David Lasocki

JOHANN CHRISTIAN SCHICKHARDT

(ca. 1682-1762)

A Contribution to his Biography and a Catalogue of his Works'

The name of Johann Christian Schickhardt is known today almost solely to recorder
players, and even to them is not well known. The circumstances of his life point to a
journeyman composer and performer, not fortunate enough to gain a position at an important court or in an important city. He constantly moved from one minor court or city
to another dedicating numerous compositions to one prince or duke after another in
the hope of being employed, and eventually he settled in the Netherlands, which was
important for music publishing but not in the vanguard of musical composition or
performance at that time.
Yet Schickhardt was able to publish at least thirty sets of six or twelve compositions
with the celebrated Amsterdam publisher Estienne Roger and his successor Le Cane (six
of the sets being thought worthy ofpirated publication by Walsh & Hare in London) in
an erain which composers ofthe statureofCorelli published only six sets,Vivaldi thirteen
andJ.S. Bach eight.2This remarkableachievement alone makes him worthy ofinvestigation. Who, then, was Schickhardt?What were the circumstances of his life? W\Xhat
comhe
write
what
were
like?
How
was
he
to
so
did
and
able
they
publish many compositions
positions? These are the questions I shall try to answer in this article.
When I startedto researchSchickhardt'slife, I discovered that the reference books contained only three major statements about him: that he was born in Braunschweig; that he
lived in Hamburg; and that he later had connections with Leiden, in which town he died
in 1762.Because ofmaterial furnished by Schickhardthimself(on the title pages and in the
lettersofdedication of his compositions) I have been able to confirm these statements and
to establish much more about the general outline of his life. Unfortunately, I have been
unable to visit firsthandany archives or librariesin places where he worked or may have
worked. For this reason,the biographical portion ofmy article must be considered only a
firstdraft.I hope it will be found interesting and informative in itselfand that it can lead to
interfurther studies.On the other hand, because of the kind cooperation of the RWpertoire
I have been able to collect microfilms of all of Schickhardt's
nationaldessourcesnmusicales
printed and manuscript works known by them to be extant. My catalogue of Schickhardt'scompositions is therefore in a relatively finished state. I would welcome comments, corrections and additions about anything in this article.

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

LeidendatedNovember i8, 1745,in which hisage at thattime is given as 63.4The same

i.e.from Braunschweig.Furtherconnectionsof
document callshim <<Brunsvicensiso,
Schickhardtwith Braunschweigarethe dedicationof hisOpus 5 to SophiaAmalia,the
secondwife of AugustWilhelm,the heirto the Dukedomof Braunschweig-Wolfenbittel, andthe dedicationof hisOpus 14to AugustWilhelm himselfandhisthirdwife,
ElisabethSophieMarie.5Intheletterofdedicationto theOpus14,Schickhardt
saysthathe
acquiredwhat he knows of musicthroughtheirkindnessesandin their( illustriouspalace)>.
The courtof Braunschweig-Wolfenbtittel,
which hadalwaysbeenactive musically,
had become an importantmusical center with the opening of the opera house in
Braunschweigin 1690 at the instigationof August Wilhelm'sfather,Anton Ulrich.6
Fromits inception,the orchestraof the operahouseincludedoboists,7andit is possible
thatSchickhardtreceivedhistrainingon the oboe from one of theseplayers.
The firstdocumentsIhavefoundconcerningSchickhardt's
employmentplacehim in
the Netherlands.The linkfrom Braunschweigto theNetherlandscouldhavebeenFriedrichof Hesse-Cassel(laterFrederickI of Sweden).8That Friedrichwas known at the
Braunschweigcourtisattestedto by thededicationto him oftwo operasperformedthere
in the I69gos.9
Friedrichtook a largepartin the Warof the SpanishSuccession
(1702-I713).
From1702onwards,he wasthe commanderof the Hessianauxiliariespartlyin Netherlandsandpartlyin Englishservice,andin 1706 he becameGeneralof the NetherlandscaInthe letterof dedicationto a manuscriptorchestralsuitedatingfrom afterFrievalry.10
drichhadbecome the King of Sweden(1720),Schickhardtdescribeshimselfas(an old
servant)>
of his."1Since,as we shallsee below, Schickhardthadconnectionswith other
Netherlandsmilitaryfigures,it is likelythathe wasin Friedrich's
servicewhen the latter
was commandingthe Netherlandsforces.In this case,Friedrichmay have come to
know Schickhardt
in Braunschweigandtakenhim with him on hismilitarydutiesin the
Netherlands.Thereseemsto beno publishedinformationon Friedrich's
musicalinterests.
Hisfather,LandgrafCarl
of Hesse-Cassel,however,playedthevioladagambaandhada
ofsome note.12
capelle
Schickardt's
OpusI(1709)is dedicatedto ( MadameLaPrincese
(ThePrincess-1)owager).ThisladywasHenrietteAmalia,13bornaprincessDouairibre,
ofAnhalt- Dessau,and
the widow of Prince Hendrik CasimirII of Nassau-Diez, the Stadholder14
of the
Netherlandsprovincesof Friesland,
Sincesheiscalled Regente
GroningenandIDrenthe.
,
de Nassau)by Schickhardt,
theletterofdedicationmayhavebeenwrittenbefore
August
14,1707,when herson,JohanWillem Frisobecameof age[at20] andassumedthe titleof
PrinceofNassau- I)iez.IntheletterofdedicationSchickhardt
Foralong timeI have
desiredthe honor of producingnew piecesof musicto servesays:,
for the diversionof Your
SereneHighnessin her recreationhours.,,>
He praisesthe ((delicacy)of her <(ear),and
thanksher for the singularkindnessesshe hadfavoredhim with. It is clearthathe had
beenworkingfor herfor sometime,no doubtin Leeuwarden,thecapitalof theprovince
of Friesland,
the seatof the Nassau-Diezfamilyin the Netherlands.'s
Schickhardtwasalsoin the serviceof HenrietteAmalia'sson,JohanWillem Friso.As
29

