This list is approximately in order of international audition popularity at the time of writing, and there is no reason to expect this list to change very much in the forseeable future.

It goes without saying that the Top Twenty-eight should be thorougly learned - not just for the upcoming audition, but as a future investment: to have these pieces tucked in your belt for an unexpected audition is to be well prepared.

This Guide was prepared specifically for THE STUDIO, a one year residential course for post-graduate students in Hastingleigh, Kent, England with Trevor Wye.

An information leaflet can be obtained by writing to: THE STUDIO, Tamley Cottage, Hastingleigh, Ashford, Kent, TN25 5HW, England

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THE STUDIO
Bach - Flute Sonatas
Bach, J.S.: born in Eisenach, Thuringia, 1675 - died Leipzig, 1750.

Works containing a solo flute part:

Sonata in E Minor:
Flute and continuo. BWV 1034. Composed c. 1720-1726, in Leipzig, the same time as featured flute parts begin to appear in Bach cantatas. There are seven manuscript copies, three of particular note, one in Leipzig and two in the SPK Berlin. The other four are probably copies of these three.

Sonata in E Major:
Flute and continuo. BWV 1035. Composed c. 1739. Probably the last of his solos for flute. Written for Michael Fredersdorf, flute player and valet in Frederick's Court at Potsdam and reflects the galant taste prevalent at the Court. This was the last of Bach's surviving solos for the flute.

Sonata in B Minor:
Flute and harpsichord. BWV 1030. Composed c. 1736. Entirely or partially based on an earlier Sonata in G minor, BWV 1030.

Sonata in G Minor:
Flute and harpsichord. BWV 1030. The earlier version of the later B Minor Sonata and not to be confused with BWV 1020, the other G Minor Sonata. The low tessitura suggests the use of a wide bore flute with a powerful low register and direct tone, possibly those by J.J. Schuchart.

Sonata in A Major:
Flute and obligato harpsichord. BWV 1032. Composed c. 1736, in Leipzig. Similar in construction to BWV 1031, itself almost certainly modelled on QV2:18 (Quantz). Probably arranged from an earlier version for flute, violin and bass, or a concerto in C. The autograph has been cut along its bottom edge so that there are about 45-48 bars missing in the first movement. The missing bars have been reconstructed by various editors.

Sonata in C Major:
Flute and a mixture of obligato (Minuet 1) and continuo. BWV 1033. Composed c. 1731. The authorship is not generally in doubt, though some believe that the piece may be the work of CPE with corrections and/or additions by his father; what is in doubt is the form of the composition. Perhaps this was originally a work for solo flute, a companion piece to the Solo in A minor and only later was the continuo/obligato part added. Perhaps, too, the original flute part of Minuet 1 is to be found in the RH of the harpsichord part which, though in C, only descends to d, the lowest note of the traverso. The continuo part seems to be unnecessary as the flute 'solo' contains all the harmony and rhythm required - except the slow movement.

Sonata in Eb Major:
Flute and harpsichord. BWV 1031 (Attributed to J.S.) Composed 1730-1734 in Leipzig. Recent information: There exists a sonata by Quantz in Eb, QV2:18, similar in style and structure, it has lead scholars to suggest that either Quantz composed both pieces, or that Bach modelled his Sonata in Eb on that of Quantz. Since BWV 1031 is the more complex of the two, it seems reasonable to assume that QV2:18 is the earlier of the two. If Quantz is the composer of BWV 1031, then Bach may have heard it in Dresden and copied it out for his own use, perhaps for a performance by the Collegium Musicum. The two sonatas are so similar that it is beyond coincidence. Similarities: construction, rhythm, thematic material, and roles assumed by the instruments, and the range of compass which is not found in any other Bach solo flute composition. On comparing the two works, the similarities between the two are astonishing. The style of BWV 1031 is consistent with that of Quantz. Yet they could still be the work of two composers: the one, Bach, emulating the other, Quantz.

Sonata in G Minor:
Flute and Harpsichord. BWV 1020. Very similar in style to BWV 1031 which suggests that the two works are by the same composer. The style of composition is also consistent with that of Quantz. CPE Bach's copyist, Michel, attributed the work to CPE Bach and, as Bach may have emulated Quantz in BWV 1031, so CPE may have emulated his father in BWV 1020.

Solo for Flute in A Minor (Partita):
BWV 1013. Probably composed between 1717-1724 in Dresden, Cothen or Leipzig. Possibly composed for the French flutist, Pierre-Gabriel Buffardin, (1690-1768), whom Bach met first in perhaps 1717. Possibly also written for the Dresden flutist, Johann Blockwitz. If seen against the contemporary German music for flute, this work presents no particular difficulty to a good player and the nonsence perpetuated that, 'one has to spend a lifetime studying this masterpiece before understanding it...' is teacher gobbledygook.

Trio Sonata in G Major:
2 flutes and continuo. Composed 1717-23 BWV 1027

Trio Sonata in G Major:
Flute, violin, and continuo. Composed 1717-23.

Brandenburg Concerto No. 4 in G Major:
Violin and 2 recorders or flutes, strings and continuo. Written for the Margrave of Brandenburg in 1721.

Brandenburg concerto No. 5 in D Major:
Harpsichord, flute, and violin, strings and continuo. Written for the Margrave of Brandenburg in 1721.

Trio Sonata in C Minor:
From The Musical Offering. Flute, vioin, continuo. BWV 1079.

Ouverture in h moll (Suite in b Minor):
Flute, strings and continuo. BWV 1067. Possibly composed c. 1738/39 in Leipzig, though some believe that it could have been composed as early as 1721. The source is a set of parts in DS, Berlin, amongst which are autograph parts of the solo flute and viola.

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THE STUDIO
BAROQUERY IN A NUTSHELL

Baroque music is about the principle of conflict - the creation of tension and its release.

