Historical references and secondary sources

Historical references (ca 1720–1913)

Here is a list of sources (historical, bibliographic references in historical theoretical literature, such as treatises, methods, and dictionaries, as well as periodicals, reports, etc.) where small-sized bassoons are mentioned, describing their usage and often with their own chapter or dictionary entry:    

  1. ALMENRÄDER, CARL, Vollständige theoretisch praktische Fagottschule (Mainz: Schott, 1843).
  2. Allgemeine musikalisches Zeitung 17, Nr. 16 (19 April 1815), 274.
  3. Allgemine musikalisches Zeitung 23, Nr. 9 (28 February 1821), 147.
  4. BANCI, GIUSEPPE, “AVVISI”, in: Gazzetta di Firenze 134 (November 9, 1843), 4.
  5. BEKKER, LEANDER J., Sotkes’ Cyclopaedia of Music and Musicians (London: Chambers, 1911).
  6. BERLIOZ, HECTOR, Grand Traité d’Instrumentation et d’Orchestration Modernes (Paris: Schonenberger, 1843–44). 
  7. BLAIKLEY, D. J., “The single and double reed instruments”, in: English Music (London: Scott, 1911), 351.
  8. Boosey & Hawkes Archive: B & Co.Instruments Wood 3 (HM/B&H A227/015, 1896–1904).
  9. BRABO, FRANCISCO JAVIER, Inventarios de los bienes hallados a la expulsión de los Jesuitas y ocupación de sus temporalidades por decreto de Carlos III en los pueblos de misiones (Madrid: Rivadeneyra, 1872).
  10. BROSSARD, SEBASTIEN DE., Dictionnaire de Musique (Paris: Ballard, 1703). 
  11. CASTIL-BLAZE, FRANÇOIS-HENRI-JOSEP, L’Opéra-Italien de 1548 à 1856: Théâtres Lyriques de Paris, (Paris: Castil-Blaze, 1856).
  12. “Carteggio Particolare”, in: Gazzetta Musicale Di Milano, Anno VI/25 (June 23, 1847), 199.
  13. Catalogo della Collezione etnografico-musicale Kraus in Firenze. (Firenze: Salvadore Landi 1901, 26: Nr. 775).
  14. CHAMBERS, WILLIAM, Chambers’s information for the people (London: Chambers, 1849).
  15. FAHRBACH, JOSEF, Neueste Wiener Fagottschule, Op 17 (Vienna: Diabelli, ca. 1840).
  16. FRÖHLICH, JOSEPH, Vollständige theoretisch-pracktische Musikschule (Bonn: N. Simrock 1810–11). [Includes “Fagott Schule”]
  17. GANDOLFI, RICCARDO, Appunti intorni al Fagotto (Florence: Galletti e Cocci, 1887).
  18. GATHY, AUGUST, J., Musikalisches Conversations Lexikon: Encyklopädie der gesammten Musik- Wissenschaft für Künstler, Kunstfreunde und Gebildete (Hamburg: Niemeyer 1840).
  19. GEVAERT, FRANÇOIS AUGUSTE, Nouveau traité d’instrumentation (Paris: Lemoine. 1855).
  20. GEVAERT, FRANÇOIS AUGUSTE, Traité général d’instrumentation (Paris: Katto, 1863).
  21. GROVE, GEORGE, ed. A Dictionary of Music and Musicians: 1450–1880. First ed. / 3 vols (London: McMillan and Co., 1879–83).
  22. HÄUSER, JOHANN ERNST, Musikalisches Lexikon (Meissen: Goedsche, 1833).
  23. HOYLE, JOHN, Complete Dictionary of Music (London: Symonds, 1791).
  24. JANCOURT, EUGÈNE, Méthode theorique et practique pour le basson en 3 parties (Paris: G. Richault, 1847).
  25. KAPPEY, J.A., Complete Tutor for the Bassoon (London: Boosey, ca. 1880).
  26. LACOMBE, JACQUES, Dictionnaire portatif des beaux-arts (Paris: Estienne & fils, Jean-Th. Herissant, 1752).
  27. LAVIGNAC, ALBERT, Encyclopédie de la musique et dictionnaire du conservatoire (Paris: Delagrave, 1913–31).
  28. LEDEBUR, CARL F., Tonkünstler-Lexicon Berlin’s von den ältesten Zeiten bis auf die Gegenwart (Berlin: Ludwig Rauh, 1861).
  29. LIECHTENTHAL, PIETRO, Dizionario e bibliografia della música (Milano: Pietro Fontana, 1836).
  30. MAHILLON, VICTOR-CHARLES, Catalogue descriptif et analitique du musée instrumental du conservatoire royal de Bruxelles (Ghent: Antoot Braeckman, 1880).
  31. MENDEL, HERMAN, Conversations-Lexikon (Berlin: Robert Oppenheim, 1870–83).
  32. “Nachrichten”, in: Allgemeine Musikalische Zeitung 23/ 9 (February 28, 1821), 144–48: 147.  
