Documente Academic
Documente Profesional
Documente Cultură
A Contribution
to hisBiography
Johann Christian Schickhardt3 was born ca.I682 in or near Braunschweig [English:
Brunswick 1His year of birth may be deduced from a document from the University of
28
Severalof Schickhardt'soperabetween 17Ioand about 1715are dedicatedto commoners-apparentlyeither pupilsor patronsof his. The first two people,
,<Monsieur
12, Ca.
(Opus
JeanMichel
JacquesBoorboomo (Opus 6, 1710)and <(Monsieur
Selpert,
1710-12),have namesthatsoundDutch andprobablySchickhardtwasacquaintedwith
them while he was still working in the Netherlands.<#Messieurs
J.K.& D.F.Dreyero
(Opus 16,ca.I7IO-I2) havea Germanname,but Dreyerswere found commonly alsoin
andelsewhereatthistime(seethesectionon AbrahamDreyerbelow).A pair
Scandinavia
&Jacob
with againa Dutch soundingname,<(Franqois
(Opus 17,ca.1712-15),
Gerbers,>
meritaletterofdedication:((Yourkindnessesto me haveappearedatallkindsof meetings,
andnot contentwith befriendingme yourselves,you haveupheldmy reputation-you,
Mr.Franqois,
by entrustingto me the instructionof your son in my Art.)>,,
A marriedcouple, (MonsieurLouis),Doctor of laws,and his wife, Anne Elisabeth
de Sontum [or de Suntum]) (Opus20/. ca.1715),alsomerita letterof dedLouis,
,<nde
ication.Schickhardttells them how much he is sensibleof all their kindnesses:<(You
areboth patronsof my Art,and the de Suntumfamily hasthusfar been the mainstay
of those who professit.> Their patronageof Schickhardthad gone so far as to grant
him permissionto play the sonatasbeing dedicatedto them on their wedding day.
This is the only unequivocalevidence we have of the instrument(s)that Schickhardt
played.The Opus20/I sonatasarefor fluteor oboe,althoughtherangemakesthemmore
suited to the oboe. Of course,the fact that all of his compositionsare for recorder
or fluteor oboe andthathe publishedmethodsfor recorderandoboe stronglysuggests
thathe playedallthreeof theseinstruments.
A tenuouspiece of evidence connectsSchickhardtwith Englandaround1715.The
CompleatTutortotheHautboy,publishedin Londonby Walsh& Hare,ca.1715,includes
The cibell (sebell,cybell, sebel,sybell,cibel, cebel) was
a ((Sebellby Mr.
Schickhard,.
of
the
dance-form
canEnglish
period 1690 to 17IO... [orginally modelled] on the
structureandrhythmof a chorus...in praiseof the goddessCybele,from Lully'sopera
Atys.... True cibellsarein duple metre;they begin at the half-bar,and they arecharThe
acterisedby shortinterjectedsolo rouladesof crotchetsandquaversin the bass.,,34
strikingfact about the cibell is that,except for one isolatedinstance,scibellsare confined to Londoncomposersof the periodI690 to I7IOor so,, and areespeciallycornm32
tering myself that your greatkindnesswill speakto you for me [and also] the help
thatthe recommendationof ErnstAugust,Princeof Sachsen-Weimarandthatof Her
It seemsclear
Highnesshis sister-in-law39gives me in the serviceof Your Highness.)>
that Schickhardtwas working for Leopoldin some capacity.The Cothen court employed an orchestrathat includedan oboist (JohannLudwig Rose) and a bassoonist
Bach'sworksof his C6then period
(JohannChristophTorl6e)on a permanentbasis.40
also call for two flute/recorderplayers,and it is thought that two other musicians
(probablyJohannHeinrichFreytagandJohannGottlieb Wilrdig, who had the title
of Stadtmusicus)
A furtheroboist was,however,requiredfor some
playedtheseparts.41
C
andthe recordsof the
pieces(Bach's majorOrchestralSuitehasthree oboe parts),42
courtshow thatin 1724,for example,outsideoboistswere employedthreetimes.43
The
most obviousconclusionis thatSchickhardtwasone of theseoutsideplayerswho were
calledin to augmentthe C6then orchestraon certainoccasions.Where Schickhardt's
permanentemploymentwas at this time is unknown.Sincehe seemsto have been in
the localityof Weimarand C6then,he hadprobablyleft the serviceof CountJohann
Friedrichin Castel.In view of the recommendation,perhapshe was or had been in
the service of ErnstAugust of Sachsen-Weimar.
As we have mentioned previously,Schickhardtdedicateda composition to Friedrich of Hesse-Cassel(laterFrederickI of Sweden),and in the letterof dedicationhe
saysthathe hasbeen employedby Frederickpreviously,probablywhile Frederickwas
commandingthe Netherlandscavalryin the War of the SpanishSuccession(see p. 29).
This letter begins:((Mostpowerful,most graciousKing:at His Majesty'sfeet, an old
servantof His and especiallyof His Most BlessedHoly brother-in-law, the Princeof
the Most VenerableHouse of Orange,herebydaresto placein deepestsubmissiveness
a compositionalbeitsmall,but one neverthelessdedicatedto His Royal Majestyfrom
a most devoted heart.,,A companionmanuscriptcomposition44is dedicatedto ((Most
powerful, most graciousQueen,,,presumablyFrederick'swife, Ulrika Eleonora,the
sisterof the lateking, CharlesXII.45SinceSchickhardtis especiallyobsequiousin these
lettersof dedication,he wasprobablyseekingemploymentfrom FrederickandUlrika,
perhapsin the year1720,havingheardthathis former employerhad become King of
Sweden.
