XVIIâXVIII, Lovena di Menaggio (Como), 11â13 luglio 1995. Como: AMIS/Centro italo-tedesco, 1997. Coronelli, Vincenzo Maria , Guidadeâ forestieri sacro profanaper osservare ilpiù ragguardevole nella città di Venezia, 3rd edn. Venice: Deâ Paoli, 1706. Corrette, Michel , Methode pour apprendre aisément à joüer de la flute traversiere. Paris: Mme Boivin, [c.1739]. Cross, Eric , The Late Operas of Antonio Vivaldi, 1717â1738, 2 vols. Ann Arbor: UMI Research Press, 1981. Degrada, Francesco (ed.), Vivaldi veneziano europeo. Florence: Olschki, 1980. Delius, Nikolaus , âDie erste Flötenschule des Barock?â. Tibia, 1, 1976, 5â12. Delius, Nikolaus , âNote sulla tecnica e sulla musica flautistica nel â700 in Italiaâ. Bollettino della Società Italiana del Flauto Traverso Storico, 1, 1998, 6â14. Donington, Robert , The Interpretation of Early Music. London: Faber and Faber, 3rd edn, 1974. Dunning, Albert (ed.), Intorno a Locatelli. Lucca: Libreria Musicale Italiana, 1995. Durante, Sergio , and Petrobelli, Pierluigi (eds), Nuovissimi studi corelliani. Atti del Terzo Congresso Internazionale (Fusignano, 4â7 settembre 1980). Florence: Olschki, 1982. 307 Eitner, Robert , Biographisch-bibliographisches Quellenlexikon der Musikerund Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhunderts, 10 vols. Leipzig: Breitkopf & Härtel, 1899â1904. Eller, Rudolf , âVier Briefe Antonio Vivaldisâ. Informazioni e studi vivaldiani, 10, 1989, 5â23. Everett, Paul J. , The Manchester Concerto Partbooks. New York and London: Garland, 1989. Everett, Paul J. , âTowards a Vivaldi Chronologyâ. In Antonio Fanna and Giovanni Morelli (eds), Nuovi studi vivaldiani, pp. 729â757. Everett, Paul J. , Vivaldi: âThe Four Seasonsâ and Other Concertos, Op. 8. Cambridge and New York: Cambridge University Press, 1996. Everett, Paul J. , âVivaldi at Work: the Autograph of the Gloria RV 589â. Informazioni e studi vivaldiani, 17, 1996, 68â86. Everett, Paul J. , âVivaldi Concerto Manuscripts in Manchester: IâIIIâ. Published respectively in Informazioni e studi vivaldiani, 5, 1984, 23â52; ibid., 6, 1985, 3â55; and ibid., 7, 1986, 5â34. Everett, Paul J. , âVivaldiâs Italian Copyistsâ. Informazioni e studi vivaldiani, 11, 1990, 27â88. Everett, Paul J. , âVivaldiâs Marginal Markings. Clues to Sets of Instrumental Works and their Chronologyâ. In Gerard Gillen and Harry White (eds), Irish Musical Studies, I: Musicology in Ireland, pp. 248â263. Everett, Paul J. , âVivaldiâs Paraphrased Oboe Concertos of the 1730sâ. Chigiana, 41, n.s. 21 (1989), 201â208. Fanna, Antonio , and Morelli, Giovanni (eds), Nuovi studi vivaldiani. Edizione e cronologia critica delle opere. Florence: Olschki, 1988. Fanna, Antonio , and Talbot, Michael (eds), Vivaldi. Vero e falso. Problemi di attribuzione. Florence: Olschki, 1992. Farup-Madsen, Inge , âVivaldis anvendelse af fløjteinstrumenterâ. Unpublished Masterâs dissertation, University of Copenhagen, 1974. Fechner, Manfred , âBemerkungen zu einigen Dresdner Vivaldi-Manuskriptenâ. In Antonio Fanna and Giovanni Morelli (eds), Nuovi studi vivaldiani, pp. 775â784. Fertonani, Cesare , Antonio Vivaldi. La simbologia musicale nei concerti a programma. Pordenone: Edizioni Studio Tesi, 1992. Fertonani, Cesare , La musica strumentale di Antonio Vivaldi. Florence: Olschki, 1998. Franchi, Saverio , âIl principe Ruspoli: lâoratorio in Arcadiaâ. In idem (ed.), Percorsi dellâoratorio romano, pp. 246â316. Franchi, Saverio , (ed.), Percorsi dellâoratorio romano. Da âhistoria sacraâ a melodramma spirituale, atti della giornata di studi (Viterbo, 11 settembre 1999). Rome: IBIMUS, 2002. JiÅà FukaÄ , âKÅÞovnický hudebnà inventáÅâ. Unpublished dissertation, University of Brno, 1956. Fürstenau, Moritz , Beiträge zur Geschichte der Königlich Sächsischen musikalischen Kapelle. GroÃentheils aus archivalischen Quellen. Dresden: C.F. Meser, 1849. 308 Fürstenau, Moritz , Zur Geschichte der Musik und des Theaters am Hofe zu Dresden, 2 vols. Dresden: Kuntze, 1861â62. Gallico, Claudio , âVivaldi dagli archivi di Mantovaâ. In Francesco Degrada (ed.), Vivaldi veneziano europeo, pp. 77â88. Geminiani, Francesco , The Art of Playing the Violin. London: author (Johnson), 1751. Giazotto, Remo , Antonio Vivaldi (Turin: ERI, 1973). Gillen, Gerard , and White, Harry (eds), Irish Musical Studies, I: Musicology in Ireland. Dublin: Irish Academic Press, 1990. Griselini, Francesco , Dizionario delle arti e dei mestieri, 18 vols. Venice: Fenzo, 1768â1978. Grundy Fanelli, Jean , âGerman Wind Players in and around Florence at the Turn of the Eighteenth Centuryâ. In A. Colzani et al. (eds), Relazioni musicali fra Italia e Germania nellâetà barocca, pp. 433â445. Harich, János , âInventare der Esterházy-Hofmusikkapelle in Eisenstadtâ. The Haydn Yearbook, 9, 1975, pp. 5â125. Haynes, Bruce , The Eloquent Oboe: A History of the Hautboy from 1640 to 1760. Oxford: Oxford University Press, 2001. Heidecker, Martin , âBlock- und Querflöte in den Opern Georg Friedrich Händelsâ. Tibia, 21, 1996, 2â10. Heller, Karl , Die deutsche Ãberlieferung der Instrumentalwerke Vivaldis. Leipzig: Deutscher Verlag für Musik, 1971. Heller, Karl , Vivaldi. Cronologia della vita e dellâopera. Florence: Olschki, 1991. Heller, Karl , âZu einigen Incerta im Werkbestand Vivaldisâ. In Antonio Fanna and Michael Talbot (eds), Vivaldi. Vero e falso, pp. 43â58. Heyde, Herbert , Flöten. Leipzig: Deutscher Verlag für Musik, 1978. Higbee, Dale , âMichel Corrette on the Piccolo and Speculations regarding Vivaldiâs âFlautinoââ. The Galpin Society Journal, 17 (1964), 115â116. Hill, John Walter , The Life and Works of Francesco Maria Veracini. Ann Arbor: UMI Research Press, 1979. Hoffmann, Bettina , âIl âvioloncello allâingleseââ, Studi vivaldiani, 4, 2004, 43â51. Holmes, William C. , âVivaldi e il Teatro La Pergola a Firenze: nuove fontiâ. In Antonio Fanna and Giovanni Morelli (eds), Nuovi Studi Vivaldiani, pp. 117â130. Honegger, Geneviève , Alsace: Catalogue des manuscrits musicaux anciens. Patrimoinemusical régional. Strasbourg: Bibliothèque Nationale et Universitaire de Strasbourg / Association Régionale pour le Développement de lâAction Musicale, 1996. Hotteterre, Jacques , âLe Romainâ, Principes de la flute traversiere, ou flute dâAllemagne [â¦]. Paris: C. Ballard, 1707. 