  33. “Nachrichten”, in: Allgemeine Musikalische Zeitung 17/16 (April 19, 1815), 269–80: 274.
  34. NEMETZ, ANDREAS, Allgemeine Musikschule für Militär Musik (Vienna: Diabelli, 1844).
  35. NEUKIRCHNER, WENZEL W., Theoretisch practische Anleitung zum Fagottspiel oder allgemeine Fagottschule nach dem heutigen Standpunkt der Kunst und deren Bedürfnissen (Leipzig: F. Hofmeister, 1840).
  36. “Occasional Notes”, in: The musical times and singing class circular 40 /676 (June 1, 1899), 384–87.
  37. PARÈS, GABRIEL, Méthode élementaire de basson (Paris: Henri Lemoine, 1895).
  38. PEDRELL, FELIPE, Organología musical antigua española (Barcelona: Juan Gil, 1901).
  39. PIERER, HEINRICH A., Universal-Lexikon der Gegenwart und Vergangenheit oder neuestes encyclopädisches Wörterbuch der Wissenschaften, Künste und Gewerbe (Altenburg: Pierer 1846).
  40. PIERRE, CONSTANT, Les facteurs d’instruments de musique les luthiers et la facture instrumentale précis historique, (Paris: Sagot, 1893).
  41. PIERRE, CONSTANT, La facture instrumentale à l’Exposition de 1889: Notes d’un musicien sur les instruments à souffle humain nouveaux et perfectionnés (Paris: Librairie de l’art independent, 1889). 
  42. PORTHAUX, DOMINIQUE, “Instrumens (sic) a Vent: Avis de MM. Les Artistes et Amateurs de basson”, in: Journal de Paris 45 (Dimanche 14 février 1808), 304.  
  43. Programma Giornaliero / Degli spettacoli, balli, feste, concerti ed altri divertimenti pubblici. N° 199 – Napoli (Lunedì 3 Dicenmbre 1838).
  44. PROUT, EBENEZER, “The Orchestras of Bach and Handel”, in: Proceedings of the Musical Association12/1 (1885), 23–42. 
  45. RIEMAN, HUGO, Musik-Lexikon (Leipzig: Verlag des Bibliographischen Instituts, 1882).
  46. ROMERO, ANTONIO, Método de fagot (Madrid: Almacén Romero, 1870).
  47. SACHS, CURT,  Real-Lexicon der Musikinstrumente (Berlin: Bard, 1913).
  48. SATZENHOFER, JULIUS, Fagottschule (Leipzig: Zimmermann, 1900). 
  49. SCHILLING, GUSTAV, Encyclopädie der gesammten musicalischen Wissenschaften, oder Universal-Lexicon der Tonkunst (Stuttgart: Köhler, 1835).
  50. SITTARD, JOSEF, “Reinhard Keiser in Württemberg”, in: Monatshefte für Musikgeschichte 18 (1887), 7–44.
  51. STAINER, JOHN. Music of the Bible (London: Novello, 1879).
  52. STONE, WILLIAM H., “Tenoroon”, in: John Alexander Fuller-Maitland (ed.), Grove Dictionary of Music, 1904/5 (London: Macmillan, 1910).
  53. STRAUSS, RICHARD, Instrumentationslehre, von Hector Berlioz, Ergänzt und rev. von Richard Strauss, (Leipzig: Peters, 1905).
  54. “Theater an der Wien”, in: Wiener allgemeine musikalische Zeitung 14 (3 April 1813), 210–11.
  55. TOSORONI, ANTONIO, Trattato prattico di strumentazione (Florence: Guidi, 1850). 
  56. TUERLINCKX,  Registre de Comptabilité (Manuscript), ca. 1783–­1818.
  57. VON KEESS, STEPHAN E. (ed.), Darstellung des Fabriks- und Gewerbewesens in seinen gegenwartigen Zustande (Vienna: Mörschner u. Jasper, 1824). 
  58. WALTER, JOHANN G., Musicalisches Lexicon. (Weimar: own publisher, 1728.)
  59. WEISSENBORN, JULIUS, Praktische Fagott Schule (Leipzig: Forberg, 1887).
  60. WELCKER VON GONTERSHAUSEN, HEINRICH, Neu eröffnetes Magazin musikalischer Tonwerkzeuge (Frankfurt am Main: own publisher, 1855). 
  61. WIDOR, CHARLES-MARIE, Technique de l’orchestre moderne (Paris: Lemoine, 1904). 
  62. WILLENT BORDOGNI, JEAN-BAPTISTE-J., Méthode complète pour le basson a l’usage des conservatoires Royaux de musique de Paris et de Bruxelles (Paris: Troupeanas, ca. 1844). 
  63. WOTTON, TOM, S., Dictionary of foreign musical terms (Leipzig: Breitkopf & Härtel, 1907).
  64. ZEDLER, JOHANN H., Grosses vollständiges Universal-Lexicon aller Wissenschafften und Künste (Leipzig: Franckenstein, Longolius, Ludovici, 1731–54).

