Styles of articulation in Italian woodwind sonatas of the early eighteenth century:

Evidence from contemporary prints and manuscripts, with particular reference to

the Sibley Sammartini Manuscript

by Tom Moore

Rio de Janeiro

Introduction

This article will consider issues having to do with articulation and style in the wind

music of the first half of the eighteenth century, from the period which we commonly

think of as “late Baroque”, though as will be seen later, such an encompassing label is

probably too broad to be useful. It has its origin in my work as a performer of this

repertoire, and my work coaching the early music ensemble of the University of Rio de

Janeiro, trying to give direcation and answer questions about whys and why nots having

to do with details of performance, and also from a frustration with approaches to

interpretation which rely on the naive (rather than educated) taste of the musician who

approaches a score with a “one size fits all” approach. We know that scores have

shown increasing attention to details of dynamics and articulation over the last three

centuries. Does this mean that performances three hundred years ago were uninflected,

or underinflected? No. Quite the opposite. Performances were probably more highly

inflected than we are used to in the twenty-first century. It simply means that scores

were treated more in the manner of a play script, giving the text, but without instructing

the performers on how exactly each phrase was to be uttered, leaving that to the art and

good taste of the individual. However, it is clear that this good taste fell within clearly

defined norms. Just as in our social interactions, a range of possibilities are allowed, as

long as an individual does not overstep the bounds.

Modern musicians often come to the score imagining that all the information

needed to realize an idiomatic performance is there on the page in front of them

(something not even the case for scores of modern works). The philological impulses of

late nineteenth and early twentieth century scholars, who sought to replace published

scores incorporating performance directions by noted performers with “clean” scores

containing only that which had gone from the composer’s pen onto the page have

meant that often the modern musician approaches the urtext with the notion that nothing

can be added, that to change a jot or tittle, even in terms of articulation, is violating the

composer’s intent. The fact that there is often so little detail offered by an original

printed edition of the early eighteenth century only goes to reinforce this view.

In considering this important and neglected area I will focus here on a valuable

source of sonatas for winds by Giuseppe Sammartini held at the Sibley Music Library,

University of Rochester, in Rochester, New York (M241.S189, accessible as pdf on the

web at http://hdl.handle.net/1802/1523). This is an extensive collection of sonatas for

solo treble instrument with basso continuo, copied by several hands, and incorporating

sections with sonatas for oboe and continuo (pp. 1-59), transverse flute and continuo

(pp. 69-99), and recorder and continuo (pp. 109-220, and also 61-67, though without

designation of the solo instrument). The manuscript concludes with a sonata for violin

and continuo.

Sammartini was born (1695) and raised in Milan, the son of a French oboist,

Alexis Saint-Martin). He emigrated to London in 1729, and remained there for the rest of

his life, performing in the orchestra for numerous Handel operas. His music is neither

particularly modern (that is, it moves relatively towards the highly-ornamented galant),

nor retrospective, perhaps reflecting an educated (but not cutting-edge) English taste.

Sammartini’s approach to articulation might thus seem to have a claim to a wider

application, in reflecting the choices of an Italian musician working in an

internationalized style in a European metropolis.

The works contained in the Sibley manuscript contain articulation markings which

are more extensive and more detailed than is often the case for sources from the first

half of the eighteenth century. Before approaching this source, we can take a look at a

number of contemporary sources by other composers, and see what the norms may

have been for Sammartini’s predecessors and contemporaries writing in the Italian

style. Then we can look to see if some consistent practices in articulation can be

ascertained within the Sibley manuscript. Having done so, we can then see how these

reflect the articulations given in published sonatas by Sammartini (some of which have

concordances in the manuscript).