well asbeing the Princeof Nassau-Dliez,Frisoheld the more importanttitle of Prince

of Orange(which hadbeen willed to him byWillem III of Orange-laterWilliam III
of England-who diedwithout issuein 1702),16 andalsowasthe Stadholderof the provincesof FrieslandandGroningen.Schickhardt's
Opus 2 (1709)is dedicatedto Friso.And
in the letterof dedicationto FrederickI of Swedenwhich we havementionedearlier,
Schickhardtdescribeshimself as ((anold servant... especiallyof His [Majesty's]Blessed Holy brother-in-law,thePrinceofthe MostVenerableHouseofOrange>.(Frederick
was the brotherof MariaLouiseof Hesse-Cassel,who marriedFrisoon April26, 1709.)
AlthoughFrisonominallylivedin Leeuwarden,he spentmostof hisshortlifefighting
in the Warof the SpanishSuccession,beginningin 1703asa volunteerin Marlborough's
army,then from 1707ascommanderof the Netherlandsinfantry,fightingwith distinction in suchbattlesas Oudenarde(1708) and Malplaquet(1709). Schickhardtmay have
workedfor Frisoin Leeuwarden- aswe haveseen,he didwork therefor Friso'smother,
HenrietteAmalia- but two piecesof evidencepoint to him having also accompanied
Frisoon hismilitarycampaigns.Firstly,Schickhardt's
Opus3(17o9)isdedicatedto ( Swier
in
what
was
then
SpanishNetherlands(now Belgium)],
deTaminga,>[probablyTamines
#
of
the
LieutenantColonel
Regimentd'Ockinga>,probablyone of the regimentsin the
Opus7 (1710)is dedicatedto o<SeigAnglo-Netherlandsservice.Secondly,Schickhardt's
andhiswife, ChristineGertruyd.
neurTiberePepind'Iminga,de Wiardaa Goutum,
&c.,
and
nearNamur (and also near
Emines
are
and
Wierde
((Iminga)> ((Wiarda), probably
of
the
creditthey havebeenacSchickhardt
In
letter
the
dedication,
of
Tamines).
speaks
feels
itself
which
little
customedto do to ((our
very considerablyobligated
community,
by the good receptions)they haveoften given it in theircastle,by the favourableattention they havepaidto it in itsconcerts,andby the obliginghelpthey give it ((withthe last
estime))with
He refersto the <<singular
degreeof perfectionin its pieces
[syimphioniesJ.,,
which they honor his (feeble works of music,,,alludesto the knowledge thatTibere,
andespeciallyhiswife, haveof music,andhopesthatthe piecesbeingdedicatedto them
canprocurethemsomepleasurein theirrecreationhours.Fromthisinformationwe may
infer that Schickhardtand a group of musiciansin the employment of Frisoand the
Netherlandsarmiesstayed intermittentlywith Tibere during their campaigns.It is
difficultto understandwhat else Schickhardtcould mean by #(ourlittle community
[notrepetite
societd].,
Soon, circumstancesapparentlymadeit impossiblefor Schickhardtto remainin the
Netherlands.In 1709,HenrietteAmaliamoved from Leeuwardento Oraniensteinnear
her son,Johan Willem Friso,was drowned in a ferry boat on the
l)iez,17 and in 1711,
his
on
way to The Hagueto meetwith FriedrichI of Prussiaaboutthedisputed
Moerdyk,
the
to
succession
Orangetitle."'
Schickhardt's
Opus8(1710)isdedicatedto FrederikIVofDenmarkandNorway.Since
thereis no letterof dedication,it is impossibleto saywhetherSchickhardtwasin Frederik'sserviceorwasmerelysolicitingemployment.Ineithercase,Schickhardt
mighthave
receiveda recommendationto Frederikfrom the latter'scousin,Friedrichof HesseCassel.19
30

