Bruce bibliography

1
Bruce Haynes: List of Publications
1968. “The Decline … A Further Scrutiny,” Recorder and Music Magazine 2, no. 8 (February): 240–42. A
response to Daniel Waitzman, “The Decline of the Recorder in the 18th Century,” American Recorder 8,
no. 2 (spring 1967): 47–51; reprinted in Recorder and Music Magazine 2, no. 7 (November 1967): 222–25.
1968. “The Baroque Recorder: A Comparison with its Modern Counterpart,” with drawings by Friedrich von
Huene, Recorder and Music Magazine 2, no. 11 (December): 364–68; reprinted in American Recorder
10, no. 1 (winter 1969): 3–8.
1970. “The Baroque Oboe,” Woodwind World 13: 6–7.
1971. “Avant-garde Music on the 18th-Century Recorder: Frans Brueggen’s Recordings on Original
Recorders,” Recorder and Music Magazine 3: 377.
1976. “Interim Repertoire List for Baroque Oboe,” typescript, 9pp.
1976. “Making Reeds for the Baroque Oboe,” Early Music 4, no. 1: 31–34, 173–79; reprinted as “Baroque
Oboe Reed-Making,” The Double Reed (1979).
1977. (with Hansjürg Lange) “The Importance of Original Double Reeds Today,” Galpin Society Journal
(hereafter GSJ) 30: 145–49.
1977. “A Register of Early Double Reeds,” GSJ 30: 150–51.
1978. “Oboe Fingering Charts, 1695–1816,” GSJ 31: 68–93.
1979. “Tonality and the Baroque Oboe,” Early Music 7, no. 3 (July): 355–57.
1980. Catalogue of Chamber Music for the Oboe, 1654–c.1825, 4th ed. (Author).
1984. “Double Reeds, 1660–1830: a Survey of Surviving Written Evidence,” Journal of the International
Double Reed Society (hereafter JIDRS) 12: 14–33.
1985. “Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective,” Journal of the American
Musical Instrument Society (hereafter JAMIS) 11: 55–114; in French as: “Les diapasons à l’époque de
Jean-Sebastien Bach: L’apport des instruments à vent,” in Le Tic-toc-choc: Journal du Studio de musique
ancienne de Montréal, 6 (1985), reprinted in Flûte à bec & instruments anciens, no. 22 (1987): 11–19; no.
23 (1987): 4–8; no. 24 (1988): 11–18; no. 26 (November 1988): 11–17.
1986. Music for Oboe 1650–1800: A Bibliography (Berkeley: Fallen Leaf Press). Available on line at
www.haynes-catalog.net.
1986. “A Preliminary Checklist of Iconography for Oboe-type Instruments, Reeds, and Players, 1630–1830,”
Fellowship of Makers and Researchers of Historical Instruments Quarterly (hereafter FoMRHIQ), no. 45:
58–73.
1986. “Questions of Tonality in Bach’s Cantatas: The Woodwind Perspective,” JAMIS 12: 40–67.
1986. “Telemann’s Kleine Cammer-music and the Four Oboists to Whom it Was Dedicated,” Musick 7, no.
4 (March): 30–35; reprinted in Journal of the International Double Reed Society 15 (1987): 27–32; and
Double Reed 19, no. 3 (1996): 75–80; in German as “Telemanns Kleine Cammer-Musik und die vier
Oboisten, denen sie gewidmet ist,” Rohrblatt 12, no. 3 (1997): 119–23. Revised reprint from preface to
facsimile ed. of Telemann’s publication (Basel: Musica Musica, 1983).
1986. “‘Temperamento per comune opinione perfettisimo’: 18th-Century Tuning for Singers and Orchestral
Instruments,” FoMRHIQ, no. 43: 56–68.
1988. “Aufsteig und Fall der Solo-Oboe, 1650–1800,” Tibia 13, no. 2 (2/88): 94–100.
1988. “Eighteenth-Century German and French Pitches?” FoMRHIQ, no. 53: 32.
1988 “… In Death I Sing,” FoMRHIQ, no. 53 (October): 25–26; response by Jonathan Swayne, no. 55 (April
1989): 22.
1988. “Lully and the Rise of the Oboe as Seen in Works of Art.” Early Music 16, no. 3 (August): 324–38.
1988. (with Marc Écochard) “Les diapasons à l’époque de Jean-Sébastien Bach. III: Description de diapasons
anciens; sources, hauteurs relatives et absolues,” Flûte à bec et instruments anciens, no. 24: 11–18.
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1989. “The Oboe Solo before 1800,” JIDRS 17: 7–14 (revision of “Aufsteig und Fall”); reprinted in Double
Reed 19, no. 3 (1996): 147–54; Italian version: “L’oboe solista prima del 1800. Un’indagine,” Aulos
(Bollettino semestrale dell’Accademia Italiana dei Legni) IV, no. 2 (1991): 63–71.