Similarity of practice between various woodwind instruments (recorder,

transverse flute, oboe, bassoon)

Increasing technical demands for woodwind instruments over the course of the last

three hundred years have meant that it is rare today to find professional musicians who

play more than one woodwind at a high level. Such was not the case during the

eighteenth century, and in fact the opposite was true - the professional wind player most

likely played oboe (as a primary instrument), but would also have a master of transverse

flute, recorder and possibly bassoon as well. Evidence for this is ample, most tellingly

from the many orchestral works which call for a pair of winds in addition to the strings,

with oboes in the allegros and flutes in the slower lyrical movements. (A more extreme

example of this is the Telemann Water Music, where the two wind players double on

oboe, transverse flute, recorders, and piccolo.) Quantz, the most eminent flute teacher

of the age, began his career as an oboist, and François Devienne, the leading

pedagogue at the end of the century, was principal bassoonist at the Opera in Paris, as

well as professor of flute at the Conservatory. Hotteterre’s didactic works (the Principes,

1707, and the Art de préluder, 1719) both concern themselves with the recorder and

oboe as well as the flute. Quantz makes it clear that what he has to say on flute

performance is directly applicable to the oboe and bassoon as well. Obviously the

fingering for individual notes, and the means of producing the tone will be different, but

otherwise “the oboe and bassoon have much in common with the transverse flute”1. We

will thus be justified in viewing the articulations from works for these various instruments

globally.

Articulation information in earlier and contemporary sources:

Corelli (Walsh edition for recorder)

The violinist and composer Arcangelo Corelli, who published a small number of

collections - trio sonatas, one set of twelve sonatas for violin and continuo, and one set

of concerti - was nonetheless the most widely influential figure in Italian instrumental

music in the first half of the eighteenth century, with his violin sonatas continually

republished, and adapted arranged for other instruments as well. The transcriptions,

published in London by Walsh, of the first six sonatas from Corelli’s opus 5 for recorder

and continuo (described as “fluto primo” and “fluto basso” in the two part-books) are

relatively well-supplied with articulation slurs, which, however, fall into several clearly-

delimited categories. The most obvious of these is the slurring of the first two eighth

notes of three successive eighths in the gigas of sonatas I-IV. This takes place so

consistently that any omission of such a slur must be an error on the part of the

engraver. The slurs are present whether the melodic motion is stepwise, or over wide

1 Quantz (Riley), p. 85 (Chapter 6, Section III, Supplement)

leaps, whether upwards or downwards. In these gigues there are no slurs linking the

second and third eights of three, nor connecting all three eighths of a group of three (the

one such, in the gigue of Sonata II, must be an error). The only other consistent

articulation slurs are those connecting a group of a quarter followed by an eight, at the

close of the gigue in Sonata I.

The remaining quick movements are sparsely marked. An exception here is the

allegro of Sonata V, where measures 5-8 have arpeggiated 16ths slurred two by two.

The rest of the sixteenth-note passagework, however, has no articulation marked. The

slower movments generally have stepwise sixteenths slurred two by two. A noteworthy

aspect of this sources is that there is not a single ornament marked, not even a trill. The

slurred appoggiaturas in the opening Preludio of Sonata I are marked where we could

expect that the player would add a trill on the appoggiatura as well.

Jean BaptisteLoeillet de Gant

Bibliography on the Loeillet family of musicians and composers has focused

primarily on establishing details of biography, sorting out family members with

confusingly similar names (the two cousins named Jean Baptiste, both from Ghent, one

moving to London, where he was known as John Loeillet, the other to Lyons, where he

was known as Jean Baptiste Loeillet “de Gant”, i.e., from Ghent. Little ink has been

spent on talking about the music, which in JBL de Gant’s case includes four dozen

sonatas for recorder with continuo. These were originally published by Roger in

Amsterdam with dedications to French nobility, and are very beautifully and carefully

engraved, with the figures for the thoroughbass large and legible, and the sharps, flats,

and naturals before (rather than over) the notes to which they apply. Grove describes

his sonatas as being in the Italian style of Corelli”2 , but this is not quite accurate. The

style is Italianate, yes, but quite far from that of Corelli - no one would ever mistake the

two composers for each other.

