1 John Spitzer and Neal Zaslaw, ‘Orchestra’, Grove Music Online. Available from: Oxford Music Online. Accessed on 26 August 2010.

2 Bruce Haynes, The Eloquent Oboe: A History of the Hautboy, 1640–1760 (Oxford, 2001), 158.

3 Haynes, The Eloquent Oboe, 4–6. I will follow the terminology introduced by Haynes, the major scholar on historical oboe playing, in using ‘hautboy’ (‘o'boy’) when referring to instruments of the type commonly known today as the ‘Baroque oboe’.

4 Bruce Haynes, Music for Oboe, 1650–1800: A Bibliography (2nd edn, Berkeley, 1992), 362.

5 Haynes, Music for Oboe, 362. There are in fact 53 rather than 52 works in the Lilien Partbooks, which will be discussed here.

6 David Whitwell, ‘A Baroque Wind Band Library in Germany’, The Wind Band and its Repertoire, ed. Michael Votta (Miami, 2003), 43–8.

7 Whitwell presumably means Christian Franz Dietrich, also known as Christian Franz Theodor von Fürstenberg (1689–1755), who did indeed study for two years at the Sorbonne in Paris. See Michael Jolk, ‘Grundherrschaftliche Anweisungen für die Kötter des Christian Franz Theodor Reichsfreiherr von Fürstenberg’, Südwestfalen Archiv. Landesgeschichte im ehemals kurkölnischen Herzogtum Westfalen und der Grafschaft Arnsberg, 4 (2004), 165–78.

8 Deutsches Musikgeschichtliches Archiv Kassel (DMgA), Katalog der Filmsammlung, Die Musikalien der Bibliotheca Fürstenbergiana zu Herdringen, ed. Jürgen Kindermann (Kassel, 1987/88), iv, 204–486.

9 Werner Braun, ‘The “Hautboist”: An Outline of Evolving Careers and Functions’, The Social Status of the Professional Musician from the Middle Ages to the 19th Century, ed. Walter Salmen (New York, 1983), 126.

10 Spitzer and Zaslaw, ‘Orchestra’, Grove Music Online.

11 Michael Robertson, The Courtly Consort Suite in German-speaking Europe (Farnham, 2009).

12 See Johann Sigismund Kusser, Adonis, Recent Researches in the Music of the Baroque Era, Vol. 154, ed. Samantha Owens (Middleton, 2009).

13 Spitzer and Zaslaw, ‘Orchestra’, Grove Music Online.

14 Martin Ruhnke, ‘Kapelle’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd edn, Kassel, 1994–2008), 28 vols., Sachteil, iv.

15 John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an Institution, 1650–1815 (Oxford, 2004), 222.

16 Johann Mattheson, Critica Musica, ii (Hamburg, 1725), 169–70. Available from: https://archive.org/details/bub_gb_shdDAAAAcAAJ. Accessed on 11 February 2018.

17 Werner Greve, ‘Stadtpfeifer’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd edn, Kassel, 1994–2008), Sachteil, viii.

18 Heinrich W. Schwab, ‘Stadtpfeifer’, Grove Music Online. Accessed on 28 March 2013. For further information see also Tanya Kevorkian, ‘Town Musicians in German Baroque Society and Culture’, German History, 30/3 (2012), 350–721; and Werner Greve, Braunschweiger Stadtmusikanten: Geschichte eines Berufsstandes 1227–1828 (Braunschweig, 1991).

19 Wolfgang Caspar Printz, Historische Beschreibung der Edlen Sing- und Kling-Kunst (Dresden, 1690), 179.

20 Renate Hildebrand, ‘Das Oboenensemble in Deutschland von den Anfängen bis ca. 1720’ (Diplomarbeit, Schola Cantorum Basiliensis, 1975), 65.

21 See Haynes, The Eloquent Oboe, 362–7.

22 Achim Hofer, Studien zur Geschichte des Militärmarsches, 2 vols. (Tutzing, 1988).

23 Personal conversation with Jacques Rensch during a visit to the Regionaal Historisch Centrum Limburg in December 2010.

