PUBLICATIONS
— DAVID LASOCKI
Last revised
http://php.indiana.edu/~lasocki/
BOOKS
1. (Translated and
edited) Jacques Hotteterre le Romain. Principles of the Flute, Recorder and
Oboe. An annotated translation of
2. (Betty Bang Mather,
co-author) Free Ornamentation for
Woodwind Instruments, 1700-1775: An Anthology with Introduction.
3. (Betty Bang Mather,
co-author) The Classical Woodwind
Cadenza: A Workbook.
4. (Betty Bang Mather,
co-author) The Art of Preluding,
1700-1830, for Flutists, Oboists, Clarinettists and Other Performers.
5. (Scott Paterson,
co-author; with Dawn Culbertson) A
Discography of the Recorder. Volume
1: Recordings Available in
6. (Editor) Fluting and Dancing: Articles and Reminiscences for Betty Bang
Mather on her 65th Birthday (New York:
McGinnis & Marx, 1992).
Includes my
reminiscence, “Betty and David.”
Review: Jeremy
Montagu in FoMRHI Quarterly no. 69 (October 1992): 10.
7. (Richard Griscom,
co-author) The Recorder: A Guide to
Writings about the Instrument for Players and Researchers.
18 reviews: Mark Davenport in American Recorder
36, no. 1 (January 1995): 24–26 (with response by me in 36, no. 2 [March 1995]:
22); Jeremy Montagu in FoMRHI Quarterly no. 78 (January 1995): 10–11
(with response by me in no. 79 [April 1995]: 13–14); Clifford Bartlett in Early
Music Review no. 7 (February 1995): 7; Andrew Mayes in The Recorder
Magazine 15, no. 1 (March 1995): 25–26; H.J. Diamond in Choice
(April 1995): 1276; Scott Paterson in Continuo 19, no. 2 (April 1995):
37; Anthony Rowland-Jones in NEMA News (June 1995): 6; Greg Dikmans in Australia’s
Journal of Recorder and Early Music 19 (August 1995): 29–30; G. Peñalver in
Revista de flauto de pico 3 (September 1995): 27–28; Karsten Erik Ose in
Concerto: Das Magazin für Alte Musik 106 (September 1995): 16–17;
“M-B-TH” in Tibia 20, no. 4 (1995): 619–21; John Turner in Music
& Letters 76, no. 4 (November 1995): 615–17; William E. Hettrick in Notes
52, no. 3 (March 1996): 796–97; Guido van Oorschot in Tijdschrift voor Oude
Muziek 11, no. 2 (May 1996): 39; Piers Adams in Early Music Today
(October/November 1996): 22; Edgar Hunt in Galpin Society Journal 49
(1996): 245–46; Robert Ehrlich in Early Music 25, no. 2 (May 1997):
311–13; Dale Higbee in Journal of the American Musical Instrument Society
23 (1997): 161–63.
8. (with Roger Prior) The Bassanos: Venetian Musicians and Instrument Makers in
16 reviews: Clifford Barlett in Early Music Review
13 (September 1995): 3; Christopher Brodersen in Continuo 19, no. 5
(October 1995): 41–42; Anthony Rowland-Jones in Leading Notes 5, no. 2
(1995): 28–30; Early Music Today 3 (October-November 1995): 23; Jeffrey
Nussbaum in Journal of Synagogue Music 24, no. 2 (December 1995):
139–40; Trevor Herbert in Historic Brass Society Journal 7 (1995):
207–09; Michael Fleming in Chelys: The Journal of the Viola da Gamba Society
24 (1995): 62–64; Emile Roi in The Jerusalem Post Magazine, 26 January
1996, 20; Brett Usher in The Consort 52, no. 1 (May 1996): 43–44;
Douglas Kirk in American Recorder 37, no. 5 (November 1996): 33–35;
Gordon Callon in Notes 53, no. 2 (December 1996): 451–53 (with response
by me in 54, no. 1 [September 1997]: 306); Kenneth Marcus in Sixteenth
Century Journal 27 (1996): 599; A.L. Rowse in Contemporary Review
268 (1996): 33–37; Giulio Ongaro in Journal of the American Musical
Instrument Society 23 (1997): 158–61; Edgar Hunt in Galpin Society
Journal 50 (1997): 290–91; and Jeremy Montagu in FoMRHI Quarterly
no. 92 (July 1998): 6–7.
9. (Editor) The Recorder in the 17th Century: Proceedings of the International Recorder
Symposium
Includes my
articles: “The Recorder’s Role in
Seventeenth-Century Music, Then and Now: A Reply to Bart Kuijken”
(203–10). “Barthold Kuijken and David
Lasocki, An Exchange of Correspondence” (211–15). Dutch translation as “Lijden blokfluitisten
aan arrangitis? Barthold Kuijken
en David Lasocki dienen elkaar van replieek.”
Tijdschrift voor oude muziek 11, no. 1 (February 1996):
17–20. “Gaps in Our Knowledge of the
Recorder in the Seventeenth Century and How They Could Be Filled”
(257–74). (with Richard Griscom)
“Bibliography of Writings about the Recorder in the Seventeenth Century”
(277–86).
9 reviews:
Clifford Bartlett in Early Music Review no. 29 (April 1997): 4; Robert
Ehrlich in Early Music 25, no. 2 (May 1997): 311–13; Jeff Nussbaum in Historic
Brass Society Newsletter no. 10 (Summer 1997): 35; Wendy Hancock in The
Consort 53, no. 1–2 (1997): 61–63; Early Music Today 5, no. 5
(1997): 18; Hermann Moeck in Tibia 22, no. 3 (1997): 530; Wendy Powers in
American Recorder 38, no. 5 (November 1997): 27–28; Karsten Erik Ose in Concerto
no. 130 (February 1998): 9–10; Friedrich von Huene in Galpin Society Journal
51 (1998): 236–38.
10. (Compiled by Andrew
Ashbee and David Lasocki assisted by Peter Holman and Fiona Kisby) A Biographical Dictionary of
Winner of the
C.B. Oldman Prize awarded by the International Association of Music Libraries,
Archives and Document Centres (UK Branch) for the best music reference book
published in 1998.