Despite the care with which the editions were evidently prepared, the amount of

assistance given the performer with decisions on articulation is quite limited, and it is

difficult to generalize from what is provided. We saw that in the Corelli transcription the

gigues were exhaustively supplied with slurs for the first two eighths in a group of three.

For the Roger Loeillet editions this is the exception rather than the rule. It can be found

in the A major sonata, op. 3, no. 11, where all such groups are provided with slurs.

Similar slurs are present in the previous movement, a Siciliana, which instead of the

characeristic dotted rhythm typical of the dance, is more similar to a slowed-down gigue

(it is marked Affettuoso et Poco Largo). The question to be asked is why such slurs are

present in all the Corelli gigues and in virtually none of Loeillet’s. Is there something

about this gigue that sets it apart from the rest of the gigues in these collections? Or

was the practice so well-known that it was redundant to notate it? Do all gigues require

these slurs? or none?

We also find here the slurred appoggiaturas in places which would seem to call

for a trill (e.g. in the closing gigue of op. 3, no. 9, where these are the only slurs, with the

exception of a three slurred eights at the final cadence, or likewise in the Allegro of op. 3

no. 5). An exceptional case where the score presents both the slurred appoggiatura and

the trill on the stressed note is the opening Adagio of op. 3, no. 4. Here both are present

only in the first two occurrences in the treble (and in none of the three in the continuo).

The remaining four present only the slur. This economizing on labor is typical for

baroque scores, not only in the case of marking articulations, but also in the case of

rhythmic alterations, where a pointed or dotted rhythm may be marked at the outset,

2 Skempton, Alec, Robinston, Ludy: 'Jean Baptiste Loeillet (ii) [‘Loeillet de Gant’]', Grove Music Online ed. L. Macy (Accessed [21 March 2006]), <http://www.grovemusic.com>

with the understanding that the remaining music, though written plain, will continue in

the style of the beginning. Can we extrapolate from this that slurred appogiaturas may

also be trilled?

Loeillet does mark trills on occasion (using the French mark +), generally in non-

cadential situations where the performer would not necessarily think to add them (for

example, the Vivace of op. 3, no. 8, with fourteen trills, but not at full cadence.

Slurs elsewhere in these editions tend to be found more extensively in the slow

movements, or in specifying ornamental moments, rather than in the many instances of

passagework in sixteenths in the allegros. This is particularly the case for movements

which are more French in character, such as the Sarabanda op. 3, no. 4, with an explicit

coulée de tierce, slurred turns and sighs, and a bass line in which the dotted motion

might better be rendered as notes inégales.

One of the more extensively marked movements is the opening Affettuoso et

Grave of op. 3, no. 3, a Siciliana, though not named as such in the score. Here the slurs

seem to be inconsistent or contradictory. The characteristic rhythm of the siciliana is

present throughout (dotted eighth-sixteenth-eighth). During the first sixteen measures

the first two notes of the group are slurred together, but from then on the three-note

group is slurred. There is no reason from the musical context to prefer one above the

other.

Perhaps the most elaborately ornamented movement in the sonatas op. 1-3 is

op. 3, no. 8, which approaches most closely to a Corellian style, with graces of the sort

that would usually be left to the performer. Here all groups of two or more 32nd notes

are slurred, including one group of seventeen in conjunct motion.

Francesco Maria Veracini

The composer Francesco Maria Veracini was one of the most prominent and most

internationally-traveled of violinists in the first half of the eighteenth century. He was

born into a family of violinists in Florence in 1690. After acquiring his training there he

left in 1711 for Venice. He spent most of 1714 in London, and 1715 in Düsseldorf. His

first surviving collection of compositions is a manuscript dedicated to the Elector of

Saxony, and dated July 26, 1716, in Venice. This gift seems to have been successful in

securing employment in Dresden for Veracini, since he was put on the payroll there the

following year, and stayed until 1722. (The manuscript even today is in the Dresden

library).