At some time between171oand1712,Schickhardtauditionedfor ErnstLudwig,LandSchickhardt's

Opus13(ca.1710-12) is dedicatedto him.In the
grafof Hesse-Darmstadt.20
letterof dedication,Schickhardtrefersto a recommendationhe hadhadfrom a Baron
Afterpraisingthe greatknowledgethatErnstLudwighas((ofthe Art
von Freudenberg.
thatI
Schickhardtthankshimfor the kindnessesthathehasshownhim., Instead
profess,>,
of rejectingthe musicthatI hadthe pleasureof playingto Your SereneHighness,your
judgment allowed itself to merit by your kindness,and you loaded me with favors
Schickhardt
concludeswith anapparentrequestfor
beyondthatwhich I couldwishfor.)>
I
Your
Serene
<(But
Highness,that you continue to
prayvery humbly,
employment.
...
.o
is
Schickhardt
not
listedin the publishedmaterial
of
kindness
me
marks
your
grant
ErnstLudwigdid,however,needan
concerningmusicianswho workedat Darmstadt.21
extraoboiston atleastone otheroccasion,22
so perhapsSchickhardthada shortirregular
engagementatthe Darmstadtcourt.
By 1712,Schickhardtwas in Hamburg.The <(famous
composernis listedamong the
<<Hambourg
of
for
his
own
Estienne
Roger Amsterdam,in that
agents
publisher,
year.
(He does not appearin the list
chezJeanChrestienSchickhardt,fameuxcomponiste.>>23
no listsfromafter1712areknownto be extant.)Schickhardt's
for 1710o,and
associationwith
is
also
to
two
GottfriedWalattested
eighteenth-century
by
writers.Johann
Hamburg
annochlebender
Musicusin Harnburg.,24
At least
ther,writingin 1732,describeshim as
two laterwritershaveinterpretedthis,<ein
ratherclumsyphraseto meanthatSchickhardtwas
still living in Hamburgat the time Waltherwas writing.25A stricttranslationwould,
andthe senseis probablythatof
however,read<(ahithertoliving musicianin Hamburg,)>
<amusicianwho isknownto havelivedin Hamburg.)>
Aswe shallseebelow,Schickhardt
could not have been in Hamburgafterabout1717,unlesshe moved backthere in the
periodfrom 1723to 1735when thereisno evidenceof hiswhereabouts.SirJohnHawkins,
of Hamburg,,and
writing in 1776,refersto him on two occasionsas ((Schickhardt
. 26 Hawkinsmay haveobtainedthisinformationfrom Wal<Schickardof
Hamburgh,
ther'sdictionary.
Furtherevidencefor Schickhardt's
associationwith Hamburgis the presencein the
music holdingsformerlybelonging to the Mecklenburg-Schwerincourt of a manuFick,who originally
scriptof six triosonatasby him,copiedin the handof PeterJ.Fick.27
cameto Schwerinfrom AltonanearHamburg,workedasSchlossorganist
attheSchwerin court,28andtook therewith him his own copiesof worksby composersassociated
with Hamburg(Telemann)andAltona(Prowo).29
AndrewD.McCrediehasspeculatedthatSchickhardt,
like hiscolleagueFreymuth,30
wasveryprobablyamemberofthe orchestra(recorderandoboe player)ofthe Hamburg
Opera.3'Unfortunately,thiscannotbe investigatedbecausethe pertinentrecordswere
destroyedduringWorld WarII.
- 15)is dedicatedto (Monsieurde Brandt,Chambelan&
Schickhardt's
Opus19(ca.1713
General
de
Musiquede sa Majest6le Roy de Prusse,.Schickhardtwritesto
D)irecteur
<
Brandt: MonsieurLottorff,who favorsme with hispatronage,hashadthe kindnessto
informme of the highregardyou havefor the piecesI havecomposed.... I would have
3'

the honor of presentingtheseconcertosto you, which I would wish would be able to

pleaseyou. If theyhavethishappyfate,I will profitby the praisesyou give me.,,Richard
ValentinKnabhaspointedout that<ChristophWilhelm von Brandt,GeneralDirector
to the motherof Frederickthe Great,SophieDorothea,was
of Musicand Kainerlerherr
to
appointedOberhofinteisterthe Queen on the accessionof her husband,Friedrich
Knabspeculatesthato(thededicationmust have
Wilhelm I [of Prussia],earlyin
1713.>32 with the
beenmadein the firstmonthofi713,
underlyingintentionofpavingthe
perhaps
of FriedrichWilhelmI.,,Thisis quiteprobable,excomposer'sway into the courtcapelle
antimuof SophieDorotheaherself,since#<the
been
that
would
have
that
the
capelle
cept
sical King FriedrichWilhelm I ... dissolvedhis own band [i.e.the one he inherited]
in 1713.)>33

