for the use of the violins' and viola's lowest strings (in sections where they provide the accompaniment without bass) and the lowest two notes of the 'cello. He attributes the presence of notes not in the recorder's normal compass to Vivaldi's haste, noting that these notes do not appear in the solo sections. He has edited editions of RV 443 and RV 445 for soprano recorder in G major and E minor respectively. Federico Maria Sardelli concurs with Michel in supposing that the margin note was intended to allow the performance of the concertos on the soprano recorder on a specific occasion, however concludes that they were probably written for the sopranino recorder in F5, noting that small transverse flutes had fallen out of use in Italy by Vivaldi's time, the paucity of flageolets in Italy, the range of the parts, and uses of the in vocal arias. Classical and Romantic The recorder was little used in art music of the Classical and Romantic periods. Researchers have long debated why this change occurred, and to what extent the recorder remained use in the late eighteenth century, and later the nineteenth century. A significant question in this debate is which, if any, duct flutes of this period are recorders or successors to recorders. Repertoire The recorder work of the latter half of the eighteenth century most known today is probably a trio sonata by C. P. E. Bach, Wq.163, composed in 1755an arrangement of a trio sonata for two violins and continuo, scored for the unusual ensemble of viola, bass recorder and continuo. This work is also notable for being perhaps the only significant surviving historical solo work for bass recorder. Also of note are the works of Johann Christoph Schultze ( 1733–1813), who wrote two concertos for the instrument, one in G major and another in B major, written around 1740. The last occurrences of the recorder in art music are apparently by Carl Maria von Weber in Peter Schmoll und seine Nachbarn (1801) and (1806). Hector Berlioz may have intended "" from L'enfance du Christ (1853) for the instrument. Donizetti owned three recorders. Decline Many reasons supporting the conventional view that the recorder declined have been proposed. The first significant explanation for the recorder's decline was proposed by Waitzman (1967), who proposed six reasons: The recorder lacked a significant class of professional players The recorder's true nature was not