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Stimulating encouragement from the late William Waterhouse was integral to this project; he was the link to many of the collaborations that are acknowledged here.

I am grateful to the many people who have contributed to the collection and documentation of these works, in particular:


Johannes Agustsson, Reykjavík;

Günter Angerhöfer, Leipzig/Kronach;

Lawrence Bennett, Crawfordsville, Indiana;

Frans Robert Berkhout, Amsterdam;

Oswald Bill, Darmstadt;

Carlo Colombo, Lyon;

Massimo Data, Alexandria, Italy;

Wolfram Ensslin, Leipzig;

Eric Fiedler, Frankfurt;

Eleanor Froelich, Vienna;

Karl-Wilhelm Geck, Dresden;

Dagmar Glüxam, Vienna;

Jason Grant, Cambridge, Mass.;

Florian Heyerick, Gent;

Peter Hornung, Melbourne;

Vaclav Kapsa, Prague;

Thomas Kiefer, Gelsenkirchen;

Wolfgang Kleber, Darmstadt;

Carsten Lange, Magdeburg;

Daniel Lipori, Ellensburg, Wa;

Vaughan McAlley, Melbourne;

Michael Maul, Leipzig;

Amato Mauro, Naples;

Gabor Meszaros, Lugano;

Mélodie Michel, Basel;

Giuseppe Nalin, Padua;

Samantha Owens, Brisbane;

Dennis Pajot, Milwaukee, Wis.;

Stefan Pantzier, Leipzig;

Ann Furholt Pedersen, Sorø;

Fausto Pedretti, Italia;

Ute Poetzsch-Seban, Magdeburg;

Evelyn Portek, Melbourne;

Jesse Read, Vancouver;

Ralph-Jürgen Reipsch, Magdeburg;

Rod Reynolds, Melbourne;

John A Rice, Rochester, Minn.;

Andreas Roloff, Schwerin;

Carmen Rosenthal, Dresden;

Bernhard Schmitt, Darmstadt;

Ricardo Simian, Basel;

Gordon Solie, Portland, Ore;

Janice Stockigt, Melbourne;

Suzanne Summerville, Fairbanks, Alaska;

Colin Timms, Birmingham;

Paolo Tognon, Padua;

Jana Vojteskova, Prague;

Brian Warburton, Simon Jackson, Melbourne;

Jacqueline Waylen, Melbourne;

Guntram Wolf, Kronach;

Uwe Wolf, Leipzig;

George Zukerman, Vancouver;


I am grateful for access to the collected editions in the Louise Hanson-Dyer Music Library

at the University of Melbourne, which were invaluable in assembling this repertoire.


The following Libraries have given generous permission to reproduce incipits, solo parts or

modern settings of various works as .pdf files or scanned copies:


Musiksammlung der Österreichischen Nationalbibliothek, Wien.

Incipits from Sammelband of 12 arias with obbligato bassoon Mus. Hs. 17051, (Livero Terzo).


Thüringisches Staatsarchiv, Rudolstadt.

Solo bassono/bassuono/fagotto parts from the cantatas of Georg Gebel.


Hessische Universitäts- und Landesbibliothek, Darmstadt.

Solo bassono/ basson/fagotto parts from the cantatas of Christoph Graupner.


Leipziger Städtische Musikbibliothek,

Modern setting and original of the Telemann aria from TWV 1.1098 “Kommt her zu mir alle”


Statens musikbibliothek, Stockholm, Sweden.

Solo part and incipit of score of the Righini aria “Bella de’ Boschi diva” from Atalanta e Meleagro


Sächsische Landes-Staats-und Universitätsbibliothek Dresden.

Modern setting of Heinichen Litaniae, Pro Festo Corporis Domini, “Peccatores te rogamus”

Solo fagotto part of the Heinrich Himmel aria "Deh tergi quel pianto"

Provisional score of the Zelenka motet "Qui nihil sortis"


Singakademie zu Berlin.

Solo bassoon part, compiled from the score, of the Telemann aria "Wer wirbelt das

feurige Rennen der Sonne" from the cantata Herr Gott dich loben wir, TWV 1.745


The British Library, London

Scores of arias from the Steffani operas Henrico Leone, La Superbia d'Alessandro, Le Rivali Concordi, La Libertà contenta, I Trionfi del Fato, Arminio and Il Turno.  


Stadtbibliothek zu Hannover

Scores of arias from the Steffani opera Orlando generoso 


Universitätsbibliothek, Basel

Score and parts of the Wagenseil aria "Dal suo gentil sembiante" 


Landesbibliothek Mecklenburg-Vorpommern, Schwerin

Parts for the arias “Verfluchst du mich der Himmel nicht” and  

“Drohet mir gleich ein feindlich Geschicke” from  

Die in ihrer Unschuld siegende Sinilde of Carl Heinrich Graun