6 reviews to
date: Clifford Bartlett in Early Music Review no. 41 (March 1999): 3–4;
Roger Bowers in Early Music 27, no. 3 (August 1999): 481–83; Robert Shay
in Notes 57, no. 1 (September 2000): 108–09; Trevor Herbert in Historic
Brass Society Newsletter no. 14 (Summer 2001): 57; Craig Monson in Sixteenth
Century Journal 31 no. 3 (2000): 797–99; John Milsom in Journal of
Seventeenth-Century Music 6, no. 2 (2000).
11. (Editor) A Time of Questioning: Proceedings of the
International Double-Reed Symposium
Includes: (with
Geoffrey Burgess and Laura Goetz), “A Bibliography of Writings about the Oboe
and Bassoon, 17th-19th Centuries” (225–58).
SCHOLARLY ARTICLES
1. “The Baroque Flute and
its Rôle Today.” Recorder & Music
Magazine 2, no. 4 (February 1967): 96-104.
In German as “Die barocke Querflöte und ihre heutige Bedeutung.” Das Musikinstrument 19, no. 2
(February 1970): 187-89.
2. “Diderot and the
Recorder.” Recorder & Music
Magazine 2, no. 6 (August 1967): 190.
3. “The Tongueing Syllables
of the French Baroque.” American
Recorder 8, no. 3 (Summer 1967): 81-82.
4. “A Newly Rediscovered
Recorder Tutor.” American Recorder
9, no. 1 (Winter 1968): 18-19.
5. “A Spanish Recorder
Tutor.” American Recorder 9, no.
2 (Spring 1968): 49-50.
6. “Vivaldi and the
Recorder.” American Recorder 9,
no. 3 (Fall 1968): 102-07; reprinted in Recorder & Music Magazine 3,
no. 1 (March 1969): 22-27.
7. “Freillon-Poncein,
Hotteterre, and the Recorder.” American
Recorder 10, no. 2 (Spring 1969): 40-43.
8. “The Compleat
Flute-Master Reincarnated.” American
Recorder 11, no. 3 (Summer 1970): 83-85.
9. “The C Recorder in the
18th Century.” American Recorder
11, no. 1 (Winter 1970): 20-21.
10. “17th- and 18th-Century
Fingering Charts for the Recorder.” American
Recorder 11, no. 4 (Fall 1970): 128-37.
11. “Flute and Recorder in
Combination: Recent Additions to the
Baroque Repertoire.” Recorder &
Music 4, no. 11 (September 1974): 391-95.
12. “Johann Christian
Schickhardt (ca. 1682-1762): Woodwind
Composer, Performer and Teacher.” Recorder
& Music 5, no. 8 (December 1976): 254-57; 5, no. 9 (March 1977):
287-90.
13. “Johann Christian
Schickhardt.” Recorder [
14. “Johann Christian
Schickhardt.” Tibia 2, no. 3
(1977): 337-43.
15. “Johann Christian
Schickhardt (ca. 1682-1762): A
Contribution to his Biography and a Catalogue of his Works.” Tijdschrift van de Vereniging voor
Nederlandse Muziekgeschiedenis 27, no. 1 (1977): 28-55.
16. “‘Authenticity’ in
Performances of Early Music.” Recorder
& Music 5, no. 12 (December 1977): 384-87. In Hungarian as “A régi zene elöadásának
‘hitelessége.’” In Régi Zene: Tanulmányok, Cikkek, Interjúk, ed. Judit
Péteri, 9–15.
17. “A New Look at Handel’s
Recorder Sonatas. I: Ornamentation in
the First Movement of the F major Sonata.”
Recorder & Music 6, no. 1 (March 1978): 2-9, 19.
18. “Johann Christian
Schickhardt (ca. 1682-1762).”
Introduction to an edition of Schickhardt’s 24 Sonatas in all keys, Opus
30, for treble recorder and basso continuo, ed. Frans Bruggen & Walter Bergmann.
19. “A New Look at Handel’s
Recorder Sonatas. II: The Autograph
Manuscripts.” Recorder & Music
6, no. 3 (September 1978): 71-79.
20. “Quantz and the
Passions: Theory and Practice,” Early
Music 6, no. 4 (October 1978): 556-67.
In Italian as: “Quantz e la
teoria delle passioni: Gli effetti
21. “A New Look at Handel’s
Recorder Sonatas. III: The Roger and
Walsh Prints: A New View.” Recorder & Music 6, no. 5 (March
1979): 130-32.
22. “Preluding on the
Recorder in
23. “Schickhardt in
24. Preface to facsimile of
Jacques de Vaucanson, Le Mécanisme du flûteur automate (
25. “Die Theorien der
Akustik und Spieltechnik der Flöte des Jacques Vaucanson (1738).” Tibia 5, no. 2 (1980): 87-90.
26. “Händels Sonaten für
Holzbläser in neuem Licht.” Tibia
5, no. 3 (1980): 166-76. In English as
“New Light on Handel’s Woodwind Sonatas.”
American Recorder 21, no. 4 (February 1981): 163-70. In Italian as “Le sonate per legni di Händel: Lo studio comparato di parti autografe,
manoscritti e antiche edizioni a stampa getta una nuova luce sull’autenticità e
sull’esatta destinazione strumentale di queste composizioni.” I fiati 1, no. 2 (October-November
1994): 32–40.
27. (Terence Best,
co-author) “A New Flute Sonata by
Handel.” Early Music 9, no. 3
(July 1981): 307-11.
28. “Professional Recorder
Playing in
29. “The Detroit Recorder
Manuscript (
30. “The Recorder in the
Elizabethan, Jacobean and
31. “A New Look at the Life
of John Loeillet (1680-1730).” Recorder
& Music 8, no. 2 (June 1984): 42-46.
Another version in Concerning the Flute, ed. Rien de Reede
[Festschrift for Frans Vester].
32. “The Recorder Consort
at the
33. “A New Dating for
Handel’s Recorder Sonatas.” Recorder
& Music 8, no. 6 (June 1985): 170-71.
34. “The Anglo-Venetian
Bassano Family as Instrument Makers and Repairers.” Galpin Society Journal 38 (1985):
112-32.
35. “Mrs. Midnight, Dr.
Burney, the Jew’s Harp, and the Salt-Box.”