24 Werner Braun, ‘Entwurf für eine Typologie der “Hautboisten”’, Der Sozialstatus des Berufsmusikers vom 17. bis 19. Jahrhundert, ed. Walter Salmen (Kassel, 1971), 43–63.

25 Braun, ‘The “Hautboist”’, 125–58.

26 See: Bruce Haynes, ‘Der Hautboy’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd rev. edn, Kassel, 1994–2008), 28 vols., Sachteil, vii. See also Janet K. Page et al., ‘Oboe’, Grove Music Online. Accessed on 4 February, 2013.

27 Marin Mersenne, Harmonie universelle: contenant la théorie et la pratique de la musique (Paris, 1636), 295.

28 Michael Praetorius, Syntagma Musicum II (Wolfenbüttel, 161; facsimile repr. Kassel, 2001), 36.

29 David Hogan Smith, Reed Design for Early Woodwinds (Bloomington, 1992), 26.

30 As with the hautboy this instrument features a double reed; however, the player does not have direct contact with this reed as it is covered with a wooden cap into which one blows. Only with a very steady wind stream can good intonation be achieved and no dynamic changes are possible. Articulation can only be achieved by varying the lengths of notes – for example, by playing staccato, legato and so on. Refined articulation as described in sources before 1800 emphasizing the importance of different syllables and various attacks – such as t, d and r as well as g, k and l – are not possible on a wind cap instrument. For further information on articulation see: Georg Corall, ‘Vom Gebrauche der Zunge, beym spielen auf allerley Blasinstrumenten’ (Diplomarbeit, Hochschule für Musik und Theater, Hamburg, 1998).

31 From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, eds. Peter Holman and Jonathan Wainwright (Aldershot, 2005).

32 Marc Ecochard, ‘A Commentary on the Letter by Michel de La Barre Concerning the History of Musettes and Hautboys’, From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, eds. Peter Holman and Jonathan Wainwright (Aldershot, 2005), 47–61.

33 Ecochard, ‘A Commentary’, 47–8.

34 Marcelle Benoit, Musiques de Cour: Chapelle, Chambre, Écurie 1661–1733. Documents recueillis par Marcelle Benoit (Paris, 1971), 17–8.

35 See also: Bruce Haynes, ‘Baptiste's Hautbois: The Metamorphosis from Shawm to Hautboy in France, 1620–1670’, From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, eds. Peter Holman and Jonathan Wainwright (Aldershot, 2005), 24.

36 See La Barre's letter: Ecochard, ‘A Commentary’, 48.

37 Haynes, ‘Baptiste's Hautbois’, 26.

38 Haynes, ‘Baptiste's Hautbois’, 28.

39 Haynes, ‘Baptiste's Hautbois’, 34–8.

40 Haynes, The Eloquent Oboe, 39.

41 Haynes, The Eloquent Oboe, 50, 51.

42 The French term hautbois is used here as a generic term for any double-reed instrument of the period, whether it be the shawm, the cromorne or the newly developed hautboy; likewise the French term basson encompasses the different stages in the development of bassoon-type instruments at the seventeenth-century French court.

43 Benoit, Musiques de Cour, 13.

44 For more information see: Bruce Haynes, A History of Performing Pitch: the Story of ‘A’ (Oxford, 2002).

45 James R. Anthony, et al., ‘Paris, §V,1., (i,c)’, Grove Music Online. Accessed on 4 May, 2012.

46 Haynes, The Eloquent Oboe, 53.

47 Haynes, The Eloquent Oboe, 54.

48 Susan Marie Goertzel Sandman, ‘Wind Band Music under Louis XIV: The Philidor Collection, Music for the Military and the Court’ (PhD Dissertation, Stanford University, 1974).

49 See Laurence Decobert, ‘La “Collection Philidor” de l'Ancienne Bibliothèque du Conservatoire de Paris’, Revue de Musicologie, 93/2 (2007), 269–316.