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

mon in Walsh'sbooks of music for the amateurmusicianpublishedbetween about

1700 and 17I0.34This evidence suggeststhat Schickhardtcould have been in London
at some time during this period.However, there are a number of questionsabout
theappearance
ofthis cibell-which isatruecibell-in theWalsh& Hareoboe method.Is
theattributionto Schickhardt
correct?Itmaywell be,sincethefourotherpiecesattributed to him in themethodlook likehisworkon stylisticgrounds.What,then,wasWalsh&
Hare'ssource?The operaof Schickhardt's
publishedby Walsh& Hare(Opus2, Ca.1717
Opus 5, ca.1715;
Opus Io, ca.1719;Opus 17,before 1721;Opus I9, ca.1719;andOpus 20/I,
ca.1718)were all piratedfrom the Amsterdampublicationsof EstienneRoger. This
cibell is not, however, to be found in any of Schickhardt's
extantworks publishedby
The
attribution
of
the
to
Roger.
piece Schickhardtcanthereforebe questioned.Evenif
it were correct,Schickhardtneed not have been in Londonto write a cibell.He could
haveknown the form throughthe manycibellsfor the recorderpublishedby Walsh&
Harein the DivisionFluteandNewFlute-Masters,
or,more likely,the Airsanglois
arranged
for the recorderby GeorgeBinghamandpublishedby Roger.36Schickhardt's
possible
associationwith Londonatthistime mustbe consideredunproven.
By about 1717,Schickhardtwas in the serviceof JohannFriedrich,Count of Castel-Rudenhausen(Castelis in the province of Hesse,nearDarmstadt).Schickhardt's
Opus 22 (ca. 1717-18)is dedicatedto JohannFriedrichand his wife, CatherineHedwig.
In his letterof dedication,Schickhardtwishesthem to know how much he is responsive to their ((so helpful and so courteousmanners,,.He thanksthem for the honor
of their good gracesand assuresthem that he is ((strivingto maintain))these good
graces.Again, he refers to the kindnessof which they have given him ((so many
proofs,,.Finally,he begs them to accord him the continuationof their good valor
andto honorhim alwayswith theirpatronage.
Schickhardt's
Opus 23(ca.1719-20) is dedicatedto ((Leopold,PrinceRegent d'Anhalt, Duc de Saxe,Engrie& Westphalie,Comte d'Ascanie,Seigneurde Berenbourg
& Zerbst,&c.&c.)>
In view of the fact that Schickhardthad worked for Henriette
Amalia,to whom he ascribes,the titlesof <(Princess
d'Anhalt;Duchessede Saxe,Engern
& Westphalen;Comtessed'Ascanie...Baronnede Zerbst[andi Bernbourgo,one might
concludethatthe Leopoldherereferredto isHenrietteAmalia'sbrother,LeopoldofAnhalt- Dessau.However,the more likelycandidateisLeopoldofAnhalt- COthen,famous
for being the employerofJohannSebastianBachfrom 1717-23.Firstly,Leopoldof Anhalt- Dessauisnot known to havebeeninterestedin muchbesideswarfare,whereasLeointerestin music.Secondly,LeopoldofAnhaltpoldofAnhalt-C6thenhadaconsiderable
Cdthenhastheabove-mentionedtitlesascribedto him on the titlepageof one of Bach's
refersto arecommendationhe
Thirdly,in hisletterofdedication,Schickhardt
cantatas.378
hashadto Leopoldfrom ErnstAugust,Duke of Sachsen-Weimar,the brother-in-law
of Leopoldof Anhalt-Cithen, andknown to be in musicalcontactwith him at least
(Bachworkedin Weimarpriorto C&then).38
Schickhardtwritesto Leopold: find myself emboldenedto testifyon all occasions
,I
my devotion to the serviceof Your Highness,and I availmyself of thisoccasion,flat33

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

Johann VI, Count of Nassau -Dillenburg

(b.1535,d.16o6)

Ernst C(asimir,Count of Nassau -1)iez

(b.1573,d.1632)

Hcndrik Casimir I
Count of Nassau -I )iez

Willem Lodewijk, Count of Nassau-I)illenburg

(b.156o, d.x62o)

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)

Count, later Prince of

Nassau- I iez

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

JOHAN WILLEM FRISO

m. Prince of Orange & Nassau-l)iez
(b.1687,r.1702-1711)

(<,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

Willem I (oWilliamthe Silent,,)

Count of Nassau& Princeof Orange
(b.1533,
r.i568-I584)

Maurits,Count of Nassau& Princeof Orange

(b.I567,r.1585-1625)

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.