Nobody invented rules for us to follow: the 'rules' are simply a record of current 18th century performing practice.

Music written before 1800 requires interpretation, Many of the signs and symbols in this music were clear to the 18th century performer, a common agreement between composer and player. This accord has to be rediscovered before a satisfactory performance can be attempted.

After 1800, the signs need little interpretation; players played the music literally.

Approach baroque music with the following considerations, as if looking at it through a window upon which this guide has been etched. These rules should be memorised.

Remember YOU CAN'T BE A DUCK UNTIL YOU LEARN HOW TO QUACK!

1. LENGTH OF THE SOUND. Sounds made by, for example, a harpsichord and an oboe differ in length: sometimes a note played by a loud instrument is played shorter to leave room to hear the accompanying passage.

Small silences are important before consonants - strong notes - they help to accent. Explore tiny silences in performance, especially in French music. These silences are referred to as articulation silences.

2. THE RULE OF THE BAR LINE and precedence of beats.

Strong and weak beats had starting words, ie; Noble - the strong beat, and Vile - the weak beat. These initials became the bowing signs for stringed instruments. But there are exceptions:

a) Exceptional accents put in by the composer.
b) Harmonic considerations - a dissonance is accented even when it is on the weak beat of the bar.
c) A rhythmic dance where a long note follows a short note especially in 3/4 time, ie:

These exceptions are musically obvious, aren't they?

3. ARTICULATION: players used different syllables to vary; the rhythm. A series of notes of the same value are usually played unequally (inegale), except;

a) repeated notes,
b) Notes with dots over them,and
c) Written ornaments.

d) A slur occurring after inegale.
4. DOTTED NOTES. CPE BACH wrote that 'the first should be longer, the second shorter - the exact proportion to be determined by the character of the music. The reverse rhythm is the reverse rule'.

MOZART said of CPE BACH that he was "the greatest teacher that ever was". CPE BACH said, 'The appoggiatura is the most important ornament: it creates tension and release'.

Appoggiatura, (French: Port de viox) from appoggiare, (Italian) - to lean upon. An appogiatura is always slurred to it's resolution: a diminuendo is essential from one to the other.

RHYTHM in MUSIC GENERALLY

Italian Music; everything is usually carefully notated.
French Music: It may be written evenly, but the right rhythm has to be interpreted. Degrees of inegale can vary a lot.

This Guide was prepared specifically for THE STUDIO, a one year residential course for post-graduate students in Hastingleigh, Kent, England with Trevor Wye.

An information leaflet can be obtained by writing to: THE STUDIO, Tamley Cottage, Hastingleigh, Ashford, Kent, TN25 5HW, England

Return to the Trevor Wye Corner

The Intonation of the Modern Flute

Some years ago, a flutist asked his piano tuner to call to correct a flat C sharp on his piano. After the tuner had complied, the flutist complained that it was still out of tune. The tuner was summoned once more and with scepticism, re-tuned the C sharp. The flutist complained again which prompted the tuner to ask 'What are you comparing the C sharp with?' "My flute, of course", the flutist replied.

Flutists rarely suspect that their flutes can be wrong. 'Surely the manufacturers must know what they are doing, especially so since these flutes are being played by the leading players of the country'!

Over the past few years, the name 'Cooper's Scale' has entered our vocabulary. To show what changes have been made to the flute since the late 50's, it is necessary for us to go back to the days of Theobold Boehm. When Boehm designed his flute in 1847, he also devised a method by which the 'scale', or hole positions could be calculated with great accuracy. This same method was also used for calculating the correct positions for the frets on stringed instruments such as the guitar.

In the mid 19th century, there was no standard pitch such as the A=440 widely recognised today. The most common pitch in Europe was A=435 though the pitch in England was A=452. The great flute makers of this time, Rudall Carte, Louis Lot, Lebret and others, made excellent flutes to this pitch which -though modified - are still in use. At the turn of the century, new makers appeared on the scene in the USA and it seems as though they copied the existing 'scales' (tone hole positions) used by the great European makers. And why not? Louis Lot flutes, for example were widely recognised as the best money could buy. During the early part of this century, the standard pitch began to rise until, in the '30's there was international agreement that the pitch worldwide, should be A-440.

To return to the manufacturers: as the pitch rose first to A=438 and finally to A=440, the flute makers - responding to the complaints of players about flat flutes - shortened the head joints on their instruments without changing the relative position of the holes, one to another. This has the effect of raising the pitch of the left hand notes too much without raising the right hand notes enough! This may explain why flutists to this day complain that the C sharp is too sharp, for example, and that the low notes are too flat. The scale is too long to be played comfortably at A=440.

Obviously, different makers responded to their advisors - the players of the day - in differnt ways, but the principal is the same.

When players complained that the foot joint notes were too flat, the clever manufacturer - (understanding almost nothing of scales!) - shortened the foot. This has the effect of raising only the low C, C sharp, D, and Eb. The equivalent action on a fretted instrument would be cutting out a section of the fingerboard and gluing the two pieces back together!

Perhaps other players complained of sharp, or even flat top notes. So, the manufacturer again obliges by moving the tone holes to help these notes and the performer, a foolish thing to do: it can correct a third octave note, but alters the pitch of two notes in the middle and lower registers. The flute can only be worse after such treatment. Perhaps each maker, aware of changes and claimed 'improvements' to the scale by their competitors, copied these defects and 'improved' them with resutant chaos. It is small wonder that flutists are not renowned for good intonation! Let us also remember, though, some excellent flutists of the past who, in spite of the anomalies of their instruments, have succeeded in playing in tune.