309 Hudgebut, John , A Vade Mecum for the Lovers of Musick, Shewing the Excellency of the Rechorder. With some Rules and Directions for the Same. Also, some new Ayres never before Published. London: Thompson and Hudgebut, 1679. Hughes, Andrew , Style and Symbol: Medieval Music, 800â1453. Ottawa: Institute of Mediaeval Music, 1989, pp. 246â247 and 517â518. Hünteler, Konrad , âBlockflöte und Querflöte bei Vivaldiâ. Zeitschrift SAJM, 20/3, 1992, 3â8. Kindermann, Jürgen , Deutsches Musikgeschichtliches Archiv Kassel, Katalog der Musiksammlung. Die Musikalien der Bibliotheca Fürstembergiana zu Herdringen, IV. Kassel: Bärenreiter, 1987/88. Kirkendale, Ursula , Antonio Caldara, sein Leben und seine venezianisch-römischen Oratorien. Graz-Köln: Böhlau, 1966. Kirkendale, Ursula , âThe Ruspoli Documents on Handelâ. Journal of the American Musicological Society, 20, 1967, 222â273. Kirkendale, Warren , The Court Musicians in Florence during the Principate of the Medici. Florence: Olschki, 1993. Kirsch, Dieter , âDas Bamberger Drittel: Zum Repertoire der Würzburger und Bamberger Hofmusik unter Fürstbischof Friedrich Carl von Schönborn (1729â1746)â. In Paul Mai (ed.), Im Dienst der Quellen zur Musik, pp. 39â55. Kokole, Metoda , Murovec, Barbara , Sasel Kos, Marjeta , and Talbot, Michael (eds), Mediterranean Myths from Classical Antiquity to the Eighteenth Century. Ljubljana: Zalozba ZRC, 2006. Kolneder, Walter , Antonio Vivaldi: Leben und Werk. Wiesbaden: Breitkopf & Härtel, 1965. Kolneder, Walter , âMusikalische Symbolik bei Vivaldiâ. In Francesco Degrada (ed.), Vivaldi veneziano europeo, pp. 13â23. Kolneder, Walter , âNoch einmal: Vivaldi und die Klarinetteâ. Die Musikforschung, 8, 1955, 209â211. La Via, Stefano , âIl Cardinale Ottoboni e la musicaâ. In Albert Dunning (ed.), Intorno a Locatelli, pp. 319â526. Laborde, Jean-Baptiste de , Essai sur la musique, 4 vols. Paris: Onfroy, 1780. Lacombe, Jacques , Dictionnaire portatif des Beaux -Arts [â¦]. Paris: Veuve Estienne et fils and J.- T. Hérissant, 1752. Lasocki, David , âVivaldi and the Recorderâ. The American Recorder, 9, 1968, 103â107. Reprinted in Recorder & Music Magazine, 3, 1969, 22â27. Lescat, Philippe , âIl Pastor Fido, une auvre de Nicolas Chédevilleâ. Informazioni e studi vivaldiani, 11, 1990, 5â10. Reprinted with additions in Antonio Fanna and Michael Talbot (eds), Vivaldi. Vero e falso, pp. 109â125. Lesure, François , Bibliographiedes éditions musicales publiées par Estienne Roger et Michel- Charles Le Cène (Amsterdam, 1696â1743). Paris: Société Française de Musicologie, 1969. 