Secondary sources 

The following list contains secondary sources used in connection with research for the project: 

ACHT, R. J. M. VAN, JAN BOUTERSE, PIET DHONT: Niederländische Doppelrohrblattinstrumente des 17. und 18. Jahrhunderts / Dutch double reed instruments of the 17th and 18th centuries, Sammlung / Collection Haags Gemeentemuseum (Laaber: Laaber-Verlag, 1997).  

AGRELL, DONNA, “Searching for the Top Range in Early Nineteenth Century Bassoon Repertoire from Sweden. Issues of Material and/or Technique?”, in: Research Catalog, Society for Artistic Research (2013). URL: https://www.researchcatalogue.net/view/87114/87115 

——“Repertoire for a Swedish Bassoon Virtuoso: Approaching early nineteenth-century works composed for Frans Preumayr with an original Grenser & Wiesner bassoon”, PhD diss. (Leiden: Leiden University, 2015). URL: https://openaccess.leidenuniv.nl/handle/1887/36960 

——“Early nineteenth-century bassoon repertoire from Sweden: In search of the high register”, in: De Fagot 17 (December 2016). Reprinted in: The Double Reed40/4 (2018), 85–93. 

——“A fine, playable Grenser & Wiesner bassoon, with three crooks and six reeds”, in: Sebastian Werr and Lyndon Watts (ed.), Le Basson Savary (Schliengen: Edition Argus, 2017), 120–28. 

AGRELL, DONNA and ÁUREA DOMÍNGUEZ, “Small-sized bassoons from the eighteenth and nineteenth centuries under investigation”, in: Glareana 67/2, (2018), 58–74. 

——“Fagottini and tenoroons: small, forgotten giants”, in: The Double Reed 42/2 (2019), 57–68. 

ALBRECHT, THEODORE, “Valentin Czejka im Theater an der Wien: Der Solofagottist in Beethovens mittlerer Schaffenszeit”, in: Oboenjournale 40–42, (December 2008–June 2009), 1–24.  

BACON, LOUISE, “The Pace Family of Musical Instrument Makers 1788-1901” in: The Galpin Society Journal 57 (May 2004), 117–26. 