VIM 2 (1985): 15-35.
36. “The Bassanos: Anglo-Venetian and Venetian.” Early Music 14, no. 4 (November 1986):
558-60.
37. “Dudley Ryder, An
Amateur Musician and Dancer in
38. “Late Baroque
Ornamentation: Philosophy and
Guidelines.” American Recorder
29, no. 1 (February 1988): 7–10.
39. (Helen Neate,
co-author) “The Life and Works of Robert Woodcock, 1690–1728.” American Recorder 29, no. 3 (August
1988): 92–104.
40. “The French Hautboy in
41. (Rebecca Troxler,
co-author) “New Ideas on Interpreting the Ornaments in Mozart’s Flute
Concertos. Part One: Single-Note Ornaments and Turns.” Flutist Quarterly 13, no. 4 (Fall
1988): 19–29.
42. (Eva Legêne,
co-author) “Learning to Ornament
Handel’s Sonatas Through the Composer’s Ears.
Part 1: Rhetoric, Variation, and
Reworking,” The American Recorder 30, no. 1 (February 1989): 9–14. Part 2:
Essential Graces, Free Ornamentation, and Contemporaneous
Examples.” The American Recorder
30, no. 3 (August 1989): 102–06. Part
3: Conclusions.” The American Recorder 30, no. 4
(November 1989): 137–41. Revised
one-part version in Recorder Education Journal 6 (2000): 44–59.
43. “The Life of Daniel De
Moivre (fl. 1687–1731).” The Consort
45 (1989): 15–17.
44. Note on the repertory
of the bass recorder in the Baroque period.
American Recorder 31, no. 3 (September 1990): 34.
45. “More on the Life of
Francesco Barsanti.” Brio 27, no.
2 (Autumn/Winter 1990): 78–79.
46. “More on Echo
Flutes.” The Recorder: Journal of the Victorian Recorder Guild 13
(July 1991): 14–16.
47. “Paisible’s Echo Flute,
Bononcini’s Flauti Eco, and Bach’s Fiauti d’Echo.” The Galpin Society Journal 45 (March
1992): 59–66.
48. “The Levashers and the
Le Vachers.” The Galpin Society
Journal 45 (March 1992): 111–13.
49. “The Bassanos’ Maker’s
Mark Revisited.” The Galpin Society
Journal 46 (1993): 114–19.
50. “Historical Recorder
Methods and ‘Authentic’ Performance.” The
Recorder Education Journal 1 (1994): 47–53.
51. (Ardal Powell with
David Lasocki) “Bach and the Flute: The
Players, The Instruments, The Music.” Early
Music 23, no. 1 (February 1995): 9–29.
52–54. “Instruction Books
and Methods for the Recorder from Around 1500 to the Present Day” (pp. 119–35),
“Professional Recorder Players I: Pre-Twentieth Century” (pp. 167–74), and
(with Anthony Rowland-Jones) “The Eighteenth-Century Recorder Concerto” (pp.
107–18). In The
55–57. See under Books, 9.
58. (with Eva Legêne) “Wie
man lernt, beim Verzieren von Händel-Sonaten mit dem Ohr des Komponisten zu
hören.” Tibia 22, no. 3 (1997):
488–503.
59. “The
60. “Die Blockflöte als
Symbol der Liebe.” ERTA Österreich
News 4, no. 2 (
61. “Die Blockflöte als
Liebhaber-Instrument vor dem 20. Jahrhundert.”
ERTA Österreich News 4, no. 3 (
62. “Fiauto, fiauto
d’echo.” In J.S. Bach, ed.
Malcolm Boyd.
63. “The Philosophy of
Baroque Ornamentation: Editorial.” Recorder
Education Journal 5 (1999): 2–5.
64. “A Short History of the
Recorder Ensemble” in Bart Spanhove, The Finishing Touch of Ensemble
Playing: A
65. “The Doubles in
Jacques Hotteterre’s Airs et brunettes (ca. 1721).” Recorder Education Journal 5 (1999):
21–52; addendum in 6 (2000): 60.
66–86. In: The New Grove
Dictionary of Music and Musicians, ed. Stanley Sadie, 2nd ed.
(London: Macmillan, 2000) (also online at: www.grovemusic.com): “Ashe, Andrew,” “Banister, John (ii),”
“Bassano [sections 1–3],” “Baston, John” (co-author with Owain Edwards), “Echo
flute,” “Flauto,” “Flautino,” “Freillon-Poncein, Jean Pierre,” “Guillemant,
Benoit” (co-author with Elizabeth Keitel), “HIER.S,” “La Riche, François,”
“Mercy, Luis,” “Moeck,” “Paisible, Jacques,” “Petri, Michala,” “Recorder,”
“Salter, Humphry,” “Schickhardt, Johann Christian” (co-author with Pippa
Drummond), “Tonguing” (co-author with Bruce Dickey), “Vetter, Michael,” and
“Woodcock, Robert.”
87. “Are There Any
‘Shoulds’ for Traverso Playing?” Traverso:
Historic Flute Newsletter 13, no. 2 (April 2001): 5–7.
88. “Die Bassanos:
Holzbläser, Instrumentenbauer und Komponisten des 16. und 17. Jahrhunderts in
89. “The Flute in Handel’s
Vocal Works.” Traverso 14, no. 2
(April 2002): 5–7.
BIBLIOGRAPHIES AND BIBLIOGRAPHIC ESSAYS
1. “A Review of Research on
the Recorder, 1985–1986.” American
Recorder 28, no. 4 (November 1987): 145–56.
2. “Ein Überblick über die
Blockflötenforschung, 1985–1987.” Tibia
13, no. 4 (1988): 237–58.
3. “The Recorder in
Print: 1987–88.” American Recorder 31, no. 1 (March
1990): 11–13, 35–42.
4. “A Bibliography of
Writings about Historic Brass Instruments, 1988–89.” Historic Brass Society Journal 2
(1990): 190–202. Italian translation as
“Gli scritti sugli ottoni d’epoca: una sistematica raccolta di saggi sugli
ottoni nel XIX secolo, apparsi a partire dal 1988. In questa prima parte,
quelli pubblicati nel 1988 e nel 1989.” I
fiati 2, no. 5 (April/May 1995): 48–51.