1989. (with Ardal Powell) “Urgent Communication on Ivory,” FoMRHIQ, no. 54 (January): 64–65.
1990. “Bressan, Talbot and the ‘Galpin’ Oboe,” GSJ 43: 112–23.
1990. “Generic 415,” Traverso: Baroque Flute Newsletter 2, no. 4: 1.
1991. “Beyond Temperament: Non-Keyboard Intonation in the 17th and 18th Centuries,” Early Music 19,
no. 3 (August): 357–81.
1991. “Appeal for Pitches of Original Traversos and Recorders,” FoMRHIQ, no. 63: 56.
1991. “Mozart’s Oboe Solos,” Musick 13: 12–14.
1992. “Johann Sebastian Bachs Oboenkonzerte,” Bach Jahrbuch 1992: 23–43.
1992. “Mozart and the Oboe,” Early Music 20, no. 1 (February): 43–62; trans. Marc Ecochard as “Le
hautbois de Mozart,” in La Lettre du hautboïste 1 (1999): 44–51.
1992. Music for Oboe: A Bibliography, 2nd ed., revised and expanded (Berkeley: Fallen Leaf Press).
1992. “Willkommene Bereicherung des Oboen-Repertoires,” Tibia 17, no. 2 (2/92): 158–60.
1993. “Von Mozart zu Beethovens Neunter: Die technische Entwicklung der Oboe zwischen 1790 und
1830,” Tibia 18, no. 4 (4/93): 15–18.
1994. “The Addition of Keys to the Oboe, 1790–1830,” JIDRS 22: 31–46. (A modified version of previous
entry).
1994. “Cornetts and Historical Pitch Standards,” Historic Brass Society Journal 6: 84–109.
1994. “Pitch in Northern Italy in the 16th and 17th Centuries,” Recercare 6: 41–60.
1995. “Pitch Standards in the Baroque and Classical Periods,” PhD dissertation, Université de Montréal.
1996. “Hautboy Taxonomy,” FoMRHIQ, no. 83: 29
1997. “Changing Images of the Hautboy in the Seventeenth, Eighteenth, and Early Nineteenth Centuries,” in
A Time of Questioning: Proceedings of the International Early Double-reed Symposium, Utrecht 1994,
ed. David Lasocki (Utrecht: STIMU): 67–88.
1997. Comments on Matthew Cron’s article “In Defense of Altenburg: The Pitch and Form of Foreign
Trumpets,” Historic Brass Society Journal 8 (1996), in HBSJ 9: 206–10.
1997. “Das Fingervibrato (Flattement) auf Holzblasinstrumenten im 17., 18. und 19. Jahrhundert,” Tibia 22,
no. 2 (2/97): 401–7; 22, no. 3 (3/97): 481–87.
1997. “Der Hautboy (1630–1800),” in article “Oboe,” Die Musik in Geschichte und Gegenwart, 2 ed.
(Kassel: Bärenreiter) 7: cols. 510–24.
nd
1997. “New Light on Some French Relatives of the Hautboy in the 17th and Early 18th centuries: the
cromorne, hautbois de Poitou, and chalumeau simple,” in Sine musica nulla vita: Festschrift Hermann
Moeck zum 75. Geburtstag am 16. September 1997, ed. Nikolaus Delius (Celle: Moeck): 257–70.
1997. “Playing ‘Short’ High Notes on the Hautboy,” JIDRS 25: 115–18.
1997. “Tu ru or not Tu ru: Paired Syllables and Unequal Tonguing Patterns on Woodwinds in the
Seventeenth and Eighteenth Centuries,” Performance Practice Review 10, no. 1: 41–60.
1998. “Stimmton,” in Die Musik in Geschichte und Gegenwart, 2 ed. (Kassel: Bärenreiter) 8: cols. 1814–31.
nd
1998. “Versuch der Rekonstruktion eines spielbaren Oboenrohres nach dem Maßangaben von James
Talbot,” Tibia 23, no. 3 (3/98): 191–96.
1999. “Pitch” and other related articles, J. S. Bach, Oxford Composer Companions, ed. Malcolm Boyd
(Oxford University Press).
2000. “Oboe,” “Oboe d’amore,” and Stimmtonhöhe” in Bachs Orchestermusik, ed. Siegbert Rampe &
Dominik Sackmann (Kassel: Bärenreiter).
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2000. “A Reconstruction of Talbot’s Hautboy Reed,” GSJ 53: 78–86. (Revised version of Versuch der
Rekonstruktion, 1998).