Whether or not Schickhardtsucceededin becoming employed by Frederickor his
wife, it is in Scandinaviathat we find him next. Schickhardt's
Opus 20/2 (ca. 1723?)is
dedicatedto AbrahamDreyer,who is describedas ((Counsellorof Justice,Provincial
JudgeofDruntheim [Trondheimin Norway], PremierDirectorand PresidentofJustice of the coppermines in Norway of His Majestythe King of Denmartkand NorJ.K.& D.F.Dreyer>of SchickPerhapsAbrahamwas relatedto the ((Messieurs
way,>.
hardt'sOpus 16.46If Schickhardtwas in the serviceof AbrahamDreyer,it need not
necessarilyhave been in Trondheim,an isolatedtown about 550miles from Copenhagen as the crow flies (and very much furtherin practice).Dreyer could well have
also maintaineda residencein Copenhagen.
Amsterdampublicationscontinue underRoger'ssuccessor,Le Cane,
Schickhardt's
34
through the Opus 26 of 1727, the last opus listed in the Le Cane catalogueof 1737.
Around1735,an Opus 30- a set of twenty-four sonatasin all the keys-was published
in London,apparentlyunderSchickhardt's
own auspieces,with a signed title page in
The subscribersarealmostall unFrench,and with an appendedlist of 93 subscribers.
known andhavenamesthatsoundDutch.But we alsofindthe well known composers
erstwhilepuHandel,Locatelli,Pepusch,andWillem de Fesch,aswell asSchickhardt's
blisherLe Cane.This raisesseveralquestions.Why did Schickhardtpublishat his own
expensein Londonwhen his Amsterdampublisherwas preparedto subscribeto the
publication?How had Handel and Pepusch,who lived in London, come to know
Schickhardt's
work?If Schickhardtwere himself in London why were almostall the
subscribersDutch?The most plausibleexplanationis thatSchickhardthadmoved back
to the Netherlands(as we shallsee below, he was in Leidenin 1745).His publisherLe
Cene had perhapsbelieved that the publicationof such an unusualprojectas twenty-four sonatasin all the keys would be a riskybusinessventure,so Schickhardtfound
some subscribersandthen issuedthe work in London-a city noted for its many amateur flute and recorderplayersand thereforethe best place to try to sell the work.
Handeland Pepuschmay have known the Walsh& Harepiratededitions,or Schickhardt'swork may havebeenintroducedto them by De Fesch,who hadmoved to London in 1732after working in Amsterdam(I7IO-25) and Antwerp (1725-30).47
In 1745,Schickhardtis listed in the Albumstudiosorum
of the University of Leiden.
The entry reads:<<1745
nov. 18,Johan ChristiaanSchickhart,Brunsvicensis,Musicus.
63 >.48Thus, at the matureage of 63, Schickhardtwas enrolledat the universityas a
student(though almost certainlynot in music).
Accordingto C.C.Vlam,Schickhardtis not to be found in the recordsof musicians
associatedwith the Universityof Leiden,and thereis no music of his in Leiden.49
Nevertheless,Schickhardtmust have maintainedsome connectionswith the university,
sinceafterhis deathin 1762,a documentshows thatthe universitySenatewas prepared
to grantsome money towardshis burial.Schickhardtis describedas <<a
masterof musicalartsanda memberof the Academy(artismusicae
Academiae
memmagistrum,
huiusque
It is not clearwhetherthe musicacademyof the universityor anotheracademy
brum)>>.
is referredto. The fulll document readsas follows:
Acts of the Rector Magnificus,Leaderof the SenateGaubius.March 26, 1762.
<#TheRector Magnificusannouncedto the SenatethatJohannChristianSchickhardt,a masterof musicalartsanda member of the Academy,hadjust passedaway,
and thatSchickhardt's
daughterhadbegged him-the deceasedhavingleft no funds
for the necessitiesof burial-to have the Senateundertaketo provide a grave.Such
had recentlybeen the casewith the musicianGlemius.The Senatehad at that time
agreed.But the young woman hadbeen told thatthe Senatehadfound it impossible
to assumesuch a burden.In the case of Glemius,there had been no survivingkin
to attendto the matter.But Schickhardthad been survivedby relativesin addition
to his daughter,to whom the responsibilityappertained,Nevertheless,the Rector
Magnificusproposed that certainfunds be made availableout of pocket to the
35
young woman for pious use, should she and her kin, having proved unable to raise
enough money for a fitting ceremony, request relief from the Senate due to penury.
To this the Senate agreed.,50
The Purported
Portrait
Schickhardt
In an article published in 1957,Carl Dolmetsch wrote: eAbout 171o,Corelli's violin solos
and trios were transcribedby the recorder virtuoso,J.C.Schickhardt. His portrait,which
is in my possession,shows him holding a fine treble recorder,apparentlythe identical twin
of the instrument on which Arnold Dolmetsch taught himself to play [a Bressani. On a
table by Schickhardt'sside can be seen a volume bound in red leather,on which is printed
in gilt lettering:Corelli's
Solosfor the
Flute.>'
This portrait was reproduced on the cover of Recorderand Music Magazine for July
1966along with the following note:<The original ofour cover picture hangs in Carl Dolmetsch's home in Haslemere, where the portrait is known aso Mr. Schickhard) because,
ohe occasionally regards us with a somewhat superior air>,.Though it is not yet proven
that this isa portraitofthe i8th century editor and recorder player there is strong evidence
a
infavourof thisview.Theplayer,whowascertainly
enoughto warrant
distinguished
portrait, holds one of Bressan'sfinest ivory -mounted trebles. The volume at his elbow,
bound in scarlet vellum, bears the legend in gilt lettering, Corelli'sSolosforthe Flute.Carl
Dolmetsch has sent us further information: <<Itappears to be a de-luxe copy, and its
inclusion could have been a compliment to its editor and arranger.),>52
Carl Dolmetsch has informed me that the portrait was auctioned at Sotheby's in London in 1954,and that the identity ofthe recorder player depicted was supplied by the firm
at that time. Dolmetsch's own ideas about the identity have, however, changed: <<Our
own more recent researchhasled us to believe that the portraitin question may well be of
J.B.Loeillet, probably painted by Robert Woodcock, the marine painter. However, it
would be unwise to say more about this until we have definite proof.,>3
Evidence againstthe possibility that the recorder player in tht!portraitcould have been
Schickhardtwas convincingly marshalled by Walter Bergmann in the next issueofRecorderand MusicMagazine:o I personally doubt that the gentleman on your cover picture...