A curious fact should be mentioned here. After Boehm had introduced his flute of 1847 - the one we all play today - the English performers began to make keywork or fingering 'improvements' both to Boehm's flute and to the old 'simple system' eight keyed flutes. More than that, they began to invent entirely new key systems, some of which have survived to the present day! [FOOTNOTE: the author still performs regularly on a Radcliffe Systen flute made in London in the 1920s]. This seems to be a peculiarly English activity still carried on to the present day. Other countries' makers have experimented in different aspects of flute design , but is is rare for performers to do so. This fact has often been commented upon by others around the world.

Back to our story: in the early 1960s, Albert Cooper, at that time an employee of Rudall Carte and Co., was dissatisfied with the current flute scales, and began to experiment with new tone hole positions. He was also of the (correct) opinion that open hole flutes should have a different scale to closed hole flutes. His experiments were done by calculation. At the same time Elmer Cole, (still principal flute at the English National Opera today!) also recalculated Boehm's 'schema'- his method for determining the correct position of the tone holes - and was also able to check out these experiments as a performer. William Bennett was also dissatisfied with the 'scale' of his old Louis Lot. He solved the intonation problems by simply moving the holes according to the dictates of his excellent ears. Of course, these three persons, and others such as Richard Lee who were doing the same thing, talked freely to each other about their experiments, unlike the US where such talk would be regarded as of commercial interest.

In 1959, Albert Cooper left Rudall and Carte to set up on his own, making flutes with a sharper scale. Gradually, as his flutes became better known, people began to take an interest. Bennett, Cole, Lee and Cooper all agreed on the same principle, that the flutes currently being manufactured were made on a scale of about A=435, whilst performers were trying to play these flutes at A=440! The scale was too long.

If the reader's knowledge of scales and of acoustics is scant I will explain the concept of 'scales'. Imagine an instrument consisting of a piccolo joined on to the body of a flute, which in turn is joined to the body of a bass flute. If you were to move your eyes from the foot end of the bass flute towards the piccolo head joint you would notice that the holes become gradually closer together. This principle of the holes becoming closer together is most important to the understanding of what is to follow. If the holes on all woodwind instruments - and similarly the frets on string instruments - were an equal distance apart, then a piccolo would simply be a flute with a very short headpiece! It follows that an alto flute would be an ordinary C flute with a much longer headjoint!

Therefore, if the pitch of an instrument is to rise, the holes must be moved closer together or to put it another way, the scale lenght must contract. Of course, if you wish to make a flute with a much sharper scale, on e so sharp that the A on this flute corresponded to A sharp on a concert pitched flute (one made to A=440 ), then your new flute would be a semitone sharp and, unless the part is transposed, this flute would be useless for performance with others. (Many flutes were made in this way earlier this century and are known as 'sharp pitched'instruments, though they are not exactly a semitone sharp). If you were to pull out the headpiece to lower the A by a semitone, you would soon discover that the relationship of all other notes to A is wrong.

Before reading any further it would helpful for you, the reader, to pause and take out your flute and pull out the head as far as it will go without its falling out. You will soon discover that the scale is decidedly strange. Starting from low C, the scale becomes progressively flatter as you ascend. Compare the octaves, low C to upper C, and low C sharp to upper C sharp. A moments reflection must establish beyond all doubt, that a flute can be made to play accurately at only one pitch. Other slight pitch changes can be made, depending on the skill of the performer.

I first became interested in flute making in the '60's, largely as a result of meeting Messrs. Bennett, Cole and Cooper, and as a aresult, tuned my flute to a new scale - what we called the 'Cooper's Scale' of that time.,. I was fairly satisfied with the figures arrived at, but decided to set up a practical experiment to prove the theory. My scepticism arose from discovering that flutists - like all artists - will readily 'prove' that a note is sharp or flat by making small, almost undetectable adjustments to their lips. What was needed was a machine to blow the flute: one which could make no such alterations and which had no artistic temperament! This machine was duly set up using a borrowed school laboratory vacuum pump (plugged in the mains reverse), an air reservoir, a simple on-off valve, and a flute strapped to an 'L' shaped piece of wood on which were mounted plasticene (playdo) lips. Through the generosity of the late Eric McGavin of Boosey & Hawkes Ltd., I obtained some flute tubes with holes already in place. In one plain tube, I cut oval shaped holes in approximately the correct position of the expected note and mounted patches with tone holes attached cut from another flute tube, on to this tube. By using some thick grease to prevent air leaks, the tone holes were capable of being moved short distances up and down the tube thereby varying the pitch of the note. To visualise this more clearly, stretch out your left arm. Place your right hand on your left arm and imagine a tone hole sitting on the center of the back of your right hand. Slide your hand up and down your left arm; this is how the tone holes (saddles) were moved according to the pitch required.

In any form of test, one should ask, 'Who tested the tester?' You, the reader, might wish to measure a piece of paper, for example, but how can you be sure that the ruler is itself accurate? Before trusting my ears, I obtained a two octave signal generator with switched semitones, (a completely new invention in the middle sixties!), together with a chromatic set of tuning forks with which to check and adjust (with capacitors) the tuning machine. I was taking no chances.

The experiment was set up and after some initial difficulty in getting the mechanical player - known later as an 'Automatic Trevor' - to make a real flute tone, the tone holes on their patches were slid up and down until they matched the notes on the tuning machine. The tone holes were tied down and their distances from the end of the flute were measured using a steel rule and vernier gauge. The resulting figures were compared with 'Cooper's Scale' as supplied by Messrs. Bennett and Cole.