BÄR, FRANK P., THEOBALD FUCHS, REBECCA WAGNER, et al.,Recommendations for the Three-Dimensional Computed Tomography of Musical Instruments and Other Cultural Artifacts (Nuremburg: Fürth 2018).  

BAINES, ANTHONY, Woodwind Instruments and their History (New York: Norton, 1957). 

——The Bate Collection of Historical Wind Instruments: Catalogue of Instruments (Oxford: Faculty of Music University of Oxford, 1976). 

——Catalogue of musical instruments in the Victoria and Albert museum: Part II non-keyboard instruments, (London: V&A Publications, 1998). 

BESSARABOFF, NICHOLAS, Ancient European Musical Instruments: An Organological Study of the Musical Instruments in the Leslie Lindsey Mason Collection at the Museum of Fine Arts Boston (Boston: Harvard University Press, 1941). 

BIRSAK, KURT, Die Holzblas Instrumente im Salzburger Museum Carolino Augusteum (Salzburg: Salzburger Museum Carolino Augusteum, 1973). 

BOOSEY & HAWKES Archive, B & Co. Instruments Wood 3 (1896-1904) (HM/B&H A227/015). 

BORDAS, CRISTINA, Instrumentos musicales en colecciones españolas I (Madrid: INAEM, 2008). 

BORRÀS I ROCA, JOSEP, “El baixó a la peninsula Ibèrica”, PhD diss (Barcelona: Universitat Autònoma Barcelona, 2008). 

BOUTERSE, JAN, Dutch woodwind instruments and their makers 1660-1760 (Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 2005).  

——“Making woodwind instruments: Introduction, Measuring, Internal dimensions”, in: FoMRHI 131, Comm. 2030, 2031, 2032 (July 2015). 

BURN, ANDREW, Grand Concerto for 24 Bassoons (Florida: Trevco Varner Music, 2016). 

CARROLL, PAUL, Baroque Woodwind Instruments. A Guide to their History Repertoire and Basic Technique (Hants: Ashgate, 1999). 

CARSE, ADAM, The orchestra from Beethoven to Berlioz: a history of the orchestra in the first half of the 19th century, and of the development of orchestral baton-conducting (New York: Broude Brothers, 1949).  

Catalogue descriptif & analytique du Musee Instrumental du Conservatoire Royal de Musique de Bruxelles Réédition augmentée (Bruxelles: les Amis de la Musique, 1978). 

Catalogue of the Crosby Brown collection of musical instruments: Europe/ I(New York: The Metropolitan Museum of Art, 1904). 

DART, MATTHEW, “The Baroque Bassoon: Form, Construction, Acoustics and Playing Qualities”, PhD diss. (London: Metropolitan University, 2011). 

DE WOLFE HOWE, MARK, “Catalogue of the Casadesus Collection of Old Musical Instruments”, in: The Boston Symphony Orchestra 1881-1931(Boston: Houghton Mifflin Company 1931), 262–64. 

DOMÍNGUEZ, ÁUREA, Bassoon Playing in Perspective: Character and Performance Practice from 1800 to 1850 (Helsinki: Studia musicologica Universitatis Helsingiensis 26, 2013). 

——“Tempo and character in performance practice at the beginning of the 19thcentury: Evidence from outstanding bassoon tutors”, in: Philosophies of Performance (Helsinki: Semiotic Society of Finland, 2014), 1–10. 

——“Exploring Performance Practice: Late 18th-century and 19th-century Bassoon Embouchure”, in: The Double Reed 38/1 (2015), 129–38. 

——“Manuel Garcia’s Influence in 19-century Instrumental Music”, in: Danish Musicology Online (Sept. 2016), 203–18. 

—— “Fagottino in the Philharmonie de Paris: Researching the largest collection of small-sized bassoons, in: Glareana 68/2, (2019). 

——“The Romantic bassoon understood by 19th century performers”,in Geschichte, Bauweise und Repertoire des Fagotts (Michaelstein: Wissner-Verlag). [in press] 

DREYFUS, LAWRENCE, Bach’s Continuo Group: Players and Practices in His Vocal Works (Cambridge: Harvard University Press, 1987). 