was Schickhardt.Would not a composer ofthirty published [sets of] works (J.S.Bach had
only eight) hold one of his own compositions in his hand ratherthan an arrangement (as
in the pictures of Pepys, Bach, Handel and others)? And is there any proof that it was
Schickhardt who arrangedCorelli'ssonatasfor the recorder?The arrangementsareanonymous, ratherpoor and quite unlike Schickhardt'sown brilliantwriting for the recorder.
Was Schickhardtever in England?And why should he, a German, play on a Bressanrecorder?Schickhardt'scompositions show that he used recorderswith a better higher register
than Bressan could
make.>>4
) that Dolmetsch and Bergmann refer to are anonymous arrangeThe Corelli <<Solos
ments for alto recorderand bassocontinuo ofthe second six ofArcangelo Corelli'stwelve
sonatas for violin and basso continuo, Opus 5, that were published by Walsh & Hare in
36
London in 1702.55The date of1702 is too early for the arrangement to have been done by
Schickhardt:his own compositions did not begin to appearuntil 1709 and then followed
in a steady stream.Moreover, all of the Schickhardt compositions that were published in
London by Walsh & Hare were pirated from publications originally published in Amsterdam by Estienne Roger and his successors.No trace ofsuch a Corelli arrangement can
be found in Roger's catalogues or advertisements.56
Since the fact that the recorder player in the picture is holding a copy of the Corelli arrangement is the main piece of evidence about his identity, we may safely discount the
theory that the player is Schickhardt.
A BriefConsideration
of his Ubrks
Johann Christian Schickhardt is one of the many minor musicians of the late Baroque.
The circumstances of his life point to a journeyman composer and performer, but his
compositions were surprisingly well known and popular.The key to the popularity ofhis
compositions is certainly in their instrumentation. Schickhardt himself seems to have
played the recorder, flute and oboe, and he composed almost exclusively for his own instruments- solo sonatas,trio sonatas,concertos, and chamber pieces; collections
airs >,
of,
and
methods
for
recorder
and
At
oboe.
the
of
the
teaching pieces,
beginning
eighteenth
century, the recorder, and a decade or two later,the flute (and to a lesserextent, the oboe),
were the most popular instruments for the gentleman amateur musician-a large and increasingly avaricious audience, especially in England. The fortunes of Schickhardt'spublishers, Roger in Amsterdam and Walsh in London, were founded on this amateur audience.
When we examine what woodwind music was being published by Roger and Walsh
we find that few compositions by the great masters of the late Baroque are represented,
certainly during Schickhardt'smost productive publishing period, 1709-1724. Most of
the woodwind music that forms the standard repertoire of today -J.S.Bach, Handel,
Telemann, Vivaldi, etc.-was either published later,or hasbeen edited only recently from
manuscriptsreserved at that time for the composer's employer or patron.The large amateur woodwind audience, then, was largely presented with the music of lesser masters.
But if this audience demanded a great deal of music, they were not without discrimination. Schickhardt was indeed one of these lesser masters,but his music set a consistently
high standardamong the published woodwind music of that time.
The Braunschweig court, where Schickhardt received his early musical training, was
known for its sponsorship ofmusic in both the French and Italianstyles.'7Not surprisingly, then, his music is,influenced by both styles, although it leans much more to the Italian,
especially to the work of Corelli.58William S. Newman has included Schickhardt in the
group ofNorth German composers ofthe firsthalfofthe eighteenth century (Telemann,
Mattheson, Handel, the Graun brothers, and Frederickthe Great), noting that <<all
except
Schickhardl[t are of more than passing
He characterizes Schickhardt's
significancc.,5,
To so dismiss Schickhardt
movements as <short, graceful, and very light in
content,.60
37
THE HOUSE
Hcndrik Casimir I
Count of Nassau -I )iez
Willem Frederik
(b.1612,d.1640)
(b.1613,d.1664)
Charlotte Amalie
Landgravine of Hesse-Cassel
(b.165o, d.I7i4)
m. Christian V of Denmark
Albertina Agncs
Princess of Orange
(b.1634,d.1696)
Carl
Landgrave of Hesse-Cassel
(b.1654, r.1670-1730)
m.
HEN RIETTE AN
Princess of Anhalt -
Hendrik Casimir II
Prince of Nassau - I)icz
(b.1657,d.1696)
m.
(b.1666)
(b.1646, r.167o-1699)
FREI)ERIK IV
King ofl enmark
FRIEI)RICH
of Hesse-Cassel
Maria Louise
Landgravine of
(b.1671,r.1699-1730)
later Frederick I,
King of Sweden
Hesse-Cassel
(b.1676, r.1720-I75I)
m.Ulrika Eleonora
(<,Maryken-Meu>>
[Mother Mary])
(b.I688, d.1765)
Queen regnant of
Sweden, 1718-1720
Sis of Charles XII of Sweden
(b.1688,r.1741)
and NicuwNederlandschi
The above inforimation is takenmainly from articlesin Allemeinedeutsche
Biographic
Vol. I.