The figures were very close - so close, in fact, that when one compared this scale with the flutes currently being manufactured in Europe and the U.S.A., there was a most dramatic difference and a very reasonable basis on which to begin making, and tuning flutes. You might ask why it was not 100% accurate, but remember that each player has his own personal embouchure which means that some players cover a little more or less, of the mouth hole which in turn flattens or sharpens the notes - but not uniformly. The left hand notes A, A sharp, B, C and C sharp are progressively sharpened by a more open embouchure, Further, each player is not consistent; they cover more or less of the hole each day as the mood takes them. Some change the amount of covering depending on the octave and air pressure. Therefore, an absolutely 'perfect' scale could be built for one person and for one occasion.....perhaps at one temperature!

But we must be practical. In orchestral work the pitch is constantly shifting and it has to be flexible, according to the key, the temperature, and the mechanical curiosities of our instrument design, as well as an open, watchful ear for the other players - not to mention the condition of the liver of performer.

The Cooper's Scale was, then, as far as could be ascertained by this experiment, a good basis on which to construct, and tune, flutes. Over the next ten years I tuned about 110 flutes to this scale occasionally making small adjustments to it in the light of criticism and suggestions from colleagues. I had hoped that in doing this I might persuade the great flute makers to construct new flutes with a correct scale in the first place. That was my hope.

During this time I saw a flute made by an English maker which had engraved upon the socket of the head three lines, marked 440, 442, and 444. (!) The purchaser was assured that this flute would play at three different pitches. That a maker should peddle this kind of drivel, beggars belief.

One US maker expressed anger at my having 'butchered' their craftsmanship. My reply was, 'If you had done your job properly in the first instance, 'butchery' would have been unecessary!

A few years ago, Albert Cooper addressed a gathering of the world's flutists in the United States on the subject of flute tuning. The result was that one of the two flute making giants in the U.S.A. soon began offering flutes made to his scale. I understand that since that time they have made more flutes to Cooper's scale than to their own 'traditional' scale. The other major maker refused to alter the scale with the result that sales fell to a point where the company was in serious financial trouble. This maker finally capitulated, later offering a flutes built to a 'new scale' and, since then, their fortunes have improved.

Why don't all makers change now that the facts are known? The answer is probably pride. It must be galling to a famous maker to have to admit that they have been wrong for 60 years during which time they have produced thousands of flutes. (It might encourage the US national pastime of legal redress!). It may also be true that insufficient pressure has been exerted on the makers by the players themselves. A very skilled player, given an out of tune flute, will play it in tune and, because he has grown accustomed to its irregularities, will soon assert that the scale of the instrument is correct!. It does seem regretable that the makers don't swallow their pride and 'adjust' their scale for the benefit of the large mass of flute players who are not so gifted. There are exceptions, of course.

The Boosey & Hawkes Group, in association with Albert Cooper, have been manufacturing their entire range, including student and beginner flutes to this scale for some time. They are also manufacturing their head pieces to Albert Cooper's design. In the U.S.A., Verne Q. Powell offers a Cooper Scale flute as do several small companies. Brannen Brothers offer a Cooper's Scale flute made in association with Albert Cooper. Altus of Japan, however are far ahead of the field in my opinion. They offer a flute to Bennett's latest scale which to my ears is as near perfect as it is likely to be. I have my Lot tuned to this scale. Altus also make Jupiter flutes for sstudents to this scale. Some of the private US makers, Almeida, Jack Moors and Arista also make flutes to good scales. The majority of the Japanese don't. Their scales aren't bad, they could simply be much better.

The differences in the new (Cooper's or Bennett's) scale is hardly a small one and can clearly be seen by the expert naked eye.

A flute that is properly in tune enables the beginner and the young student to get on with the practicalities of music making without having to do battle with an imperfect instrument. After all, a pianist doesn't have to cope with intonation difficulties. Neither, within reason, should a flutist. It's up to each and every one of us to persuade the makers to make what we want, not what they think we should have.

Now for some practical advice. The universally admired Yamaha - and they do make good beginners flutes -can be considerably improved by pulling the headjoint out from its socket by about 3/8 of an inch to conform with the normal flute length. (Why the heads are so short, I don't know.) Indeed some players would advocate pulling it out further than this. The headjoint on these flutes is and if played pushed right in, and tuned with a piano, the player is forced to 'turn in', producing a small, squashed tone. Measure the flute against any other make of flute and you will see the difference. A further improvement can be gained by placing a little plasticene in the C sharp hole (L.H.) on the side nearest the headjoint, which will flatten this otherwise very sharp note [FOOTNOTE: Further advice on this subject can be found in Practice Book for the Flute, Vol. Four - Intonation]. The C naturel next to it is flat and can't be changed without a knowledge of metalwork and a sharp saw!

Other flutes: most flutes can be improved by flattening the C sharp and pulling out the foot joint. Before enthusiastically filling your flutes with plasticene, try the experiments on pp 16-17 in Practice Book Four. Generally speaking, all older flutes have a sharp C sharp, C naturel, and sometimes the A sharp in the left hand. Flatten them with plasticene by the method described above, and, if you are satisfied, make the job more permanent with fibreglass paste, or modelling paste. (Visit your local model making shop). You will find that the head can now be pushed further in to raise up the lowest notes a little. Sadly, there is no simple solution to sharpening an already flat low note. Open hole flutes do offer extra possibilities: the open hole has a sharpening effect on the hole beneath it, therefore, a piece of scotch tape over the finger hole will flatten it that note.

Many of today's manufacturers continue to make flutes which must be considered out of tune no matter to what school or style of flute playing one is attached. Pride, ignorance and prejudice are the only barriers to change. Some makers have produced their own 'scale' which goes under different titles, but there can only be one 'equal temperament'.

The story doesn't end there. Players, having equipped themselves with a decent in-tune flute, should stop dancing around the concert platform and learn to properly control the pitch of notes when playing loudly and softly, one of the worst defects of the modern player. But that is another story.

The history of equal temperament should be re-written to add that, in the 1980's, flute makers finally succumbed to a movement reputed to have first been invented 5000 years ago by the Chinese.