310 Lippert, Rajko , Das Groβherzogliche Haus Mecklenburg-Strelitz. Reutlingen: Suum cuique, 1994. Lusse, Charles de , Lâart de la flûte traversière. Paris: âaux Adresses Ordinaires de Musiqueâ, [1761]. Facsimile edn Marcello Castellani. Florence: SPES, 1997. Mai, Paul (ed.), Im Dienst der Quellen zur Musik: Festschrift Gertraut Haberkamp zum 65. Geburtstag. Tutzing: Hans Schneider, 2002. Majer, Joseph Friedrich Bernhard Caspar , Museum Musicum Theoretico Practicum. Schwäbisch Hall: Georg Michael Majer, 1732. [ Marcello, Benedetto ], Il teatro alla moda. Venice: [Poletti, 1720]. Marx, Hans Joachim , âDie âGiustificazioni della casa Pamphilijâ als musikgeschichtliche Quelleâ. Studi musicali, 12, 1983, 121â187. Marx, Hans Joachim , âDie Musik am Hofe Pietro Kardinal Ottobonis unter Arcangelo Corelliâ. Analecta musicologica, 5, 1968, 104â167. Meierott, Lenz , Die geschichtliche Entwicklung der kleinen Flötentypen und ihre Verwendung in der Musik des 17. und 18. Jahrhunderts. Tutzing: Hans Schneider, 1974. Mersenne, Marin , Harmonie Universelle. Paris: 1636. Metcalfe, William C. , âDolce or Traverso? The Flauto Problem in Vivaldiâs Instrumental Musicâ. The American Recorder, 6, 1965, 3â6. Meucci, Renato , âLa costruzione degli strumenti musicali a Roma tra il XVII e XIX secoloâ. In Bianca Maria Antolini et al. (eds), Atti del Convegno internazionale âLa musica a Roma attraverso le fonti dâarchivioâ, pp. 581â593. Meyer, Clemens , Geschichte der Mecklenburg-Schweriner Hofkapelle. Schwerin: Ludwig Davids, 1913. Michel, Winfried . âVivaldis Konzerte âper Flautinoâ in ihrer wahren Gestalt. Ein letzter Leseversuchâ. Tibia, 23 (1998), 106â111. Moens-Haenen, Greta , Das Vibrato in der Musik des Barock. Graz: Akademischer Druck- und Verlagsanstalt, 1988. Morelli, Giovanni (ed.), Lâinvenzione del gusto. Corelli e Vivaldi. Milan: Ricordi, 1982. Moretti, Lino , âLe inconvenienze teatrali: documenti inediti su Vivaldi impresarioâ. In Maria Teresa Muraro and Francesco Degrada (eds), Antonio Vivaldi da Venezia allâEuropa, pp. 26â29. Müller-Busch, Franz , âAlessandro Scarlattis Kantaten mit obligaten Blockflötenâ. Tibia, 16 (1991), 337â346. [ Muraro, Maria Theresa (ed.)], Mostra documentaria: Vivaldi e lâambiente musicale veneziano. Terzo centenario della nascità di Antonio Vivaldi (1678â1978). Catalogo. 24 giugno-30 settembre 1978. Venice: Helvetia, 1978. Muraro, Maria Teresa , and Degrada, Francesco (eds), Antonio Vivaldi da Venezia allâEuropa. Milan: Electa, 1978. 