5. “Ein Überblick über die
Blockflötenforschung, 1988–1989.” Tibia
16, no. 4 (1991): 585–99.
6. “A Bibliography of
Writings about Historic Brass Instruments, 1989–90.” Historic Brass Society Journal 3
(1991): 23–32. Italian translation as
“Gli scritti sugli ottoni d’epoca: una sistematica raccolta di saggi sugli
ottoni nel XIX secolo, apparsi a partire dal 1988. Nella terza parte, quelli
pubblicati tra il 1989 e il 1990.” I
fiati 2, no. 7 (August/September 1995): 42–45.
7. “The Recorder in
Print: 1989–90.” American Recorder 33, no. 1 (March
1992): 15–19, 38–44.
8. “Überblick über die
Blockflötenforschung 1990.” Tibia
18, no. 1 (1993): 355–64.
9. “A Bibliography of
Writings about Historic Brass Instruments, 1990–91.” Historic Brass Society Journal 4
(1992): 12–26. Italian translation as
“Gli scritti sugli ottoni d’epoca: una sistematica raccolta di saggi sugli
ottoni nel XIX secolo, apparsi a partire dal 1988. In questa seconda parte,
quelli pubblicati tra il 1990 e il 1991.”
I fiati 2, no. 6 (June 1995): 52–56.
10. “A Bibliography of
Writings about Historic Brass Instruments, 1991–93.” Historic Brass Society Journal 5
(1993): 132–45. Italian translation as
“Gli scritti sugli ottoni d’epoca: una sistematica raccolta di saggi sugli
ottoni nel XIX secolo, apparsi a partire dal 1988. Nella quarta parte, quelli
pubblicati tra il 1991 e il 1993.” I
fiati 2, no. 8 (October/November 1995): 46–49.
11. “Ein Überblick über die Blockflötenforschung, 1991.” Tibia 19, no. 1 (1994): 1–13.
12. “The Recorder in Print
1991–92: What’s Been Written About the
Recorder in Other Publications Around the World.” American Recorder 35, no. 2 (March
1994): 5–11, 30–35.
13. “Ein Überblick über die
Blockflötenforschung, 1991.” Tibia
19, no. 1 (1994): 1–13.
14. “Ein Überblick über die
Blockflötenforschung 1992–93.” Tibia
19, no. 4 (1994): 257–74.
15. “The Recorder in Print,
1993.” American Recorder 36, no.
2 (March 1995): 9–13, 34–35.
16. “A Bibliography of
Writings about Historic Brass, 1992–94.”
Historic Brass Society Journal 6 (1994): 216–30.
17. “A Preliminary
Bibliography of Ensemble Pieces for Recorder, 16th-18th Century.” Recorder Education Journal 2 (1995):
79–85.
18. “A Bibliography of
Writings about Historical Brass Instruments, Largely 1993–95.” Historic Brass Society Journal 7
(1995): 149–67.
19. See under Books, 9.
20. “Ein Überblick über die
Blockflötenforschung 1994.” Tibia
21, no. 4 (1996): 241–51.
21. “Bibliography of
Writings About Historic Brass Instruments, 1995–96.” Historic Brass Society Journal 8
(1996): 115–23.
22. “The Recorder in Print:
1995. What’s Been Written About the
Recorder in Other Publications Around the World.” American Recorder 38, no. 2 (March
1997): 9–15.
23. “The Recorder in Print:
1996.” American Recorder 39, no.2
(March 1998): 9–14, 39.
24. “Ein Überblick über die
Blockflötenforschung 1995.” Tibia
23, no. 2 (1998): 85–91; 169–75.
25. “Handel’s Original
Recorder Music: A Bibliography.” Recorder
Education Journal 3 (1996): 38–44.
26. “Historical Flute
Bibliography, 1989–1998.” In Traverso,
Historical Flute Newsletter: The First Ten Years, 1989–98, 161–90.
27. “The Recorder in Print:
1997.” American Recorder 40, no.
3 (May 1999): 9–13, 35–36.
28. “A Bibliography of
Writings about Historic Brass Instruments, 1996–97.” Historic Brass Society Journal 9
(1997): 97–107.
29. “Estudios sobre la
flauta dulce publicados en 1995.” Revista
de flauta de pico no. 13 (1999): 17–21; no. 14 (1999): 17–22.
30. “Ein Überblick über die
Blockflötenforchung 1996.” Tibia
24, no. 3 (1999): 521–30.
31. “The Recorder in Print:
1998.” American Recorder 41, no.
3 (May 2000): 9–16, 30, 36–37.
32. “A Bibliography of
Writings about Historic Brass Instruments, 1998–99.” Historic Brass Society Journal 11
(1999): 163–74.
33. “Ein Überblick über die
Blockflötenforschung 1997: Was in anderen Publikationen aus aller Welt über die
Blockflöte geschrieben wurde.” Tibia
25, no. 3 (2000): 181–202.
34, “A Bibliography of
Writings about Historic Brass Instruments, 1999–2000.” Historic Brass Society Journal 12
(2000): 244–54.
35. “Ein Überblick über die
Blockflötenforschung 1998: Was in Publikationen aus aller Welt über die
Blockflöte geschrieben wurde.” Tibia
26, no. 2 (2001): 441–54.
36. “The Recorder in
Print: 1999. What’s Been Written about
the Recorder in Other Publications around the World.” American Recorder 47, no. 3 (May
2001): 9–16.
37. “A Bibliography of
Writings about Historic Brass Instruments, 2000–2001.” Historic Brass Society Journal 13
(2001): 210–21.
38. “The Recorder in Print
2000.” American Recorder 43, no.
3 (May 2002): 7–15.
39. “Divisions on a Ground
for the Recorder: A Bibliographic Essay.”
The Recorder Education Journal 7 (2002): 10–19.
40. “Ein Überblick über die
Blockflötenforschung 1999: Was in Publikationen aus aller Welt über die
Blockflöte geschrieben wurde.” Tibia
27, no. 3 (2002): 161–74.
OTHER ARTICLES
1. “What Kind of Editions
of 18th-Century Woodwind Music Do We Want?” Woodwind World—Brass &
Percussion 15, no. 1 (Winter 1976): 10-11, 49; reprinted in Recorder
& Music 5, no. 7 (September 1976): 223-24.
