The Eighteenth-Century Recorder Concerto in England, Italy, Germany and Sweden: A Commentary and Catalogue

This thesis presents an in-depth study and detailed exploration of the eighteenth-century recorder concerto repertoire as a whole. Whilst there has already been useful research on the recorder concertos of Bach, Telemann, Vivaldi, and some of the concertos from English sources, there are still large gaps needing to be filled. In this respect, my research focuses on several areas across Europe where there are a number of substantial recorder concerto sources, but which have had little investigation. These include Bentheim- Tecklenburg-Rheda, Mecklenburg-Schwerin, the ‘Harrach’ family collection, as well as Sweden more generally. Since concertos are such a significant part of any instrument’s repertoire, offering some of the greatest technical challenges and musical rewards, there is a considerable need for an up-to-date and detailed study of recorder concertos. This thesis gives a clearer picture of the advent and popularity of the recorder concerto in Europe, and shows recorder concertos to be popular in certain areas of Europe well into the 1730s (and even into the 1740s). I also show evidence of the recorder remaining in use in professional settings in many places around northern Europe as late as the 1740s and 1750s. In addition, I provide insights into the repertoire from my own perspective as a performer, and I also address the perceptible lack of knowledge on the size and scope of recorder concerto sources. My research draws connections between a number of concerto sources, and also offers suggestions regarding some works with ambiguous or disputed authorship. A catalogue of all known recorder concertos is included as an Appendix.