One might wonder why a young violinist would produce a volume of sonatas to

show off his talents that would also be appropriate for the recorder (prominently

mentioned on the title page). Was there perhaps a connection here with his stay in

London in 1714? Did Veracini produce these with an eye to finding an English patron,

but without success? The English seem to have been the most devoted to the recorder

at the time - Mancini and Barsanti also produced sonatas for the English market

intended for recorder or violin.

In comparison to the paucity of articulations marked in the Loeillet prints, or

indeed the moderate markings found in the Parma manuscript of recorder sonatas, the

dozen sonatas in this manuscript set are brimming with articulation markings. Why

should there be so many markings? Is there a didactic purpose here? Most of these can

be sorted into familiar categories.

The smallest rhythmic values are always slurred when they occur in pairs.

Thirds filled in with sixteenths in a motion generally of eights are slurred.

Returning-note figures in passage-work are usually slurred as such (generally

3+1).

Returning-notes of the mordent-type are slurred on the first two notes (e.g. the

opening of sonata no. 8)

Runs up or down are slurred.

Descending thirds are slurred.

Gigues with groups of three eights are slurred 2+1 (e.g. sonata 5, sonata 8).

What seems exceptional here are longer slurs, over larger groups of notes and varying

rhythmic values. Some examples:

the opening of the second movement of sonata 2 (Allegro), slurring an ascending

figure of eighth-2 sixteenths-eight;

the Largo of sonata 5, slurring over sixteenth-2 thirty-seconds-sixteenth-2 thirty-

seconds;

slurs over groups of four or six sixteenths;

slurs over groups of six eighths in gigues.

All in all, the evidence of this manuscript is much more extensive than any other

examined so far.

Francesco Barsanti

Barsanti’s first published collection of sonatas was that for the recorder and

continuo (though described as for the recorder or violin on the title page), issued by the

composer himself and printed and sold by the noted recorder maker Bressan. It was

first published in 1724, and reissued in 1727 and 1738.3 He first arrived in England in

1714, and seems to have spent all of the rest of his long career there, with the

exception of eight years in Scotland.

3 C. Humphries and W.C. Smith, A Bibliography of the Musical Works published by the firm of John Walsh, 1721-1766, London, 1968, apud Barsanti, [VI] Sonate a flauto o violino solo e basso, Firenze: SPES, 1992, introduction.

In his op. 1 (not labeled as such, but its successor is called op. 2), we find some

aspects of articulation that are congruent with what we see in the Sibley Sammartini

MS. In some details, of course, Barsanti’s print reflects practice we have seen in other

sources - slurs over the smallest values (usually 32nds), trills over appogiaturas, slurred

descending runs (e.g., the Adagio of Sonata 2, though only in the second of three such

runs is the slur present). There are still many passages where slurring must have been

used, but is not indicated by the print.

Nevertheless, Barsanti does sometimes give assistance in how to phrase the

passagework, for example, in the running eighths (consistently slurred 1+3) of the

second movement of Sonata 1. The bass line is generally lacking in noted slurs of this

sort, but their omission does not mean that that the continuo would not have followed

the treble’s lead in this matter, simply that the custom of noting every detail of

articulation had not yet taken holld (such slurs are finally present as a sort of

afterthough at the end of the last statement in the bass). This sort of grouping, what we

might think of as “Lombardic”, having a tendency to emphasize what should be a weak

beat, seems to be modern, forward-looking, and it is found extensively in the Sibley MS.

Barsanti only includes one giga (simply labeled as Allegro Assai, the final

movement of sonata 1), and two sicilianas among the movements of these six sonatas,

but the “Lombardic” approach to slurring is present here as well. Instead of finding

groups of three eights slurred 2+1 (as we have seen earlier), the groupings is

consistently 1+2. The print is extremely consistent on this point, and the only apparent

deviation, at the final cadence of the first of the two parts, must certainly be an error on

the part of the engraver, since the analogous passage at the end of the second part has

the expected 1+2.