2000. “‘Sweeter than Hautbois’: Towards a Conception of the Schalmey of the Baroque Period,” JAMIS 26:
57–82.
2001. The Eloquent Oboe: A History of the Hautboy, 1640 to 1760 (Oxford University Press; paperback
ed., 2007).
2001. “Die Entwicklung des Hautboys im Wandel der Stile,” Tibia 26, no. 4 (4/2001): 629–35.
2001. “Flattement,” “Hautboy,” “Historical pitch standards,” “Intonation,” and “Schwartzenberg dit Le
Noble,” in The New Grove Dictionary of Music and Musical Instruments, 2 ed., ed. Stanley Sadie
(London: Macmillan).
nd
2002. “Die Anciuti-Hülse,” Tibia 27, no. 3 (3/2002): 188–90.
2002. A History of Performing Pitch: The Story of “A.” (Lanham, MD: Scarecrow Press).
2002. “Die Kunst des Präludierens auf Holzblasinstrumenten im 18. Jahrhundert,” Tibia 27, no. 2 (2/2002):
91–93; letter to the editor, 27, no. 4 (4/2002): 317.
2003. “The King’s Chamber Pitch,” Early Music Performer, no. 12 (August): 13–25; in French as “Le ton de
la Chambre du Roy,” Recherches sur la musique française classique, 31 (2004–2007): 93–125.
2003. “Oboe,” in The Harvard Dictionary of Music, 4th ed., ed. Don M. Randel, (Cambridge, MA: Harvard
University Press): 575–76
2004. (with Geoffrey Burgess) The Oboe (New Haven and London: Yale University Press).
2005. “Baptiste’s Hautbois: The Metamorphosis from Shawm to Hautboy in France, 1620–1670,” in From
Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century:
Proceedings of the National Early Music Association Conference Held, in Association with the
Department of Music, University of York and the York Early Music Festival, at the University College of
Ripon and York St. John, York, 2–4 July 1999, ed. Jonathan Wainwright and Peter Holman (Aldershot:
Ashgate): 23–46.
2007. “The Accommodating Recorder,” in Recorders Based on Historical Models: Fred Morgan—Writings
and Memories, compiled by Gisela Rothe (Fulda: Mollenhauer), 119–27.
2007. The End of Early Music: a Period Performer’s History of Music for the 21st Century (Oxford
University Press). Major reviews in more than 12 publications.
2008. “A Correctly-Attributed Fake,” Performance Practice Review 13 (online: available from
ccdl.libraries.claremont.edu/collection.php?alias=/ppr).
2009. “Un faux aussi vrai que son modèle,” booklet article for CD Musiques pour un musée: La CoutureBoussey (Association des Amis du Musée La Couture-Boussey).
Posthumous:
The Pathetic Musician, ed. Kate van Orden (Oxford University Press, forthcoming).
Die gleichsam redende Hoboe, German trans. of The Eloquent Oboe by Carin van Heerden (forthcoming).
W orks about Haynes:
Published reviews of his books are too numerous to list.
1973. Lee McRae, “Bruce Haynes: Performer, Instrument Maker and Teacher,” American Recorder 14, no.
2: 46–50.
1995. Aaron Cohen, “Bruce Haynes: Oboe-ologist,” The Double Reed 18, no. 3: 77–82.
2005. Marc Ecochard, “Une conversation avec Bruce Haynes,” La Lettre du hautboïste 16: 14–17.
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Discography
1972. J. B. Lully: Le bourgeois gentilhomme. La Petite Bande, cond. Gustav Leonhardt. Deutsche Harmonia
Mundi HM20320–21; re-released on DHM 7576312 (2010).
1972–88. J. S. Bach: Das Kantatenwerk (Complete cantatas). Leonhardt Consort, cond. Leonhardt.
Teldec/Das Alte Werk. Bruce played on most volumes featuring the Leonhardt Consort (beginning with
vol. 6). Notable solos include BWV 100/5 (oboe d’amore) and 187/3. Bruce and Ku made great oboe
partners, whether on oboe or oboe d’amore, and often traded places; even where they did not, Bach’s
writing afforded them both almost equal opportunities. Listen to: BWV88/3, 5, 113/3, 117, 133/3, 134/2,
135/3, 176/5, 187/3, 5.
1973. André Campra: L’Europe galante (suite). La Petite Bande, cond. Leonhardt. Deutsche Harmonia
Mundi 25 21954–2 (1974); re-released on DHM 7576312 (2010)
1973. J. S. Bach: Weihnachts Oratorium. Collegium Aureum, cond. G. Schmidt-Gaden. DHM/BASF 59
21749.3; re-released on BMG 77046–2–RG (1989).