311 Muraro, Maria Teresa , and Elena Povoledo , âLe scene della Fida ninfa: Maffei, Vivaldi e Francesco Bibienaâ. In Francesco Degrada (ed.), Vivaldi veneziano europeo, pp. 235â252. Nettl, Paul , âMusicalia der fürstlich Lobkowitzschen Bibliothek in Raudnitzâ. In Mitteilungendes Vereins für Geschichte der Deutschen in Böhmen, 58, 1919, 88â100. Pavanello, Agnese , âLocatelli e il Cardinal Cyboâ. In Albert Dunning (ed.), Intorno a Locatelli, pp. 749â791. Piperno, Franco , âAnfione in Campidoglio. Presenza corelliana alle feste per i concorsi dellâAccademia del Disegno di S. Lucaâ. In Sergio Durante and Pierluigi Petrobelli (eds), Nuovissimi studi corelliani, pp. 151â208. Piperno, Franco , âLe orchestre di Arcangelo Corelli. Pratiche musicali romane. Lettura dei documentiâ. In Giovanni Morelli (ed.), Lâinvenzione del gusto. Corelli e Vivaldi, pp. 42â48. Pitoni, Giuseppe Ottavio , Notitia deâ contrapuntisti e compositori di musica, ed. Cesarino Ruini . Florence: Olschki, 1988. [Poliander], Analecta historico-litterario-curiosa, oder vermischte und gesammelte Anmerkungen [â¦]. Erfurt: Johann Michael Funcke, 1724. Pozzi, Paola , âIl concerto strumentale italiano a Dresdaâ. In Albert Dunning (ed.), Intorno a Locatelli, pp. 953â1037. Praetorius, Michael [pseudonym of Michael Schultze], Syntagma Musicum[â¦] Tomus Secondus de Org anographia, 2nd edn. Wolfenbüttel: Holwein, 1619. Preussner, Eberhard , Die musikalischen Reisen des Herrn von Ufenbach. Kassel: Bärenreiter, 1949. Quantz, Johann Joachim , âHerrn Johann Joachim Quantzens Lebenslauf, von ihm selbst entworfenâ. In Friedrich Wilhelm Marpurg , Historisch-kritische Beyträge zur Aufnahme der Musik, 1, Berlin: Lange, 1755, pp. 197â250. Quantz, Johann Joachim , Versucheiner Anweisung die Flöte traversiere zu spielen. Berlin: Voss, 1752. Rackwitz, Werner (ed.), Georg Philipp Telemann: Singen ist das Fundament zur Musik in allen Dingen, Eine Dokumentensammlung. Wilhelmshaven: Heinrichshofen, 1981. Rasch, Rudolf , âI manoscritti musicali del lascito di Michel-Charles Le Cène (1743)â. In Albert Dunning (ed.), Intorno a Locatelli, pp. 1039â1070. Rasch, Rudolf , âLa famosa mano di Monsieur Roger: Antonio Vivaldi and his Dutch Publishersâ. Informazioni e studi vivaldiani, 17, 1996, 89â135. Rasch, Rudolf , âSome Remarks on Vivaldiâs âAmsterdam Concertoâ (RV 562a)â. Informazioni e studi vivaldiani, 19, 1998, 33â42. Reede, Rien de , âNiederländische Flötisten in den Niederlanden 1700â1900, Teil 1â. Tibia, 24, 1999, 345â354. Rose, Gloria , âAgazzari and the Improvising Orchestraâ. Journal of the American Musicological Society, 18, 1965, 382â393. Rossi-Melocchi, Cosimo , Memorie antiche. I-Fn, Rossi Cassigoli MS 193. 312 Rostirolla, Giancarlo , âLa professione di strumentista a Roma nel Sei-Settecentoâ. Studi musicali, 23, 1994, 87â174. Rostirolla, Giancarlo , âMaestri di cappella, organisti, cantanti e strumentisti attivi in Roma nella metà del Settecento, da un manoscritto dellâAccademia Nazionale di S. Ceciliaâ. Note dâarchivio per la storia musicale, n.s., 2, 1984, pp. 195â269. Rostirolla, Giancarlo , âUn compositore di oratori âceleberrimoâ ma âvario di cervelloâ: Quirino Colombani da Correggio. Appunti per una biografiaâ. In Saverio Franchi (ed.), Percorsi dellâoratorio romano, pp. 199â244. Rousseau, Jean-Jacques , Dictionnairede musique. Paris: Bélin and others, 1793. Ryom, Peter , âLes insertions dans la partition de La verità in cimentoâ. Studi vivaldiani, 4, 2004, 25â40. Ryom, Peter , Les manuscritsde Vivaldi. Copenhagen: Antonio Vivaldi Archives, 1977. Ryom, Peter , Répertoire des Åuvres dâAntonio Vivaldi. Copenhagen: Engstrom & Sodring, 1986. Ryom, Peter Verzeichnis der Werke Antonio Vivaldis. Kleine Ausgabe. Leipzig: Deutscher Verlag für Musik, 1974; rev. edn, 1979. Sadie, Julie Anne , âHandel: in Pursuit of the Violâ. Chelys, 14, 1985, 3â24. Sardelli, Federico Maria , âVivaldi a Ulm negli acquisti di Johann Kleinknechtâ. Studi vivaldiani, 2, 2002, 99â106. Scheck, Gustav , Die Flöte undihre Musik. Mainz: Schott, 1975. Schnoebelen, Anne , âThe Concerted Mass at San Petronio in Bologna: ca. 1660â1730â. PhD dissertation, University of Illinois, 1966. Selfridge-Field, Eleanor , âAnnotated Membership Lists of the Venetian Instrumentalistsâ Guild, 1672â1727â. RMA Research Chronicle, 9, 1976, 1â52. Selfridge-Field, Eleanor , Venetian Instrumental Music from Gabrieli to Vivaldi, 3rd edn. New York: Dover Publications, 1994. Selfridge-Field, Eleanor , âVivaldiâs Esoteric Instrumentsâ. Early Music, 6, 1978, 332â338. Strohm, Reinhard , âThe Critical Edition of Vivaldiâs Giustinoâ. In Antonio Fanna and Giovanni Morelli (eds), Nuovi studi vivaldiani, pp. 399â415. Talbot, Michael , âA New Vivaldi Violin Sonata and Other Recent Findsâ. Informazioni e studi vivaldiani, 20, 1999, 111â131. Talbot, Michael , âA Rival of Corelli: the Violinist-Composer Giuseppe Valentiniâ. In Sergio Durante and Pierluigi Petrobelli (eds), Nuovissimi studi corelliani, pp. 347â365. Talbot, Michael , âA Thematic Catalogue of the Orchestral Works of Giuseppe Matteo Alberti (1685â1751)â. RMA Research Chronicle, 13, 1976, 1â26. Talbot, Michael , âCharles Jennens and Antonio Vivaldiâ. In Francesco Degrada (ed.), Vivaldi veneziano europeo, pp. 67â75. Talbot, Michael , âMiscellanyâ. Studi vivaldiani, 2, 2002, 115â120. Talbot, Michael , âMythology in the Service of Eulogy: the Serenata Andromeda Liberataâ. In Metoda Kokole et al. (eds), Mediterranean Myths from Classical Antiquity to the Eighteenth Century, pp. 131â159. 313 Talbot, Michael , âRecovering Vivaldiâs Lost Psalmâ. Eighteenth-Century Music, 1, 2004, 1â17. Talbot, Michael , âSacred Music at the Ospedale della Pietà in Venice in the Time of Handelâ. Händel-Jahrbuch, 46, 2000, 125â156. Talbot, Michael , The Chamber Cantatas of Antonio Vivaldi. Woodbridge: The Boydell Press, 2006. Talbot, Michael , The Sacred Vocal Music of Antonio Vivaldi. Florence: Olschki, 1995. Talbot, Michael , Tomaso Albinoni: The Venetian Composer and his World. Oxford: Clarendon Press, 1994. Talbot, Michael , Vivaldi. London: Dent, 1978; 2nd edn. London: Dent, 1993. Talbot, Michael , âVivaldi and Rome: Observations and Hypothesesâ. Journal of the Royal Musical Association, 113, 1988, 28â46. Talbot, Michael , âVivaldi and the