BioNrafischW'oordenboek,
38
OF ORANGE
HenrietteCatharine
Princessof Orange
(b.1637,d.1708)
m. JohannGeorg II
Prince of Anhalt-Dessau
(b.1627,d.1693)
IALIA
I)essau
FrederikHendrik
Count of Nassau& Princeof Orange
(b.1584,r.1625-1647)
I-
LouiseHenriitte
Princessof OrangeAnspruch
(b.1627,d.1667)
i. FriedrichWilhelm
Electorof Brandenburg
(<TheGreat
Elector,)
(b.1620,d.I1688)
Willem II
Count of Nassau& Prince of Orange
(b.1626,r.1647-I65o)
m. Mary,PrincessRoyal
dau.of CharlesI of England
sis.of JamesII & CharlesII
Willem III
FriedrichIII
Leopold
Princeof Anhalt-I )essau
Electorof Brandenburg,
Count of Nassau& Princeof Orange,
laterFriedrichI, King in Prussia
laterWillem III,
(<Old
I)cssauer,)
(b.1676,r.1693-1747)
(b.1657,r.1688-1713)
King of England
(b.i65o,r.1689-1702)
FriedrichWilhelm I
Kingin Prussia
(b.I688,r.1713-1740)
m.SOPHIEI X)ROTHER, dau.of George1,Kingof England
(1687,d.1757)
Key: b. born
d. died
r. reigned
dau.daughter
sis. sister
in. miarried
Personshaving connectionswith Schickhardtare shown in capitals.
39
is to do him an injustice. Surely his music is not of less significance than the woodwind
music ofMattheson or Frederick the Great.Schickhardt'swoodwind pieces do not have,
say, the profundity ofJ.S. Bach's or the ebullience of Vivaldi's. But Schickhardt created
many a movement of original instrumentation, orchestration or structure; many an
unusual varation of a well-worn melodic formula; and, above all, many a striking
harmonic touch. In sum, Schickhardt wrote well for his instruments, and his music
wasjustly popular among the amateurs of his day.
nov. I8,Johan
The entry in the Album studiosonainof the University of Leiden reads:<<1745
Musicus.63,,.SeeHeije,JToonkunstenaars
ChristiaanSchickhart,Brunsvicensis,
voorkomendein
in: Bouwstccncn. 1)crde Jaarboeckder Verhet Album studiosonru der Leidsch/e/hoogeschiool,
40
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
B. 1667, r. 1688-1739.
der Alusik am Hojf''onDanrstadt, in: MonatsSee especially Wilibald Nagel, Zur Geschidlcte
hefte for Musikgeschichte XXXII (1900), pp. 1-97 passim.
On February 23, 1719, Ernst Ludwig requested permission from D)uke August Wilhelm of
Braunschweig-Wolfenbittel that the oboist Fleischer be allowed to come to I)armstadt
for some time. See Nagel, op. cit.,pp.
53-54-
des dditions
inusicales
23. See FranqoisLesure,Bibliographiie
par EstienneRogeret Aicihelpublides
CharlesLe C'One(Amsterdam,1696-1743), Publications de la Soci6t6 Frangaisede Musicologie,
Deuxieme S6rie, Tome XII (Paris, 1969), p. 21.
24. Johann Gottfried Walther, Musikalisches Lexicon (Leipzig, 1732). Facsimile ed. Richard
Schaal (Kassel, 1953),
p. 55.
Lexicon der 'Ibnkainstler(Leipzig,
25. See Ernst Ludwig Gerber, Neues Historisch-Bibliographiisclies
et bibliographlie
des
and
F.
1813-14), IV, p. 66;
gndrale de
J. F6tis, Biographieuniverselle nmusiciens
la nmusique
(Paris, 1870), VII, pp. 458-59.
Sir John Hawkins, A General History of the Scienceand Practicecf Music, ed. Charles Cudworth, 2 vols. (New York, 1963), II, pp. 738 and footnote on 826.
27. Mecklenburgische Landesbibliothek, Schwerin, Mus. 4878.Six trio sonatas for 2 alto recorders and basso continuo. Information concerning the identity of the copyist supplied by
Dr. Rolf Dempe, letter to David Lasocki, August 17, 1971.
der MIecklenburg-Sclhweriner
28. See Clemens Meyer, Geschlichite
HoJkapelle(Schwerin, 1913),p.
26.
246.
29. I)empe, loc. cit.
30. Freymuth is listed as an oboist in the Braunschweig-Wolfenboittel capellein 1731 and 1735.
See Gustav Friedrich Schmidt,
Caspar Schiinnann (Regensburg, 1933),I, pp. 129 and
GeorT,
131.
31. Andrew D. McCredie, article Schickhardt,in: I)ie Musik in Geschichte und Gegenwart XI
(1963), col. 1699.
32. Preface to his edition of the six concertos for 4 alto recorders and basso continuo, Opus
19 (Kassel, 1938).
33. Karl Geiringer, The Bach Family (New York, 1954), P. 155
34. Thurston Dart, The Cibell, in: Revue belge de musicologie VI (1952), p. 27.
35. Ibid.
36. Vol. I (1702) has a cibell by Henry Morgan and Vol. III (1704) has one by Godfrey Finger.
See Dart op. cit.,p. 29 and Lesure, op. cit.,p. 60o.