2. “Recorder Players and
I.” Early Music New
3. “Writing Well When You
Have No Time: Advice for Music
Librarians and Other Busy Persons.” Annotations: A Publication of
4. “The Third Recorder Age
of Bernhard Heiden.” The American
Recorder 30, no. 3 (August 1989): 109–12.
5. “Thoughts on
Information, Knowledge, and the Music Research Guide.” Annotations: A Publication of
6. “And You Think Your
Library Has Rules.” Cum Notis
Variorum: The Newsletter of the Music
Library,
7. “Scott Reiss and Baroque
Recorder Concertos: The Making of a
CD.” Continuo 14, no. 4 (August
1990): 2–4.
8. “19th-Century Flute and
Guitar Music on Original Instruments: An
Interview with the Boland-Dowdall Duo.” Continuo
15, no. 5 (October 1990): 2–7.
9. “What’s Up with the
Recorder Down Under?” American Recorder 31, no. 4 (December 1990): 5,
24.
10. “The Art of Becoming a
Recorder Player: Four European
Professionals in Conversation with David Lasocki.” American Recorder 32, no. 3 (September
1991): 9–13.
11. “Walter Bergmann
(1902–1988) as Editor, Author, and
12. “The Great Authenticity
Debate.” The Recorder: Journal of the Victorian Recorder Guild
14 (December 1991): 1–8.
13. See under Books, 6.
14. “The Recorder in the
17th Century: Report on the
15. “Bimbetta.”
16. “Bimbetta.” Historical Performance 7, no. 1
(Spring 1994): 11–12.
17. (David Hunter, et al.) “Music Library Association Guidelines for the
Preparation of Music Reference Works,” Notes 50, no. 4 (June 1994):
1329–38. Prepared by the Subcommittee on
Bibliographic Standards for Reference Works, Reference and Public Service
Committee, Music Library (of which I was a member for five years).
18. Obituary of Thomas
Binkley. EMA Bulletin 1995 no. 4,
p. 1.
19. “Die Blockflöte und
Crossover-Musik: Scott Reiss im Gespräch mit David Lasocki.” Tibia 20, no. 4 (1995): 595–98. English version as “Crossover and Blues on
the Recorder; Scott Reiss Interviewed by
David Lasocki.” American Recorder
37, no. 4 (September 1996): 15–16.
20. “The Several Lives of
Tom Binkley: A Tribute.” Early Music
21. “Folkers & Powell:
A Couple of Flute Makers.” Early
Music
22. “New Landscapes for the
Recorder: An Internet Conversation with
David Bellugi.” American Recorder
38, no. 1 (January 1997): 16–17.
23–24. “Improvising with
Alan and Bruce: A Memoir” (pp. 14–15) and “Tribute to Fred Morgan” (p.
29). In Recorder Education Journal
4 (1998).
25. My opinion quoted by
Ardal Powell in “Select Music Facsimiles from
26. “In Memoriam
J.M. Thomson (1926–1999).” American
Recorder 30, no.5 (November 1999): 7.
27. Translation of the
composer’s foreword for the facsimile of Louis-François Dauprat, 20 Duos for
Horns in Different Keys (Bloomington, IN: Birdalone Music, 1999).
28. “Reference.” Music Librarianship at the Turn of the
Century. Notes 56, no. 3 (March 2000): 605–10. Reprinted in Music Librarianship at the
Turn of the Century, ed. Richard Griscom and Amanda Maple, 43–48.
29. “Music Reference as a
Calling: An Essay.” Notes 56, no.
4 (June 2000): 879–93.
30. (with Lynn Waickman)
“Robert Paul Block (1942–2001).” American
Recorder 47, no. 3 (May 2001): 4; reprinted in The Recorder Magazine
21a, no. 2 (Summer 2001): 47.
PROGRAM NOTES FOR RECORDINGS
1. Jacques Hotteterre,
Premier Flûtiste Français: Suiten, Sonaten, Pièces, Brunettes. Performed by Frans Brüggen, recorder, with
Danny Bond, Ku Ebbinge, Shelley Gruskin, Bruce Haynes, Barthold and Wieland
Kuijken, Marjanne Kweksilber, Gustav Leonhardt, Oswald van Olmen, and Toyohiko
Satoh. Philips SEON 6776 002, 1977.
2. Georg Philipp
Telemann: Trios für Block- oder Traversflöte mit anderen Instrumenten = Trios
for Recorder or Transverse Flute Accompanied by Other Instruments. Performed by Frans Brüggen, recorder and
baroque flute, with Bob van Asperen; Anner Bijlsma; Paul Dombrecht; Walter van
Hauwe; Barthold, Sigiswald, and Wieland Kuijken; Gustav Leonhardt; Brian
Pollard; and Anthony Woodrow. RCA SEON
RL 30343, 1979.
3. G.F. Handel: Flute
Sonata in D (First Recording on Original Instruments) and Sonatas in G, E minor
and B minor. Performed by Peter
Harrison, baroque flute, with John Treherne, spinet, and Alastair Mitchell,
bassoon. Plant Life PLR041, ca.
1982.
4. Baroque Recorder
Concerti. Performed by Scott Reiss,
recorder, and Hesperus. Golden Apple GAC
7550, 1989.
5. Mozart: The Flute
Concertos (K. 313, 314). Performed
by Ransom Wilson, flute, with the London Symphony Orchestra, conducted by
Raymond Leppard. EMI Digital CDC 7 49099
2, 1989.
6. Händel: The Recorder
Sonatas. Performed by Dan Laurin,
recorder, with Hidemi Suzuki, cello, and Masaaki Suzuki, harpsichord and
organ. BIS CD–955, 1999.
7. Bassano: Viva l’amore
XVI–XVII secolo. Performed by the
8. Entertainments for a
Small Flute (English recorder concertos by Babell, Baston, Sammartini, and
Woodcock). Performed by Dan Laurin with
the Orchestra “Van Wassenaer,” conducted by Makato Akatsu (BIS CD–985, 2000).
9. Magi. Performed
by the Flanders Recorder Quartet and guests.
Opus 111 OPS 30–272, 2000.