50 Susan Sandman, ‘The Wind Band at Louis XIV's Court’, Early Music, 5/1 (Jan, 1977), 27–37.

51 For the discussion on transitional hautboys see the articles in From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, eds. Peter Holman and Jonathan Wainwright (Aldershot, 2005).

52 As yet, scholars are largely uncertain regarding the nature of the cromorne; however, it seems to be generally agreed that it was an instrument without a cap covering the double reed and thus the term should not be translated as crumhorn.

53 Haynes, The Eloquent Oboe, 55.

54 Haynes, The Eloquent Oboe.

55 Haynes, The Eloquent Oboe, 49.

56 Haynes, The Eloquent Oboe, 137.

57 Janice B. Stockigt, ‘The Court of Saxony-Dresden’, Music at German Courts, 1715–1760, eds. Samantha Owens, Barbara M. Reul and Janice B. Stockigt (Woodbridge, 2011), 23.

58 Haynes, The Eloquent Oboe, 141–2.

59 Published in English translation as ‘The “Hautboist”’, 123–58. Original edition: Braun, ‘Entwurf’, 46–63.

60 Hildebrand, ‘Das Oboenensemble’.

61 Achim Hofer, ‘Harmoniemusik-Forschung: Aktuell situiert – Kritisch hinterfragt’, Zur Geschichte und Aufführungspraxis der Harmoniemusik, eds. Boje E. Hans Schmuhl and Ute Omonsky (Augsburg, 2006), 28.

62 Haynes, The Eloquent Oboe, 158.

63 Haynes, The Eloquent Oboe, 322. Haynes mentions a total of 1,266 musicians employed with the Prussian military in 1713.

64 Braun, ‘The “Hautboist”’, 125.

65 See, for example, the evidence regarding the expectations of proficiency on different instruments in the collection of certificates for students taught by J. S. Bach, in Werner Neumann and Hans Joachim Schulze, Schriftstücke von der Hand Johann Sebastian Bachs. Vorgelegt und erläutert von Werner Neumann und Hans-Joachim Schulze. Kritische Gesamtausgabe (Kassel: Bärenreiter, 1963), 127–51.

66 Johann Joachim Quantz, ‘Herrn Johann Joachim Quantzens Lebenslauf, von ihm selbst entworfen’, in Friedrich Wilhelm Marpurg, Historisch-Kritische Beyträge zur Musik (5 vols, Berlin, 1754–1778), vol. 1, ‘Drittes Stück’ (1755), 199–200.

67 Hans Friedrich von Fleming, Der vollkommene teutsche Soldat (Leipzig, 1726; fascimile reprint, Bibliotheca rerum militarium 1, Osnabrück, 1967), 181: ‘Der Premier unter ihnen muß das Componiren verstehen, um die Musique desto besser darnach zu reguliren.’

68 Regarding the distinction between the King in Prussia and King of Prussia see Section 4.

69 General-Reglement (1724), cited in Hans-Joachim Bandt, ‘Die ehem. Hoboistenschule im Kgl. Potsdamschen Militärwaisenhause’, Deutsche Militär-Musiker-Zeitung, No. 49, 51. Jahrgang (7 December 1929), 425.

70 General-Reglement (1724).

71 Braun, ‘The “Hautboist”’, 130.

72 Braun, ‘The “Hautboist”’, 128.

73 Bernhard Höfele, ‘Militärmusik’, in Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik (2nd edn, Kassel, 1994–2008), 28 vols., Sachteil, vi.

74 Höfele, ‘Militärmusik’, col. 275.

75 One example is the music for the Catalonian circle dance, the sardana, which is still accompanied by a wind band led by the tible and the tenora (modern keyed versions of the shawm and alto shawm respectively, from the era before the hautboy was invented).

76 Haynes, The Eloquent Oboe, 160–1.

77 Scholars, to date, are uncertain as to whether the taille de hautbois should be considered an alto or tenor instrument.

78 Braun, ‘The “Hautboist”’, 125.

79 Reinhard Quenstedt, ‘Alte Armee: Kesselpauker, Trompeter, Hautboisten’. Historischer Bilderdienst Website (2011). Available from: http://www.historischer-bilderdienst.de. Accessed on 24 March 2011.