37. Bach's cantata B.W.V. Anh. 8 is dedicaterd to <(HerrLeopold, Forst zu Anhalt, Herzog zu
See
Sachsen, Engern und Westphalen, Graff zu Ascanien, Herr zu Bernburg und Zerbst
.....
Werner Neumann & Hans-Joachim Schulze, eds., F:remdsclrifiliclhe
mndgednickteDokuWmente
SebastianBachs,1685-175o, Bach-I)okumente II (Kassel, Leipzig,
zur Lebensgeschichte.Johann
1969), pp. 88-89.
38. Ernst August, D)uke of Sachsen-Weimar & Eisenach (b. 1688, r. 1709-1748) married Eleonore Wilhelmine, the older of the two sisters of Leopold of Anhalt-CQthen on January
24, 1716. See Allgemeine deutscheBiographieVI, 317-18.
39. This reference may be to Leopold's other sister, but is more likely to be an inaccurate reference to Ernst August's wife.
40. See Friedrich Smend, Bach in Kiithen (Berlin, 119511),p. 22.
42
41.
Ibid.,p. 23.
42.
Ibid.,
p. 26.
43. Ibid.,p.
15444. Universitetsbiblioteket,
Uppsala,i hs. 58: 5. Concerto in G minor for alto recorder,with
2 oboes, stringsand bassocontinuo.
45. CharlesXII died without issuein 1718.The successionwas disputedby his sisterUlrikaEleonora (b. 1688,d. 1741)and CharlesFrederickof Holstein-Gottorp,the son of UlrikaEleonora'solder sister,Hedvig Sophia.Ulrika Eleonorawas Queen regnantfrom 1718until
1720, when she was persuadedto abdicatein favor of her husband,Friedrichof Hesse-Cassel, who seems to have marriedher in 1716,after courting her for many years,with this
deutsche
end in mind.See Allgemeine
VII, 522-23, and R. M. Hatton,CharlesXII
Biographie
of Sweden(London, 1968),passim.
46. A personnamedI)reyeris also the composerof some recordersonataspublishedin AmlaterpublisherLe Cene,ca.1735.See p. 28of the Le Cene catalogue
sterdamby Schickhardt's
of 1737reproducedin Lesure,op.cit.
de Fesch,in:Die Musikin Geschichteund Gegenwart
47. See F. van den Bremt,article[IUillem
IV (1955),cols. 85-88.
48. See footnote 4.
49. Letterto David Lasocki,September30, 1971.Schickhardtis not mentionedin C. C. Vlam,
en Instanmentenmiakers
vandeLeidseUniversiteit,
in:Het Vaderland(The Hague,1962),
AlMusici
or in E. Pelinck& C. C. Vlam, De OrdinarisMusikantenvan de LeidseUnivtersiteit,
in: Jaarboekje voor geschiedenisen oudheidkundevan Leidenen omstreken(Leiden,1963),pp.
50-60.
derLeidsche
50. P. C. Molhuysen,ed., Bronnentotdegeschiedenis
(The Hague, 1921),
Universiteit
V, 462-63.
51.
52.
53.
54.
55.
(London,
43
58. Schickhardt's
familiaritywith Corelliis confirmedby the fact that he publishedarrangements for recorderof Corelli'sconcerti grossi.
59. The Sonatain tile BaroqueEra(ChapelHill, 1959),p. 285.
6o. Ibid.,p. 297.
44
Catalogue of works
Abbreviations
in deNederlanden
dertoonkunst
II(Amsterdam,1971).
geschiedenis
Bouwstenen= Bouwstenen
vooreen
Le Cane= Catalogue
deslit'resdemusique,
chez
A
LeCOne.AmCharles
AAmsterdam,
imprin'ld
1
clichel
sterdam:LeCbne,1737.Reproducedin facsimiliin Lesure(afterp.[92 1).
Lesure= FrangoisLesure,Bibliographie
desMditions
imusicales
publiespar EstienneRogeret AlichelCharlesLeC ne(Amsterdami,
de Musicologie,DI)e1696-I743),Publicationsde laSocit6dFrangaise
uxiemeSerie,Tome XII (Paris,1969).
Smith = William C. Smith,A Bibiography
of theMusicalH brksPublished
H als/hduringthe
by)John
Years1695-I720(London,1948).
oftheMusicalbWorks
Smith-Humphries= WilliamC.Smith& CharlesHumphries,A Bibliography
the
Finn
the
[I
ofjohn alsIhduring Years1712-1766(London, 1968).
by
Ptiblislhed
Warner= ThomasE.Warner,An Annotated
Instruction
Books,1600-I830,
of Hbodtwind
Bibliography
DetroitStudiesin MusicBibliographyXI (Detroit,1967).
B-Bc
CH-Zz
I)brd-Je
I)brd-Mbs
Dbrd-WD
I)brd-W
I)ddr-MEIr
I)ddr-ROu
I)ddr-SW1
I)K-Kk
F-PBC
F-PBN
GB-Cu
GB-CCp
GB-I)Rc
GB-Gm
GB-Lam
GB-Lbm
N L-I)Hgm
S-K
S-LB
S-L
S-Skma
S-Uu
USA-BEu
USA-CHu
USA-Rs
USA-We
USA-WGgo
= ColonialWilliamsburg,Researchl)epartment,Williamsburg,Virginia.
Uppercaselettersrepresentmajorkeys(e.g.G = ; major).
Lowercaselettersrepresentminorkeys(e.g.g = G minor).
*=
incompletecopy.
A. PrintedWorks
OPus I
Six (plusone) sonatasfor altorecorderandbassocontinuo.CdebFg(g).
