The Recorder: A Research Guide (Routledge Musical Bibliographies)

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THE RECORDER

ROUTLEDGE MUSIC BIBLIOGRAPHIES Series Editor: Brad Eden

COMPOSERS Isaac Albéniz (1998) Walter A.Clark C.P.E.Bach (2002) Doris Bosworth Powers Samuel Barber (2001) Wayne C.Wentzel Béla Bartók (1997) Second Edition Elliot Antokoletz Vincenzo Bellini (2002) Stephen A.Willier Alban Berg (1996) Bryan R.Simms Leonard Bernstein (2001) Paul R.Laird Johannes Brahms (2003) Heather Platt Benjamin Britten (1996) Peter J.Hodgson Elliott Carter (2000) John L.Link Carlos Chávez (1998) Robert Parker Frédéric Chopin (1999)

William Smialek Aaron Copland (2001) Marta Robertson and Robin Armstrong Josquin Des Prez (2003) Carlo Fiore Gaetano Donizetti (2000) James P.Cassaro Edward Elgar (1993) Christopher Kent Gabriel Fauré (1999) Edward R.Phillips Christoph Willibald Gluck (2003) Second Edition Patricia Howard Charles Ives (2002) Gayle Sherwood Scott Joplin (1998) Nancy R.Ping-Robbins Zoltán Kodály (1998) Micheál Houlahan and Philip Tacka Franz Liszt (2003) Second Edition Michael Saffle Guillaume de Machaut (1995) Lawrence Earp Felix Mendelssohn Bartholdy (2001) John Michael Cooper Giovanni Battista Pergolesi (2001) Clara Marvin Giacomo Puccini (1999) Linda B.Fairtile

Maurice Ravel (2003) Stephen Zank Gioachino Rossini (2002) Denise P.Gallo Alessandro and Domenico Scarlatti (1993) Carole F.Vidali Camille Saint-Saëns (2003) Timothy Flynn Heinrich Schenker (2003) Benjamin Ayotte Jean Sibelius (1998) Glenda D.Goss Richard Strauss (2003) Scott Warfield Giuseppe Verdi (1998) Gregory Harwood Tomás Luis de Victoria (1998) Eugene Casjen Cramer Richard Wagner (2002) Michael Saffle Anton Webern (2003) Donna Lynn Adrian Willaert (2003) David Michael Kidger GENRES Central European Folk Music (1996) Philip V.Bohlman Chamber Music (2002) Second Edition John H.Baron

Choral Music (2001) Avery T.Sharp and James Michael Floyd Ethnomusicology (2003) Jennifer Post Jazz Research and Performance Materials (1995) Second Edition Eddie S.Meadows Music in Canada (1997) Carl Morey North American Indian Music (1997) Richard Keeling Opera (2001) Second Edition Guy Marco The Recorder (2003) Second Edition Richard Griscom and David Lasocki Serial Music and Serialism (2001) Johns D.Vander Weg

THE RECORDER A RESEARCH AND INFORMATION GUIDE SECOND EDITION

RICHARD GRISCOM AND DAVID LASOCKI

ROUTLEDGE NEW YORK AND LONDON

Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Copyright © 2003 by Taylor & Francis Books, Inc. Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledges’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Cataloging-in-Publication Data is available from the Library of Congress. ISBN 0-203-42704-1 Master e-book ISBN

ISBN 0-203-43912-0 (Adobe eReader Format) ISBN 0-415-93744-2 (Print Edition)

To Frans Brüggen

without whose existence we would never have bothered

Contents

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31.

Preface Acknowledgments Advice on Obtaining Sources General Bibliographies of Writings on the Recorder (and Bibliographic Essays) General Surveys and Writings Covering Several Topics Etymology, Terminology, Symbolism, and Literary References Periods: Historical Periods: Modern Studies of Particular Sizes of Recorder Art and Iconography Humor, Fantasy, and Fiction Instrument Makers and Instruments: Historical Collections of Historical Instruments Instrument Makers: Modern Construction and Design Acoustics and Other Scientific Studies by John Martin with Richard Griscom and David Lasocki Instrument-Making and Manufacture Choice of Instrument Maintenance, Improvement, and Restoration Historical Methods (Tutors) and Treatises Performance Practices (Historical) Technique and Performance (Modern) New Techniques in Contemporary Recorder Music Ensembles Pedagogy and Study Biographies: Historical Biographies and Interviews: Modern Bibliographies and Discographies of Recorder Music Repertory: General Repertory: Medieval and Renaissance Repertory: Baroque, Classical, and Romantic Repertory: Modern Societies The Future of Research on the Recorder: My View in 2002 by David

xii xvii xx 1 5 19 24 41 60 66 76 79 109 119 141 168 185 197 201 215 250 274 289 296 302 306 314 391 400 410 415 475 505

Lasocki Appendix: Communications in the FoMRHI Quarterly Index

509 514 519

Preface SCOPE This book is intended as a guide to writings about the recorder for players and for researchers. We have tried to cater to the interests of both groups, who are by no means mutually exclusive. And we realize, as a review of the first edition by a well-known professional player taught us, that not all players care to read about their instrument, or at least, to be faced with hundreds of citations. The players we have always kept in mind are those who, whether amateur or professional, do wish to find out more about the history, repertory, design, and technique of their instrument. The researchers—and here we might include makers—are those who wish to learn what others have written on the instrument and what directions research might take in the future. For both groups, we assume that reading what has been written about the recorder will ultimately enrich their experience of playing and listening to this apparently modest but actually rich and multifaceted instrument. The book is a “guide” in that we hope that readers will be steered toward materials that they can obtain and read for themselves. A surprisingly large number of writings have been devoted to the recorder—far too many to appear in a single annotated bibliography, although some devoted soul may one day wish to compile an unannotated one. Our own emphasis has been on what is relevant, what is significant, and what has been readily available to us in the United States. We have therefore narrowed the scope of the work in the following manner. We have looked at those articles, books, dissertations, and theses devoted solely to the recorder as well as selected other writings that include significant sections on the recorder or are particularly relevant for other reasons. We haveincluded historical teaching material in book form but excluded modern methods and exercises, knowing full well that these sometimes contain the same kind of material found in articles and books. For the most part, we have also excluded articles on the recorder and recorder players in mass-market magazines (among them, record-review magazines). We have omitted writings on the use of the recorder in primary or secondary education (“music education”). We have included articles on the topic of transcription and arrangement, but not writings on specific transcriptions and arrangements. Similarly, we have omitted articles on music originally written for instruments other than the recorder. We have excluded ephemeral articles—such as reviews of concerts, workshops, conferences, festivals, auctions, and exhibitions—as well as reviews of printed music and sound recordings. In our annotations for books, we have generally included citations of book reviews (at least from the standard recorder periodicals) in the hope that readers will turn to them for further information—or perhaps an alternative point of view. Because of the obvious importance and ready accessibility of certain periodicals— American Recorder, Recorder [and Music] Magazine, Revista de flauta de pico, Tibia,

and Windkanal—we have included all relevant articles from them. Coverage of other journals is as complete as possible, but not necessarily inclusive. And we have unfortunately had to neglect such worthy periodicals as Bouwbrief, which are not available in any American library and for which we have not been able to work out an exchange subscription. Neither have we examined or indexed the contents of newsletters such as the Recorder News and the ARS Newsletter. We have tried to be comprehensive in our coverage of English-language materials from the United States, the United Kingdom, and Australia. As for other languages, we have completely indexed the major early-music and recorder/ woodwind periodicals, present and past, of France (Flûte à bec [et instruments anciens] and its short-lived successor, Crescendo), Germany (Concerto), and Italy (Il flauto dolce, which transmogrified into the more musicological Ricercare). We have also indexed all the German books and dissertations we could obtain—which, because of the German passion for research, is a goodly number. (Earlier articles in specialized German magazines have been omitted because they are unfortunately almost impossible to obtain in the United States.) Books and dissertations in French and Italian are covered much more spottily. Because few native English speakers know Dutch, we have generally excluded materials in that language, although something as important as Jan Bouterse’s dissertation just had to be included. Because of their relative inaccessibility in the United States, not to mention the general language barrier, we have excluded virtually all materials in other languages. If other people would like to tackle the recorder literature of Scandinavia, Hungary, eastern Europe, Japan, and so forth, we would be the first to thank them. To learn about relevant materials, we have systematically searched the relevant periodicals as well as standard bibliographic tools such as OCLC (World-Cat), RLIN, RILM Abstracts, Music Index, International Index to Music Periodicals, and Dissertation Abstracts International. This second edition includes some seven hundred new entries. Because we went to press in July 2002, we have been able to include all articles published in the major periodicals through 2001. Please note that, even though this book will be published in 2003, items from that year and 2002 are generally excluded. We are well aware that, as one reviewer of our first edition commented, reference books are already out of date when they are published. But the same can be said of any book. Rather, the book is a snapshot of research through our cutoff date. For two reasons, we have tried to examine all the items included. First, because we believe that accurate bibliographies can be compiled in no other way. Second, because we reasoned that if we had trouble gaining access to an item, readers would, too. In a few cases we considered it necessary to include a relatively inaccessible item because of its significance. In his fine book A Short Guide to Writing about Music (New York: Longman, 2000), Jonathan Bellman makes an important distinction between a summary and an abstract. A summary, he writes, “explains what the author was doing in a particular piece of writing and what results were shown or conclusions drawn…. Summaries are often used in annotated bibliographies….” (p. 62). An abstract, in contrast, is “a presentation of the article itself in miniature, and it is proportionally similar to the original: introduction, premises, evidence, discussion, conclusions; unlike summaries, abstracts place more

emphasis on methodology, argument, and proof—that is, not just the conclusions, but rather how the author arrives at them” (p. 63). Readers of our book will note that we have usually written summaries, but especially in the entries based on David’s annual bibliographic essays, we sometimes approach abstracts in the level of detail presented about methodology and argument. We considered cutting out the detail but ultimately decided that it would be more useful to readers to have it. Our initial division of labor for the first edition was that Richard Griscom generally annotated the articles from American Recorder and the Recorder and Music Magazine, David Lasocki all foreign-language materials, and we shared other English-language materials depending on their accessibility. For the second edition, much of the material had already been written about by David in his annual reviews of recorder research. The remaining new material was again split more or less on language lines. David’s subject organization for the first edition was expanded as needed to accommodate new areas of research. Also, some sections that were arranged alphabetically are now arranged chronologically. The placement of the new entries and the indexing are Richard’s, and he has expanded the index to include abbreviated titles of articles and books (arranged alphabetically) under the name of each author. We would be extremely grateful if readers could let us know (care of the publisher) of any errors or omissions, however small. All such communications will be scrupulously acknowledged in the next edition.

ORGANIZATION OF THE BOOK This book is divided into thirty-one chapters, arranged by broad subject. It begins with eight chapters on general matters: existing bibliographies of writings; general surveys; studies of etymology, terminology, symbolism, and literary references; material on historical periods, then modern; studies of particular sizes of recorder; art and iconography; and finally humor, fantasy, and fiction. Next come eight chapters on the instrument as a physical object: historical makers and instruments (including biographical material on the makers); collections of historical instruments; modern makers (again including biographical material); construction and design; acoustics and other scientific studies; instrument making and manufacture; the choice of instrument; and finally maintenance, improvement, and restoration. Performance matters are treated in the next six chapters: historical methods and treatises; historical performance practices; modern technique and performance; new techniques in twentieth-century music; ensembles; and pedagogy and study. After two biographical chapters—on performers, writers, and a few composers, historical and modern—come five chapters on recorder music, starting with bibliographies, then moving through the general repertory to the repertory of three broad periods (medieval and Renaissance; Baroque, Classical, and Romantic; and modern). The body of the book concludes with a chapter on recorder societies and an essay on the future of recorder research. The index is a comprehensive one that includes authors, titles, and subjects. Each chapter begins with general studies or those that cover a number of topics.