80 Braun, ‘The “Hautboist”’, 126.

81 Braun, ‘The “Hautboist”’.

82 See, for example, the references to Erhardt Eberlen as ‘Hautbois und Hofmusikus’ (1706–1728) and Johann Michael Glockhardt, ‘Hautboist’ and ‘Hautboist and Hofmusikus’ (1704–1728) in: Walter Pfeilsticker, Neues Wuerttembergisches Dienerbuch (Stuttgart: J. G. Cotta'sche Buchhandlung Nachf., 1957), i, §894–97 and 894.

83 See Samantha Owens, ‘The Württemberg Hofkapelle c.1680–1721’ (PhD Dissertation, Victoria University of Wellington, 1995), 330–50.

84 Peter C. Marten, Die Musik der Spielleute des Altpreussischen Heeres, Das Altpreussische Heer, Erscheinungsbild und Wesen 1713–1807, ed. H. Bleckwenn (Osnabrück, 1976), vol. v, Band 1, 14. According to a lost Infanterie-Reglement from 1718: ‘…die Hautbois und Pfeiffers aber sollen bei jedem Regiment einen aparten Marsch haben’ (… the hautboys and pipers of each regiment shall have a distinguished march).

85 Braun, ‘The “Hautboist”’, 135. See Johann Mattheson, Critica Musica, ii (Hamburg, 1725), 169.

86 Marten, Die Musik der Spielleute, 9 and 14. Marten notes that Friedrich Wilhelm I had introduced brass drums into his No. 6 regiment, the materials coming from the brass factory Hegermühle in Eberswalde, founded in 1698. Interestingly, the sound of these fifes and drums can still be heard in Basel, Switzerland, as the traditional music for the Basler Fastnacht (the local carnival).

87 See also: Höfele, ‘Militärmusik’.

88 Braun, ‘The “Hautboist”’, 126.

89 Marten, Die Musik der Spielleute, 13. Marten cites a total of 839 Spielleute employed by the Prussian military in 1714, although he also states that 100 drummers and nine pipers had deserted by the end of that year.

90 Curt Jany, Geschichte der Preußischen Armee vom 15. Jahrhundert bis 1914 (Osnabrück, 1967), i, 653.

91 Spitzer and Zaslaw, The Birth of the Orchestra, 82.

92 Braun, ‘The “Hautboist”’, 129.

93 Celle was one of the most Francophile German Courts at the time.

94 A detailed list of Hautboisten and their employment between 1600 and 1760 can be found in Haynes, The Eloquent Oboe, 452–65, where the first appearance of a French player at the German court of Celle is dated as early as 1670.

95 Braun, ‘The “Hautboist”’, 141.

96 Haynes, The Eloquent Oboe, 163.

97 Haynes, The Eloquent Oboe, 322.

98 Johann Mattheson, Grundlage einer Ehren-Pforte (Hamburg, 1740), 195.

99 Braun, ‘The “Hautboist”’, 131.

100 Braun, ‘The “Hautboist”’.

101 Braun, ‘The “Hautboist”’, 137.

102 Braun, ‘The “Hautboist”’, 150.

103 Braun, ‘The “Hautboist”’, 132.

104 Johannes Reschke, ‘Studie zur Geschichte der brandenburgisch-preußischen Heeresmusik’ (Dissertation, Friedrich-Wilhelms-Universität, 1936), 31.

105 Haynes, The Eloquent Oboe, 322.

106 Reschke, ‘Studie’.

107 Peter Panoff, Militärmusik in Geschichte und Gegenwart (Berlin, 1938).

108 On alta capella see Lorenz Welker, ‘“Alta capella” – Zur Ensemblepraxis der Blasinstrumente im 15. Jahrhundert’, Basler Jahrbuch für Historische Musikpraxis 7 (1983), 119–65.

109 An analysis of instrumentations in the collection is to be found in the section below, which is specifically dedicated to compositions in the partbooks.