EBERHARD H. LEHMANN, DAVID MANNES Wood “Investigations by means of radiation transmission techniques”, in: Journal of Cultural Heritage13, (2012), 35–43. 

FESTA, TARDINO, PONTECONTO, D.C., MANNES, R., et al., “Neutrons and music: Imaging investigation of ancient wind musical instruments”, in: Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 336 (2014), 63–69.  

FOSTER, MYLES B., The History of the Philharmonic Society of London: 1813–1912 (London: John Lane, The Bodley Head, 1912). 

GÉTREAU, FLORENCE, Aux origines du Musée de la Musique: les collections instrumentales du Conservatoire de Paris 1793–1993 (Paris: Klincksieck Réunion des Musées Nationaux, 1996). 

GOLTZ, MAREN, Die Musikinstrumenten-Sammlung der Meininger Museen (Meiningen: M. Museen, 2012). 

GRAZIADIO, GIOVANNI BATTISTA, “Uso e didattica del ‘fagotto’ a Napoli tra XVII e XVIII secolo”, Master thesis (Basel: Schola Cantorum Basiliensis / Musikhochschulen / FHNW, 2016.)  

——“Piccoli fagotti – Little bassoons – Petits bassons”, Paris: Larigot (forth-coming). 

GRISWOLD, HAROLD G., “Mozart’s ‘Good Wood-Biter:’ Georg Wenzel Ritter (1748–1808)”, in: The Galpin Society Journal 49 (1996), 103–12.  

——“Étienne Ozi (1754-1813): Bassoonist, Teacher, and Composer” DMA. diss. (Baltimore: Peabody Institute, 1979). 

HAYNES, BRUCE, A History of Performing Pitch: The Story of “A” (Lanham, MD and London: Scarecrow Press, 2002).  

HEDLUND, H. JEAN, “Ensemble Music for Small Bassoons”, in: Galpin Society Journal 11 (1958), 78–84.  

——“A study of certain representative compositions for woodwind ensembles, ca. 1695-1815”, PhD diss. (Iowa: University of Iowa 1959). 

HEYDE, HERBERT, Historische Musikinstrumente im Bachhaus Eisenach (Leinen: Bachhaus Eisenach 1976). 

——“Rohrblattinstrumente”, Manuscript for: Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig, Catalogue 7, (Leipzig 1979). 

——“Die Werkstatt von Augustin Grenser und Heinrich Grenser in Dresden”, in: Tibia 4/93, (1993), 593–602. 

HODGES, WOODROW J. “A Biographical Dictionary of Bassoonists Born Before 1825” (Iowa: University of Iowa, 1980). 

HUBMANN, KLAUS: “Untersuchungen zur Authentizität der Mozartschen Fagottsonate KV 292 (196c)” Oboe, Klarinette, Fagott5 (1990), 99–106. 

 ——“Hochgestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.  

——“Rolle und Relation der Fagotte in der Satzstruktur von Harmoniemusik” in: Zur Geschichte und Aufführungspraxis der Harmoniemusik (Michaelstein: Wißner, 2006,113–17). 

JANSEN, WILL: The bassoon: its history, construction, makers, players, and music (Buren, The Netherlands: F. Knuf, 1978).  

JELTSCH, JEAN, “Prudent à Paris”, in: Musiques, Images, Instruments (1997), 151. 

JOPPIG, GUNTHER, Die Entwicklung der Doppelrohrblattinstrumente von 1850 bis heute und ihre Verwendung in Orchester- und Kammermusik (Frankfurt: Das Musikinstrument, 1980). 

——Oboe & Fagott: Ihre Geschichte, ihre Nebeninstrumente und ihre Musik (Bern: Hallwag, 1981). 

——“Holzblasinstrumente”, in: Hermann Moeck (ed.), Fünf Jahrhunderte Deutscher Musikinstrumentenbau (Celle: Moeck, 1987).  