10. Piracy, Baroque
Music Stolen for the Recorder. Performed
by Genevieve Lacey, recorder, and Linda Kent, harpsichord and chamber organ.
11. Baroque
Recorder Concertos. Performed by Pamela
Thorby, recorder, and Sonnerie. [
SCHOLARLY
REVIEWS OF BOOKS, SCORES, AND RECORDINGS
Ann Basart, The Sound of the Fortepiano: A Discography of Recordings on Early Pianos
(Berkeley, CA.: Fallen Leaf
Press, 1985). Early Keyboard Journal 4
(1985–86) [1987]: 64–68
Giovanni Platti, Sonata in C minor for Oboe and Basso Continuo,
ed. Gregory Hayes (New York: McGinnis & Marx, 1985); Thomas Vincent, Sonata
in A minor for Oboe and Basso Continuo, ed. George Pratt (London: Oxford
University Press, 1983); Johann Christoph Pepusch, Sonata in E-Flat for Oboe
and Basso Continuo, ed. Himie Voxman (London: Nova Music, 1983); Matthäus
Nikolas Stulick, Concerto in C minor for Oboe, Strings, and Basso Continuo,
ed. Richard Lauschmann (Hove: Nova Music, 1986); François Devienne, Three
Sonatas, Op. 71, Nos. 1-3, for Oboe and Basso Continuo, ed. David Ledet
(Monteux: Musica Rara, 1985). Notes 45,
no. 3 (March 1989): 622–25.
Raymond Meylan, The Flute, trans. Alfred Clayton (Portland,
OR: Amadeus Press, 1988); Hans-Peter Schmitz, Quantz heute (Kassel:
Bärenreiter, 1987); Antoine Mahaut, A New Method for Learning to Play the
Transverse Flute, trans. Eileen Hadidian (Bloomington: Indiana University
Press, 1989). Notes 47, no. 4
(June 1991): 1150–53. “Briefly Noted”
column (reviews of the same books). Traverso
3, no. 2 (April 1991): 3.
Eve O’Kelly, The Recorder Today (Cambridge: Cambridge
University Press, 1990); John Solum, The Early Flute (Oxford: Clarendon
Press, 1992). Notes 51, no. 1
(September 1994): 181–85.
Michael Talbot, Antonio Vivaldi: A Guide to Research (New
York: Garland, 1988). Fontes artis
musicae 42, no. 3 (July-September 1995): 288–89.
Matthew Cron and Don Smithers, A
Calendar and Comprehensive Source Catalogue of Georg Philipp Telemann’s Vocal
and Instrumental Music with Brass (Tallahassee, FL: International Trumpet
Guild, 1995). Historic Brass Society
Journal 8 (1996): 125–26.
Graham Strahle, An Early Music
Dictionary: Musical Terms from British Sources, 1500–1740 (Cambridge:
Cambridge University Press, 1995). Notes
54, no. 1 (September 1997): 68–69.
Paul Carroll, Baroque Woodwind Instruments: A Guide to their
History, Repertoire and Basic Technique (Aldershot & Brookfield, VT:
Ashgate, 1999). Notes 57, no. 2
(December 2000): 386–88.
INTERVIEWS WITH ME ABOUT MY RESEARCH
1. Malcolm Tattersall. “Profile:
David Lasocki.” The Recorder:
Journal of the Victorian Recorder Guild 12 (1990): 7–12.
2. Penelope Mathiesen. “Woodwinds and Research: An Interview with David Lasocki.” Continuo 15, no. 3 (June 1991): 8–12.
3. Marianne Mezger. “Blockflötisten dürfen tun, was sie
wollen: Ein Interview mit Dr. David
Lasocki, Musikhistoriker und Bibliothekar der Musikabteilung an der Indiana
University,
4. Ulrich Thieme and Sabine
Haase-Moeck. “David Lasocki — Forscher
in Sachen Holzblasinstrumente.” Das
Porträt. Tibia 26 no. 3 (2001):
541–47.
EDITIONS
Musica Rara,
1. Giovanni Battista
Viotti, Quartet in Bb major, Opus 22 No. 1, for flute, violin, viola, and
violoncello. (1969. MR 1168)
2. Antonio Vivaldi,
Concerto in A minor, P. 83 [RV 445], for sopranino recorder, strings, and basso
continuo. (1969. MR 1184)
3. Antonio Vivaldi,
Concerto in G minor, P. 342 [RV 439], for flute, bassoon, 2 violins, and basso
continuo. (1969. MR 1185)
4. Antonio Vivaldi,
Concerto in C minor, P. 440 [RV 441], for alto recorder, strings, and basso
continuo. (1969. MR 1203–1204)
5. Antonio Vivaldi,
Concerto in D major, P. 155 [RV 90], “Del Gardellino,” for flute, oboe, violin,
bassoon, and basso continuo. (1969. MR 1217)
6. Antonio Vivaldi,
Concerto in Bb major, P. 401 [RV 501], “La Notte,” for bassoon, strings, and
basso continuo. (1970. MR 1246)
7. Carl Stamitz, Quartet in
Bb major, Opus 19 No. 2, for clarinet, violin, viola, and violoncello. (1970.
MR 1247)
8. Jean Baptiste Bréval,
Symphonie Concertante in F major, Opus 31, for flute, bassoon, and piano
(reduction). (1970. MR 1248)
9. Antonio Vivaldi,
Concerto in D minor, F. XII/42 [RV 96], for flute, violin, bassoon, and basso continuo. (1970.
MR 1251)
10. Antonio Vivaldi,
Concerto in D major, F. XII/43 [RV 84], for flute, violin, and basso
continuo. (1970. MR 1252)
11. Johann Gottlieb
Janitsch, Sonata da camera in C major, Opus 4, for flute, violin, oboe, and
basso continuo. (1970. MR 1255)
12. (with William
Blackwell) Anton Reicha, Quintet in Eb
major, Opus 106, for horn, 2 violins, viola, and violoncello (string bass ad
lib.). (1971. MR 1260)
13. Antonio Vivaldi,
Concerto in G minor, P. 402 [RV 103], for alto recorder, oboe, and basso
continuo. (1971. MR 1504)
14. Antonio Vivaldi,
Concerto in C major, P. 78 [RV 444], for sopranino recorder, strings, and basso
continuo. (1972. MR 1529)
15. Franz Danzi, Quartet in
D major, Opus 56 No. 1, for flute, violin, viola, and violoncello. (1972.