As a Greek philosopher remarked 2,000 years ago:

• Anonymous Master of Breslau
  Sonata 3 rec (3fl cont) - Schott

• Arne, T
  Trio sonata op. 3. 2fl cont - Peters
  Sonata No. 4. 2fl cont - Peters

• Aeschbacher, W
  Trio. fl vla cont - Peters

• Anet, J
  Sonata No. 1, 2fl cont - Siecle Musicale

• Bach CPE
  Trio in F. vla bsn, cont - IMC
  Trio Sonata E maj. 2fl cont - Zimmermann
  D maj. fl vln cont - Moeck
  A maj. fl vln cont - Moeck
  d min - "
  C maj - "
  C maj - "
  C maj - Ricordi
  d min - "
  a min - "
  b min - Zimmermann
  Bb maj - Peters
  C maj - Barenreiter
  C maj - "
  G maj - Broekmenas
  F maj bass fl vla (bsn) cont - Schott
  Six sonatas ob (cl)bass cont - "
  Trio NO. 1 in D major. fl clt (vla) p - IMC
  Trio No. 2 in a minor. fl (vla) clt p - "
  Trio No. 3 in G major. fl (vla) clt p - "

• Bach, JS
  Trio Sonata in G maj. fl vln cont - Zimmermann
  Trio Sonata in c minor. Musical Offering fl vln cont - Breitkopf
  Trio Sonata in G. 2fl cont - Barenreiter
  Trio Sonata in G. 2fl cont Bb: 2fl cont - Peters

• Bach, WF
  3 Trios D maj 2fl cont - Breitkopf
  D maj 2fl cont - "
  a min 2fl cont - "
  Trio No. 2 D maj 2fl vc - Belwin
  Sonata in D maj. 2fl cont - Zimmermann
  Sonata in Bb maj. 2fl vln cont - IMC
  Sonata in Eb maj. 2fl cont - Andraud

• Bach, JCF
  Sonata in C maj. fl ob cont - Andraud
  Sonata in A maj. fl vln cont - Sikorski
  Sonata in C maj. fl vln harps - Kistner
  Quintets in Eb + D maj. fl ob vln cont - Nagels

• Bach, JC
  Sextet in C 2ob, vln, vc, cont - Musica Rara
  Quartet in C op 8 no.1 fl vln vla vc - "
  Quintet in D fl ob vln vc harps - Schott
  Divertimento fl ob p - Andraud

• Barre, M de la
  Sonata No. 5. 2fl (2 ob) cont - Peters

• Beecke, I von
  Quintet fl ob vln vla vc - Mucler

• Bertali
  Sonatella 5rec (5fl) cont - Schott
  Sonata No. 1 d min bsn 2vl cont - Musica Rara
  Sonata No. 3 a min bsn 2vl cont - "

• Blavet
  Concerto in a min fl 2vln cont - Ricordi

• Boismortier
  Concerto in C fl ob cont - Ricordi
  Trio Sonata a min fl (ob) bsn (vc) cont - Musica Rara
  Sonata op 34 No. 3 in e min fl ob vln (3fl) cont - Schott
  Sonata op 34 No. 6 a min fl ob vln (3fl) cont - Schott
  Concerto C maj fl bo vln cont - Ricordi
  Sonata g min 3 fl cont - Baerenreiter
  6 Concertos for 5fl - Hofmeister
  Sonata in e min fl (ob vln) bsn (vc) cont - Barenreiter

• Bononcini
  5 Trio Sonatas 2fl cont - Pfauen

• Breunich, J
  Sonata 2fl vc - Barenreiter

• Carolo
  Sonata I Bb 2bsns cont - Musica Rara

• Cima, G
  Sonata No. 3 ob vln cont - Sikorski

• Cimarosa
  Concerto in G maj fl ob p - Andraud

• Clauseck, J
  Trio Sonata. 2fl vc - Barenreiter

• Clerembault, L
  Sonata in e. 2fl (2ob, 2 vln) cont - Senart

• Corbett, W
  Sonata g min op. 4. 2rec (2fl) cont - Schott

• Corelli, A
  Trio Sonata op 1. fl ob bsn cont - Music Press
  Trio Sonata op 3. No. 2fl ob bsn cont - "
  3 Sonatas. 2fl (2rec, fl and ob) cont - Peters
  2 Sonatas. rec (fl) vln gtr - Doblinger

• Corrette, M
  Sonata No. 5. fl vln cont - Ed Mus Trans
  Concerto No. 3 A maj. 2fl cont - Schott

• Couperin, F
  10th Concert. 2fl cont - Decriev 4 Concerts Royaux. fl vla da gamba cont - Musica Rara
  4 Sonatas. fl vln cont - Senart
  Apotheose de Lully. fl vln cont - Durand
  Apotheose de Corelli. fl vln cont - Durand
  Suite la Francaise. fl vln cont - Musica Rara
  Les Nations fl vln cont - Durand

• Croes, H
  Concerto. fl 2va cont - Noetzal

• Daube, J
  Trio in D maj. fl lute cont - Vieweg

• Diabelli, A
  Serenade op. 95. fl va guit - Ost Bundesverlag

• Erbach, F
  3 Divertimenti. 2rec (2 fl) cont - Schott

• Fasch, J
  Quartet C. ob 2vln cont - Sikorski
  Quartet G maj fl 2 rec cont - Moeck Sonata Bb rec (fl) ob vln cont - Barenreiter
  Sonata D maj. fl vln bsn cont - "
  Canonic Sonata. fl vln cont - Moeck
  Sonata in Bb. ob vln cont - Barenreiter
  Sonata op 3 No. 1. 2 ob cont - Nagel
  Canonic Sonata. ob bsn cont - Moeck