A final congruency with practice in the Sibley MS is the presence of slurs for

melodic motion up a semitone from a weak to strong beat, that is, from arsis to thesis.

Various examples of this can be cited from this collection - the fifth and sixth bars of the

second section of the previously mentioned Allegro Assai, m. 10 and mm. 15-16 of the

Adagio of Sonata 2, with seven or eight such slurs in a row Once again, this has the

effect of setting the articulation at odds with the natural stress of the meter, giving the

music a piquancy and spice.

Francesco Mancini

The Neapolitan Francesco Mancini devoted his composition primarily to vocal

music, as assistant and successor to Alessandro Scarlatti, but today he is primarily

known for his works for recorder - one collection of twelve sonatas published in London

in 1724 and 1727 , and twelve sonatas for recorder and strings in a collective

manuscript of such works held in Naples. The evidence of the Walsh edition (the third)

is inconclusive. Though these sonatas were published at the same time as the Barsanti

op. 1, Mancini was eighteen years older than Barsanti (as well as from a different part of

Italy), and the sort of galant phrasing we can discern in the Barsanti is not present here.

We can discern the familiar slurring of the returning note figure (usually 3+1 sixteenths),

the slurred ornamental runs, the slurred descending thirds. The gigues are quite

extensively slurred, but in contrast to usual earlier practice the slurs clearly include all

three of the eighths in a group.

A possible point of connection with Barsanti is the passage of arsis-to-thesis

semitones over the dominant pedal climax of the second movement of Sonata 4 (p. 17

in the Walsh ed.) Here there are slurs present, but to my eye it looks as if the engraver

made a botch of things, since of the three slurs, are from thesis to arsis, and one from

arsis to thesis. They should presumably all be one way or the other, and to my way of

thinking, should run from arsis to thesis, as we saw in the Barsanti.

Articulation in Parma. Manuscript CF-V.23

The manuscript of sonatas for recorder and continuo, Parma CF-V.23, transmits

a corpus of works by composers from the early eighteenth century whose names are

completely unknown today, even to lovers of Baroque music. The only remotely familiar

names are here are Corelli (a sonata which also survives a third lower for violin),

Albinoni and Somis. The level of detail here is perhaps midway between the Loeillet

prints and the Veracini manuscript, though even here it varies between different

copyists. Nevertheless, although the source is not so consistently detailed as the

Veracini manuscript, the ornaments fall into the same categories as mentioned above:

The smallest rhythmic values are often slurred when they occur in pairs.

ex: opening Grave of the Corelli sonata (p. 117)

Thirds filled in with sixteenths in a motion generally of eighths are slurred.

ex.: Minuet of anonymous sinfonia (p. 116)

Returning-note figures in passage-work are usually slurred as such (either 3+1 or

1+3).

ex.: opening Adagio of the Albinoni sonata (p. 6)

Returning-notes of the mordent-type are slurred on the first two notes

ex.: opening Adagio of the Albinoni sonata (p. 6)

Runs up or down are slurred

ex. : opening Adagio of anonymous sinfonia (p. 113)

Gigues are often bereft of markings. One exception is the closing giga of the

Sonata Ottava of Giuseppe Valentini (pp. 151-152), which seems to mix and match a

“Lombardic” slurring (1+2), with the more usual 2+1.

Giuseppe Sammartini

What is more forward-looking, more galant about the markings for the sonatas in

the Sibley manuscript? To begin with, the slurs tend to be more extensive, and perhaps

less predictable than in other sources. The musical idiom has not reached the level of

rococo elaboration found, for example, in the works of Giovanni Ferrandini, remarkably

detailed given their early date (op. 1, 1737, op. 2, undated, both published Paris), but it

is considerably more modern than the idiom of his London colleague, Handel.