1973. F. Couperin: Concerts royaux, Nouveaux concerts, etc. Kuijken Ensemble. Seon/Philips AX–67045/2;
L’Apothéose de Lully re-released on Sony SEON 62941 (1997).
1973. G. F. Handel: Sämtliche Sonaten für ein Blasinstrument und Basso Continuo/Complete Sonatas for
Wind Instruments. With Frans Brüggen, Anner Bijlsma, Bob van Asperen, Hansjürg Lange. Seon/Philips
ABCL–67005/3 (1974); re-released on Sony Classical SEON 60100 (1998).
1975. G. Muffat: Concerti & Suiten. La Petite Bande, cond. Sigiswald Kuijken. Deutsche Harmonia Mundi
25 22086–9; re-released on DHM 77074–2–RG (1991).
1975–76. F. Couperin: Pièces de clavecin (pièces croisées). Alan Curtis (harpsichord), Frans Brüggen
(traverso), Lucy van Dael (violin) EMI 1C 151–30750–51 (1977); re-released on Virgin Veritas 385 806 2
(2007).
1977. G. F. Handel: Admeto. Complesso Barocco, cond. Curtis, EMI 1C 163 30 808 (1978), re-released on
Virgin Veritas 7243 661369 2 2 (1997).
1977. Jacques Hotteterre: Première flutiste français (2 discs). With Frans Brüggen (traverso), Gustav
Leonhardt (harpsichord), Kuijken Ensemble et al. Seon RL 30425; re-released on Sony SEON 62942
(1997).
1977. J.-P. Rameau: Zaïs. La Petite Bande, cond. Leonhardt. STIL 1010577 (1979); re-released on STIL
1010SAN77 (1993).
1978. J. S. Bach: Cantatas 82 and 56. With Max van Egmond, Members of the Orchestra of the 18th
Century, cond. Brüggen. Seon/RCA RL 30387AW; re-released on Sony SEON SBK60373.
1979. G. F. Handel: Partenope. La Petite Bande, cond. Kuijken. Deutsche Harmonia Mundi, 4PAL–4000;
Pro-Arte; 1C 157–99 855--1C 157–99 858. re-released on Sony 7529972 (2009)
1979. Philidor, Dornel, Marais: Concerts en symphonie. Philidor Ensemble: Ku Ebbinge (oboe), Ricardo
Kanji (recorder and traverso), Wilbert Hazelzet (traverso), Christopher Farr (harpsichord), Danny Bond
(bassoon). Philips 9502 104.
1979. J.-P. Rameau. Suite from Hippolyte et Aricie. La Petite Bande, cond. Kuijken. Deutsche Harmonia
Mundi 1 C 065–99 837; re-released on DHM 7709–2–RG (1990).
1979. Vivaldi, Marcello, Platti: Concerti per oboe. Baroque Orchestra, cond. Brüggen. Seon/RCA RL 30371;
re-released on Sony SEON 62945 (1997).
1981. J. S. Bach: Orchestral Suites. La Petite Bande, cond. Kuijken. Deutsche Harmonia Mundi 1C 165–99
930; re-released on Pro Arte 2PAD–205 (1983), DHM 7708–2–RG (1990) & Musical Heritage Society
523889W (1995).
1984 (release date). G. F. Handel: Theatre Music for Woodwinds. Philidor Ensemble. Philips Living
Baroque 412 048–1.
1985. G. F. Handel. Concerto for Oboe in G minor, Apollo e Dafne. Judith Nelson (soprano), David
Thomas (bass), Philharmonia Baroque Orchestra, cond. Nicolas McGegan. Harmonia Mundi HMC 5157,
Apollo e Dafne re-released on Harmonia Mundi 2907348 (2003).
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1987. [as Ronald Reagan]. J.-P. Rameau Les surprises de l’amour. Les Musiciens du Louvre, cond. Marc
Minkowski, recorded in the Barbarini Palace, Rome, 1987. Musifrance 245 004–2.
1998. J. S. Bach. Concerti for Oboe d’amore, Arias with Countertenor. With Daniel Taylor (countertenor).
Atma ACD 2 2158. Concerto in A for oboe d’amore BWV1055, Concerto in D for oboe d’amore BWV
1053 (both reconstructed by Haynes), arias from cantatas 116, 147, B minor Mass, and Easter Oratorio;
Concerti re-released on Naturally Bach, ATMA 3007 (2008).
1998. F. Couperin. Concerts royaux and Les goûts-réünis. With Arthur Haas (harpsichord) and Susie
Napper (gamba). Recorded partially on original Naust hautboy. ATMA ACD 2 2168; memorial re-release,
2011.
2005. G. F. Handel, Musick for the Royal Fireworks. Festival Montréal Baroque, cond. Matthias Maute
(ATMA Classique 2–2367).