• Fesch, W de
  Sonata g min. 2 fl cont - Peters
  Sonata e min. 2 fl cont - "

• Filtz, A
  Sonata G maj. 2fl cont - Peters
  Sonata D maj. 2fl cont - "

• Finger, G
  Sonata F. fl ob cont - Nagels
  Sonata d min. fl ob cont - "
  Sonata C maj. ob tpt cont - Musica Rara

• Fischer, J
  Suite in G and Suite F for 5strgs or treble wind + cont - Barenreiter

• Frescobaldi
  5 Canzonas. 2ob cont - Schott

• Fux, J
  Trio Sonata d min. fl vln vc cont - Peters
  Sinfonia. fl ob cont - Nagels
  Trio Sonata. in Bb ob vln cont - "
  Nurnberger Partita. fl ob cont - Moseler
  Sinfonia. rec (fl) ob (fl) cont - Barenreiter

• Galliard, J
  Sonata C maj. rec (fl) vln (ob) cont - Ricordi
  Sonata d min. rec (fl) vln (ob) cont - "

• Galuppi, B
  Trio. fl ob cont - Kneusslin
  Trio Sonata G maj. ob vln cont - Barenreiter
  Concerto e min. 2fl cont - Peters

• Gassman, F
  6 Sonatas. fl vln vla - Kistner

• Gebel, G
  Triosonata F. 2fl (2 vln) cont - Kistner
  Triosonata b min. 2fl (2 vln) cont - "

• Gluck, C von
  7 Trios. 2fl (2 vln) cont - Eschig

• Goepfart, K
  Trio op. 74 c min. fl ob cont - Baxter

• Graf, F
  Trio D maj. fl vln vla - Peters

• Graun
  Trios 1 + 2 D maj + E maj. ob d`am. hn bsn - McGinnis
  Trio in F. vln ob p - Breitkopf
  Sonata in Eb. 2fl (2 vlns or 2 obs) cont - Barenreiter

• Graupner, C
  Suite F maj. fl 2ob - Peters
  Concerto. bsn solo 2 vln vla cont - Breitkopf

• Gretzky
  Triosonata G maj. vln ob cont - Barenreiter

• Handel, GF
  Trio sonata c min. rec vln cont - Schott
  Trio sonata F op. 2 No.2 rec vln cont - "
  Trio sonata F. ob bsn cont - Breitkopf
  6 Trio sonatas 2ob cont (Bb, d, Eb, F, G, D) - Schott
  Trio No. 2 d min. 2ob bsn - Belwin Mills
  Trio sonata op 2 Nos. 1 + 4 2fl (fl ob, fl vln) cont - Schott
  8 Trio sonatas op 5 2fl (fl ob, fl vln) cont (c, F, Bb, F, g, g, g, E) - Breitkopf
  Trio sonata b min fl vln cont - Ricordi
  Trio sonata Eb maj 2fl cont - Music Press
  Trio sonata c min rec (fl) vln gtr - Doblinger
  Concerto a 4 D maj 2vlns (fl vln) vc cont - Schott
  Concerto a 4 d min fl vln rec cont - "

• Hasse, J
  Trio sonata e min 2rec (2fl) cont - Schott
  Trio sonata F maj ob vln cont - Sikorski
  Trio sonata C maj rec (fl) vln cont - Kalmus

• Haydn, F
  4 London Trios 2fl vc - Nagel
  Divertimenti fl vln vc - Pelikan
  3 Sonatas fl vln vc - Musica Rara
  6 Trios op 100 fl vln vc - Vieweg
  5 Eisenstaedter Trios fl vln vc - Breitkopf
  3 Divertimenti fl vln vc - Vieweg
  Divertimento D maj fl 2vlns vla vc bass - "
  Trio No. 4 F maj fl vln cont - Schott
  6 Leichte Wiener Trios fl vln vc - Moseler
  Divertimento in D fl va vc - Pro Musica
  12 Nocturnes 2fl 2hns - "
  Cassation 2fl 2hns - Ars Viva
  Quartet G maj fl vln va cont - Schott
  Divertimento fl ob 2 vln va vc - Doblinger

• Heinichen, J
  Sonata G maj fl ob cont - Breitkopf
  Trio ob va da g. cont - Doblinger
  Trio sonata c min ob vln cont - Sikorski
  Concerto G maj ob 2vln cont - Breitkopf
  Concerto G maj fl (ob) 2vc cont - "
  Concerto No. 8 4rec 4strgs (cont) - Moeck

• Hertel, J
  3 Partitas ob va da g. cont - Sikorski

• Holzbauer
  Quintet in G fl vln va vc cont - Breitkopf

• Hotteterre
  Sonata No. 2 en Trio 2fl cont - Schott

• Janitsch, J
  Kammersonate D maj fl ob cont - Breitkopf
  Kammersonate op 8 fl ob (2 fl) va vc cont - "

• Jomelli
  Triosonata D maj 2fl cont - Hofmeister

• Keiser, R
  Sonata in D 2 fl cont - Nagels
  Sonata in D fl vln cont - "
  Sonata in G fl vln cont - "
  Sonata in D fl vln cont - "

• Keller, G
  Quintet d min 2rec (2fl) 2 ob cont - Schott
  Sonata 2fl 2ob cont - Ars Viva

• Kleinknecht
  Sonata c min fl ob cont - Breitkopf

• Knab
  Sonata 2rec (2fl) cont - Barenreiter

• Krebs, J
  Trio sonata b min 2fl cont - Kistner
  Suite + Overture D maj fl vln cont - Breitkopf
  Sonata a min 2vl (fl vln) cont - Nagel
  Suite D maj fl vln cont - Schott
  Suite D maj fl ob cont - "
  Suite 3fl cont - "