110 Geoffrey Burgess and Bruce Haynes, The Oboe, The Yale Musical Instrument Series (New Haven, 2004), 31.

111 It seems to appear that Haynes’ suggestion contradict Georg Muffat's instructions in his publication of orchestral suites Florilegium Primum (1695) regarding Lully's performance practice. See discussion of Muffat's writing in the following part of this article.

112 See: Spitzer and Zaslaw, The Birth of the Orchestra, 82–7, 93.

113 Eric Halfpenny, ‘A Seventeenth-Century Oboe Consort’, Galpin Society Journal 10 (1957), 60–2. Pl. 5 shows the bell of an oboe dating from the last decade of the seventeenth century at the Victoria & Albert Museum in London with a carving of musicians in exactly this instrumentation.

114 Fleming, Der vollkommene teutsche Soldat, 181.

115 Braun, ‘The “Hautboist”’, 153.

116 For further information see: Holger Eichhorn, liner notes for Johann Sebastian Bach, Stil'Antico-Motetten, Rondeau Production, CD ROP6021 (Leipzig, 2008).

117 There are a substantial number of marches existent; however, this article focuses on concerted ‘art’ music for Hautboisten.

118 See the information provided regarding Johann Sebastian Bach's motet, Der Geist hilft unsrer Schwachheit auf (BWV 226) in: Wolfgang Schmieder, Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV) (2nd edn, Wiesbaden, 1990), 367.

119 Fleming, Der vollkommene teutsche Soldat, 376: ‘Vor der Leiche gehen die Hautboisten mit gedämpften Hautbois, und blasen ein Sterbe-Lied’ (The Hautboisten walk before the body and play a funeral song on muted hautboys). See also the two compositions entitled the ‘Queen's Farewell’ in: John Banister, The Sprightly Companion (London, 1695), no. 18 and no. 19.

120 Hofer, Studien.

121 Marten, Die Musik der Spielleute.

122 Sascha Möbius, ‘Ein feste Burg ist unser Gott…! und das entsetzliche Lärmen ihrer Trommeln. Preußische Militärmusik in den Schlachten des Siebenjährigen Krieges’, Mars und die Musen’. Das Wechselspiel von Militär, Krieg und Kunst in der Frühen Neuzeit, eds. Jutta Nowosadtko and Matthias Rogg (Münster, 2008), v, 261–89.

123 Haynes, Music for Oboe, 300. This work is available in a modern edition: Johann Georg Christian Störl (1675–1719): Marsch für 2 Oboen, 2 Hörner und Fagott, ed. Achim Hofer (Remagen: Edition Tilo Medek, 2010).

124 Haynes, Music for Oboe, 4. Faksimile in: Hofer, Studien zur Geschichte des Militärmarsches, 328–30.

125 See also Joachim Toeche-Mittler, Armeemärsche (Neckargemünd, 1975), iii, 62.

126 Möbius, ‘Ein feste Burg ist unser Gott…!’, 184.

127 Marten, Die Musik der Spielleute, 13.

128 Hildebrand, ‘Das Oboenensemble’, 62.

129 Achim Hofer, ‘“Preußens Gloria” – Was ist preußische Militärmusik? Vom “Soldatenkönig” bis zu Kaiser Wilhelm II’, ed. Frank-Lothar Kroll, Musik in Preußen – Preußische Musik’ (Berlin, 2016).

130 Harold E. Samuel, ‘Krieger, Johann Philipp’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2^nd edn, Kassel, 1994–2008), 28 vols., Personenteil, x.

131 Steven Zohn, ‘The Ouverture-Suite, Concerto Grosso, Ripieno Concerto, and Harmoniemusik in the Eighteenth Century’, The Cambridge History of Eighteenth-Century Music, ed. Simon Keefe (Cambridge, 2009), 557, 561.

132 Regarding instrumentation Muffat advises in the preface of Florilegium Primum that the work is ‘…diligently arranged for four or five strings, together with the basso continuo (if you wish)’, qtd. from Georg Muffat in David K. Wilson, Georg Muffat on Performance Practice: The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik: A New Translation with Commentary (Bloomington, 2001), 11.

