Note 13 — VOLUME VI SLICE IV Cincinnatus to Cleruchy (continued 6)

1 See Gottfried Weber’s objection to this derivation in “Über Clarinette und Basset-horn,” Caecilia (Mainz, 1829), vol. xi. pp. 36 and 37, note.

2 Nos. 3 and 4 are sometimes made in one, as for instance in Messrs Rudall, Carte & Company’s modification, the Klussmann patent.

3 Aristotle (de Audib. 802 b 18, and 804 a) and Porphyry (ed. Wallis, pp. 249 and 252) mention that if the performer presses the zeuge (mouthpiece) or the glottai (reeds) of the pipes, a sharper tone is produced.

4 Cf. V.C. Mahillon, Éléments d’acoustique musicale et instrumentale (Brussels, 1874), p. 161; and Fr. Zamminer, Die Musik und die musikalischen Instrumente in ihrer Beziehung zu den Gesetzen der Akustik ... (Giessen, 1855), pp. 297 and 298.

5 “The Aulos or Tibia,” Harvard Studies, iv. (Boston, 1893).

6 De Musica, 1138.

7 Op. cit. pp. 160 et seq.; and Wilhelm Altenburg, Die Klarinette (Heilbronn, 1904), p. 9, who refers to Mahillon.

8 See Macrobius, Comm. in somnium Scipionis, ii. 4. 5 “nec secus probamus in tibiis de quarum foraminibus vicinis inflantis ori sonus acutus emittitur, de longinquis autem et termino proximis, gravior: item acutior per patentiora foramina, gravior per angusta.”

9 See Victor Loret, L’Égypte au temps des Pharaons—la vie, le science, et l’art (Paris, 1889), illustration p. 139 and p. 143. The author gives no information about this fresco except that it is in the Musée Guimet. It is probably identical with the second of the mural paintings described on p. 190 of Petit guide illustré au Musée Guimet, par L. de Milloue.

10 See Victor Loret, “Les flûtes égyptiennes antiques,” Journal asiatique (Paris, 1889), [8], xiv. pp. 129, 130, 132.

11 See also A.A. Howard, “Study on the Aulos or Tibia,” Harvard Studies, vol. iv. (Boston, 1893); F.C. Gevaert, Musique de l’antiquité; Carl von Jan, article “Floete” in August Baumeister’s Denkmäler des klassischen Alterthums (Leipzig, 1884-1888), vol. i.; Dr Hugo Riemann, Handbuch der Musikgesch. vol. i. p. 90, &c. (Leipzig, 1904); all of whom have not come to the same conclusions.

12 Wilhelm Froehner, La Colonne trajane (Paris, 1872), t. ii. pl. 76.

13

“Aveuc aus ert vestus Guis Ki leur cante et Kalemele, En la muse au grant bourdon.” J.A.U. Scheler’s Trouvères belges.

14 See Ernest Thoinan, Les Hotteterre et les Chédeville, célèbres facteurs de flûtes, hautbois, bassons et musettes (Paris, 1894), p. 15 et seq., and Méthode pour la musette, &c., par Hotteterre le Romain (Paris, 1737).

15 The whole series of 135 plates has been reproduced in Jahrb. d. Samml. des Alterh. Kaiserhauses (Vienna, 1883-1884).

16 Musica getutscht und auszgezogen (Basel, 1511).

17 Musica Instrumentalis Deudsch (Nuremberg, 1528 and 1545).

18 Syntagma Musicum (Wolfenbüttel, 1618). This work and those mentioned in the two previous notes have been reprinted by the Ges. f. Musikforschung in vols. xi., xx. and xiii. of Publikationen (Berlin).

19 See Descriptive Catalogue, by Capt. C.R. Day (London, 1891), pl. iv. A and p. 110, No. 221.

20 Wappenbuch, p. 111, “Musica.”

21 Paris, 1767, vol. v. “Planches,” pl. ix. 20, 21, 22.

22 Dr Theofilo Muffat, “Componimenti musicali per il cembalo,” in Denkmäler d. Tonkunst in Österreich, Bd. iii.

23 Historische Nachricht von den Nürnbergischen Mathematicis u. Künstlern, &c. (Nuremberg, 1730), p. 305.

24 Histoire de la musique aux Pays Bas avant le XIXe siècle.

25 For a facsimile of one of the Pompeii tibiae, see Capt. C.R. Day, op. cit. pl. iv. C. and p. 109.

26 Catalogue descriptif (Ghent, 1896), vol. ii. p. 211, No. 911, where an illustration is given. See also Capt. C.R. Day, op. cit. pl. iv. B and Errata where the description is printed.

27 For a description with illustration see V. Mahillon’s Catalogue descriptif (Ghent, 1896), vol. ii. p. 215, No. 916.

28 See Wilhelm Altenburg, op. cit. p. 6.

29 See V. Mahillon, Catal. descript. (1896), p. 213, No. 913.

30 H. Welcker von Gontershausen, Die musikalischen Tonwerk-zeuge (Frankfort-on-Main, 1855), p. 141.

31 Op. cit. p. 6.

32 See Capt. C.R. Day, op. cit. p. 106.

33 V. Mahillon, Catal. desc. (1880), p. 182, refers his statement to the Chevalier L. de Burbure.

34 Das neu-eröffnete Orchester (Hamburg, 1713).

35 Mahillon, Catal. desc. (1880), vol. i. p. 182.

36 See Chevalier Ludwig von Koechel, Die kaiserliche Hofmusik-kapelle zu Wien, 1543-1867 (Vienna, 1869).

37 In the Italian edition of 1769 the part is scored for clarinet.