The articulations here, once again, seem generally to fall in line with what can be

gleaned from the other sources discussed here. The smallest values (usually 32nds,

though sometimes sixteenths) are frequently slurred. Though Quantz’s treatise goes

into considerable detail about execution of double tonguing, with extensive musical

examples to show its use in context, the consistency with which small values in even

groups are slurred in Italian sources seems to indicate an aversion to this practice on

the part of many wind players. A good example here is the Allegro (pp. 192-193) of the

sonata in F for recorder and continuo, where the sixteenths in the fanfare-like motive

are frequently slurred (though the copyist is not consistent in this, presumably the

performer should be).

The movement towards a “Lombardic” slurring is very much present here,

whether in gigas, or in three-note groups in general. A particularly interesting in this

regard is the sonata in G for recorder and continuo (pp. 107-203). Exceptionally, the

opening movement is a giga (though not marked thus), which would ordinarily come

later, or last. This giga shows a remarkable flexibility of rhythm as expressed in the

articulation, with many of the three-note groups of eighths slurred as 1+2. This is

particularly expressive in the chromatic moment of measures 7-8, with the offbeat slurs

up a semitone. When the music moves to moments of more stability (e.g. the sequence

leading to the cadence at the double bar, mm. 11-12, or the cadence to the tonic in mm.

35-36), the slurs begin on, rather than off the beat. The slurring of thehe arppegiated

passagework leading to the cadence on the most remote degree (E minor) is not

entirely clear. It seems that it should either be 1+2 throughout, or else 1+2,2+1. What is

not possible here is consistently 2+1 (compare as well the similar passagework in the

sonata in C which follows, clearly marked 1+ 2 throughout)

The slow movement combines two characteristics figures - sighing paired

sixteenths, consistently slurred as such, and slurred sixteenth triplets. The latter seem

more often to be slurred three together, though in some place (the third and seventh

measures of the second half) the slurs might be read as 1+2. Again, what is not present

is 2+1.

The concluding movement, a minuet with variations (once again, not marked)

continues the trend toward 1+2 slurs. In the first variation, all but one of the triplet

groups are marked thus. The third and closing variation combines this with 2+1 for

arpeggios. Also notable here in terms of rhythmic displacement are the four sixteenth-

note runs in the first half, where three are clearly slurred beginning on the second of six

sixteenths (the second group has no slur marked).

The returning-note slurring we have seen elsewhere, and which seems to be

taken for granted in articulating passagework, is present in these sonatas as well (a

festival of this can be found in the opening Allegro of the Sonata in F for recorder and

continuo, pp. 150-151. But here we also see a rhythmically displaced slurring of the sort

which seems to be characteristic in this source, a group of three descending slurred

eights (see a similar passage in the opening Allegro of the Sonata in F for recorder and

continuo, pp. 182-183).

What is the commonality here? What seems to be present is a desire on the part

of the performer to enliven music which depends on motoric and regular rhythms with

articulations which, one might say, cut across the grain, or to think of it another way,

enliven the offbeat or backbeat.

Conclusions

The sources for Italian music examined here, dating from a span of about forty

years, show a consistency of approach towards a variety of details in articulation. Earlier

sources transmit a score which is often “cleaner”, perhaps easier to read, less cluttered

with details about matters about which the performer might be expected to have his or

her own opinion. This does not mean that those details were not present in the

performance, anymore than the frequent omission of figures for the bass in manuscript

sources (as opposed to printed editions) meant that there were no harmonies realized.

The lack of an articulation should never mean that the performer should be inhibited

from adding his own. Quite the contrary - it leaves him the freedom to articulate

according to his taste.

The evidence of the sources examined does seem to indicate that tastes in these

matters changed over the first half of the eighteenth century, with slurring increasingly

going “against the grain”, beginning on weak rather than strong beaks (as in the shift

from 2+1 to 1+2 slurring in gigues), or slurring from weak to strong beats (as in the case

of semitones resolving upward). What the evidence does not support is interpretations

devoid of a variety of articulation patterns, something that often tempts the modern

performer when confronted with a naked succession of sixteenths in perpetual motion,

as for example in the Allemande and Corrent of the Bach A minor Partita. Choices must

be made about how to slur and group these sixteenths, but the choices should be based

on an informed knowledge of practice in the historical context.