133 Ibid., 75.

134 See Philipp Heinrich Erlebach, Ouvertüre VI g-moll für fünfstimmiges Streichorchester und Basso continuo (ad lib.), ed. Helmut Mönkemeyer (Wilhelmshaven, 1992).

135 Spitzer and Zaslaw, The Birth of the Orchestra, 92.

136 Robert Eitner, ‘Johann Philipp Krieger. Eine Sammlung von Kantaten, einer Weihnachts-Andacht, einer Begräbnis-Andacht, Arien und Duette aus seinen Singspielen, zwei Sonaten für Violine, Viola da gamba und Bassus continuus und zwei Partien aus der Lustigen Feldmusik zu 4 Instrumenten’, Beilage zu den Monatsheften für Musikgeschichte, 29 (1897–98), 114–28.

137 The term taille solely indicates a tenor part in a composition and thus can mean a string or a wind instrument.

138 On the self-publishing of music and intended customers see also Steven Zohn, ‘Telemann in the Marketplace: The Composer as Self-Publisher’, Journal of the American Musicological Society, 58/2 (2005), 275–356.

139 One well-known example is the Prussian king Friederich II, whose teacher was Johann Joachim Quantz. As can be seen from both the music written for him to perform and his own compositions, he was a competent player, yet he would still have been referred to as a Liebhaber (amateur or music lover) or perhaps a Kenner (connoisseur) rather than as a professional musician who had to earn his living with his music.

140 Johann Philipp Krieger, Partita in F, ed. Max Seiffert (Lippstadt, 1925?).

141 Günter Thomas, ‘Johann Michael Müller’, The New Grove Dictionary of Music and Musicians (London, 1980), xii, 771. It appears that no entry on ‘Johann Michael Müller’ is included in Grove Music Online.

142 Haynes, Music for Oboe, 232.

143 Jean-Michel Muller, XII Sonates, ca. 1712, ed. Jean Saint-Arroman, Collection Dominantes (Bressuire Cedex, 2003), vol. 5820.

144 Gerber, ‘Müller (Johann Michel)’, Neues historisch-biographisches Lexikon der Tonkünstler (Leipzig, 1813), iii, col. 513.

145 Andreas Waczkat, ‘Venturini, Francesco, François’, Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher (2nd edn, Kassel, 1994–2008), 28 vols., Personenteil, xvi.

146 It is important to note that he is not related to an Italian court musician with the same name employed at the Württemberg court in Stuttgart during that same period; see Owens, ‘The Württemberg Hofkapelle’, 22.

147 David Plantier, liner notes for Francesco Venturini: Concerti da Camera Op. 1, Zig Zag Territories ZZT 060502 (Paris, 2007).

148 Georg Philipp Telemann, Singen ist das Fundament zur Music in allen Dingen: eine Dokumentensammlung, ed. Werner Rackwitz (Leipzig, 1981), 198.

149 The print copy consulted for this article is held in D-W, 120.1 Musica div. 2^o (1) and (2).

150 See bottom right corner of Fig. 2: Possessor JDitmar Ao. 1723 d. 26[?] Junÿ J. Ditmar Chori. Nuos. Adj. Anno 6. Julÿ 1723 JDitmar Ao. 1723 d. 10. Julÿ.

151 Haynes, Music for Oboe, 331.

152 Braun, ‘The “Hautboist”’, 144.

153 Generally, this means either one trumpet or two horns. For further information on the instrumentation of marches, see: Hofer, Studien zur Geschichte des Militärmarsches, 259–341.

154 Haynes, Music for Oboe, 312. Available in modern edition: Georg Philipp Telemann: Marsch, ed. Jean-Françcois Madeuf (Bologna: Ut Orpheus Edizioni, 2002).

155 Achim Hofer, ‘Geburtsmomente der Harmoniemusik: Beispiele – Perspektiven’, Zur Geschichte und Aufführungspraxis der Harmoniemusik, eds. Boje E. Hans Schmuhl and Ute Omonsky (Augsburg, 2006), 41–3.