I. Thisarticleis dedicatedto Dr.WalterBergmannin gratitudefor hismany kindnessesto me

over the years.I shouldliketo thankhim andthe following peoplefor theirhelpandencouragementduringthepreparationof thearticle:Dr.RobertPaulBlock,IowaCity;The ChapCathedralLibrary,Durham;Dr.Rolf Dempe,Wissenschaftliche
terLibrarian,
AllgemeinbibliothekdesBezirkesSchwerin;Dr.CarlDolmetsch,Haslemere;JanOlofFristrom,Universitetsbiblioteket,
Lund;Dr.Clemensvon Gleich,MusicDepartment,Gemeentemuseum,The
Hague;Dr.HansHaase,HerzogAugustBibliothek,Wolfenbattel;ProfessorDonaldMartin
Jenni,Universityof Iowa;Dr. AlexanderHyatt King, BritishMuseum,London;Professor
GerhardKrapf,Universityof Iowa;Dr.WilliamLichtenwanger,
LibraryofCongress,Washington D.C.;ProfessorAndrewD. McCredie,Universityof Adelaide;Dr.KarlheinzSchlager,
dessourcesmusicales,Cassel;Dr.Schmelzer,Universititsbibliothek,
Repertoireinternational
van der Linden,Bibliothequedu conservatoireroyalde muDr.
Albert
Professor
Rostock;
C.
C.
Dr.
Oosterwolde.My Schickhardt
Vlam, Rijksscholengemeenschap,
sique,Brussels;
researchwas firstcommissionedby Zen-On MusicCompanyof Tokyo, to whom special
thanksaredue.
in Dispute,in Recorderand
2.
This was firstpointedout by WalterBergmannin Schickhardt
MusicMagazineII/3(Nov. 1966),p.85.
o-at leastin letterswrittenin GerChristianSchickhardt
signedhisname
3. Schickhardt
<,Johann
Sweden(seethesignatureattheendofthe letterto QueenUlmanto theKingandQueenof
rikaEleonoraof Swedenreproducedbelow).His publishers,EstienneRoger andhissuccessors,theirtitlepagesbeingwrittenin French,generallytranslatehisnameinto a Frenchform
o or
Some of the operapuor <Chretieno Schickhard
suchas
,Schickhardt.,
,
,Jean
Chrestien,,
and
for
first
time
in
Netherlands
the
has
the
while
he
blished
io) havethe seni(3,5,9,
living
ChristianSchickhard A laterdocumentfrom theNetherlandscallshim
Dutchform
,Johan
,.
we findthe
(seefootnote 4).Intwo of Roger'sadvertisements
Christiaan
,Johan forms Schickhart, and
isaneasynameto misSince
Italianized
v<Schickhardi,, ,,Schickardi,,. oSchickhardt,,
spell-and the eighteenthcenturywas not fussyaboutthe spellingor nationallityof itsmusicians'names- we alsofind in variousplacethe forms
oSchichart,,,Schickhard,
,Schikardto,
I have usedthe form <(Johann
For simplicityandconsistency,
and
,Schichard,,.
,,Schikhart,,
Christian
Schickhardt,,throughoutthis article.
4.

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,

eeniging voor Noord-Nederlands Muzickgeschicdenis (1874-1881),p. 1-13,7.

5. August Wilhelm (b. 1662, d. 1731)took over the 1)ukedom from his father Anton Ulrich (b.
1633,r.1685-1714)in 1714.His second wife Sophia Amalia (b. 1670),daughter ofl )uke Christian

40

6.

7.

8.
9.

10.

11.
12.
13.
14.

15.
16.

17.

18.
19.

Albrechtof Holstein-Gottorp,diedon February27,1710o.