• Leclair, JM
  2nd Recreation de musique op 8 2fl cont - Ricordi
  Trio sonata op 2 No. 8. fl va da g. (bsn) ct - Schott
  Trio sonata op 9 No. 2. fl (vln) vc cont - Chester

• Linicke, J
  2 Suites 2fl cont - Peters

• Locatelli, P
  6 Sonatas op 3 2fl cont - IMC
  6 Sonatas op 5 2 fl cont - Kistner
  Sonata op 2 No. 2rec (fl) ob (fl) cont - Moetze
  Trio sonata F maj fl va da g. cont - Muziekberg

• Loeillet
  Trio sonata F maj fl ob cont - Schott
  Trio sonata c min fl ob cont - IMC
  Trio sonata d min fl ob cont - "
  Trio sonata g min 2fl cont - "
  Sonata op 2 Nos. 2 + 6 fl ob cont - Musica Rara
  Sonata op 1 Nos. 3 + 5 2 fl (ob vln) cont - "
  Sonata op 1 Nos. 1-3 2fl (ob vln) cont - Barenreiter
  Sonata op 1 Nos. 2, 4, 6 2fl cont - Schott
  4 Sonatas op 5 vln (fl) cont - Lemoine
  Quintet 2fl 2rec (2ob) cont - Barenreiter
  Quintet Sonata: Mortoriums fl ob tpt vln ct - Musica Rara

• Lotti
  Trio A maj fl ob d`am cont - Ricordi
  Sonata G maj fl, va da g. cont - IMC

• Lully, JB
  Le Divertissement de Chambord 2 ob (2 fl) 2 eb (2 vla) bsn (vc) cont - Sikorski

• Marais, M
  Suite D maj 2fl cont - Schott

• Mondonville, J
  Sonata in G fl vln cont - Senart

• Myslivecek, J
  3 Trios fl von cont - IMC

• Nardini, P
  Trio sonata 2fl (2vlns) cont - Muller

• Naudot
  Sonata op 17 No. 5 rec (ob) 2vlns cont - Barenreiter

• Paisible, J
  Sonata 4 rec (4fl ob) cont - Schott
  5 Sonatas fl ob (vln) cont - Moeck
  Sonata Prima 2ob cont - Moeck

• Pepusch, JC
  Sonata ob vln cont - Schott
  Triosonata G maj fl ob cont - Peters
  Sonata da Camera g min fl vln (ob) cont - Kistner
  Sonata da Camera C maj fl vln cont - Schott
  Sonata da Camera Bb maj 2 fl cont - "
  Triosonata d min fl vla (vc) cont - Barenreiter
  Triosonata e min fl vla (vc) cont - Schott
  4 Concerti op 8 2fl 2ob (2vlns) cont - Musica Rara

• Pez, JC
  Triosonata C maj 2fl cont - Peters
  Triosonata d min 2fl cont - Nagel

• Pezel
  Bicivia bsn tpt cont - Musica Rara

• Platti
  Triosonata in G fl ob cont - Musica Rara

• Prowo, P
  Sonatas Nos. 5 + 6 2ob cont - Moeck
  Concerto 2rec 2ob 2bsn - Breitkopf

• Purcell, D
  Triosonata d min 2fl cont - Schott

• Quantz, JJ
  Triosonata c min fl ob cont - Zimmermann
  Triosonata G maj 2fl cont - Heinrichsofen
  Triosonata D maj 2 fl cont - "
  Triosonata g min 2fl cont - Kistner
  Triosonata D maj 2fl cont - Forberg
  Triosonata G maj 2fl (fl ob) cont - Barenreiter
  Triosonata D maj 2fl (fl ob) cont - Ricordi
  Triosonata c min 2fl (fl ob) cont - Zimmermann
  Triosonata C maj fl rec cont - Barenreiter
  Triosonata a min fl ob cont - Moseler
  Triosonata D maj fl vln cont - Kistner
  Triosonata C maj fl vln cont - Schott
  Triosonata D maj fl vln cont - Breitkopf
  Trio D maj ob vln cont - Barenreiter
  Triosonata G maj 2ob cont - "
  Triosonata e min 2ob cont - Sikorski

• Quentin, JB
  Sonata fl vln va cont - Schott

• Rameau, JF
  Pieces de clavecin en concerts vln (fl) va da g. (vln) harps - Barenreiter

• Richter, FX
  6 Sonatas op 2 harpchd fl vc - Barenreiter
  Sonata in G harps fl vc - Schott

• Roman. J
  Trio sonata 2ob p - Nordiska

• Rust, F
  Trio in D 2fl, va d`am - Kallmeyer
  Quartet A maj fl 2vln vc - "

• Salieri, A
  Concerto in C fl ob p - Doblinger

• Sammartini
  12 Sonatas (2 vols) 2fl (fl ob) cont - Schott
  Sonata D maj fl 2vln cont - Peters

• Scarlatti, A
  Quartet sonata in F 3 fl (3 vlns) cont - Peters
  Sonata A maj 2fl 2vlns cont - Moeck
  Concerto a min rec (fl) 2vlns cont - "

• Scheidt
  Suite 5 strings (5fl) - Barenreiter

• Schickhardt, J
  Trio sonata in F rec (fl) vln gtr - Kalmus
  6 Concertos 4 fl cont - Barenreiter
  Sonata op 5 No. 2 D maj fl 2ob cont - OUP

• Schmelzer, J
  Sonata 7 7fl cont - Schott
  Quartet Sonata bsn vln tromb cont - Musica Rara
  Sonata in G bsn vln tpt tromb cont - "
  Sonata bsn 2 vlns tpt va da g. cont - "

• Somis, GP
  Sonata in F 2 vlns (2 fl) cont - Ricordi
  Sonata in Bb 2 vlns (2 fl) cont - "