156 Hofer, ‘Geburtsmomente der Harmoniemusik’, 46.

157 Martin Ruhnke, Georg Philipp Telemann Thematisch-Systematisches Verzeichnis seiner Werke: Telemann-Werkverzeichnis (TWV) (Kassel, 1984).

158 See also Wolf Hobohm, ‘Telemanns Musik für Hautboisten-Ensembles’, Zur Geschichte und Aufführungspraxis der Harmoniemusik, eds. Schmuhl and Omonsky, 72–4, listing TWV 55:D24 (44:3); TWV 55:F5 (44:8); TWV 55:F8 (44:9); TWV 55:F9 (44:10); TWV 55:F15 (44:12); TWV 55:deest (44:16); TWV 55:F18 (44:14); TWV 55:F4 (44:7); TWV 55:F17 (44:13); TWV 44:2; TWV 50:31–42; TWV 50:43; TWV 55:F11.

159 Hobohm, ‘Telemanns Musik für Hautboisten-Ensembles’, 71.

160 Hobohm, ‘Telemanns Musik für Hautboisten-Ensembles’, 72–6.

161 Hobohm, ‘Telemanns Musik für Hautboisten-Ensembles’, 80: ‘Das Komponieren für eine Besetzung mit zwei Oboen, zwei Naturhörnern und Fagott bedeutete natürlich den Verzicht auf den Reichtum des Streicherapparats’.

162 Whitwell, ‘A Baroque Wind Band Library in Germany’, 43.

163 Jürgen Kloosterhuis, Legendäre ‘lange Kerls’, Quellen zur Regimentskultur der Königsgrenadiere Friedrich Wilhelm I. 1713–1740 (Berlin, 2003), 426.

164 Bandt, ‘Die ehem. Hoboistenschule’, 425.

165 Mary Oleskiewicz, ‘The Court of Brandenburg-Prussia’, Music at German Courts, 1715–1760: Changing Artistic Priorities, eds. Samantha Owens, Barbara M. Reul and Janice B. Stockigt (Woodbridge, 2011), 81, 125.

166 Mary Oleskiewicz, e-mail message to the author, 12 February 2013.

167 Bandt, ‘Die ehem. Hoboistenschule’, 426.

168 Bandt, ‘Die ehem. Hoboistenschule’, 426.

169 Irmgard Hantsche, Preußen am Rhein (Bottrop, Essen, 2002), 9.

170 Hantsche, Preußen am Rhein, 26.

171 Hantsche, Preußen am Rhein, 38.

172 Preußen an Peel, Maas und Niers: das preußische Herzogtum Geldern im 18. Jahrhundert, ed. Stefan Frankewitz, Geldrisches Archiv 7; Führer des Niederrheinischen Museums für Volkskunde und Kulturgeschichte Kevelaer 45; Schriften des Preußen-Museums Nordrhein-Westfalen No. 5 (Kleve, 2003), 119–20.

173 Ernst Friedlaender, ‘Lilien, Georg von’, Allgemeine Deutsche Biographie 18 (online version, 1883), 645–6. Available from www.deutsche-biographie.de. Accessed 3 March 2013.

174 Erich Thurmann, ‘Die Sonsfeldsche Musikaliensammlung in der Bibliotheca Fürstenbergiana’, unpublished typescript dated 1971, Archiv Herdringen No. 7628/1, 3.

175 Wilhelmine von Bayreuth, Memoiren von Friederike Sophie Wilhelmine Markgräfin von Bayreuth, trans. Thomas Hell (Braunschweig, 1845), 60.

176 Hanne Buschmann, ‘Friedrich Otto Freiherr von Wittenhorst-Sonsfeld. Ein musikalischer preußischer General’, Mitteilungen aus dem Schloßarchiv Diersfordt und vom Niederrhein, 6 (1995), 72–7.

177 Buschmann, ‘Friedrich Otto Freiherr von Wittenhorst-Sonsfeld’, 74.

178 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 3.