MR 1531)
16. Ignace Pleyel, Quartet
in F major, Opus 19 No. 2, for flute, violin, viola, and violoncello. (1972.
MR 1536)
17. Alessandro Besozzi,
Concerto in G major for oboe, strings, and basso continuo. (1972.
MR 1556)
18. Johann Joachim Quantz,
Concerto in D minor for flute, strings, and basso continuo. (1973.
MR 1567)
19. Ignace Pleyel,
Symphonie Concertante in F major for flute, oboe, bassoon, horn, and piano
(reduction). (1973. MR 1601)
20. Antonio Vivaldi, Sonata
in E minor (
21. Antonio Vivaldi, Trio
Sonata in G minor (
22. Carl Philipp Emanuel
Bach, Concerto in G major, Wq 169, for flute, strings, and basso continuo. (1973.
MR 1623)
23. Antonio Vivaldi,
Concerto in G major, P. 105 [RV 101], for alto recorder, oboe, violin, bassoon,
and basso continuo. (1973. MR 1636)
24. Antonio Vivaldi,
Concerto in D minor, P. 302 [RV 535], for 2 oboes, strings, and basso
continuo. (1973. MR 1641)
25. Antonio Vivaldi,
Concerto in C minor (
26. François Couperin,
Concerts royaux Nos. 1–4 for flute or oboe or violin and basso continuo (second
melody instrument and viola da gamba ad lib.).
(1974. MR 1648)
27. Antonio Vivaldi,
Concerto in G minor, P. 403 [RV 105], for alto recorder, oboe, violin, bassoon,
and basso continuo. (1974. MR 1635)
28. Johann Christoph
Pepusch, Six Concertos, Opus 8, for 2 alto recorders, 2 flutes or oboes or
violins, and basso continuo. (1974. MR 1659a-f)
29. Arcangelo Corelli,
Sonata in C major, Opus 5 No. 3, for alto recorder and basso continuo (arr.
anon. 18th-century Master). (1974. MR 1664)
30. Antonio Vivaldi,
Concerto in G major, P. 129 [RV 545], for oboe, bassoon, strings, and basso
continuo. (1974. MR 1665)
31. François Devienne,
Sinfonie Concertante in G major for 2 flutes and piano (reduction). (1975.
MR 1695)
32. Jacques Hotteterre le
Romain, Six Trio Sonatas, Opus 3, for 2 alto recorders and basso continuo. (1975.
MR 1806–1807)
33. Johann Ladislaus
Dussek, Trio in F minor, Opus 65, for flute, violoncello, and piano. (1975.
MR 1808)
34. Johann Joachim Quantz,
Trio Sonata in C minor for flute, oboe, and basso continuo. (1975.
MR 1815)
35. Carl Philipp Emanuel
Bach, Concerto in Bb major, Wq 167, for flute, strings, and basso
continuo. (1975. MR 1827)
36. François Couperin, Les
goûts réünis Nos. 5–14 for flute or oboe or violin and basso continuo. (1975.
MR 1832)
37. Johann Christian
Schickhardt, Six Concertos, Opus 22, for 2 alto recorders, oboe, and basso
continuo. (1975. MR 1835–1840)
38. Johann Melchior Molter,
Concerto in G major for flute, strings, and basso continuo. (1976.
MR 1843)
Faber Music,
39. (with Betty Bang) Jean-Pierre Freillon-Poncein and Jacques
Hotteterre le Romain, Preludes for solo treble recorder. (1969.
F0207) Also published by G.
40. (with Walter
Bergmann) George Frideric Handel, The
Complete Sonatas for treble recorder and basso continuo. (1979.
F0566)
41. George Frideric Handel,
The Complete Sonatas for flute and basso continuo. (1983.
F0663)
Hargail Music Press,
42. Arcangelo Corelli,
Sonata in F major, Opus 5 No. 4, for alto recorder and basso continuo (arr.
anon. 18th-century Master). (1971. H–101)
43. Daniel Demoivre, Suite
in Bb for bass [originally alto] recorder and basso continuo. (1972.
H–103)
44. Daniel Demoivre, Suite
in E minor for bass [originally alto] recorder and basso continuo. (1972.
H–104)
45. William Babell,
Concerto in C major, Opus 3 No. 1, for soprano recorder and piano
(reduction). (1975. H–128)
46. William Williams, Trio
Sonata in C major for 2 alto recorders and basso continuo. (1977.
H–140)
47. Antonio Vivaldi,
Concerto in D major, P. 198 [RV 92], for alto recorder, violin, and basso
continuo. (1977. H–142)
48. Daniel Purcell, Sonata
in C major for alto recorder and basso continuo. (1977.
H–143)
49. Nicolo Francesco Haym,
Trio Sonata in G minor for 2 alto recorders and basso continuo. (1978.
H–144)
50. Servaas de Konink, Trio
Sonata in G minor for 2 alto recorders and basso continuo. (1978.
H–145)
American Recorder Society Editions, Galaxy Music Corporation,
51. Johann Christian
Schickhardt, Sonata in F minor, Opus 17 No. 11, for alto recorder and basso
continuo. (1978. ARS No. 86; 1.2839.3)
Hermann Moeck Verlag,
52. Charles Buterne, Sonata
in C minor, Opus 2 No. 6, for 2 alto recorders.
(1976. Z.f.s. 443/444)
Zen-On Music Company,
53. Raphael Courteville,
Sonata in C major for alto recorder and basso continuo. (1978.
R–146)
54. Gottfried Keller, Trio
Sonata No. 5 in C major for 2 alto recorders and basso continuo. (1978.
R–147)
55. Charles Buterne, Sonata
in C minor for alto recorder and basso continuo. (1978.
R–148)
56. William Babell,
Concerto in D minor, Opus 3 No. 3, for soprano recorder and piano
(reduction). (1978. R–149)
57. John Baston, Concerto
No. 5 in C major for soprano recorder and piano (reduction). (1978.
R–150)
58. Jean-Pierre
Freillon-Poncein, Passacaille and 2 Menuets for alto recorder and basso
continuo. (1978. R–152)
59. Francis Dieupart,
Concerto in A minor for soprano recorder and piano (reduction). (1979.