Citations in these sections are not repeated later in the chapter under the various specific headings, so the reader should take heed that the entries under specific topics do not necessarily represent everything written on the topic. When in doubt, consult the index, which provides more detailed subject coverage. Within each section of a chapter, the arrangement of entries is alphabetical by author unless otherwise noted. In headings involving people’s names, we have added birth and death dates wherever they could be ascertained, using the Library of Congress authority file and library catalogs, except where more recent information was contained in the sources cited. Please note that we have omitted the following sections from the first edition: chapter 30 (Miscellaneous Fipple Flutes), chapter 31 (Recorder, Early Music, and Musical Instrument Periodicals), appendix 1 (Theses, Dissertations, and Similar Works Not Consulted), appendix 3 (Articles in Bouwbrief), and appendix 4 (Conservatory Master’s Theses).

FORMAT OF ENTRIES We have conformed to The Chicago Manual of Style (14th ed.) in our citations, with the exception of the treatment of series titles, which are set off by parentheses. For ease of reference use, we have not abbreviated the titles of periodicals. The titles of some periodicals—notably Recorder Magazine—have changed over the course of their publication history. Our practice has been to transcribe each title as found on the issue in hand. To make it easier for the reader to obtain books and dissertations, we have sought to include the International Standard Book Number (ISBN) and OCLC number (when there is no ISBN) for the former, and the UMI order number and OCLC number for the latter. ISBNs have been standardized in format, without hyphens. When we found more than one OCLC entry for a book, we selected the entry reporting the largest number of library holdings. We have also included the Library of Congress call number for each book, when available. All foreign titles are followed by English translations in square brackets. Whenever practical, we have combined citations for the original version of an item and its translations. The English versions are always listed first, regardless of whether English is the original language. We have used the standard of pitch notation recommended in D.Kern Holoman, Writing about Music (Berkeley: University of California Press, 1988), which assigns c1 to middle C. The series of octaves extending from two octaves below middle C to three octaves above middle C is: C, c, c1, c2, c3, and c4. Richard Griscom Urbana, Illinois David Lasocki Bloomington, Indiana

Acknowledgments We would like to thank the following people for their invaluable help during the course of preparing both editions. Richard Griscom’s wife, Peggy Steele, inspired him to take up the recorder twenty years ago. Peggy and their sons, Will and Tommy, assisted Richard in countless ways. Some perhaps were unknown to them; others, perhaps unknown to Richard, are known to them alone. David Lasocki’s wife, Lilin Chen, gave loving support for all his activities. His first wife, Catherine Woods, used to urge him—successfully, we hope—to temper his naturally critical nature with humanity and compassion. The American Recorder Society (as embodied by its present and former editors and staff members Benjamin Dunham, Allan Moore, the late Sigrid Nagle, Gail Nickless, and Waddy Thompson) exchanged subscriptions to various foreign early-music and recorder journals in David Lasocki’s name. Moreover, it was Waddy who put the authors in touch with each other in 1985 when he discovered they were working concurrently but independently on bibliographies of writings about the recorder. American Recorder has also encouraged this book by publishing David Lasocki’s annual bibliographic essays on recorder research. The editors and proprietors of several periodicals generously gave David Lasocki complimentary subscriptions: ERTA Österreich News (Hans Maria Kneihs), Revista de flauta de pico (Bárbara Sela and Guillermo Peñalver), Tibia (Hermann Moeck and Sabine Haase-Moeck), Windkanal (Nikolaj Tarasov and Conrad Mollenhauer GmbH), and the Australian recorder magazine under its various titles (Greg Dikmans, Jan Epstein, Julian Kennedy, and Malcolm Tattersall). After the publication of our first edition, Dr. Moeck sent us dozens of extra citations for the second. Tibia has also encouraged this book by making available German-language versions of David Lasocki’s annual bibliographic essays. John Martin lent us his considerable expertise on the acoustics of the recorder by taking responsibility for that section of the book. Numerous other people sent, lent, or provided information about copies of publications (their own or those of others): Jack Ash worth, Jan Bouterse, Jeremy and Ruth Burbidge, Jean Cassignol, Timothy Cherubini, Zana Clarke, Denise Feider, the Finnish Music Information Centre, Ruth van Baak Griffioen, Sabine Haase-Moeck, Ewald Henseler, Dale Higbee, LeAnn House, Hans Maria Kneihs and ERTA Österreich, Michelle Koth, Ernst Kubitschek, Genevieve Lacey, Nicholas Lander, Eva Legêne, Lia Starer Levin, Alec Loretto, Alfred Mann, Michael Marissen, Marianne Mezger, Hermann Moeck, Eve O’Kelly, Maryann Pazen, David Pickett, Laurence Pottier and Éditions Aug. Zurfluh, Reinhold Quandt, Patricia Ranum, Elisabeth Richter, C.Martin Rosen, Anthony Rowland-Jones, Alessio Ruffatti, Adrienne Simpson, Leslie Troutman, John Turner, Peter Van Heyghen, Thiemo Wind, Margie Wood, and Angelo Zaniol. Our apologies to

anyone we forgot to mention. Various people helped with tricky points in translations from foreign languages: Jean Christensen (Danish); Eva Legêne (Dutch and Scandinavian languages); Paula Matthews and Eleonore Maudry (French); Silke Breslau, Andreas Giger, Karl-Werner Gümpel, Tobias Hartlieb, Gesa Kordes, and the late Alexander Ringer (German); David Bellugi and Luca Pellegrini (Italian); Junko Kaneko and Masako Yamamoto (Japanese); Benito Rivera (Latin); and Emma Dederick-Colón, Nelly Gonzales, Karl-Werner Gümpel, and Daniel Zuluaga (Spanish). The interlibrary loan staffs of our present and former libraries—the University of Illinois, the University of Louisville, and Indiana University—cheerfully obtained numerous books, dissertations, and photocopies of articles. Our colleagues in these libraries also provided essential computer and research support. Without the multitude of good ideas contained in Donald W Krummel’s magisterial book Bibliographies: Their Aims and Methods (London & New York: Mansell, 1984), this volume would be far poorer. We also benefited from the “Music Library Association Guidelines for the Preparation of Music Reference Works” (Notes 50, no. 4 [June 1994]: 1329–38), which was prepared by the Sub-committee on Bibliographic Standards for Reference Works, Reference and Public Service Committee, under the chairmanship of David Hunter. David’s Bibliography Roundtable at the annual meeting of the Music Library Association in 1989 gave both of us the opportunity to put together some preliminary thoughts on research and information guides. David also offered advice on a few matters of style. Ralph Papakhian assisted us in our early experiments with the transfer of WordPerfect files via the BITNET network—a technique that we found successful in exchanging citations and eventually revisions of chapters; naturally, in keeping with the times, we now use e-mail attachments. Kudos also to WordPerfect and its users for holding out against the ubiquitous but irritating Microsoft Word. STIMU (in the person of Guido van Oorschot and Jan Nuchelmans) sponsored the symposium on the recorder in the seventeenth century that afforded David Lasocki the opportunity to write a preliminary version of chapter 31. Edgar Hunt and the late J.M. (John Mansfield) Thomson answered questions about their contributions to the Recorder and Music Magazine, some of which were anonymous or pseudonymous. Finally, David Lasocki would like to acknowledge the passion that Bruce Haynes and Ardal Powell have brought to their research (on the oboe and flute, respectively) and Nicholas Lander has brought to his Recorder Home Page, which has given the recorder world a new way to disseminate research.

Advice on Obtaining Sources Books that are still in print may be ordered from any good bookstore. For out-of-print books, it is worth checking the services now offered on the World Wide Web by companies such as abebooks.com, alibris.com, bibliofind.com, or Book-Finder.com. Most of the books, theses, dissertations, and articles listed in this bibliography may be obtained on interlibrary loan from your university or college library (if you are affiliated with such an institution) or your local public library. Show the appropriate librarian this bibliography as verification of the item. The OCLC numbers and ISBNS will aid in obtaining books, theses, and dissertations; the ISSNS of periodicals, the articles they contain. Libraries may be able to order foreign dissertations through the Center for Research Libraries in Chicago. Most of the American dissertations can be purchased from University Microfilms International (phone [800] 521–3042; http://www.umi.com); customers with academic addresses receive a considerable discount. The master’s theses and the remainder of the dissertations can generally be purchased from the university where they were submitted, sometimes only with the written permission of the author. If you cannot obtain a particular article on interlibrary loan, write to the periodical in question to purchase a back issue or offprint. In some cases, back issues are obtainable from University Microfilms International. If in doubt, ask a reference librarian. Believe it or not, such people are actually paid to help you with your research….

1 General Bibliographies of Writings on the Recorder (and Bibliographic Essays) 1. Alker, Hugo. Blockflöten-Bibliographie [Recorder bibliography]. 2 vols. (BiblosSchriften, Bd. 27–28.) Vienna: Universitätsbibliothek, 1960–61. OCLC #1216841. ML 128 .R31 A4. Although primarily a bibliography of recorder music, these volumes list sources and general publications about the recorder and its repertory, as well as methods and instructional works. Coverage is unfortunately restricted to German, Austrian, and selected British publications. Negative review by Erich Katz in American Recorder 4, no. 2 (May 1963): 20–21. 2. Alker, Hugo. Blockflöten-Bibliographie [Recorder bibliography]. 3 vols. Wilhelmshaven: Heinrichshofen, 1966–75. [Bd. 1]: Blockflöten-Bibliographie (1966). Bd. 2: Nachtrag und Gesamtregister [Supplement and complete index] (1969). Bd. 3: Nachtrag 1970–1974 (1975; ISBN 3795901456). ML 128 .R31A4 1966. The bibliographies of sources and publications (“Quellen und Veröffentlichungen”) take up relatively little space in this set (vol. 1, pp. 9–39; vol. 2, pp. 7–9; vol. 3, pp. 7– 12). Entries are arranged in a single alphabetical sequence, and the indexes (“Registern”) included in volumes 2 and 3 offer no access by subject, making it difficult to locate books and articles on a particular topic. Typographical errors abound. Volume 1 reviewed by Erich Katz in American Recorder 8, no. 2 (spring 1967): 60 and Walter Bergmann in Recorder & Music Magazine 2, no. 6 (August 1967): 194. Volume 2reviewed by Dale Higbee in American Recorder 11, no. 2 (spring 1970): 67. Volume 3 reviewed by Higbee in American Recorder 19, no. 1 (May 1978): 41–42 and [Edgar Hunt] in Recorder & Music 5, no. 6 (June 1976): 199–200. 3. Alker, Hugo. Blockflöten-Bibliographie [Recorder bibliography]. Neuausgabe. 2 vols. Wilhelmshaven: Heinrichshofen, 1984. Bd. 1: Systematischer Teil [Systematic part]. ISBN 3795904218. Bd. 2: Alphabetischer Teil [Alphabetical part]. ISBN 3795904226. ML 128 .R31 A4 1984. The first part of volume 1 (“Instrumentenkunde, Aufführungspraxis” [Organology, performance practice], pp. 11–51) is the most extensive bibliography compiled to (that) date of writings about the recorder as well as historical recorder methods. It also includes a selection of general writings on performance practice and the history of musical instruments, not to mention some puzzles (for example, Otto Beneke’s Von unehrlichen Leuten [On dishonest people] of 1863). Volume 2 is a curiously conceived alphabetical listing (by author or composer) of all the writings and music contained in volume 1. The citations for articles exclude page numbers; those for books, publishers’ names. The English-language citations contain many typographical errors. This bibliography is now mostly valuable for its citations of articles in pre-World War II German periodicals,