KAMPMANN, BRUNO “Collection d’instruments de musique a vent”, in: LarigotI-bis spécial (December 1986), 1–72. 

KINSKY, G., H. HALM, Das Werk Beethovens: Thematisch-bibliographisches Verzeichnis seinermtlichen vollendeten Kompositionen (Munich: Henle, 1955). 

KOCH, HANS O., “Sonderformen der Blasinstrumente in der deutschen Musik vom späten 17. bis zur Mitte des 18. Jahrhunderts”, Phd. Diss. (Heidelberg, 1980). 

KOENIGSBECK, BODO, Bassoon Bibliography = Bibliographie Du Basson = Fagott Bibliographie (Monteux: Musica Rara, 1994). 

KOPP, JAMES B., The Bassoon (New Haven: Yale University Press, 2012). 

KROEGER, KARL, “John Valentine: Eighteenth Century Music Master in the English Midlands”, in: Music Library Association Notes, 2nd Ser., 44/3. (March 1988), 444–55. 

LANGEVELD, ERIK, Tentoonstelling van fagotten, prenten, boeken en manuscripten uit de collectie van Henk de Wit: tentoonstelling tijdens de Fagotdagen in De Ijsbreker te Amsterdam samengesteld door Erik Langeveld, 9-16 mei 1992 (Amsterdam: Muziekcentrum De Ijsbreker, 1992). 

LANGWILL, LYNDESAY G, Bassoon and Doublebassoon: A Short History of their Origin, Development, and Makers (London: Hinrichsen, 1948). 

——An Index of Musical Wind-instrument Makers (Edinburgh: L.G. Langwill, 1960). 

——The Bassoon and the Contrabassoon (London: Ernest Benn, 1965).  

Made for Music: An exhibition to mark the 40th anniversary of the Galpin Society for the study of musical instruments (London: Sotheby’s, 1986). 

LASOCKI, DAVID, “New Light on Eighteenth-Century English Woodwind Makers from Newspaper Advertisements”, in: The Galpin Society Journal /63 (May 2010), 73–142. 

MATTHEWS, ZOË, “The influence of the baroque bassoon and its modern revival upon modern bassoon teaching and performance practice”, Master thesis (Manchester: Royal Northern College for Music, 2007). 

——“A progressive method for baroque bassoon: Chapter on bass line playing”, Master thesis (Basel: Schola Cantorum Basiliensis / Musikhochschulen / FHNW, 2016). 

MAUNDER, RICHARD: “Viennese Wind-Instrument Makers, 1700–1800”, in: Galpin Society Journal 51 (July 1998), 170–91. 

MOORE, RICHARD: “The Renaissance of the Tenor Bassoon”, in: Double Reed News 19 (1993), 37–39. 

MYERS ARNOLD (ed.), Historic musical instruments in the Edinburgh University Collection: catalogue of the Edinburgh University Collection of Historic Musical Instruments (Edinburgh: Edinburgh University Collection of Historic Musical Instruments, 1990–93). 

OTTO, IRMGARD, Musikinstrumenten-Museum Berlin (Berlin: Staatliches Institut für Musikforschung, 1965). 

OWENS, SAMANTHA K., “Upgrading from Consort to Orchestra at the Württemberg Court”, in: Jonathan Wainwright, P. Holman (eds.), From Renaissance to Baroque (London and New York: Routledge 2005), 227–40. 

PARKER, PHILIP, ed., Bassoon: Webster’s Timeline History 1600-2007 (California: Icon Group, 2009). 

PERFETTI, FRANCO, Il fagotto: Origine ed evoluzione (Bologna: Rodi Classic Music, 1989).  

PERKINS, MONTY L., “Bassoon Tutors, 1687-1887: An Annotated Listing”, in: The Journal of the International Double Reed Society 8 (1980), 58–67. 

RACHOR, DAVID, “A Register of Early Reeds: A Bassoon Reed in the Edinburgh University Collection”, in: The Galpin Society Journal57 (2004), 273.  

RENDALL, F. G., “The Saxophone before Sax”, in: The Musical Times73/1078 (Dec. 1, 1932), 1077–79. 

