ContentsContents: Preface; Introduction: From 'Renaissance' to 'Baroque'?, Jonathan P. Wainwright; Baptiste's Hautbois: the metamorphosis from Shawm to Hautboy in France, 1620–70, Bruce Haynes; A commentary on the letter by Michel de La Barre concerning the history of musettes and hautboys, Marc Ecochard; The woodwind instruments of Richard Haka (1645/6–1705), Jan Bouterse; Basstals or Curtoons: the search for a transitional Fagott, Graham Lyndon-Jones; The iconographic background to the seventeenth-century recorder, Anthony Rowland-Jones; The Renaissance flute in the 17th century, Nancy Hadden; The flute at Dresden: ramifications for 18th-century woodwind performance in Germany, Mary Oleskiewicz; How did 17th-century English violins really sound?, Peter Trevelyan; The development of French lute style 1600–50, Matthew Spring; The early Air de Cour, the Theorbo, and the Continuo principle in France, Jonathan Le Cocq; From stops organical to stops of variety: the English organ from 1630 to 1730, Dominic Gwynn; Upgrading from consorts to orchestra at the Württemberg court, Samantha Owens; From violin band to orchestra, Peter Holman; Organological Gruyère, Jeremy Montagu. Workshop Reports: J.S. Bach's Actus tragicus: 'Gottes Zeit ist die allerbeste Zeit' (BWV 106), Andrew Parrott; The French Baroque orchestra: Lully, Charpentier, Couperin, Graham Sadler. Bibliography; Index.
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