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difficult or impossible to obtain in the United States, and now largely of historical interest (for example, Der Blockflötenspiegel, Der Celler Spielmann, Hausmusik, and Zeitschrift für Hausmusik). Negative review by Edgar Hunt in the Recorder and Music Magazine 8, no. 9 (March 1986): 276, to which Alker puts up a weak defense (in German) in 8, no. 11 (September 1986): 335. 4. Griscom, Richard, and David Lasocki. The Recorder: A Guide to Writings about the Instrument for Players and Researchers. New York: Garland, 1994. ISBN 0824029453. ML 128 .R31 G75. The first edition of the book in hand. Reviewed by Piers Adams in Early Music Today, October/November 1996, p. 22; Clifford Bartlett in Early Music Review, no. 7 (February 1995): 7; Mark Davenport in American Recorder 36, no. 1 (January 1995): 24–26; H.J.Diamond in Choice, April 1995, p. 1276; Greg Dikmans in Australia’s Journal of Recorder and Early Music, no. 19 (August 1995): 29–30; Robert Ehrlich in Early Music 25, no. 2 (May 1997): 311–13; William E.Hettrick in Notes 52, no. 3 (March 1996): 796– 97; Peter Van Heyghen in Musica antiqua 13, no. 4 (November 1996): 191; Dale Higbee in Journal of the American Musical Instrument Society 23 (1997): 161–63; Edgar Hunt in Galpin Society Journal 49 (1996): 245–46; Andrew Mayes in Recorder Magazine 15, no. 1 (March 1995): 25–26; “M-Th-B” (Hermann Moeck, Ulrich Thieme, and Gerhard Braun) in Tibia 20, no. 4 (1995): 619–21; Jeremy Montagu in FoMRHI Quarterly, no. 78 (January 1995): 10–11; Guido van Oorschot in Tijdschrift voor oude muziek 11, no. 2 (May 1996): 39; Karsten Erik Ose in Concerto: Das Magazin für Alte Musik, no. 106 (September 1995): 16–17; Scott Paterson in Continuo 19, no. 2 (April 1995): 37; G. Peñalver in Revista de flautoa de pico, no. 3 (September 1995): 27–28; Anthony Rowland-Jones in NEMA News, June 1995, p. 6; and John Turner in Music & Letters 76, no. 4 (November 1995): 615–17. 5. Rowland-Jones, Anthony, with the help of David Lasocki. “Guide to Further Reading: A Select Bibliography of Recent Books and Some Articles in English of Special Interest to Recorder Players.” In item 33, 210–26. Partly based on item 4 and Lasocki’s annual bibliographic essays below; also cites and annotates some more-general books, mostly on performance practice and interpretation. Since 1987, David Lasocki has been publishing essays on writings about the recorder for American Recorder, with overlapping German translations in Tibia. These essays, which are arranged by topic (depiction in works of art, instruments, makers, making and design, performance practice and technique, players and teachers, and repertory), summarize and critically discuss recent research on the instrument. The content of these essays has been incorporated into the present book. 6. Lasocki, David. “A Review of Research on the Recorder, 1985–1986.” American Recorder 28, no. 4 (November 1987): 145–56. For a summary of the debate generated by the review of item 762 in this article, see chapter 14, “Instrument Making,” under the subheading “The ‘Ganassi Recorder’ Controversy” (p. 249). 7. Lasocki, David. “The Recorder in Print: 1987–88.” American Recorder 31, no. 1 (March 1990): 11–13, 35–42. 8. Lasocki, David. “The Recorder in Print: 1989–90.” American Recorder 33, no. 1 (March 1992): 15–19, 38–44.

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9. Lasocki, David. “The Recorder in Print: 1991–92.” American Recorder 35, no. 2 (March 1994): 5–11, 30–35. 10. Lasocki, David. “The Recorder in Print: 1993.” American Recorder 36, no. 2 (March 1995): 9–13, 34–35. 11. Lasocki, David. “The Recorder in Print: 1994.” American Recorder 37, no. 3 (May 1996): 6–11, 28. 12. Lasocki, David. “The Recorder in Print: 1995.” American Recorder 38, no. 2 (March 1997): 9–15. 13. Lasocki, David. “The Recorder in Print: 1996.” American Recorder 39, no. 2 (March 1998): 9–14, 39. 14. Lasocki, David. “The Recorder in Print: 1997.” American Recorder 40, no. 3 (May 1999): 9–15, 35–36. 15. Lasocki, David. “The Recorder in Print: 1998.” American Recorder 41, no. 3 (May 2000): 9–16, 30. 16. Lasocki, David. “The Recorder in Print: 1999.” American Recorder 42, no. 3 (May 2001): 9–16. 17. Lasocki, David. “The Recorder in Print: 2000.” American Recorder 43, no. 3 (May 2002): 7–15. 18. Lasocki, David. “Ein Überblick über die Blockflötenforschung, 1985–1987.” Tibia 13, no. 4 (1988): 237–58. 19. Lasocki, David. “Ein Überblick über die Blockflötenforschung, 1988–1989.” Tibia 16, no. 4 (1991): 585–99. 20. Lasocki, David. “Ein Überblick über die Blockflötenforschung 1990.” Tibia 18. no. 1 (1993): 355–64. 21. Lasocki, David. “Ein Überblick über die Blockflötenforschung, 1991.” Tibia 19. no. 1 (1994): 1–13. 22. Lasocki, David. “Ein Überblick über die Blockflötenforschung 1992–1993.” Tibia 19, no. 4 (1994): 257–74. 23. Lasocki, David. “Ein Überblick über die Blockflötenforschung 1994.” Tibia 21, no. 4 (1996): 241–51. 24. Lasocki, David. “Ein Überblick über die Blockflötenforschung 1995.” Tibia 23, no. 2 (1998): 85–91; 23, no. 3 (1998): 169–75. In Spanish as: “Estudios sobre la flauta dulce publicados en 1995.” Revista de flauta de pico, no. 13 (1999): 17–22. 25. Lasocki, David. “Ein Überblick über die Blockflötenforschung 1996.” Tibia 24, no. 3 (1999): 521–30. 26. Lasocki, David. “Ein Überblick über die Blockflötenforschung 1997.” Tibia 25. no. 3 (2000): 181–96. 27. Lasocki, David. “Ein Überblick über die Blockflötenforschung 1998.” Tibia 26. no. 2 (2001): 441–54.

2 General Surveys and Writings Covering Several Topics This chapter deals with books and articles that provide a basic introduction to the recorder as well as sources that cover a variety of specific topics, too numerous to make classification under the individual topics practical. We have also included a section devoted to the Recorder Home Page and articles describing its contents.

SIGNIFICANT BOOK-LENGTH INTRODUCTIONS These books represent the best general surveys of the instrument and its history. A new survey, taking into account the latest research in all countries, is urgently needed (see chapter 31). 28. Hunt, Edgar. The Recorder and Its Music. Rev. and enl. ed. London: Eulen-burg Books, 1977. xvi, 184 p. ISBN 0903873311. ML 935 .H85 1977. In French as: La flûte à bec et son histoire [The recorder and its history]. Paris: Editions Zurfluh, 1979. 186 p. Earlier editions: London: Herbert Jenkins, 1962. 176 p. OCLC #906928. New York: W.W.Norton, 1963. 176 p. OCLC #918692. In Dutch as: De blokfluit en zijn muziek. Wageningen: Zomer & Keuning, 1966. A general introduction with an emphasis on history and repertory. Nearly half the book is devoted to a three-part history of the recorder, covering repertory and treatises from the Middle Ages through the decline of the recorder in the eighteenth century. An introductory chapter on the origin of the recorder discusses the etymology of “recorder,” reviews literary references to the instrument, and offers a table of the various sizes of recordersand the historical terms used to refer to them. Chapter 5 provides a good short survey of historical makers. The treatment of recorder technique in chapter 6 offers a balance of theory and practice, makes frequent references to historical treatises, and takes the unusual approach of introducing fingering by relating it to acoustic principles. The chapter on the twentieth-century revival has been criticized for its autobiographical content, but Hunt’s story, coming from one who experienced the revival firsthand, is nonetheless interesting. The concluding chapter, “The Recorder Today,” is a country-bycountry survey providing information on the role of the recorder in schools, the names of prominent professional players and teachers, recorder societies, publishers, and makers. An appendix advises composers interested in writing for the recorder. The nine-page bibliography concentrates on pre-1960 writings. (Despite the scholarly underpinnings of the book, citations in the text are often brief and incomplete, leaving the inquisitive reader to consult the bibliography for more precise information.) Hunt brought the last three chapters up to date for the 1977 edition but unfortunately failed to make more than

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a handful of necessary corrections to the earlier chapters. A slightly revised edition was published by Peacock Press, Mytholmroyd, Hebden Bridge, West Yorkshire in 2002. Reviewed by Dale Higbee in American Recorder 20, no. 4 (February 1980): 170; Walter Bergmann in Recorder & Music 5, no. 12 (December 1977): 391; and Anthony Baines in Galpin Society Journal 31 (1978): 168–69. 1962 edition reviewed by Richard D.C.Noble in Consort, no. 19 (July 1962): 136–38. 29. Linde, Hans-Martin. The Recorder Player’s Handbook. 2d ed. (rev. and enl.). Translated from the German by Richard Deveson. London: Schott, 1991. 149 p. Schott ED 12322. ISBN 0946535175. In German as: Handbuch des Blockflötenspiels. 2., brw. Ausg. Mainz: Schott, 1984. 131 p. ISBN 3795725313. Earlier edition: The Recorder Player’s Handbook. Translated by James C. Haden. London; New York: Schott, 1974. 107 p. OCLC #1689607. MT 340 .L413. In German as: Handbuch des Blockflötenspiels. Mainz: Schott, 1962. 107 p. OCLC #2582721. Revised and in an improved translation, Linde’s book has much to offer intermediate and advanced players. Falls into three parts: “The Recorder,” which concerns acoustics, sizes of instruments, and choosing and caring for the instrument; “Playing the Recorder,” which covers fundamentals of technique; and “Recorder Music and Its Performance,” the largest section of the book, which concerns repertory and performance practice in music from the Middles Ages through the twentieth century. (Linde’s experience as a performer is in evidence in the advice he offers on performance practice, which is not covered by most other practical surveys of repertory.) Concludes with a rather germanocentric bibliography. 1962 edition reviewed by Erich Katz in American Recorder 7, no. 4 (fall 1966): 14–15. 1974 edition reviewed by Edgar Hunt in Recorder & Music 5, no. 1 (March 1975). 1991 edition reviewed by Robert Ehrlich in Recorder Magazine 12, no. 1 (March 1992): 21–22. 30. Wollitz, Kenneth. The Recorder Book. New York: Alfred A.Knopf; London: Gollancz, 1982. xxv, 259 p. ISBN 0394479734 (U.S. ed.); ISBN 0575031441 (U.K. ed.). MT 350 .W64 1982. Paperback reprint: New York: Knopf, 1995. ISBN 0394749995. In Italian as: Manuale del flauto dolce. (La vostra via, vol. 176.) Milan: Longanesi, 1982. 240 p. OCLC #14469872. A fine handbook for beginning and intermediate performers. Nearly half the book is devoted to matters of technique: breathing, tonguing, fingering, practicing, ornamentation (both Renaissance and Baroque), alternate and trill fingerings, and compound articulations. The book is a practical one and includes many exercises. An appendix offers a “beginner’s first lesson,” a table of scales, and solutions to many of the problems encountered by novice players. The chapter on ensemble playing covers basic technical challenges, answers such practical questions as where to play and who should lead, explains the role of difference tones in tuning, and makes suggestions on how to go about preparing a program. The introduction briefly surveys the history of the recorder. In the chapter “Selecting and Caring for Your Recorder,” Wollitz advocates plastic recorders for beginners and offers much sound advice on selecting and maintaining wooden instruments. Colin C.Sterne’s narrative survey of recorder repertory is essentially a general history of music, and only in the section on the late Baroque is repertory discussed in any detail. Martha Bixler’s and Joan Munkacsi’s useful annotated bibliography of music for the recorder is categorized by difficulty and subarranged by

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instrumentation. Concludes with a glossary and a short, eclectic bibliography. The U.K. edition is slightly altered (some of the musical selections are different). Reviewed in Recorder & Music 7, no. 5 (March 1982): 130 and by Edgar Hunt in American Recorder 23, no. 2 (May 1982): 77. Portions of chapter 2 (“How to Practice”) and chapter 3 (“Ornamentation”) originally appeared in American Recorder (items 1103 and 1201).