(a) Amsterdam,EstienneRoger, 1709 (PlateNo. [3251).
Courant,February23,1709(Bouwstenen23)andin
Dating Advertisedin Amsterdamsclhe
Londonby Roger'sagentIsaacVaillantin TheDailyCourant,
May 26, 1709(Lesure47).
ExtantCopies:Ddr-JE;S-Skma.
(b) Amsterdam,EstienneRoger, ca.I7o (PlateNo. [3251andwith seventhsonata)
Dating:Roger advertisementof 17Io(Lesure18).
ExtantCopies:DK-Kk.
(c) Amsterdam,Mortier,ca.1709-10.
I)ating:Lesure16-i8.
ExtantCopies:I)brd-W.
Comments:Lacksletterof dedication.
Moderneditions:Of originalsix sonatasonly.ed.F.J.Giesbert.Mainz,Schott,1957(EditionSchott
4092-93).
Opus 2
Six (plus one) sonatasfor oboe or violin and bassocontinuo.F d Bb c g e (C).
).
(a) Amsterdam,EstienneRoger, 1709(PlateNo. [5781]
Advertised
Courant,
in Amsterdamsche
February23,1709(Bouwstenen23).
I)ating:
ExtantCopies:None.
(b) Amsterdam,EstienneRoger, ca.1710(PlateNo [571andwith seventhsonata).
Dating:Roger advertisementof 1710(Lesure18).
ExtantCopies:None.
(c) Amsterdam,Mortier,ca.1709-1o.
LesureI6-I8.
IDating:
ExtantCopies:Dbrd-W.
Comments:Lacksletterof dedication.
(d) London,Walsh& Hare,1717.
Advertisedin PostAlan,I)ecember10-12, 1717 (Smith 532).
Dlating:
ExtantCopies:None.
(e) Amsterdam,EstienneRoger & LeClne, 1723or later(PlateNo. 57andwith seventhsonata).
I)ating:Lesure28.
ExtantCopies:F-PBN.
Comments:SeealsoManuscriptWorks,CopiesNo. 8.
46
OPus 3
Six (plusone) sonatasfor altorecorderandbassocontinuo.C d Fa e F (g).
(a) Amsterdam,EsteinneRoger, 1709 (PlateNo. [61).
Dating:Lesure47.
ExtantCopies:Dbrd-W; I)ddr-JE.
(b) Amsterdam,EstienneRoger, ca.1710(PlateNo. [61]andwith seventhsonata).
Dating:Basedon LesureI8.
ExtantCopies:B-Bb* (recorderpartonly).
(c) Amsterdam,Mortier,ca.1709-10.
Dating:LesureI6-i8.
ExtantCopies:Dbrd-W.
Moderneditions:No. 2.Nagel, 1932(for fluteandpiano).No. 2.ed.G.Vellekoop.Utrecht,1947.
Comments:SeealsoManuscriptWorks,CopiesNo. 8.
Opus 4
OPus 7
Twelve sonatas for 2 oboes or violins and basso continuo. d c F I) C G I) C F G g d.
(a) Amsterdam, Estienne Roger, 1710 (Plate No. [ Io]).
Courant,May 22, I7IO(Lesure 48).
I)ating: Adversised in A.msterdamsche
Extant Copies: USA-Wc.
Opus 8
Six sonatas for violin or oboe and basso continuo. C G Bb c g d.
(a) Amsterdam, Estienne Roger, 1710 (Plate No. [871).
Courant,Ala)' 22, I7IO(Lesure 48).
I)ating: Advertised in Amsterdamschie
Extant Copies: USA-Wc; C H-Zz* (basso continuo only).
Opus 9
C d FaBbG.
for2altorecorders
Sixsonatas
(bassocontinuoadlibitum).
No.
Estienne
(a) Amsterdam,
Roger,ca.I7IO-I2(Plate [541).
Dating: Lesure 50, 79.
Extant copies: B-Bc* (lacks recorder I).
Opus IO
Bb c F G C g.
Six sonatas for 2 oboes or violins or flutes (basso continuo ad libitumt).
(a) Amsterdam, Estienne Roger, ca. 17Io-I2 (Plate No. [55).
Dating: Lesure 50, 79.
Extant Copies: USA-Wc.
(b) London, Walsh & Hare, I719.
Dating: Advertised in Post Boy,November 3-5, I719(Smith 571).
Extant Copies: None.
(c) London, Walsh. ca.1730(Plate No. 437).
I)ating: Smith-Humphries 1338Extant Copies: None.
Comments: See also Manuscript Works, Copies No. 3.
OPus II
A collection of minucts for a melody instrument and basso continuo.
(a) Amsterdam, Estienne Roger, ca.IT7O-I2 (Plate No. [51).
Dating: Lesure 49, 79.
Extant Copies: None.
Comments: Found under the title Recueilde lenuetsa uin dessus& Bassecontinuein the section on
pieces for flute or oboe or violin and the section on pieces for recorder in Le C ne 16, 27. Also
found under the title Recueilde Alenwts atm Hautitois& bassecontinuein Le Cene 34 and perhaps
principally intended for oboe.
OpUs12
Recorder Method (Includes 42 Airs for 2 recorders).
Amsterdam, Estienne Roger, ca. 17IO-I2( Plate No. 1[41)
Dating: Lesure 50, 80.
(a)
48
ExtantCopies:S-L.
EstienneRoger & LeCine, 1723or later(PlateNo. 4).
Amsterdam,
(b)
28.
Lesure
Dating:
ExtantCopies:GB-Lbm* (lacksRecorderII).