RHODES, DAVID, “Harmonie Music at the Mecklenburg-Schwerin Court in the 18th–19thCenturies”, in: Journal of the International Double Reed Society17/2, (1997), 62–76. 

RICE, ALBERT, Four Centuries of Musical Instruments (Alglen, PA: Schiffer, 2015). 

RIDLEY, E.A.K., The Royal College of Music Museum of Instruments Catalogue: Part I, European Wind Instruments (London: Royal College of Music, 1982). 

RODRÍGUEZ ARTEAGA, HUGO, “Investigating smaller bassoons from the XVIII and XIX centuries, with practical performance on a Baroque fagottino”, online research paper, (Sept. 11, 2017). URL: https://www.researchcatalogue.net/view/236269/343124 

SCHULTZE-FLOREY, ANDREAS and BURKARD SCHWAB, “Bläser unter Druck: Untersuchungen zum Relativdruck beim Spielen der Blasinstrumente”, in: Das Orchester 3 (2004), 24–30.  

SIMIAN, RICARDO, “3D printing and musical instruments”, in: Glareana1 (2016), 2–10. 

VENTZKE, KARL “Ensemble Music for Small Bassoons”, in: The Galpin Society Journal30 (May 1977), 151–53. 

Verzeichnis über Künstler-Instrumente Ausgabe 204 (Biebrich: Heckel, ca. 1907). 

VIOLA, LETIZIA, “Il fagottista e compositore Luigi Tartagnini (1782–1849): E l’edizione moderna del suo “Adagio con varizaioni, in Fa, per Fagotto, con Orchestra”, Masters thesis (Basel: Schola Cantorum Basiliensis / Musikhochschulen / FHNW, 2016).  

VOSS, STEFFEN, „Die Verwendung der Holzblasinstrumente in Werken Hamburger Opernkomponisten der Barockzeit“, in: Christian Ahrens und Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts, Tage Alter Musik in Herne 2008 (München– Salzburg: Katzbichler, 2011), 85–111.  

WATERHOUSE, WILLIAM, Proud Bassoon: Exhibition Showing the Development of the Bassoon Over the Centuries (Edinburgh: Edinburgh University Collection of Historic Musical Instruments, 1983). 

——New Langwill Index: A Dictionary of Musical Wind-Instrument Makers and Inventors (London: Tony Bingham, 1993). 

——“Bassoon”, in: Grove Music Online, 2001 (Accessed September 19, 2019). URL: https://doi.org/10.1093/gmo/9781561592630.article.02276 

——The Bassoon (London: Kahn & Averill, 2003).  

——Tutor Chart Etude: A Critical Bibliography of Historical Teaching Material for Bassoon to 1900 (Sevenhampton: Whitehall Press, 2012). 

WERR, SEBASTIAN, Geschichte des Fagotts (Augsburg: Wissner, 2011). 

——“Ozi Étienne”, in Achim Hofer, Ursula Kramer and Udo Sirker (ed.), Lexikon der Holzbasinstrumente, (Laaber: Laaber-Verlag, 2018), 552–53. 

WHITE, PAUL J., “Early Bassoon Fingering Charts”, in: Galpin Society Journal 43 (March 1990), 68–111.  

——“The Influence of Fingering Patterns and Reeds on the History and Evolution of the Bassoon (1650–1840)”, PhD diss. (Oxford: University of Oxford, 1992). 

WOTTON, S. TOM: “A Precursor of the Saxophone”, in: The Musical Times 63/958 (Dec. 1, 1922), 846–49.  

YOUNG, PHILLIP, Loan exhibition of historic double reed instruments (Victoria: University of Victoria, 1988). 

——“Some Further Instruments by the Denners”, in: The Galpin Society Journal 35 (March 1982), 78–85. 

——: “The Scherers of Butzbach”, in: The Galpin Society Journal 3 (Sept. 1986), 112–24. 

——: 4900 Historical Woodwind Instruments: an inventory of 200 makers in international collections (London: Tony Bingham, 1993).  

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