• Spiegler
  Canzona bsn rec (fl or ob) cont - Musica Rara

• Stamitz, C
  Trio fl vln cont - Nagel

• Stamitz, K
  6 Trio sonatas op 14 fl vln cont - Barenreiter
  Trio G maj 2fl vc - "

• Stanley, J
  Trio movement fl ob cont - Schott

• Stepan, J
  Concertino harps fl 2hn vc cb - Artia

• Stolzel, G
  3 Trios fl vln cont - Sikorski
  Trio sonata f min 2ob cont - Nagels
  Trio sonata 2ob cont - Barenreiter
  Sonata c min - Breitkopf
  Sonata e min - "
  Trio sonata in D fl vln cont - Muller

• Stradella, A
  Sinfonia a tre 2ob cont - Schott

• Tartini, G
  2 Trio sonatas fl vln va - Benjamin

• Telemann, GP
  Triosonata A ob d`am vln cont - Sikorski
  Triosonata g min vln ob cont - "
  Triosonata Bb ob vln cont - "
  Sonata in G ob vln cont - Barenreiter
  Triosonata c min ob vln cont - Sikorski
  Triosonata a min fl ob cont - IMC
  Triosonata d min fl ob (vln) cont - Barenreiter
  Triosonata g min fl vln (ob) cont - "
  Triosonata a min fl vln (ob) cont - "
  Triosonata F maj fl vln (ob) cont - "
  Triosonata D maj 2 fl cont - "
  Triosonata A maj 2 fl cont - IMC
  Sonata en trio ob vln cont - Foetisch
  Triosonata in C rec vln cont - Schott
  Triosonata a min rec vln cont - "
  Trietti melodichi e scherzi 2 fl cont - Breitkopf
  Triosonata E maj fl vln cont - Nagel
  Triosonata Eb maj fl vln cont - IMC
  Triosonata G maj fl vln cont - Barenreiter
  Polish Sonata No. 1 2 fl cont - Moeck
  Polish Sonata No. 2 A maj fl vla cont - "
  Triosonata b min fl va da g. cont - Schott
  Triosonata d min fl ob cont - Sikorski
  Triosonata e min fl ob cont - Barenreiter
  Triosonata c min fl ob cont - IMC
  Triosonata e min fl ob d`am cont - Tafelmusik
  Trio fl ob d`am cont - Ricordi
  Concerto fl ob d`am cont - Litolff
  Sonatina e min ob vln cont - Barenreiter
  Triosonata rec (fl) vln gtr - Kalmus
  Triosonata a min rec (fl) vln (ob) cont - Peters
  Quartet in D ob vln vla cont - Sikorski
  Concerto da camera fl 2vln cont - Barenreiter
  Quartet G maj fl ob vln cont - "
  Quartet d min rec 2 fl cont (bsn 2fl cont) - "
  Quartet e min fl vln vc cont - "
  Quartet F maj fl ob vln cont - "
  Quartet b min fl vln (ob d`am) vc cont - Nagels
  Quartet b min rec vln vc cont - Schott
  Chambersonata `Echo` fl ob va vc cont - Breitkopf
  Suite a min rec 2vln va cont - Schott
  Concerto a min 2rec (2fl) 2ob 2vln cont - Schott

• Uccelini, M
  Die Hochyeit 2vln (fl ob) cont - Vieweg

• Valentine, R
  Triosonata in C 2fl (fl ob) cont - Schott
  Triosonata a min 2fl (fl ob) cont - "
  Triosonata d min 2fl (fl ob) cont - "

• Veracini, A
  Sonata da camera fl (vln) vc p - Chester

• Vivaldi, A
  Trio 2ob cont - Moeck
  Concerto g min fl ob bsn - Ricordi
  Concerto g min P 404 fl ob bsn - IMC
  Concert P 129 ob bsn cont - "
  Sonata g min P 404 fl ob bsn cont - "
  Concerto F maj P 322 fl vln bsn cont - Ricordi
  Concerto D maj P 206 fl vln bsn cont - IMC
  Concerto d min fl vln bsn cont - Ricordi
  Concerto in D (Il Gardinellto) P 155 fl ob vln bsn cont - Ricordi
  Concerto in D P 207 fl ob clar bsn cont - "
  Conerto F maj P 323 fl ob vln bsn cont - IMC
  Concerto g min P 403 fl ob vln bsn cont - Ricordi
  Concerto g min P 360 fl ob vln bsn cont - "
  Concerto D maj P 204 fl ob (vln) vln bs c - "
  Concerto G maj P 105 fl ob vln bsn cont - "
  Concerto C maj P 82 fl ob vln bsn cont - IMC
  Concerto P 81 fl ob 2 vlns cont - Ricordi
  Concerto P 342 (La Notte) fl bsn 2 vlns cont - "

• Weckmann
  Sonata bsn ob vln tromb cont - Musica Rara

• Witt, C
  Suite in F 2rec ten rec (fl ob vln) cont - Barenreiter

• Wolf, E
  Quartet fl ob (vln) bsn (vc) cont - Peters

• Zachow, F
  Kammertrio No. 25 ob (fl) bsn cont - Kistner
  Triosonata in F fl bsn cont - "

• Zelenka, J
  Sonatas in F, F, g, c 2ob (2bsn) cont - Barenreiter

i.e. fl/rec/vln/ob etc.
vc/bsn/d bass/va da g. etc.
harps/cont/p/hp/gtr etc.

Trevor Wye, 1995

This Guide was prepared specifically for THE STUDIO, a one year residential course for post-graduate students in Hastingleigh, Kent, England with Trevor Wye.

An information leaflet can be obtained by writing to: THE STUDIO, Tamley Cottage, Hastingleigh, Ashford, Kent, TN25 5HW, England

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