Comments:See DavidLasocki,A NewlyRediscovered
Tutor,in:AmericanRecorderIX,/I(Winter
1968),pp.18-19.Warner55.
Opus 13
Six concertosfor 2Violins,2 oboesor violinsandbassocontinuo.C F I) G a C.
(a) Amsterdam,EstienneRoger, ca.17IO-I2(PlateNo. [II]).
Dating:LesureSo,8o.
ExtantCopies:GB-Lam; F-PBN; CH-Zz; Dbrd-Mbs*.
Opus
14
I)ating:Smith-Humphries1339.
ExtantCopies:None.
Moderneditions:Nos. 2, 3,& 7.ed.JorgenGlode.Celle,Moeck,1966(EditionMoeck108I,1082,&
1083).No. ii. ed.DavidLasocki.New York, AmericanRecorderSociety/ Galaxy(in processof
publication).No. 12.ed. Hugo Ruf Mainz,Schott,1967(EditionSchott5595).
Comments:SeealsoManuscriptWorks,CopiesNo. 8.
OPUS18/I
A collectionof Airsfor altorecorder.
(a) Amsterdam,EstienneRoger, ca.1712-15(PlateNo. [1921).
Dating:Lesure8o.
ExtantCopies:None.
Comments:Titlein LeCene28.
OPus 18/2
A collectionof 146Airsfor altorecorder.
(PlateNo. 468).
(a) Amsterdam,Jeanne
Roger, ca.1716-21[1718-19?]
Lesure
[911]
I)ating:
ExtantCopies:F-PBC.
Opus 19
Six concertosfor 4 altorecordersandbassocontinuo.C d G F e c.
(a) Amsterdam,EstienneRoger, ca.1713-15(PlateNo. [3471).
Dating:Lesure80.
ExtantCopies:F-PBC (Recorder I hasattachedstickerof Le Clerc,Paris);NL-I)Hgm*
(RecorderI only);I)ddr-ME Ir*(RecorderIII only).
(b) London,Walsh& Hare,1719.
May 28-30,1719(Smith567).
Dating.Advertisedin PostAMan,
ExtantCopies:USA -Wc* (RecorderII andbassocontinuoonly).
(c) Amsterdam,EstienneRoger & Le Cene,1723or later(PlateNo. 347).
Dating:Lesure28.
ExtantCopies:F-PBN.
(d) London,Walsh,ca.1730(PlateNo. 93).
Dating:Smith-Humphries1334ExtantCopies:None.
Moderneditions:ed.RichardValentinKnab.Kassel,Barenreiter,
1968-1971(Hortus Musicus 192&
193[formerly issued in 1938and 1949 as BA 1285& 1286]).
Opus20/I
(c)
Opus 20/2
Six sonatas for flute or oboe or violin and baso continuo. e a F C I) G.
(a) Amsterdam, Le C&ne,ca.1723?(Plate No. 480!).
I)ating: Lesure1911
Extant Copies: B-Bc; USA-Rs.
Comments: The Le Cene plate number is probably erroneous, since his plate numbers begin with
No. 496.
OPUS 21
Airs spirituelsdes Lutlhbiensfor 2 alto recorders and basso continuo.
(a) Amsterdam, Estienne Roger, 1715(Plate No. [360 ]).
Dating. Advertised in Post Alan, October I, 1715(Lesure 52).
Extant Copies: None.
Comments: Title in Le Cene 32.
OPUS 22
Six sonatas for 2 alto recorders, oboe and basso continuo. F DIc G d a.
(a) Amsterdam, Jeanne Roger, ca. 1716-21 [1717-18?] (Plate No. 445).
Dating: Lesure [911
Extant copies: S-LB.
Modern editions: ed. David Lasocki.London, Musica Rara, 1975(MR 1835-40).
OPUS 23
Twelve sonatas for alto recorder and basso continuo. e C F d G g c g a D e A.
(a) Amsterdam, Jeanne Roger, ca. 1716-21 [I719-20?] (Plate No. 478).
D)ating.Lesure [911
Extant Copies: F-PBC.
Modern editions: No. 2. ed. Henri Bouillard. Mainz, Schott, n.d.(Edition Schott 16o09).
OpUs 24
Six sonatas for alto recorder and basso continuo.
(a) Amsterdam, Le Cene, ca.1723-24 (Plate No. Soo).
I)ating: Lesure [ 911, Le CGne28.
Extant Copies: None.
OpUs 25
Six sonatas for violin and basso continuo.
(a) Amsterdam, Le C&ne,ca.1723-24 (Plate No. Soi).
I)ating: Lesure[911,Le C&ne28.
Extant Copies: None.
5I
OPUS 26
Miscellaneous
I. TheCompleatTutorto theHautboy(London:Walsh& Hare,ca.1715)
[Warner46] contains:
Arietby Mr.Schickhard(p.14)
Marchby Mr.Schickhard(p.14)
Jigg by Mr.Schickhard(p. g9)
Sebellby Mr.Schickhard(p.23)
Jigg by Mr.Schickhard(p.28)
ExtantCopies:GB-Lbm.
2.
The (Complete
FluteAlaster... (London,Bennett,ca.176o) [Warner98 contains:
Mr.
Schickhard(p.36).
Jigg by
ExtantCopies:USA-Wc.
52
I)ating.Lesure[91],LeCe'ne30.
ExtantCopies:None.
Originalversion,Amsterdam,EstienneRoger,ca.1703-04 (PlateNo. [741)(Lesure82).
Coumments:
2. Sixconcertosfor 2 altorecordersandbassocontinuo,arrangedby Schickhardt
from the ConcertiGrossi,Opus6, by ArcangeloCorelli.