He marriedhisthirdwife, Elisabeth
d.1767),daughterofDuke RudolfFriedrichofHolstein- Nordbergand
SophieMarie(b.1683,
widow of PrinceAdolf Augustof Holstein-P16n,on September12,171o.SeeAllgemeine
deutI, 664-65.
sclleBiographiie
derBraunsc/hwe(qgSee [FriedrichChrysander
j, Geschlichte
CapelleundOper
1oblfenbittelschen
bis
in:
16.
omri
zumn
18.Jahirhundert,
Jahrbicherfor muskalischeWissenschaftI (1863),147-286,
especiallypp. 183-263.
The listofexpensesfor musiciansfor theopeningofthe operahouseincludes<Hautboiso,and
the billfor two operasputon atthe operahousein 1692includes DI)enen
Hautboiszu BraunSee
and
cit.,
189
194.
Chrysander,
op.
pp.
schweig,,.
B. 1676,r.1720-51.
The Singelspiel
Procris
undCephalus
of 1694by Bressandwas<aFriedrich,
Landgrafenvon Hessen
andtheSitlnspiel
of 1698by Bressandwas
LandgrafenFriedrich
Orphieus
,dem
vongewidmet,,,
Hessendedicirt,,.Ibid.,pp.235and246.
See the articleson him in Allgemeine
deutsche
VII, 522-24, and NieuwNederlandsch
Biographie
ordenboek
I, 894.
BiografJisch
H
Universitetsbiblioteket,
Uppsala,i hs.58:6.Suitein Fmajorfor violin,2 altorecorders,2 oboes,
stringsandbassocontinuo.
See,e.g.,WilfriedBrennecke& ChristianeEngelbrecht,articleKassel,in:Die Musikin GeschichteundGegenwartVII (1958),cols.716-31,especiallycols.723-24.
B. 1666.
The Stadholderwasthe paidexecutiveandhiredservantof the estatesin eachof the Netherlandsprovinces.For furtherdetailssee John B. Wolf, T71 Emergence
of the GreatPowers,
Fallof theDutchRe(New York, 1951),p. 121,andHendrikWillem van Loon, T'Ihe
1685-1715
public(Boston& New York,1924),pp.24-25. Eachprovince,theoretically,haditsown;in se
veralofthem theofficewashereditaryinthehouse
ofOrangewhilein therestofthe provinces
the princeof Orangewas usuallyelectedto the
(Wolf, loc.cit.)Theprovinceof Friesoffice.,>
andDrenthe,usuallyremainedindepenland,andsometimesalsotheprovincesofGroningen
dentfrom the otherprovincesin theirchoiceofa stadholder,the officegoing to the reigning
memberof the Nassau-Diezline,who were colateraldescendentsof the Orangeline(seefamily treeof the Houseof Orange).
See NicolaasJapikse,De
Geschiiedenis
ivanhetHuisvanOratje-Nassau(The Hague,1948),p. 21.
To understandFriso'sclaimto thetitleof PrinceofOrange,seethefamilytreeofthe Houseof
Orange.Frisowasthegrandsonof two ofWillem III'saunts,andalsothe great-great-grandFriso'sclaimto thetitlewasdisputedby,
son of the brotherof Willem III'sgreat-grandfather.
among others,LeopoldofAnhalt- I)essau,who wasFriso'suncleandthesonofone ofWillem
III'saunts,andby FriedrichI, King in Prussia,who was the son of anotherof Willem III's
aunts.
See Robert Meister,Das :iirstenturn
Oranien(Berlin,1930),p. 70, andJapikseop.cit.,p. 22.
Fora descriptionof the town of Lccuwardenwhich suggestswhy she may have wantedto
leave it as soon as her son was married,see Van Loon, op.cit.,pp.
See the articleon Frisoin Allemeinedeutsche
and Meister,loc.cit.
XIV, 275-76,122-23.
Biographie
FrederikIV of 1)enmarkand Norway (b. 1671,r. 1699-1730)was the son of Friedrichof
Hesse-Cassel'saunt, CharlotteAmalie of Hesse-Cassel(b. 1650,d. 1714).See family tree
of the House of Orange for full details.
41

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.

Carl I)olmetsch,The Recorder

andthe Flute,in: The Consort XIV (1957), p. 21.
andAMusic
Recorder
Magazine11/2 (July 1966),p. 33.
Letterfrom Carl I)olmetsch to I)avid Lasocki,August 12, 1971.
in Dispute,in: Recorderand Music Magazine11/3(Nov. 1966),p. 85.
Schickhardt
Six Solosfor a Fluteanda BassBy Arcangelo
CorelliBeingThesecondpartof hisFft/i Opera...
ThewholeexactlyTranspos'd
andmadefit for A FluteandA Basswithitheapprobation
ofseverall
EminentMasters.
London,Walsh& Hare.Advertisedin PostBoy,May 28-30, 1702.See William C. Smith, A Bibliography
of theMusical ibrksPublished
byJohn U alshduringthe Years
1695-1720

(London,

1948), p. 27, no. 85.

56. It is true that Schickhardtdid arrangeworks by Corelli,however, and that is perhapsthe

sourceof some of the confusion.JeanneRoger in Amsterdampublishedca.1718-19an arrangementby Schickhardtof six concertosfor two altorecordersandbassocontinuomade
up of movementsfrom Corelli'stwelve concertigrossi,Opus 6, and thisarrangementwas
piratedby Walsh& Harein 1720 (see Catalogueof Works,Arrangements,No. 2). Schickhardt'snamehasalsobeen linkedto anotherarrangementof all of the twelve Corelliconcerti grossi,Opus 6 (see Catalogueof Works, D)oubtfulAttributions,No. i).
57. Telcmann,for example,mentionsin his autographythatafterhe moved to Hildesheimin
1698he was able to hearmusic at nearbyBraunschweigand Hannover,and that through
his frequent visits to these cities he became well acquainted with the French and Italian styles.See Johann Mattheson,Gnundlage
einerIEhrenpforte
(Hamburg,1740), p. 357.

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

= Biblioth quedu Conservatoireroyalde musique,Brussels.