OTHER IMPORTANT BOOKS 31. Peter, Hildemarie. The Recorder: Its Traditions and Its Tasks. English translation from the German edition by Stanley Godman. Berlin-Lichterfelde: Robert Lienau; New York: C.F.Peters, 1958. 76 p. OCLC #28740763. ML 935 .P413. In German as: Die Blockflöte und ihre Spielweise in Vergangenheit und Gegenwart. Berlin-Lichterfelde: Robert Lienau, 1953. 79 p. OCLC #13921773. One of the first monograph-length studies of recorder history and historical performance practice, now outdated but nonetheless of value for its fold-out charts covering both historical and modern fingering and ornamentation. The English translation is often clumsy and occasionally inaccurate. Contents: The Structural and Acoustic Principles of the Recorder; Practical Problems of Recorder Playing (covering historical performance practice and ornamentation); The Recorder in the Music and Instrumentation of the Late Middle Ages [that is, the Renaissance] and the Baroque; The Recorder in the Present (including sections on modern methods, contemporary music, and “the tasks and opportunities of the recorder in the twentieth century”). Concludes with a four-page bibliography. Reviewed by Suzanne Bloch in American Recorder 1, no. 3 (summer 1960): 14 and Anthony Baines in Galpin Society Journal 12 (1959): 103. 32. Schmidt, Lloyd John. A Practical and Historical Source-Book for the Recorder. Ph.D. diss., Northwestern University, 1959. xv, 623 leaves. OCLC #16530374, #1920225. UMI order no. 59–04837. One of the outstanding contributions to the literature about the recorder, still surprisingly little known. “At once a reference work and a history, it is an attempt to supply a single source for significant information about the recorder” (p. v). Although much of the study has been superseded by later research, it is jam-packed with information that could still be used (critically) to write recorder history. Its main faults are that Schmidt is uncritical about what modern authors have said, that he relies too heavily on secondary sources, and that he allows far too many typographical errors. Contents: technical features of the instrument, fingerings, practical considerations (selection, basic technique, ensemble, care, and maintenance), nomenclature, the recorder by period (primitive and ancient society; the Middle Ages to the fifteenth century; fifteenth century; sixteenth century; seventeenth century; eighteenth century; Bach, Handel, and Telemann; nineteenth century; twentieth-century revival), the recorder in education, methods, the recorder in music literature, the recorder in literature, the recorder in art works. Appendixes cover: Pepys, Henry VIII’s 1547 inventory, surviving historical specimens, collections and exhibitions, makers, the Chester recorders, unusual specimens, the sound hole, hand positions in depictions from 1386 through the eighteenth century, the American Recorder Society, the Society of Recorder Players, the Dolmetsch

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Foundation, glossary. 33. Thomson, John Mansfield, and Anthony Rowland-Jones, eds. The Cambridge Companion to the Recorder. Cambridge: Cambridge University Press, 1995. xxiii, 238 p. ISBN 052135269X (hardback); 0521358167 (paperback). ML 990 .R4 C35. Contents: a foreword by Daniel Brüggen and a preface by Thomson; Howard Mayer Brown on the recorder in the Middle Ages and Renaissance (item 96), with a repertory commentary by Anthony Rowland-Jones (item 1732); Rowland-Jones on Baroque sonatas (item 1749) and chamber music (item 1748); Adrienne Simpson on the “orchestral” use of the recorder (item 1700); David Lasocki and Rowland-Jones on the eighteenth-century recorder concerto (item 1746); Lasocki on instruction books and methods, largely historical (item 864); Thomson on the revival of the recorder in the twentieth century (item 184); Eve O’Kelly on the recorder and its repertory in the twentieth century (item 181); Lasocki on professional players before the twentieth century (item 127); O’Kelly on modern professionals (item 1320); O’Kelly on the recorder in education; Clifford Bartlett on facsimiles and editing (item 1705); and a bibliographic essay by Rowland-Jones with Lasocki stressing writings on the general repertory, technique, and performance practice (item 5). Reviewed by Mark Davenport in American Recorder 37, no. 2 (March 1996): 36–38; Greg Dikmans in Recorder and Early Music [Australia], no. 20 (1996): 21–26; and Marie Ritter in Recorder Magazine 16, no. 1 (March 1996): 25–26, to which Thomson replies in 16, no. 2 (June 1996): 68– 69. 34. Welch, Christopher. Six Lectures on the Recorder and Other Flutes in Relation to Literature. London: Henry Frowde [for the] Oxford University Press, 1911. xvi, 457 p. OCLC #1867864. ML 935 .N35. First three lectures reprinted as: Lectures on the Recorder in Relation to Literature. With a new introduction by Edgar Hunt. London: Oxford University Press, 1961. ix, 191 p. OCLC #551595. Pioneering essays that were highly influential in the twentieth-century revival of the recorder. Contents: Literary Errors on the Subject of the Recorder (item 66, updated); Tone and Effect of the Recorder; Hamlet and the Recorder (item 89, updated); Shakespeare’s Allusions to Flutes and Pipes; Milton on Flutes and Flute-Players; and The Temple-Flute-Player and the Tomb-Piper. “Tone and Effect of the Recorder” discusses the qualities of the recorder as found in seventeenth-century sources (Mersenne, Milton, plays by Massinger and others, Pepys) as well as Handel’s use of the instrument (a survey based on the Chrysander edition with special sections on the flauto piccolo and Acis and Galatea). Although Welch’s numerous digressions and discursive footnotes make for slow reading, his scholarship and perceptiveness hold up well. The 1961 reprint is reviewed by Eric Halfpenny in Galpin Society Journal 19 (1966): 163 and Alexander Silbiger in American Recorder 3, no. 2 (May 1962): 20.

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OTHER BOOKS 35. Alker, Hugo. Die Blockflöte: Instrumentenkunde, Geschichte, Musizierpraxis [The recorder: organology, history, musical practice]. (Wiener Abhandlungen zur Musikwissenschaft und Instrumentenkunde, Bd. 1.) Vienna: H.Geyer, 1962. 76 p. OCLC #5780969. ML 935 .A4. The chapter “Alte und neue Blockflöten” also appeared separately in Das Musikinstrument 10 (1961): 445–46. Designed as an overview of the recorder for the “beginner and practicing musician.” Divided into: (1) the instrument (terminology, material, recorder revival, modern makers), (2) advice for the buyer (types and models, quality, sizes, pitch, breath pressure, fingering), (3) recorder manufacturers (a survey, with types and materials), (4) recorder maintenance, (5) playing suggestions (pitch, intonation, troubleshooting), (6) recorder history (the highpoints of the Renaissance and Baroque), (7) performance practice (Renaissance as well as Baroque), (8) old and new recorders (including data on historical and modern instruments in Vienna), and (9) a short bibliography. According to Erich Katz (review in American Recorder 4, no. 2 [May 1963]: 21), the work is a reprint of item 1 omitting the (full) bibliography but adding the chapter on old and new recorders. Useful at the time of publication but now rather dated. 36. Carroll, Paul. Baroque Woodwind Instruments: A Guide to Their History, Repertoire and Basic Technique. Aldershot: Ashgate, 1999. x, 181 p. ISBN 1839283268. ML 931C37. Carroll’s purpose in writing was “to provide a guide to the history of the four main woodwind instruments of the Baroque era, the flute, oboe, recorder and bassoon, and to help those who are interested in acquiring a basic technique for playing these instruments.” His intended audience seems to be players of modern woodwind instruments, at all levels of ability, including those daring souls like himself who have the ambition to double on more than one Baroque woodwind. He reassures readers that playing Baroque instruments will not damage their modern technique. Although he concedes that it is far better to have a teacher than a book, he also writes, strangely, “If, however, it is not possible to gain access to a teacher then self-tuition is possible and not fraught with danger.” His brief comments on technique are clearly based on experience and could well be helpful to teacherless students who are heedless of the lack of danger. To Carroll, the reason for learning Baroque instruments—and therefore the true purpose of the book—is to play on a “faithful copy” of an original instrument to achieve a “historically informed performance.” Richard Taruskin’s name is notably absent from Carroll’s bibliography, and yet every serious performer on historic instruments needs to know his basic ideas (see pp. 325–26). As for Carroll’s notion that nowadays “it is possible to obtain virtually any baroque instrument as a faithful copy,” it all depends on what you mean by “faithful” and who is having faith in what. Measurements of early instruments are necessarily inexact, and wood has deteriorated over the centuries, so it is impossible to produce an exact copy, despite Carroll’s own faith in the power of the micrometer. In any case, like modern performers dealing with performance-practice evidence, modern makers choose from the features of early instruments to produce

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“copies” that are in conformity with their necessarily modern taste. Although Carroll’s book is, in our opinion, built on flawed premises, at least it has the virtue of providing an overview of Baroque woodwinds, their construction, and their repertory—an overview that cannot be found in any other individual volume. The worst feature of the book is the slovenly prose, which should have been corrected by the publisher’s editors. Reviewed by David Lasocki in Notes 57, no. 2 (December 2000): 386–88. 37. Dantimo, Stanley A., ed. All about the Recorder. Cleveland: Trophy Music Company, 1969. A series of brief essays “not intended for the connoisseur, but, rather, for anyone interested in Recorders [sic],” written by various experts whose biographies loom large on the page. The essays cover the history of the instrument, the recorder in education (at all levels) and music therapy, selection and standards, transposition, Baroque versus German fingering, intonation, the solo sonata, and the American Recorder Society. Now seems very dated. 38. Degen, Dietz. Zur Geschichte der Blockflöte in den germanischen Ländern [On the history of the recorder in Germanic countries]. Kassel: Bärenreiter, [1936]. 206 p. OCLC #16476451; reprint, 1972. OCLC #580993. ML 935 .D44 G4 1972. Long the most important book written about the recorder and still a mine of useful information almost sixty years on. Part 1, on the instrument, covers names in various languages; sizes; range, fingering, and notation; design and material; and changes in external appearance. Part 2, on recorder history, presents an overview through the nineteenth century, then looks at appearances of the recorder at the same time as the flute; then follow sections on the individual countries (Germany, the Low Countries, England [largely based on Welch, item 34], Sweden, and Denmark). Concludes with a table of historical makers and surviving instruments, as well as an extensive bibliography. Highly recommended. 39. Delius, Nikolaus, ed. Sine musica nulla vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16. September 1997 [Without music, no life: Festschrift for Hermann Moeck on his seventy-fifth birthday on 16 September 1997]. Celle: Moeck Verlag, 1997. 431 p. ISBN 3875490649. ML 55 .M515. A collection of articles and essays in honor of Moeck’s seventy-fifth birthday. Includes items 81, 147, 308, 378, 1714, 1761, 1876, and 1951 below. Reviewed by Georg Meerwein in Tibia 23, no. 3 (1998): 225–26. 40. Hunt, Edgar. The Recorder. A Handbook of Useful Information. London: Schott, 1957. [14] p. OCLC #1542672. A survey of the instrument in pamphlet form, briefly covering: a definition of “recorder,” ease of playing, ensemble playing, history, modern revival, sizes, choice of instrument, care, teaching, starting a recorder class, and repertory. 41. Manifold, John. The Amorous Flute: An Unprofessional Handbook for Recorder Players and All Amateurs of Music. London: Workers’ Music Association, 1948. xiv, 48 p. OCLC #5292613. Promotes amateur musicmaking and the recorder as an advantageous instrument for it. Consists largely of historical information about the recorder, by now somewhat inaccurate but engagingly written. Includes a section on playing in a recorder consort.