Works by Giuseppe Sammartini:

Manuscript collection of sonatas for treble instrument (oboe, violin, flute, recorder) with

continuo at the Sibley Music Library, accession no.: 406133. Accesible as pdf at

http://hdl.handle.net/1802/1523.

Sammartini, Giuseppe. Sonate a solo et a due flauti traversi con loro basso : opera

prima. Dedicata al Altezza Reale di Federico Principe de Vallia et Elettorale di Brunsvik

Di Giuseppe San Martini Milanese. London: Printed for the Author [1736].

Facsimile edition: Firenze : Studio per edizioni scelte, 1994.

Sammartini, Giuseppe. XII Sonate a Flauto Traversiere Solo con il Basso. Opera

Seconda di Giuseppe San Martini Milanese. Amsterdam: Chez Michel Charles Le Cene.

No. 584. [173-?]

Facsimile edition: Firenze : Studio per edizioni scelte, 1994.

Other contemporary sources cited:

Barsanti, Francesco. Sonate a Flauto, o Violino Solo con Basso, per Violone, o

Cembalo. Dedicate all’Eccellenza di My Lord Riccardo Conte di Burlington........Da

Francesco Barsanti. [London: The author, 1724].

Facsimile edition: Firenze : Studio per edizioni scelte, 1992.

Corelli, Arcangelo. Six Solos for a Flute and a Bass by Archangelo Corelli Being the

second part of his Fifth Opera.....The whole exactly Transpos’d and made fitt for a Flute

and a Bass with the aprobation of severall Eminent Masters. London: I. Walsh, [1702].

Facsimile edition: Courlay, France : Éditions J.M. Fuzeau ; c1998.

Ferrandini, Giovanni. VI Sonate a Flauto Traversiere o Oboé, o Violino (&) Basso

Continuo del Signor Giovanni Ferrandini, Opera Seconda, Libro Secondo. Paris:

Boivin....Le Clerc. [circa 1740].

Facsimile edition: Firenze : Studio per edizioni scelte, 1986.

L’Oeillet de Gant, Jean Baptiste, XII Sonates à une Flute & Basse Continue, Premier

Ouvrage. Amsterdam: Estienne Roger. [1715].

L’Oeillet de Gant, Jean Baptiste, XII Sonates à une Flute & Basse Continue, Second

Ouvrage. Amsterdam: Estienne Roger. No. 346. [1715].

L’Oeillet de Gant, Jean Baptiste, XII Sonates à une Flute & Basse Continue, Troisiéme

Ouvrage. Amsterdam: Estienne Roger, [1715].

The previous three editions published in a facsmile edition: Genève : Minkoff, 1985.

Mancini, Francesco. XII Solos for a Flute with a Thorough Bass for the Harpsichord or

Bass Violin Compos’d by Sigr. Francesco Mancini. London: Walsh, [172-?].

Veracinji, Francesco Maria. Sonate a Violino, o Flauto Solo, e Basso Dedicate

All’Altezza Reale del Serenissimo Pincipe Elettorale di Sassonia. Da Francesco Maria

Veracini Fiorentino. MS, Sächsische Landesbibliothek, Dresden.

Facsimile edition: Firenze : Studio per edizioni scelte, 1990.

Collections:

Sinfonie di Varij Autori. [Arcangelo Corelli, Domenico Maria Dreyer, Domenico Sarri,

Filippo Rosa, Giacomo Ferronati, Giovanni Antonio Canuti, Giovanni Battista Somis,

Giuseppe Valentini, Paolo Bottigoni, Pietro Pellegrini, Quirino Colombani, Tommaso

Albinoni, Anonymous). MS. Biblioteca palatina di Parma. Manuscript CF-V.23 Parma

Facsimile edition: Firenze : Studio per edizioni scelte, 1982.