= Zentralbibliothek,
Zurich.
= Marien-Gymnasium,Bibliothek,Jever.
= BayerischeStaatsbibliothek,
Munich.
=Graf von Sch6nborn-Wiesentheid,Musiksammlung,Wiesentheid.
= HerzogAugustBibliothek,Wolfenbottel.
= StaatlicheMuseen& Reger-Archiv,Meiningen.
= Universititsbibliothek,
Rostock.
= Mecklenburgische
Landesbibliothek,
Schwerin.
= I)et KongeligeBibliotek,Copenhagen.
= Bibliothequedu Conservatoirede musique,Paris.
= Bibliothbquenationale,Paris.
= CambridgeUniversityLibrary.
= CentralPublicLibrary,Cardiff
= CathedralLibrary,D)urham.
= MitchellLibrary,Glasgow.
= Royal Academyof MusicLibrary,London.
= BritishLibrary(formerlyMuseum),London.
= Gemeentemuseum,The Hague.
= Gymnasie-och Stiftsbiblioteket,
Kalmar.
= Libraryof BaronCarlde Geer,LeufstaBruk.
= Universitetsbiblioteket,
Lund.
AkademiensBibliotek,Stockholm.
= KungligaMusikaliska
= Universitetsbiblioteket,
Uppsala.
= Universityof Californiaat BerkeleyMusicLibrary.
= AldermanLibrary,Universityof Virginia,Charlottesville,
Virginia.
= SibleyMusicLibrary,EastmanSchoolof Music,Rochester,New York.
= Libraryof Congress,WashingtonI).
C.
45

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

[Six?] sonatasfor 2 altorecordersandbassocontinuo.

(a) Amsterdam,EstienneRoger, 1710(PlateNo. [91]).
Courant,
Dating:Advertisedin Amnsterdamsche
May 22, I7IO(Lesure47).SeealsoLeCene 30.
ExtantCopies:None.
OPus 5
Six sonatasfor altorecorder,2 oboesor violins,violadagambaandbassocontinuo.C 1) F g c d.
(a) Amsterdam,EstienneRoger, 170Io(PlateNo. [421).
Courant,May 22, I7IO(Lesure 47).
Dating: Advertised in Ansterdamscihe

ExtantCopiesDbrd-WD; GB-Lbm; GB-Lam; USA-Wc*.

(b) London,Walsh& Hare,1715.
Dating:Advertisedin PostAMan,
August4-6, 1715(Smith467).
ExtantCopies:None.
(c) London,Walsh& Hare,ca.1722.
Dating:Smith-Humphries1336.
ExtantCopies:GB-Lbm.
(d) London,Walsh,ca.1730(PlateNo. 436).
Dating:Smith-Humphries1337ExtantCopies:USA-CHu.
Moderneditions:Nos. I,3,& 6.ed.HildemariePeter.Berlin-Lichterfelde,Lienau,1962(A.1423K).
No. 2.ed.SheilaWiggs.London,Oxford UniversityPress(in processof publication;Musicada
Camera,No. 39).
Opus 6
Six sonatasfor 2 altorecordersandbassocontinuo.d e C F Fd.
(a) Amsterdam,EstienneRoger, 1710(PlateNo. ,[371).
Dating:Advertisedin Amnsterdamschle
Courant,
May 22,I7IO(Lesure48).
ExtantCopies:B-Bc.
Commn
nents:SeealsoManuscriptWorks,CopiesNo.5.Thesixthpieceinthiscollectionisnot asonatabut a setof variationson <La
Follia.,
47

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

Six sonatesfor altorecorder,oboe or violin,violadagambaandbassocontinuo.g C G c d Bb.

(a) Amsterdam,EstienneRoger, ca.17I0-12 (PlateNo. [84]).
Dating:Lesure5o,80.
ExtantCopies:GB-Lbm; CH -Zz; GB-Lainm*
(lacksbassocontinuo).
Moderneditions:No. 6. ed.HildemariePeter.Berlin-Lichterfelde,Lienau,1962(A. 1422K).
OPus 15
Oboe Method (includesAirs for 2 oboes).
(a) Amsterdam,EstienneRoger ca. 171O-12(PlateNo. [911).
8o.
Dating:Lesure50o,
ExtantCopies:None.
Comments:Listedin Roger catalogueof 1712(LesureSo)andLeCine catalogueof 1737(Le Crne
35).Warner64Opus 16
Twelve sonatasfor 2 altorecordersandbassocontinuo.d C F Bb g F c a G e Bb C.
(a) Amsterdam,EstienneRoger, ca.17IO-12(PlateNo. [i5 ).
8o.
I)ating:Lesure50o,
ExtantCopies:B-Bc; S-LB.
Moderneditions:No. ed.Hugo Ruf Mainz,Schott,1966(EditionSchott5594).
lo.
Comments:SeealsoManuscriptWorks,CopiesNo. 2,No. 4 andNo. 5.
OPus 17
Twelve sonatasfor altorecorderandbassocontinuo.G d a C Bb C g F g Ffa.
(a) Amsterdam,EstienneRoger, ca.1712-15(PlateNo. [189).
Dating:Lesure8o.
ExtantCopies:I)K-Kk.
(b) London,Walsh& Hare,ca.1721.
I)ating:Smith616.
ExtantCopies:GB-Lbm; GB-Cu.
(c) London,Walsh,ca.1730(PlateNo. Io4).
49

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

Six sonatasfor fluteor oboe or violinandbassocontinuo.e G I) a C G.