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Glossary. 42. Nicolucci, Vittorio, ed. Il flauto dolce: Dallo scolaro al virtuoso [The recorder: from student to virtuoso]. Bologna: UT Orpheus Edizioni, 2000. ISBN 888109441X. A curious collection of articles, said to be the last editorial project of a defunct earlymusic association, 415 Associazione Italiana per la Musica e la Danza Antiche. Some of the topics are confined to the recorder, some broader; most of the articles fail to cover their subject matter adequately by being too short or too discursive. Includes items 45, 73, 686, 815, 1693, 1764, 1766, 1955, and 1976, below. Reviewed by Marianne Mezger in Recorder Magazine 21 [marked 21a], no. 2 (summer 2001): 70–71. 43. Thomson, John M. Your Book of the Recorder. 2d ed. London: Faber & Faber, 1974. 75 p. ISBN 0571048730. Earlier edition: London: Faber & Faber, 1968. 75 p. ISBN 0571082270. ML 935 .T5 1974. Part of a series of Your Books intended for young adults that includes books on history, the arts, hobbies, crafts, sports, science, and so forth. Written in a simple, straightforward style. Fulfills its promise of being “a concise introduction to the recorder world, now in the midst of another golden age.” Draws largely on Hunt (item 28) and articles in Recorder and Music Magazine, especially by Bergmann. Chapters on sizes of recorders, first steps in learning, history (earliest days, Elizabethan music, Baroque, Handel/ Bach/Telemann, twentieth century), how recorders are made, and famous players and ensembles of today. Fingering chart and brief bibliography. The second edition is virtually identical to the first, only a few sentences having been added at the ends of some of the chapters to bring them up to date.

ARTICLES 44. Barthel, Rudolf. “Die Blockflöte” [The recorder]. In Handbuch der Musikerziehung [Handbook of music education], ed. Hans Fischer, 474–84. Berlin: Rembrandt-Verlag, Konrad Lemmer, 1954. An unusually interesting choice of subject matter for an overview: alternative fingerings and their intonation, wanning up and tuning up, breathing and articulation, the repertory (very briefly), and the recorder orchestra and its repertory. 45. Bornstein, Andrea. “Il flauto dolce: Struttura, nomenclatura e cenni storici” [The recorder: structure, nomenclature, and a brief history]. In item 42, pp. 5–14. Opens with a brief introduction to how the recorder produces its sound and how it is constructed, then continues with a general history of the instrument through the end of the Renaissance, focusing on the evolution of the recorder’s design as documented in historical treatises and inventories (with a few references to surviving instruments). Traces the expansion of the recorder family from the three sizes mentioned by Virdung to the eight known to Praetorius. Includes a combined fingering chart compiled from those of Virdung, Agricola, Ganassi, Jambe de Fer, Mersenne, and “van Eyck” (actually, Matthyszoon). Concludes with a few paragraphs on Renaissance repertory. 46. Dolmetsch, Carl F. “The Recorder or English Flute.” Music & Letters 22, no. 1 (January 1941): 67–74. Writing at a time when the recorder was not yet widely known and appreciated,

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Dolmetsch leaps to the defense of the instrument, drawing heavily on his own experience. Focuses on the current state of recorder playing and manufacturing. Discusses a few of the compositions he commissioned. Describes Arnold Dolmetsch’s role in the revival of the recorder and the founding of the Society of Recorder Players. Concludes with the jingoistic statement (it was World War II, after all): “It should be a source of inspiration to enthusiasts that the rising generation of composers and players take a serious view of the recorder’s place in the world of music and are setting out to re-establish and maintain the traditional supremacy in both instruments and players which England always [sic] enjoyed.” 47. Donington, Robert. “The Recorders.” Consort, no. 2 (December 1931): 7–11. A brief introduction to the instrument, its qualities, its technique, and its repertory from a Dolmetsch family perspective. Mentions a few pieces by Bach, Handel, Purcell, and Woodcock, adding, with prescient understatement: “Specific music for recorders probably exists and only awaits discovery.” 48. Fitzgibbon, H.Macaulay.“‘Of Flutes and Soft Recorders.’” Musical Quarterly 20, no. 2 (April 1934): 219–29. A history of flutes and flute music that contains several errors and is generally founded on unreliable scholarship. The recorder is discussed only briefly on the first page. (One of the errors in this section: “[I]t was difficult to play in any but the major diatonic scale.”) Briefly mentions the use of the recorder by Bach and Handel (pp. 224–25). The title of the article is taken from Milton’s Paradise Lost. 49. Harras, Manfred H. “Blockflöte” [Recorder]. In Die Musik in Geschichte und Gegenwart. 2d ed. Edited by Ludwig Finscher. Kassel: Bärenreiter, 1994. Sachteil, 1:1576–1600. The great German music encyclopedia Die Musik in Geschichte und Gegenwart, familiarly known as “MGG,” is coming out in a second edition more than forty years after the first one began. The first edition did not even have a separate article on the recorder but discussed it as part of “Flöteninstrumente” (by Hans-Peter Schmitz). Harras has done a creditable job with the new article, although a few of his statements are doubtful (for example, the flûte pastorelle seems to have been panpipes rather than a recorder). He divides the article into name and origins, designations, acoustical foundations, materials, history, and comments on playing techniques. A useful feature of the bibliography is its inclusion of historical treatises and methods as well as a selected list of repertory with modern editions. Reviewed by “M-Th-B” (Hermann Moeck, Ulrich Thieme, and Gerhard Braun) in Tibia 20, no. 1 (1995): 386–88. 50. Higbee, Dale. “The Recorder and Its Literature.” Music Journal 23 (April 1965): 56– 57. An excellent brief introduction to the recorder, its history, and its revival. Includes a bibliography, discography, and list of addresses, all of which, because of their age, are now of little value. 51. Hubbard, Clarence T. “A Recorder is for the Birds.” Music Journal 21, no. 2 (February 1963): 31, 40. An attempt to introduce the recorder to a general audience, including the inevitable discussions of Pepys, Henry VIII, Bach and Handel, and the origin of the instrument’s name. One surprising claim: that Bob Hope and Yehudi Menuhin were amateur recorder

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players. 52. Hunt, Edgar. “The Recorder and Its Music.” Proceedings of the Royal Musical Association 75 (1949): 39–51. A good short survey, which served as a starting point for Hunt’s book The Recorder and Its Music (item 28). Falls into three sections: up to about 1650, from about 1650 to the end of the eighteenth century, and the twentieth-century revival of the recorder. The first two sections cover, for each period, manuals and treatises on the recorder, the construction of the instrument and its common sizes and pitches, and repertory. The treatment of the twentieth century is anglocentric and thus incomplete. 53. Jacobs, Manuel. [Terpander, pseud.]. “The Recorders.” Musical Times and SingingClass Circular 79, no. 9=no. 1147 (September 1938): 653–56. An early introduction to the recorder for a general musical audience. Considers that the instrument went out of fashion in the eighteenth century because composers were demanding more virtuosity (speed and dynamic contrast). Argues that it is now a fine instrument for the amateur—that praise-worthy creature who has not given into the passive nineteenth-century attitude toward music that has been encouraged further by the radio. States the “fact” that modern recorders, such as those of the Dolmetsch workshop, are superior to any early instruments in tone quality and accuracy of intonation. Later, in contrast, criticizes Dolmetsch recorders for cultivating the “sweet and unassuming” qualities of the recorder “at the expense of its more virile attributes.” Insists that dwelling on the “quaint” and “olde worlde” aspects of the recorder is dangerous; rather, “if the health and strength of the present recorder revival is to be maintained, the revival itself must be recognized as essentially a contemporary phenomenon, and contemporary music must be written for it.” Advocates that modern composers should add the recorder consort to their orchestral and chamber-music palette, rather than “turn for unnecessary stimulation to the electrical toys of science.” Praises the recorder’s low price and ease of learning. Recognizes that the recorder’s tone is quite distinct from the flute’s. Commends the pioneering work of the Society of Recorder Players. Ends by mentioning some examples from the repertory of the recorder, extolling its virtues as an obbligato and consort instrument. Alas, the further promised articles on recorder technique, ornamentation, and repertory never materialized. Critical letter from Maurice Card, demonstrating more historical knowledge than the author, in 79, no. 11 =no. 1149 (November 1938): 853. 54. Koch, J.G. “An Introduction to the Recorder.” Woodwind 6, no. 1 (September 1953): 5, 9, 14. A plea for acceptance of the recorder as “a fully fledged musical instrument capable of a wealth of expression….” 55. Lander, Nicholas S. “Instrument of Torture or Instrument of Music?” Available from the Recorder Home Page (item 68) at http://members.iinet.net.au/~nickl/torture2.html. Accessed May 2002. An up-to-date and intelligent essay on the history of the recorder, with heavy emphasis on the twentieth century. 56. Lasocki, David. “Recorder.” In The New Grove Dictionary of Music and Musicians. 2d ed. Edited by Stanley Sadie; executive editor, John Tyrrell, 21:37–53. London: Macmillan, 2001. Also online at http://www.grovemusic.com (by subscription).

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An attempt to look at recorder history from first principles and take into account the fruits of the latest researches. Divided into six sections: nomenclature; physical characteristics (medieval, “Ganassi,” standard Renaissance, “Rafi,” early Baroque, Baroque, csakan, standard modern, ultramodern); technique and performance practice (by period); repertory (also by period); symbolism and associations (the supernatural and death, love and sex, birdsong, the pastoral and sleep, war, water, textual references); and social history (among professionals, among amateurs, and in music education). Ends with a selected (but extensive) bibliography. For an earlier perspective, see the article by Edgar Hunt in the first edition (1980), slightly modified for The New Grove Dictionary of Musical Instruments (1984). 57. Manifold, J.S. “The Recorder.” Canon 3 (1950): 448–53, 508–18, 568–73, 624–31, 687–92. Part 1: Definition, Nomenclature and Notation. Part 2: The Recorder in England, A Brief History. Part 3: Choosing an Instrument. Part 4: The Recorder Class and Repertoire. Part 5: Household Music. A monograph-length series of articles written to introduce readers to the recorder and to promote amateur musicmaking. The introduction to the instrument, its history, and its repertory in the opening two parts is detailed and well written, but the reader should keep in mind that some facts have changed during the intervening forty years. Part 2, a history of the recorder in England, remains the most valuable part of the series and offers a good survey of seventeenth- and eighteenth-century repertory, including songbooks and methods as well as published chamber music. The information in the concluding three sections on selecting instruments, organizing recorder classes, and using modern instruments alongside recorders is dated and of little use. 58. Moeck, Hermann. “Il flauto dolce: Passato e presente” [The recorder: past and present]. Il flauto dolce, no. 2 (January-June 1972): 1–2. A brief overview of the recorder’s history, its twentieth-century revival, the technical problems of modern recorders, and thoughts on the future (avant-garde). 59. Morgan, Fred. “A Player’s Guide to the Recorder.” Recorder: Journal of the Victorian Recorder Guild, no. 6 (June 1987): 1–4; no. 7 (December 1987): 10–16. An excellent overview of the physical instrument. Part 1 covers “The Recorder Family” (names, pitch-designations, and sizes, with comments on the uses of the more unusual sizes) and “Pitch” (the pitches of early instruments and modern copies). Part 2 covers “Anatomy of the Recorder” (a description of the parts of the instrument, with historical asides), “Making Recorders” (materials, and factory-made versus handmade), and “Choosing a Recorder” (based, in order of importance, on speech, intonation, beautiful sound, and fine appearance). 60. Müller, Fritz. “Der gegenwärtige Stand der Blockflötenfrage” [Today’s state of recorder questions]. Zeitschrift für Musik 99, no. 8 (August 1932): 687–89. Notes that the recorder has quickly become a modish instrument. Traces a little of its history, including the sizes of instrument mentioned by Praetorius and Mattheson. Then, without apparently understanding the origin of the problem, complains about the availability of recorders in both A-E-D and C-G-F. Ends by mentioning some current makers, publishers, and players. 61. Salb, Michael. Musikinstrumente: Die Blockflöte [Musical instruments: the recorder].