English Violâ. Early Music, 30, 2002, 381â394. Talbot, Michael , âVivaldi and the violino in tromba marinaâ. The Consort, 61, 5â17. Talbot, Michael , âVivaldi in the Sale Catalogue of Nicolaas Selhofâ. Informazioni e studi vivaldiani, 6, 1985, 57â63. Talbot, Michael , âVivaldiâs Quadro? The Case of RV Anh. 66 Reconsideredâ. Analecta musicologica, 32, 2000, 9â32. Talbot, Michael , and Everett, Paul , âHomage to a French King. Two Serenatas by Vivaldi (Venice 1725 and ca. 1726)â. In A. Vivaldi: Due serenate (facsimile edition of RV 687 and RV 693). Milan: Ricordi, 1995 (âDrammaturgia Musicale Venetaâ, 15), pp. ixâlxxxvii. Termini, Olga , âVivaldi at Brescia: The Feast of the Purification at the Chiesa della Pace (1711)â. Informazioni e studi vivaldiani, 9, 1988, 64â74. Thalheimer, Peter , ââFlautinoâ und âFlasoletâ bei Antonio Vivaldiâ. Tibia, 23 (1998), 97â105. Toffolo, Steffano , Antichi strumenti veneziani. 1500â1800: quattro secoli di liuteria e cembalaria. Venice: Arsenale Editrice, 1987. Toffolo, Steffano , Strumenti musicali a Venezia nella storia e nellâarte dal XIV al XVIII secolo. Cremona: Turris, 1995. [ Trichet, Pierre ], Le traitédes instruments de musique [c.1640], ed. François Lesure . Annales musicologiques, 3, 1955. Vio, Gastone , âAntonio Vivaldi preteâ. Informazioni e studi vivaldiani, 1, 1980, 32â56. Vio, Gastone , âAntonio Vivaldi violinista in S. Marco?â. Informazioni e studi vivaldiani, 2, 1981, 51â60. Vio, Gastone , âDocumenti di storia organaria venezianaâ. Lâorgano, 16, 1978, 169â197. Vio, Gastone , âLa vecchia chiesa dellâOspedale della Pietà â.Informazioni e studi vivaldiani, 7, 1986, 72â85. Vio, Gastone , âMusici veneziani nella cerchia di Giovanni Battista Vivaldiâ. In Antonio Fanna and Giovanni Morelli (eds), Nuovi studi vivaldiani, pp. 689â701. 314 Vio, Gastone , âPrecisazioni sui documenti della Pietà in relazione alle âfiglie di coroââ. In Francesco Degrada (ed.), Vivaldi veneziano europeo, pp. 101â122. Virdung, Sebastian , Musica getutscht. Basel: Furter, 1511. Virgiliano, Aurelio , Il dolcimelo (c.1600, I-Bc, C. 33), facs. edn. Marcello Castellani . Florence: SPES, 1979. Vlaardingerbroek, Kees , âVivaldi and Lotti: Two Unknown Borrowings in Vivaldiâs Musicâ. In Antonio Fanna and Michael Talbot (eds), Vivaldi. Vero e falso, pp. 91â107. Walther, Johann Gottfried , Musicalisches Lexicon oder musicalische Bibliothec. Leipzig: W. Deer, 1732. Waterhouse, William (ed.), The New Langwill Index, 7th edn. London: Tony Bingham, 1993. White, Micky , âBiographical Notes on the âFiglie di coroâ of the Pietà contemporary with Vivaldiâ. Informazioni e studi vivaldiani, 21, 2001, 75â97. Zanetti, Roberto , La musica italiana nel Settecento. Busto Arsizio: Bramante Editrice, 1978. Zeno, Apostolo , Lettere di Apostolo Zeno, 2nd edn, 6 vols. Venice: F. Sansoni, 1785. Zobeley, Fritz , Rudolf Franz Erwein Graf von Schönborn und seine Musikpflege. Würzburg: Schöningh, 1949.