R–154)
60. Giovanni Battista
Riccio, Canzon a una flautin, for tenor recorder and basso continuo; Canzona
con il tremolo, “La Grimaneta,” for tenor recorder, dulcian, and basso
continuo. (1980. R–157)
61. Jean-Baptiste Loeillet,
Sonata in F major, Opus 3 No. 8, for alto recorder and basso continuo. (1980.
R–158)
62. Benedetto Marcello,
Ciacona, Opus 2 No. 12, for alto recorder and basso continuo. (1980.
R–159)
63. Gottfried Finger, Trio
Sonata in G minor, Opus 6 No. 2, for 2 alto recorders and basso continuo. (1980.
R–160)
64. Gottfried Keller, Trio
Sonata No. 3 in G minor for 2 alto recorders and basso continuo. (1981.
R–163)
Nova Music,
65. George Frideric Handel,
The Three Authentic Sonatas for oboe and basso continuo. (1979.
N.M. 100)
66. Gottfried Keller,
Sonata in G major for 2 treble recorders, 2 oboes or violins, and basso
continuo. (1979. N.M. 101)
67. Arcangelo Corelli, Trio
Sonata in D minor for 2 treble recorders and basso continuo, arranged by Johann
Christian Schickhardt (and David Lasocki) from the Concerto Grosso in C minor,
Opus 6 No. 3. (1979. N.M. 102)
68. Johann Joachim Quantz,
Trio Sonata in G major, K. 45, for oboe, bassoon or violoncello, and basso
continuo. (1979. N.M. 103)
69. Johann Christian
Schickhardt, Sonata in G minor, Opus 2 No. 5, for oboe and basso continuo. (1979.
N.M. 106)
70. Johann Christian
Schickhardt, Variations on La Folia, Opus 6 No. 6, for 2 treble recorders and
basso continuo. (1979. N.M. 107)
71. Charles Delusse, 12
Caprices for flute alone. (1979. N.M. 111)
72. Jacques Hotteterre le
Romain, Suite in D major, Opus 2 No. 1, for flute or oboe or violin or treble
viol and basso continuo. (1980. N.M. 113)
73. Carl Philipp Emanuel
Bach, Sonata in Bb major, Wq. 161/2, for flute and obbligato harpsichord. (1980.
N.M. 116)
74. Francesco Barsanti,
Sonata in C minor for treble recorder and basso continuo. (1980.
N.M. 118)
75. Paolo Benedetto
Bellinzani, Sonatas in C minor, Opus 3 No. 8, and Bb major, Opus 3 No. 9, for
treble recorder and basso continuo. (1980. N.M. 120)
76. William Babell,
Concerto in G major, Opus 3 No. 4, for descant recorder, strings, and basso
continuo. (1980. N.M. 122)
77. Paolo Benedetto
Bellinzani, Sonata in D minor, Opus 3 No. 12, for treble recorder and basso
continuo. (1980. N.M. 123)
78. (with R.P. Block) Antonio Vivaldi, Sonata in G minor (
79. Johann Joachim Quantz,
Trio Sonata in E minor, K. 28, for 2 flutes and basso continuo. (1980.
N.M. 133)
80. Jacques Hotteterre le
Romain, Suite in G major, Opus 2 No. 2, for flute or oboe or violin or treble
viol and basso continuo. (1981. N.M. 134)
81. Alessandro Marcello,
Concerto di flauti, for descant, treble, tenor, and bass recorders, strings,
and basso continuo. (1980. N.M. 135)
82. Johann Joachim Quantz,
Trio Sonata in C minor, K. 33, for 2 flutes and basso continuo. (1980.
N.M. 138)
83. Joseph Bodin de
Boismortier, Sonata in G major, Opus 44 No. 3, for flute and basso
continuo. (1981. N.M. 143)
84. Jacques Hotteterre le
Romain, Suite in E minor, Opus 2 No. 3, for flute or oboe or violin or treble
viol and basso continuo. (1981. N.M. 146)
85. Jacques Hotteterre le
Romain, Ornamented Airs and Brunettes for flute solo (basso continuo ad
lib.). (1980. N.M. 150)
86. Gottfried Keller, Trio
Sonata in Bb major for treble recorder or violin, oboe or violin, and basso
continuo. (1981. N.M. 153)
87. Jacques Hotteterre le
Romain, 6 Trio Sonatas, Opus 3, for 2 flutes or oboes or violins and basso
continuo. (1981. N.M. 156)
88. Jacques Hotteterre le
Romain, Suite in F major, Opus 2 No. 1, for treble recorder and basso
continuo. (1981. N.M. 162)
89. Jacques Hotteterre le
Romain, Suite in Bb major, Opus 2 No. 2, for treble recorder and basso
continuo. (1981. N.M. 168)
90. Jacques Hotteterre le
Romain, Suite in G minor, Opus 2 No. 3, for treble recorder and basso
continuo. (1981. N.M. 171)
91. Johann Joachim Quantz,
Sonata in D major, K. 46, and Sonatina in D major, for 3 flutes. (1982.
N.M. 177)
92. James Paisible, Sonata
in Eb major for treble recorder and basso continuo. (1982.
N.M. 182)
93. Giuseppe Sammartini,
Sonata in G major for treble recorder and basso continuo. (1981.
N.M. 183)
94. James Paisible, Sonata
in D major for treble recorder and basso continuo. (1983.
N.M. 187)
95. James Paisible, Suite
in C minor for 2 treble recorders and basso continuo. (1982.
N.M. 191)
96. More Preludes and
Voluntaries (
97. Gottfried Keller,
Sonata in C major for 2 treble recorders, 2 oboes or violins, and basso
continuo. (1981. N.M. 196)
98. Johann Joachim Quantz,
6 Sonatas, Opus 2, for 2 oboes.
(1982. N.M. 207)
Earlham Press,
99. James Paisible, Sonata
in D minor for treble recorder and basso continuo. (1982.
E.P. 1002)
Anglo-American Music Publishers, Sanderstead,
100. Johann Josef Fux, Suite in F for flute or alto recorder, violin, horn and basso continuo. (1984. 1015)