179 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 5.

180 Joachim Domp, Studien zur Geschichte der Musik an Westfälischen Adelhöfen im 18. Jahrhundert (Düsseldorf, 1934).

181 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 1.

182 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 1: ‘Seine Darlegungen bedürfen der Ergänzung und der Berichtigung, um die Eigenart dieser Musikaliensammlung angemessen zu characterisieren.’

183 DMgA, Kindermann, Katalog der Filmsammlung.

184 Barry S. Brook, ‘A Tale of Thematic Catalogues’, Notes, 29/3 (1973), 407–15.

185 See Renate Hildebrand, ‘Das Oboenensemble in der deutschen Regimentsmusik und in den Stadtpfeifereien bis 1720’, Tibia, 1 (1978), 9.

186 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 12.

187 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 11.

188 Haynes, Music for Oboe, 362.

189 Jany, Geschichte der Preußischen Armee, i, 653.

190 Whitwell, ‘A Baroque Wind Band Library in Germany’, 43, where he refers to Friedrich Otto as ‘Generalmajor Frey Herr von Sons-Feldt of Holland’.

191 Whitwell is most likely referring to Christian Franz Dietrich (also known as Christian Franz Theodor; 1689–1755) Reichsfreiherr von Fürstenberg, who studied law and theology at the Sorbonne before 1712. See Jolk, ‘Grundherrschaftliche Anweisungen’.

192 Erich Schüttpelz, ‘In Wittenhorst, Sonsfeld und Aspel wohnte und wirkte mehr als 700 Jahre die Familie Wittenhorst – 2. Teil’, Haldern einst und jetzt, 79 (1997), 6.

193 Thurmann, ‘Die Sonsfeldsche Musikaliensammlung’, 5.

194 Erich Thurmann, ‘Westfälische Musikaliensammlungen’, Bibliothek in vier Jahrhunderten, 400 Jahre Bibliothek in Münster (Münster, 1988), 312.

195 Haynes, Music for Oboe, 362.

196 On questions of a standardization of Regiments-Hautboisten music see also Hofer, Studien.

197 Albert Lee Moore, ‘Two Anonymous Eighteenth-Century Manuscripts for Trumpet with Oboe Ensemble from the Lilien Part-Books’ (DMA Dissertation, North Texas State University, 1981).

198 See Winton Dean, ‘A New Source for Handel's Amadigi’, Music & Letters, 72 (1991), 27–37.

199 DMgA, Kindermann, Katalog der Filmsammlung, 111.

200 R-Rou, Mus. Saec. XVII.18.-51.⁵³.

201 See Hofer, ‘Geburtsmomente der Harmoniemusik’.

202 See: Philipp Heinrich Erlebach, VI. Ouvertures, begleitet mit ihren darzu schicklichen Airs, nach französischer Art und Manier eingerichtet und gesetzet (Nürnberg, 1693).

203 Dean, ‘A New Source for Handel's Amadigi’, 27–37.

204 I am grateful to Steffen Voss (RISM, Munich) for pointing out the provenance of the original versions for these arrangements. Previously the composers of these arias were anonymous.

205 Georg Friedrich Händel, Sonate für Oboe und Geige mit Generalbass ed. W. Hinnenthal (Kassel, 1935). Scholars disagree whether this work is authentic.

206 Kloosterhuis, Legendäre ‘lange Kerls’, 188.

207 Haynes, The Eloquent Oboe, 158.

208 See translation of Krieger's Feldmusik titlepage earlier in this article.

209 Robertson, The Courtly Consort Suite, 162.

210 See Ton Koopman, ‘Recording Bach's Early Cantatas’, Early Music, 24/4 (1996), 605–21. See also Andrew Parrott, ‘Bach's Chorus: A “Brief yet Highly Necessary” Reappraisal’, Early Music, 24/4 (1996), 551–80. See also Joshua Rifkin, ‘Bassoon, Violins and Voices: A Response to Ton Koopman’, Early Music, 25/2 (1997), 303–7.