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Frankfurt: Zimmermann, 1990. Not seen. Cited in Basler Jahrbuch für historische Musikpraxis 15 (1991): 280. . Scheck, Gustav. “Der Weg zu den Holzblasinstrumenten” [The path to woodwind instruments]. In Hohe Schule der Musik: Handbuch der gesamten Musikpraxis, 4:1–100. Potsdam: Akademische Verlagsgesellschaft Athenaion, 1935. This chapter, written by one of the most important flute/recorder players of the twentieth century, has been widely cited, partly because of the status of its author and partly because it treats the recorder (here dubbed “Längsflöte”) on a par with the flute, clarinet, saxophone, oboe, and bassoon. The recorder section (pp. 3–23) covers name and history, breathing and fingering techniques, and a few words on the choice of instruments for Bach’s Second Brandenburg Concerto and Cantata 106. 63. Underwood, T.Jervis. “Consider the Recorder.” Woodwind World 10, no. 2 (April 1971): 16, 20. An attempt to get across to other woodwind players something of “the mystique of the recorder (which attracts amateurs and accomplished musicians alike)….” 64. Vasseur, Dominique. “Der Zauber der Neugier” [The magic of curiosity]. Windkanal 1/1997:17–19. A highly philosophical article in the French style on the role of the recorder, and the curious musician, in old and new music. Ends with a list of Vasseur’s compositions (only two of which involve the recorder). 65. Veilhan, Jean-Claude, and Hugo Reyne. “La flûte à bec, instrument de l’amour” [The recorder, instrument of love]. Diapason-Harmonic, no. 335 (February 1988): 52–54. Briefly surveys the recorder, its history, and its symbolism. . Welch, Christopher. “Literature Relating to the Recorder.” Proceedings of the Musical Association 24 (1897–98): 145–224. Updated version in item 34. A landmark study in the modern revival of the recorder, this long, sometimes rambling article covers a far broader range of topics than its title suggests. Contents: Uncertainties of Lexicographers and Commentators; Misprints in Hamlet; Classification of Flutes; Quotations from Old Writers; The Flute in Chaucer; Description of the Recorder; Henry VIII and the Recorder; The Recorder in Agricola, Praetorius, and Mersenne; The Flageolet; Puritan Attack on the Flute; Books of Instruction for the Flageolet and the Recorder; The Recorder Changes Its Name; Decay and Extinction of the Recorder; Errors of Sir John Hawkins, Dr. Burney, Mr. William Chappell, and Carl Engel. 67. Zaniol, Angelo. “Il flauto dolce” [The recorder]. Strumenti e musica 21, no. 8 (August 1978): 90, 92; no. 10 (October 1978): 106, 108; no. 11 (November 1978): 127–28, 130; no. 12 (December 1978): 114, 116; 22, no. 1 (January 1979): 104, 106; no. 2 (February 1979): 212, 214, 216; no. 3 (March 1979): 126, 128; no. 4 (April 1979): 114; no. 5 (May 1979): 150, 152; no. 7 (July 1979): 98, 100; no. 8 (August 1979): 248, 250; no. 9 (September 1979): 186, 188; no. 10 (October 1979): 153–54; no. 11 (November 1979): 164, 166; no. 12 (December 1979): 156, 158; 23, no. 1 (January 1980): 122, 124; no. 2 (February 1980): 220, 222; no. 4 (April 1980): 150, 152; no. 5 (May 1980): 144, 146; no. 6 (June 1980): 166, 168; no. 7 (July 1980): 122, 124; no. 8 (August 1980): 212, 214; no. 10 (October 1980): 188, 190; no. 11 (November 1980): 162, 164; no. 12 (December 1980): 144, 146; 24, no. 1 (January 1981): 182, 184, 186; no. 2

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(February 1981): 136, 138, 140; no. 3 (March 1981): 130, 132; no. 4 (April 1981): 162, 164; no. 6 (June 1981): 138, 140, 142. Zaniol, a well-informed recorder maker and scholar, presents a survey of the early history of the recorder (Middle Ages, Renaissance, seventeenth century, late Baroque) almost the length of a small book. Preceded by an introduction, a bibliographic essay on the instrument, and a discussion of methods and studies. Zaniol displays a wide knowledge of the literature about the recorder. Useful evaluations.

RECORDER HOME PAGE 68. Lander, Nicholas S., comp. Recorder Home Page. On the World Wide Web at http://members.iinet.net.au/~nickl/recorder.html; mirrored in the United States at http://classicalmus.hispeed.com/nickl/recorder.html; German version at http://www.blockfloetenbau.de. Accessed May 2002. The most important and wide-ranging Web site devoted to the recorder, founded in 1996 and still attracting thousands of visitors per day. Lander is an Australian recorder teacher/player and botanist who has made many significant contributions to the site besides compiling it. As of May 2002, the main sections of the site were: Accessories; Articles; Competitions, Festivals, Workshops; Composers; Construction; History (consisting of item 55); Instruments & Makers; Music Publishers; News; Players (links to their Web sites); Recorder in Art; Recorder in Literature; Recordings; References; Repertoire; Research Materials; Societies; Software; Sound Files; Teachers; and Technique. There are also links to other recorder-related sites as well as to discussion lists and newsgroups. A quiz with rotating questions tests your knowledge of recorder history. For the most significant original parts of the site, see items 88, 249, 284, and 1690. 69. Kersten, Fred. “The New Fluyten Lust-hof: A Tour of the Recorder Home Page.” American Recorder 38, no. 3 (May 1997): 7–11. A survey of the contents of item 68. A sidebar at the end of the article offers links to other recorder-related Web sites. 70. Lander, Nicholas S. “Music from Another Sphere: The Recorder in Cyber-space.” Recorder Magazine 17, no. 2 (June 1997): 58–61. In Spanish as: “Música de otra esfera: La flauta dulce en el ciberespacio.” Revista de flauta de pico, no. 11 (May 1998): 21–27. Another survey of the contents of item 68, this one by the Webmaster. * Mayes, Andrew. “An Interview with Nicholas Lander.” Cited below as item 1517.

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MISCELLANEOUS TOPICS 71. “Dear Doctor.” Recorder Magazine 13, no. 3 (December 1993): 89; 14, no. 1 (March 1994): 24; 14, no. 2 (June 1994): 61; 14, no. 4 (December 1994): 142; 15, no. 3 (September 1995): 108. A question-and-answer column, with the answers provided by guest columnists. DECEMBER 1993: the causes of key noise and suggested improvements to minimize the problem (Brian Blood). MARCH 1994: the genesis of Rubbra’s Passacaglia sopra ‘Plusieurs regrets’ and Meditazioni sopra ‘Cæurs désolés’ (Carl Dolmetsch). JUNE 1994: historic temperaments in relation to the recorder (John Willman). DECEMBER 1994: the origins of the terminology “soprano”/“descant” and “alto”/“treble” (Edgar Hunt). SEPTEMBER 1995: buttress fingering (Ross Winters). 72. “Q & A.” American Recorder 31, no. 1 (March 1990): 34; 31, no. 2 (June 1990): 40– 42; 31, no. 3 (September 1990): 34–36; 32, no. 1 (March 1991): 43; 33, no. 1 (March 1992): 45; 34, no. 4 (November 1993): 24–26; 35, no. 1 (January 1994): 31; 35, no. 3 (May 1994): 19–20; 35, no. 4 (September 1994): 25–26; 35, no. 5 (November 1994): 19; 36, no. 1 (January 1995): 22–23; 36, no. 5 (November 1995): 26–27; 37, no. 2 (March 1996): 35; 37, no. 4 (September 1996): 38–39; 38, no. 3 (May 1997): 22–23; 38, no. 4 (September 1997): 27; 39, no. 5 (November 1998): 32–33; 40, no. 2 (March 1999): 22–23; 40, no. 3 (May 1999): 22–23; 40, no. 4 (September 1999): 20–21; 41, no. 1 (January 2000): 30–31; 41, no. 3 (May 2000): 34–35; 41, no. 5 (November 2000): 31–32. A series of questions and answers covering a variety of topics. MARCH 1990: breaking in a new recorder (see also a letter in 31, no. 2 [June 1990]: 33), finding practice time. JUNE 1990: trill markings, meantone temperament, selecting a recorder (see also letters in 31, no. 4 [December 1990]: 25–26 and 32, no. 1 [March 1991]: 35). SEPTEMBER 1990: the bass recorder in the Baroque, plastic crumhorns. MARCH 1991: deposits in the windway, alternative fingerings, music and war. MARCH 1992: circular breathing, condensation. NOVEMBER 1993: voice flute, recorking joints (see also a letter in 35, no. 2 [March 1994]: 27), cleaning the block and windway of the recorder, agogic accents. JANUARY 1994: passaggi, publishing recorder music. MAY 1994: tenor recorders for small hands, starting a high-school early-music club, integrating the recorder into a middle-school curriculum. SEPTEMBER 1994: performing medieval music, controlling performance anxiety through medication, playing Mozart and Haydn on the harpsichord. NOVEMBER 1994: recorder cases, evaluating editions of Renaissance music, music notation software. JANUARY 1995: alternative fingerings and the opening of the Telemann F-minor sonata, Praetorius’s “Philou,” why altos must often read up an octave. NOVEMBER 1995: patterns for Rennaisance costumes, hexachords, sources for trill fingerings. MARCH 1996: the recorder versus the song flute as an instrument for classroom music instruction, executing trills. SEPTEMBER 1996: recorders for medieval music, notes inégales and Purcell’s Three Parts upon a Ground. MAY 1997: the douçaine, using libraries, English terminology for note lengths. SEPTEMBER 1997: degree programs in early music, differences between Renaissance

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and Baroque recorders, some examples of conservative twentieth-century consort music. NOVEMBER 1998: the transverse flûte in the Middle Ages and Renaissance, arranging Bach organ works for recorder consort, doubling the basso continuo line in seventeenthcentury music, a small bibliography of jazz-influenced music for recorder ensemble. MARCH 1999: differences between Renaissance and Baroque ornamentation, composing for mixed ensembles of voices, recorders, and other instruments. MAY 1999: MIDI wind controllers that use recorder fingering, determining whether a piece of music is in the public domain. SEPTEMBER 1999: voicing, what is gained by performing Renaissance music from facsimile editions. JANUARY 2000: the alto in G, the electro-acoustic recorder. MAY 2000: software available to slow down CD recordings (see also a letter in 41, no. 4 [September 2000]: 39), the persistence of German fingering, supporting the recorder with the right hand. NOVEMBER 2000: indigenous American music, forming a recorder orchestra. 73. Zaniol, Angelo. “Il flauto dolce: Fonti documentali antiche. Breve guida per un approccio proficuo.” [The recorder: early documentary sources. Brief guide for a profitable approach]. In item 42, pp. 103–9. An idiosyncratic guide to several types of sources. Zaniol begins by recommending David Lasocki’s annual reviews of recorder research (items 6–27) and, in a footnote, the first edition of the present book. A section on “original early recorders” touches on Edgar Hunt’s gift of his splendid collection to the Bate Collection, Oxford, and mentions articles by Bob Marvin and himself as well as Phillip Young’s book 4900 Historical Woodwind Instruments (item 287). The section on “early treatises” primarily recommends the section in Griscom and Lasocki, a series of articles by himself, and a few other sources. Finally, the section on “recorder iconography” mentions his own unpublished researches—made long before Anthony Rowland-Jones’s recent flurry of articles—then gives two examples of the usefulness of iconography in determining the diffusion of the Ganassi recorder and the date of invention of the Baroque recorder.

