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The Pathetick MusicianMoving an Audience in the Age of Eloquence$

Bruce Haynes and Geoffrey Burgess

Print publication date: 2016

Print ISBN-13: 9780199373734

Published to Oxford Scholarship Online: April 2016

DOI: 10.1093/acprof:oso/9780199373734.001.0001

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(p.275) Appendix Bruce Haynes: List of Publications

(p.275) Appendix Bruce Haynes: List of Publications

The Pathetick Musician

Bruce Haynes

Oxford University Press

1968 “The Decline … A Further Scrutiny,” Recorder and Music Magazine 2, no. 8: 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; repr. in Recorder and Music Magazine 2, no. 7 (Nov. 1967): 222–25; response from Waitzman, American Recorder 9 (Fall 1968); and a further reaction from Haynes and Steven Silverstein in American Recorder 9 (Sept. 1968), 329–30.

1968 “The Baroque Recorder: A Comparison with its Modern Counterpart,” with drawings by Friedrich von Huene, Recorder and Music Magazine 2, no. 11 (Dec.): 364–68; repr. 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; repr. as “Baroque Oboe Reed-Making,” Double Reed (hereafter DR) (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. 3:355–57.

1980 Catalogue of Chamber Music for the Oboe, 1654–ca. 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.

(p.276) 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), repr. in Flûte à bec & instruments anciens, no. 22 (1987): 11–19; no. 23 (1987): 4–8; no. 24 (1988): 11–18; no. 26 (Nov. 1988): 11–17.

1986 Music for Oboe 1650–1800: A Bibliography (Berkeley: Fallen Leaf Press). Available online 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; repr. in JIDRS 15 (1987): 27–32; and DR 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 repr. 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 (Oct.): 25–26; response by Jonathan Swayne, FoMRHIQ, no. 55 (April 1989): 22.

1988 “Lully and the Rise of the Oboe as Seen in Works of Art.” Early Music 16, no. 3 (Aug.): 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.

1989 “The Oboe Solo before 1800,” JIDRS 17: 7–14 (revision of “Aufsteig und Fall”); reprinted in DR 19, no. 3 (1996): 147–54; Italian version: “L’oboe solista prima del 1800. Un’indagine,” Aulos (Bollettino semestrale dell’Accademia Italiana dei Legni) 4, no. 2 (1991): 63–71.

1989 (with Ardal Powell) “Urgent Communication on Ivory,” FoMRHIQ, no. 54 (Jan.): 64–65.

(p.277) 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 (Aug.): 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 (Feb.): 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., rev. ed. (Berkeley: Fallen Leaf Press). Available online at www.haynes-catalog.net

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 diss., 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 “Oboe,” in Die Musik in Geschichte und Gegenwart, vol. 7: cols. 510–24, 2nd ed. (Kassel: Bärenreiter).

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 (p.278) 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, vol. 8: cols. 1814–31, 2nd ed. (Kassel: Bärenreiter).

1998 “Versuch der Rekonstruktion eines spielbaren Oboenrohres nach dem Maßangaben von James Talbot,” Tibia 23, no. 3 (1998): 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).

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), German trans. as Die gleichsam redende Hoboe, by Carin van Heerden (Weikersheim: Margraf, forthcoming 2015).

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, ed. Stanley Sadie, 2nd ed. (London: Macmillan).

2002 “Die Anciuti-Hülse,” Tibia 27, no. 3 (3/2002): 188–90.

2002 A History of Performing Pitch: The Story ofA.” (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 (Aug.): 13–25; in French as “Le ton de la Chambre du Roy,” Recherches sur la musique française classique 31 (2004–7): 93–125.

2003 “Oboe,” in The Harvard Dictionary of Music, ed. Don M. Randel, 4th ed. (Cambridge, MA: Harvard University Press): 575–76.

2004 (with Geoffrey Burgess) The Oboe (New Haven: Yale University Press).

2005 “Baptiste’s Hautbois: The Metamorphosis from Shawm to Hautboy in France, 1620–1670,” in From Renaissance to Baroque: Change (p.279) 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 Twenty-First Century (Oxford University Press). Major reviews in more than twelve 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 Couture-Boussey (Association des Amis du Musée La Couture-Boussey).


Althea of Tarsia, pastiche opera based on the music of J. S. Bach.

Works 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,” DR 18, no. 3:77–82.

2005 Marc Ecochard, “Une conversation avec Bruce Haynes,” La Lettre du hautboïste 16: 14–17.

2012 Geoffrey Burgess, “Piper at the Gates of Dawn; Bruce Haynes: Legendary Pioneer of the Hautboy,” DR 35 no. 1:65–108.


1972 J. B. Lully: Le bourgeois gentilhomme. La Petite Bande, dir. Gustav Leonhardt. Deutsche Harmonia Mundi HM20320–21; re-released on DHM 7576312 (2010).

(p.280) 1972–88 J. S. Bach: Das Kantatenwerk (Complete cantatas). Leonhardt Consort, dir. Leonhardt. Teldec/Das Alte Werk. Haynes played on most volumes featuring the Leonhardt Consort (beginning with vol. 6). Notable solos include BWV 100/5 (oboe d’amore) and 187/3. Haynes and Ku Ebbinge 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: BWV 88/3, 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, dir. Leonhardt. Deutsche Harmonia Mundi 25 21954–2 (1974); re-released on DHM 7576312 (2010)

1973 J. S. Bach: Weihnachts Oratorium. Collegium Aureum, dir. 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, dir. 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, dir. 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, dir. 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, dir. Brüggen. Seon/RCA RL 30387AW; re-released on Sony SEON SBK60373.

(p.281) 1979 G. F. Handel: Partenope. La Petite Bande, dir. 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, dir. 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, dir. Brüggen. Seon/RCA RL 30371; re-released on Sony SEON 62945 (1997).

1981 J. S. Bach: Orchestral Suites. La Petite Bande, dir. 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 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, dir. Nicolas McGegan. Harmonia Mundi HMC 5157, Apollo e Dafne re-released on Harmonia Mundi 2907348 (2003).

1987 J.-P. Rameau. Les surprises de l’amour. Les Musiciens du Louvre, dir. 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, dir. Matthias Maute, ATMA Classique 2–2367.

2012 J. S. Bach, Nouveaux “Brandenbourgeois” reconstructed by Bruce Haynes, Bande Montréal Baroque, dir. Eric Milnes, ATMA 2526. (p.282)