styles of articulation in italian woodwind sonatas of the early eighteenth century: evidence from...
TRANSCRIPT
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.