3 Etymology, Terminology, Symbolism, and Literary References The origin of the word “recorder” has inspired a number of theories, ranging from “to sing like a bird” to “rememberance.” Whatever the meaning of its name, the instrument has a rich history of symbolic use in music, literature, and the visual arts, most frequently representing birdsong, love, death, the supernatural, and the pastoral. This chapter covers sources on etymology, terminology, symbolism, and literary references. For the role of the recorder in the visual arts, see chapter 7. * Bridge, J.C. “The Chester ‘Recorders.’” Cited below as item 90. Bridge cites references made to the recorder by John Hawkins, Shakespeare, Samuel Pepys, John Evelyn, Charles Burney, and various Elizabethan poets. He also addresses the question of the etymology of “recorder,” arguing in favor of “to record” as “to sing, chant, or warble like birds.” 74. Manifold, J.S. The Music in English Drama: From Shakespeare to Purcell. London: Rockliff, 1956. 208 p. OCLC #404918. ML 1731.2 .M26 1956. Several pages on the recorder appear in the first two parts, titled “Music in Shakespeare’s Theatre” and “Music in Purcell’s Theater.” Includes a selection of direct references to the recorder in plays of the late sixteenth and seventeenth centuries. In Shakespeare’s time, Manifold sees associations of the recorder with death and mourning, hearses and coffins, temples or churches, prayers, the appearance of gods or goddesses, resurrections, portents, and miracles. The primary association is not death but rather the idea of “another world; the supernatural; benevolent deities, whether Christian or pagan.” Supports the origin of “recorder” in the verb “to record,” which was used by Elizabethan authors in connection with birdsong. In the theater of Purcell’s time, Manifold sees the recorder “shed fewer of its traditional associations” than some of the other instruments of the orchestra, while picking up an additional association with the pastoral, which possibly had its origin in the false belief that the flûte douce (as the recorder had come to be called) was a French instrument. * Welch, Christopher. “Literature Relating to the Recorder.” Cited above as item 66. Discusses the etymology of “recorder” on pages 21–22 (1961 reprint). Literary references are cited in the sections “Quotations from Old Writers” and “The Flute in Chaucer.”

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ETYMOLOGY (arranged chronologically) 75. Trowell, Brian. “King Henry IV, Recorder-Player.” Galpin Society Journal 10 (1957): 83–84. The classic short article—technically, only a “note”—in which Trowell reports his discovery of the earliest known reference to the word “recorder” as a musical instrument. It comes in the household accounts for Henry while he was still Earl of Derby in 1388: “i. fistula nomine Ricordo” (one pipe named Ricordo). Trowell suggests that the Italian spelling of the word “may suggest” that it meant what ricordo meant in old Italian: “remembrance, souvenir, keepsake, memento, sign of friendship, token, note.” He also believes it “possible” that the instrument had been given to the twenty-one-year-old Earl “by some Italian noble, merchant, or ecclesiastic.” Unfortunately, Trowell did not consult the original household accounts, but only a transcript of them in James Hamilton Wylie’s History of England under Henry the Fourth, vol. 3 (1896), and it turns out that Wylie misread the word for the instrument (see item 78). Still, no one has yet found an earlier reference to the recorder. 76. Higbee, Dale. “The Etymology of ‘Recorder.’” Galpin Society Journal 18 (1965): 128. Supports Trowell’s theory (item 75) that “recorder” derived from a form of the Latin word recordari (to remember). 77. Bergmann, Walter. “When a Treble Really WAS a Treble.” Recorder and Music Magazine 1, no. 10 (August 1965): 313. Summarizes the discussion of the etymology of “recorder” in items 75 and 76. Also cites a ca. 1700 print containing airs by Finger for “two and three treble flutes.” Bergmann had assumed that the term “treble” was of twentieth-century origin. Laurence Wright, in 1, no. 11 (November 1965): 341, suggests an origin from the English “to record,” meaning “to memorise, to recall, to practise, and to recite, sing, or play.” 78. Rowland-Jones, Anthony. “Einige Überlegungen zum Begriff Recorder” [Some thoughts on the word “recorder”]. Tibia 25, no. 2 (2000): 89–97. Begins by musing on terms for the recorder in other western European languages. But the main purpose of the article is to revisit Brian Trowell’s famous citation of the “i. fistula nomine Ricordo” in the accounts of the Earl of Derby (the future Henry IV) in 1388 (see item 75). Going back to the original accounts, Rowland-Jones shows that the word for the instrument there was actually “Recordour,” one of several early spellings for recorder. Thus Trowell’s theory about it meaning a keepsake or memento is untenable. Rowland-Jones continues by suggesting that the capital letter and the wording “a flute named recorder” imply that the name, and presumably the instrument, were new to the language. The instrument was bought in London and charged to Henry’s “necessaries,” apparently for his domestic musicmaking, at the high cost of 3s 4d (about one hundred hours’ pay for a laborer). Since it had an English name, it may well have been made in London rather than imported from the Continent. When all is said and done, despite Rowland-Jones’s concluding ruminations, the most

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likely origin of the term “recorder” is the verb “to record,” meaning “to remember for oneself, to recall to another”; thus a recorder was a rememberer, a relater, a minstrel, or this particular instrument played by a minstrel.

TERMINOLOGY 79. “Flauta dulce o flauta de pico?” [Flauta dulce or flauta de pico?]. Revista de flauta de pico, no. 8 (May 1997): 38–39. Brief comments by five authors about whether the name of the recorder in Spanish should be “sweet flute” or “beaked flute” (or, as one author prefers on historical grounds, just plain flauta [flute]). 80. Hauwe, Walter van. “Recorder versus Blockflute.” Windkanal 2/1997:6–7. Over the last twenty years, we have seen the development of several different kinds of modernized recorders. Walter van Hauwe argues that we need a new name for such an instrument: “blockflute.” Of course, on his recordings he has used the same term for the old-fashioned recorder….

SYMBOLISM 81. Hechler, Use. “Von Vogel- und Flötenstimmen” [Of bird and flute voices]. In item 39, pp. 119–31. Takes a tour through the representation of birdsong in music, and especially music for members of the flute family, from the “sing cuccu” motive in the thirteenth-century canon “Sumer is icumen in” to Olivier Messiaën’s Catalogue d’oiseaux and beyond. Among the lesser known birdsong pieces for recorder from the Baroque era are a tenor aria from Reinhard Keiser’s opera Orpheus in which the fluttering of the “flying singer” alternates with five recorders (AAAAT) and obbligato harpsichord with very fast-moving notes, and a soprano aria from the same composer’s Arsinoe, accompanied only by four recorders. From the twentieth century she cites, sometimes with commentary, Cesar Bresgen’s Kuckucksduette and Nachruf für eine Amsel, Fritz Schieri’s Kuckuck ruft’s aus dem Wald, Gerd Witte’s Kleine Vogelsuite, Ferdinand Bruckmann’s Ornithologische Suite, Ingo Frankhauser’s Ein Scherz mit der kleinen Terz, Elli-Marie Fix’s Il Cucu: Ein fröhliches Kinderkonzert, Jenö Takács’s Waldmusik, Wilhelm Keller’s Kleine Vogelpredigt, Gerhard Braun’s Nachtstücke and Gärten der Nacht. Jürg Baur’s Pezzi uccelli, and Konrad Lechner’s Ferner Vogelsang and O the Cockoo, as well as HansMartin Linde’s well-known Music for a Bird. 82. Lasocki, David. “Die Blockflöte als Symbol der Liebe” [The recorder as a symbol of love]. ERTA Österreich News 4, no. 2 (July 1998): 1–5. In the Renaissance and Baroque, the recorder had many different associations and symbolisms in different countries and contexts, but the theme of love is the most constant. Lasocki discusses the recorder as a symbol of love in the London theater of the seventeenth century, Dutch painting and verse of the same century (where love turns to lust), and the sublime vocal music of Lully, Charpentier, Purcell, and Handel. A little-

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known example from Charpentier’s opera Médée (1694): The sorceress Medea has gained Jason’s love in return for help in obtaining the golden fleece. Alas, Jason has been seeing the princess Creusa on business, and finds his affections moving toward her. What’s a guy to do? In Jason’s first air he is accompanied by a pair of recorders and basso continuo: “How happy I would be if I were loved less.” The several major/ minor alternations seem to depict his mood of amorous indecision. * Lasocki, David. “The Recorder in the Elizabethan, Jacobean and Caroline Theater.” Cited below as item 130. 83. Libin, Laurence. “Sex and the Flute.” American Recorder 13, no. 3 (August 1972): 77–85. The attention-grabbing title is slightly misleading, since the article is a broad study of the role of the generic flûte in the history of civilization, both as a musical instrument and as a symbol associated primarily with the male gender. Much of the article is a survey of the flute’s connotations—spiritual and magical, as well as sexual—in various prehistoric, ancient, and modern cultures. Unfortunately, Libin documents none of his sources. A letter from Isabel Kimble in 14, no. 1 (February 1973): 35–36 makes an unsupported argument that the flute is a female symbol. In the same issue, Libin replies and then goes on to correct several factual errors in his article. 84. Martin, Anne. “The Recorder and ‘Bird Music.’” Recorder & Music 6, no. 9 (March 1980): 261–63. A survey of repertory in which the recorder imitates birdsong. There are no surprises here: The Bird Fancyer’s Delight; arias by Handel, Arne, and Purcell; van Eyck’s “Engels Nachtegaeltje”; Vivaldi’s Il cardellino; William Williams’s Sonata in Imitation of Birds; and a few twentieth-century compositions. Includes a bibliography and discography. 85. Pinson, Jean-Pierre. “A propos d’un si bémol” [About a B-flat]. Le Tic-TocChoc 4, no. 4 (May 1983): 6–9. An expressionistic essay on the character of the recorder (ethos with a touch of pathos). . Skins, Ron. “The Recorder as Image-Maker.” Recorder and Music Magazine 8, no. 8 (December 1985): 234–36. Surveys the recorder’s extramusical associations—death, Eros, the pastoral, birdsong, the supernatural, and so forth—supported by quotations from literature, all well known except for Ralph Roister Doister (a sixteenth-century play), Friedrich Dürrenmatt’s Die Physiker [The physicists], and Kingsley Amis’s Lucky Jim (the recorder as a decidedly amateur instrument). * Veilhan, Jean-Claude, and Hugo Reyne. “La flûte à bec, instrument de l’amour.” Cited above as item 65. 87. White, Beverly. “The Human Lineage of the Fipple Flute.” American Recorder 19, no. 4 (February 1979): 151–53. A brief sociological history of the duct flute from prehistoric times to the present. An emphasis is placed on the recorder and its extramusical associations. No footnotes, only a bibliography of secondary sources.

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LITERARY REFERENCES For other references, see under “Literary references,” “Milton, John,” and “Shakespeare, William” in the index. 88. Lander, Nicholas S., comp. “Literary & Theatrical References to the Recorder.” Available from the Recorder Home Page (item 68) on the World Wide Web at http://members.iinet.net.au/~nickl/quotes.html. Accessed May 2002. An ongoing comprehensive list of quotations about the recorder from ca. 1100 to the present. Can be searched chronologically and by keyword. 89. Welch, Christopher. “Hamlet and the Recorder.” Proceedings of the Musical Association 28 (1901–2): 105–37. Updated version in item 34. An exegesis of the well-known scene from Hamlet (act 3, scene 2) in which Hamlet calls for “the recorders.” Welch believes Shakespeare intended a consort of no fewer than four players on stage. Covers other questions of staging. Concludes with an explication of some frequently misunderstood and misinterpreted phrases from the scene: “to withdraw with you,” “I know no touch of it,” “govern these ventages,” “Give it breath with your mouth,” “it will discourse most eloquent music,” “look you, these are the stops,” and “though you can fret me.”

