Thank you, after a bit of ping pong with sources (including yours and Karim’s), I was able to trace the original source of the analyses, it’s John Grey’s experimental work for his PhD — his thesis can be found here: https://ccrma.stanford.edu/papers/exploration-of-musical-timbre
His work later inspired, and developped into, (the same) Grey, Moorer, Snell and Strawn’s “Lexicon of Analyzed Tones” published in the Computer Music Journal from MIT Press, in three installments from April 1977 to September 1978.
But here’s the bittersweet twist at the end, as Moorer himself explained in an interview with Curtis Roads:
There is another musical project we talked about but never done. It is an enormous project, the fabled “Lexicon of Analyzed Tones.” […] I would like to see someone go through the entire pitch range of each orchestral instrument at several dynamics and articulation styles and analyze and categorize each tone.
And this is it, as far as I could gather, they never made such a database.
All the best,