(a) Amsterdam,EstienneRoger, 1715(PlateNo. [3591).
Dating:Advertisedin PostMlan,OctoberI, 1715(Lesure52).
ExtantCopies:B-Bc; GB-CICp.
(b) London,Walsh& Hare,I718.
Adversiedin PostBoy,August7-9, I718(Smith542).
D)ating:
50

(c)

Extant Copies: GB-Lbnm; USA-WGco.

London, Walsh, ca.1730(Plate No. 438).
I)ating: Smith-Humphries 1335Extant Copies: G B-Lbm; USA-B Eu.

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

Six sonatasfor 2 altorecorders.

(a) Amsterdam,LeChne,1727(PlateNo. 535).
Dating:Lesure[9 ],LeCene37.
ExtantCopies:None.
Comments:Title given in Le Clne 37 as:Six Sonatea deuxflutesTraversidres
por laflute
apropnrides
a becsansBasse..
Opus 30
Twenty- four sonatasfor fluteor violin or altorecorderandbassocontinuo.
A a Bb bb B b Cc D)bc D d Eb eb/d # E eF fF # f # G g Ab g # (plusalternatives).
ca.1735.
(a) London,Schickhardt,
British
Museum
Catalogue.
I)ating
ExtantCopies:GB-Lbm.
Moderneditions:ed.FransBraggenandWalterBergmann.Tokyo, Zen-On (in processof publication).

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.

3. Airsfor 2 alto recordersby GasparoVisconti,2nd edition(augmentedby severalpieces, by

Schickhardt.
(a) Amsterdam,EstienneRoger, 17Io(PlateNo. 13371).
May 8, 1710(Bouwstenen26).
Dating.Advertisedin Anmsterdamsc/ie
C(ourant,
ExtantCopies:None.
madeand
Comments:Titlein Bouwstenen26 andLesure50o.
Istedition:A collection
ofairespuirposely
& Hare,
Walsh
new
Se4nr.
(London,
two
for
flutes,beingintirely compos'd
contriv'd
Gasperini
b),
Smith
127).
1703)(see
Arrangements
i. Twelve sonatasfor 2 violinsandbassocontinuo,OpusI,by GiovanniBattistaTibaldi,arranged
by Schickhardtfor 2 also recordersand bassocontinuo.
(a)

52

Amsterdam, Jeanne Roger, ca. 1716-2I [1719-20?] (Plate No. 483).

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.,>

2. Suitein F for violin,2 oboes & 2 altorecorderswith 2 violins,viola,violoncello,bassandbasso

continuo.
S-Uu (i hs.58:6).
Comments:The suite,perhapsintendedasTafehnusik,
isanunusualconglomerationofmovements
for the orchestra,in some of which theviolin or oboeshaveobligatoparts,andmovementsfor I
or 2 altorecordersandbassocontinuo.The thirdsection(Allegro)ofthe seventhmovementisthe
sameasthefifthmovementofNo. 6 ofthe setof triosonatasfor 2 altorecordersandbassocontinuo in I)ddr-SWI (seeCopiesNo. 7).

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.

A collectionin S-K containing.

in d for a melody instrument(alto recorder?)and basso
a. A <Sonatade Monr:Schicard>
with operai, 2, 3,8,17, 20/1-2,or 23.
continuo.Not identifiable

of Opus16No.5for2altorecorders
b. Thefirstthreemovements
andbassocontinuo.
c. The bassocontinuopart(lackingfigures)ofOpus INo. 5for altorecorderandbassocontinuo.

OpusIoNo.1 for2 violinsandbassocontinuo.

GB-Lbm (Add. 34074 f I18-i9,Add. 34075

I8-i9, Add. 34076 ff 15-16).

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).

andbassocontinuoandOpus6 Nos.I-5 for2altorecor5. Opus16Nos.I-n for2altorecorders

dersandbassocontinuo.
S-L (Saml.Engelhart459a-c, 7-22).

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.8 = Opus 3 No.7

No. 9 = Opus 17 No. 4

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)

London, Walsh & Hare, 1725.

Dating: Advertised in Dail), Post, I)ecember 22, 1725 (Smith-Humphries 408).

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.

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