(a) Amsterdam,Jeanne
Roger, ca.1716-21I718-I9? ] (PlateNo. 457).
Lesure19I],LeCnle 32.
Dating.
ExtantCopies:None.
(b) London,Walsh& Hare,1720.
Advertisedin PostBoy,May 10-12,1720(Smith58o).
Dating.
ExtantCopies:G B-Lbm.
(c) London,Walsh,ca.1730(PlateNo. 480).
Dating.Smith-Humphries410.
ExtantCopies:None.
Moderneditions:No. 2.Celle,Moeck (EditionMoeck 1038).
Comments:Eachof thesix concertosismadeup ofan assortmentof movementstakenfrom tenof
the twelve Corelliconcertos(not Nos. VII or XI).
B. ManuscriptWorks
Autographs
I. Concertoin g for altorecorderwith 2 oboes,2 violins,viola,violoncello,bassandbassocontinuo.
S-Uu (i hs.58:5).
Modernedition:ed.JohannesBrinckmann& WilhelmMohr.Heidelberg,Moller,1963(WM 1298
SM).
Comments:Foraltorecorder,althoughtheeditorsofthe moderneditionsaythatit is certainlyintended for transverseflute.,>
Copies
i. One pageonly ofa violinpart Schickhards
concerto in C major,containingthelastmoI,
of,
and
the
end
of
the
next-to-last
vemnent
(in D major).
mnovement
GB-I)Rc (M. 157).
53
2.
of Opus16No.5for2altorecorders
b. Thefirstthreemovements
andbassocontinuo.
c. The bassocontinuopart(lackingfigures)ofOpus INo. 5for altorecorderandbassocontinuo.
f.
Comments:
Museum
Augustus
Hughes-Hughes,
ofManuscript
Catalogue
lusicin theBritish
,A
British
for2 violinsandbassoconMuseum,
(London,
I909),III,p.169,alsoliststwosonatas
tinuoin Bb andF (Add.34074,34075, IIb,12b),perhapsidentifiable
with Opusio
f.
No.7andOpusIoNo.9.
of Opus16for2 altorecorders
andbassocontinuo.S-L (Saml.Engelhart
4. Alltwelvesonatas
692).
6. A sonataforaltorecorder
andbassocontinuoandasonataforviolinandbassocontinuo.
Dddr-ROu (Mus.saec.XVII 42 3,4).
Comments:
lostsince1965.LetterfromD)r.
Schmelzer
to I)avidLasocki,June
4,1971.
Reported
for2altorecorders
FCg d GF.
andbassocontinuo.
7. Sixtriosonatas
Dddr-SWl(Mus.4878).
Not identifiable
Comments:
withopera
6,7,9, Io,or16.Perhaps
Opus4,whichisnotextantin
form?
printed
ed.F.J.Giesbert.
Moderneditions:
Nagel,1935(EN 508).
No. I. ed.ErwinSchaller
Kammermusik
Vienna,I)oblinger,
1958.(Guitarre
15;I), 9754d).
No. 6. ed.ErichKatz.New York,HargailMusicPress,1945(H 32).
8. Therecorder
foraltorecorder
andbassocontinuo.
partonlyof 6sonatas
I)brd-W(Cod.Guelf
298,
1-3Ir).
f.
Nos.
I-6 = Opus 3 Nos. I-6.
No.7 = unidentified
No.Io=Opus8No.2 (butinBb)
No. n =Opus 8 No.4 (but in d)
No.12=Opus2 No.I(butinG)
No.13= Opus2No.2 (buting)
No.14= Opus2 No.3(butinG)
No.15=Opus2No.6 (buting)
No. 16= Opus 17No. 6.
54
C. DoubtfulAttributions
Flutes,'iz. a Ftifit,a Sixth,a Consortand I iice Flute;1'lie
I. Corelli'sXII Concertos
Transpos'djor
to eachConcerto;
andso adapted
to thePartsthattheypertrnm
in Consort
properFlutebeingnamt'd
theU holebeingthefirstofthisKindyetPublish'd.
withitheI iolinsandotherInstnrients l'hrolughoutit;
(a)
ExtantCopies:GB-Lbm*; NL-I)Hgm*.
(b) London,Walsh,ca.1730(PlateNo. 89).
I)ating:Smith-Humphries409.
ExtantCopies:GB -Gm*.
Comments:Attributedto Schickhardtby SirJohnHawkins:
<RobertWoodcock,afamousperformeron theflute[recorderi,composedtwelve concertos,so contrived,asthatflutesof varioussizes,havingthepartstranspos'd,
mightplayin concertwith theotherinstruments...
When theflutewasaninstrumentin vogue thiswasa very
common practice.Corelli'sconcertoshadbeenin likemannerfittedfor flutesby Schickard
of Hamburgh,a greatperformeron, andcomposerfor, that
(Hawkins,op.cit.,
instrument.,
p.826.)
Thereis no otherevidencethatthisarrangementwas madeby Schickhardt,andsincethe
work wasnot publishedby Roger or hissuccessors
in Amsterdam,theattributionto Schickhardtisdoubtful.
2. Six sonatasfor altorecorderandbassocontinuo:((Soloflutea bec I)el Sigr.Schickard.>
D)ddr-ROu(Mus.saec.XVI142 5).
Modern edition:ed. F.J.Giesbert.
Mainz,Schott, 1936(EditionSchott 2432a/b).
Comments:Identicalwith the Opus I ofJohann ErnstGalliard(London,Cross,1171;
Amsterdam,JeanneRoger, ca.1717;etc.).Stylisticallyquite unlike Schickhardt's
writing.
55