4 Periods: Historical This chapter is concerned with surveys of the recorder in particular countries and historical periods as well as sources covering specific aspects of the recorder in the past that do not fit readily into the other chapters. 90. Bridge, J.C. “The Chester ‘Recorders.’” Proceedings of the Musical Association 27 (1900–1901): 109–20. On 12 February 1901, Bridge brought the Chester recorders to a meeting of the Royal Music Association and read this paper, which is not so much a history of the Chester instruments as a summary of the little that was known at that time about the history of the recorder. The instruments were then played—apparently somewhat incompetently, judging from the chairman’s comments. Discussion followed. The information on the Chester recorders is confined to the first two pages of the paper and the “Discussion” section. In his paper, Bridge reports that the set of recorders comprise four instruments (pitched in f1, d1, c1, and f) by Bressan that were discovered in a wooden box in 1886 when the Chester Archaeological Society moved into the Grosvenor Museum. During the course of the discussion, Christopher Welch asks about the pitch and wood type of the instruments. He also describes the role of the various sizes of recorder in the music of Handel. (See item 1650 for more information on Welch’s participation.) Bridge cites references made to the recorder by Sir John Hawkins, Shakespeare, Samuel Pepys, John Evelyn, Charles Burney, and various Elizabethan poets. He addresses the question of the etymology of “recorder,” arguing in favor of “to record” as “to sing, chant, or warble like birds.” He also puzzles over suggestions that a membrane was traditionally placed over a special hole near the windway, but concludes that an experiment suggested by Mersenne in Harmonie universelle is the basis for this “gigantic fiction.” 91. Dolmetsch, Carl. “The Recorder and Flute.” Consort, no. 14 (July 1957): 18–23. A brief history of the recorder in the sixteenth to eighteenth centuries with incidental comments on the flute. Contains much opinion presented as fact and many errors of fact. 92. Moeck, Hermann. Typen europäischer Blockflöten in Vorzeit, Geschichte und Volksüberlieferung [Types of European recorders in antiquity, history, and the folk tradition]. (Ausführlicher Bericht zum Referat auf der 2. Internationalen Arbeitstagung für die Erforschung der Volksmusikinstrumente Europas in Brünn.) Celle: Moeck, 1967. 56 p. OCLC #24411722. An excellent survey of the duct flute. Curiously, the title, in using “Blockflöte” (recorder) as a synonym for “Kernspaltflöte” (duct flute), is an example of a practice the author rightly condemns himself. In the short section on the recorder (pp. 34– 35), reports on the Würzburg recorder. Claims that the origin of the recorder should be

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sought in Italian folk instruments. Reviewed by Dale Higbee in American Recorder 9, no. 3 (summer 1970): 105. 93. Nosek, Margaret A. “The Recorder in the Sixteenth and Early Seventeenth Centuries.” (Notizbuch für Studenten.) Bach 5, no. 3 (July 1974): 29–34; 5, no. 4 (October 1974): 18–24; 6, no. 1 (January 1975): 17–23; 6, no. 2 (April 1975): 15–25. Apparently an undergraduate paper revised for publication. Relies almost exclusively on secondary sources of varying authority (including notes from recorder-workshop discussions) and is rife with errors. Although certain sections are accurate, the scholarship on the whole is unreliable. Falls into several parts. Part 1: Characteristics of the Renaissance Recorder; Renaissance Playing Techniques. Part 2: Renaissance Ornamentation. Part 3: Ornamentation of Chansons and Madrigals; Renaissance Use of the Recorder; The Popularity of the Recorder. Part 4: The Recorder in SeventeenthCentury England (covering the role of the recorder and its construction, composers, repertory, and tutors). Concludes with a bibliography. 94. Köhler, Wolfgang. “Die Blütezeit der Blockflöte: Anmerkungen zur historischen Stellung eines Instrumentes” [The heyday of the recorder: remarks on the historical position of an instrument]. Tibia 12, no. 2 (1987): 421–26. According to Köhler, it is the Baroque that is usually described as the high point in the development of the recorder. Thinks this view may have come about because of the early-music movement’s rediscovery of the Baroque era first, the discovery and editing of the Baroque solo literature, the ready availability of modern copies of Baroque instruments. Curiously, he then switches to an entirely different question, setting up a straw man: “But was the recorder…really the solo instrument of the Baroque?” It was of course the most popular wind instrument for amateurs (until the flute took over that role), although it played a modest role in professional music. Then switches back to the original topic and seeks to place the heyday in the Renaissance, or perhaps even in the present day. Concludes with comments on the roles of the recorder in the twentieth century. Letter from Martin Heidecker in 12, no. 3 (1987): 547, and reply by Köhler, 548–49.

MIDDLE AGES AND RENAISSANCE 95. Bornstein, Andrea. Gli strumenti musicali del Rinascimento [Musical instruments of the Renaissance]. (Gli strumenti della musica, 17.) Padova: Franco Muzzio, 1987. 315 p. ISBN 8870213870. Includes a general chapter on woodwind instruments (pp. 29–38) and a short chapter on articulation (pp. 39–42). A long chapter on the flute family (pp. 43–73) contains a sizeable section on the recorder (pp. 44–56), largely derived from Virdung and the usual well-known sources with a smattering of references from inventories. Dismisses Hunt’s suggestion (in item 28) that the term ricordo used in the future Henry IV’s inventory (1388) was of Italian origin. 96. Brown, Howard Mayer. “The Recorder in the Middle Ages and the Renaissance.” In item 33, pp. 1–25. In one of his last published writings, Brown takes an authoritative look at the early history of the recorder. Begins by affirming that “there is little reason to suppose that the

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recorder played any active role in the performance of written art music before the very late fourteenth or early fifteenth century.” In the fifteenth century, the recorder turns up in pictures, often in combination with harp, lute, or fiddle, and played “by well-born ladies and gentlemen or else by the sorts of musicians who specialized in soft instruments and were hired either as household musicians to the nobility or as free-lance musicians.” The sixteenth century brought recorder consorts, amazingly large inventories of recorders in courts, the first instructions for the instrument, and performers who “developed their virtuosity to a high degree, though on occasion at the expense of the composer.” Finally, “the Renaissance can be said to close when recorders ceased to be played in consorts.” 97. Hunt, Edgar. “The Renaissance Recorder.” Consort, no. 19 (July 1962): 116–21. Stresses that the recorders known in 1962 were Baroque models, or based on them. Outlines the main characteristics of the (standard) Renaissance recorder, then briefly surveys information on this instrument from Virdung, Agricola, Ganassi, Jambe de Fer, Praetorius, the Henry VIII inventory, and a few surviving instruments. 98. Hunter, Hilda. “Recorders Rampant.” Recorder and Music Magazine 2, no. 1 (March 1966): 18. Explains the significance of the recorders that appear in the coat of arms of Margaret Vernon (née Pype), wife of Sir William Vernon (d. 1467). The shield appears in various buildings associated with the Vernon family. 99. Kaye, Martin. “The Cornett in Context, II: Employment.” Continuo 11, no. 1 (January 1987): 2–6. Begins a stimulating article on the use of the cornetto by pointing out that recorders seem to have had a much smaller role in Renaissance music than the preeminent one claimed for them by pioneering modern writers. Kaye identifies an effective, and apparently authentic, combination of soft instruments for four-part music as cornetto, alto recorder, tenor recorder, and bass viol. 100. Klemisch, Guido M. “Die Kernspaltflöte um 1500” [The duct flute around 1500]. In Heinrich Isaac und Paul Hofhaimer im Umfeld von Kaiser Maximilian I, 95–100. (Innsbrucker Beiträge zur Musikwissenschaft, Bd. 16.) Innsbruck: Edition Helbling, 1997. ISBN 3850610772. ML 410 .I73. Gives brief information about the different kinds of duct flutes in use around 1500, including the recorder. Describes the construction of two surviving recorders of the time: a tenor by Valiani in Leipzig, and an anonymous G alto in Vienna. Concludes that “the recorder seems to have absolutely not been a flute douce. The preference for the high register of the instrument, the enormous compass (Ganassi), as well as the brilliant, powerful sound seem to me to substantiate that.” 101. Lander, Nicholas S. “A Memento: The Medieval Recorder.” Available from the Recorder Home Page (item 68) on the World Wide Web at http://www.iinet.net.au/~nickl/medieval.html. The most comprehensive history of the recorder in the Middle Ages and early Renaissance, compiled from surviving instruments, modern reconstructions of them, iconographic sources, and literary sources. Concludes, sensibly: “If we are to speculate, could it not be that the recorder family is polyphyletic rather than monophyletic, that it emerged at a variety of different times, in a number of places, in a variety of forms each of which underwent subsequent development and modification? This conjecture would

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account for the disparate morphology of the surviving fragments (that is, both open vs end-stopped, cylindrically vs obconically bored), for the various distinctive external forms depicted in illustrations of the medieval and early Renaissance period (cylindrical, near-cylindrical, flared-bell), and for the variety of presumed internal bores associated with these forms (cylindrical, wide-bore, choke bore, etc).” 102. Myers, Herbert W. “Flutes.” In A Performer’s Guide to Medieval Music, ed. Ross W.Duffin, 376–83. (Early Music America Performer’s Guides to Early Music.) Bloomington: Indiana University Press, 2001. xi, 599 p. ISBN 0253337526. ML 457. A useful and up-to-date overview of the flute family in the Middle Ages and early Renaissance. Puts forward that the advantage of the recorder over the six-holed pipe was its ability to overblow without a change in air pressure. Briefly discusses the Dordrecht, Würzburg, and Göttingen recorders, then evidence of recorder consorts as early as 1385 (the marriage of Philip the Bold of Burgundy). 103. Otterstedt, Annette, and Hans Reiners. “Solange sich die Sache beheben läßt…: Zu den Flöten der Renaissance” [As long as things can be repaired…: on the recorders of the Renaissance]. In Scripta Artium Nr. 1 [Festschrift for Rainer Weber], ed. Eszter Fontana. Halle an der Saale: Verlag Janos Stekovics, 1999. ISSN 1439–6807; ISBN 3932863984. Not seen. Reviewed by Hermann Moeck in Tibia 26, no. 1 (2001): 399. 4. Rowland-Jones, Anthony. “The First Recorder: How? Why? When?…and Where?” American Recorder 40, no. 5 (November 1999): 10–14, 33. An interesting examination of the early history of the recorder, based on archeological, literary, and iconographic evidence. Begins by explaining how the recorder produces its sound and why its design made it preferable to the six-holed pipe. Suggests that “recorder” derives from “to record,” meaning “to get by heart, to commit to memory,” because that is “the role for which it was primarily intended, that is to say, in soft music with the voice as recollecting or musing upon a melody or phrase enunciated by a singer….” Describes the earliest known recorders (the Göttingen and Dordrecht instruments) and the early written use of the word “recorder” in archival documents and works of literature. Concludes, based on archeological and literary evidence, that the recorder came into being during the second half of the fourteenth century. A consideration of iconographic evidence begins with the caveat that the depiction of musical instruments in artworks is generally imprecise because artists are concerned more with the symbolism of an instrument than with the details of its construction. In any case, iconographic evidence suggests a later date for the recorder, or at least a later date for its establishment as a common instrument: “by the second half of the 15th century there is enough iconographic and literary evidence to support the belief that the recorder was by then becoming well established as an instrument for courtly music-making in all countries in Western Europe.” Rowland-Jones does not support the theory that the instrument found its way to Europe from the East via a Moorish route; instead, he believes it more likely that the recorder originated in western Europe “to meet the needs of its art-music.” As to which country, it could have been England, France, Germany, the Netherlands, or Catalan Spain. 105. Torralba, Antonio. “Reflexiones (casi en forma de pregunta) sobre las flautas en la Edad Media” [Reflections (almost in the form of a question) about recorders in the

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Middle Ages]. Part 1: “Qué era la ajabeba?” [What was the ajabeba?]. Part 2: “Qué podríamos deducir de las flautas medievales conservadas?” [What can we deduce from the surviving medieval recorders?]. Revista de flauta de pico, no. 7 (January 1997): 27–30; no. 9 (October 1997): 9–15. Part 1 discusses whether the ajabeba, a medieval Spanish member of the flute family, was really a transverse flute, as many authors have claimed. Part 2 is a broad survey of medieval “flutes,” including the recorders from Dordrecht, Göttingen, and Würzburg (fragment). 106. Wright, Laurence. “The Recorder Consort in the Renaissance.” Recorder and Music Magazine 1, no. 6 (August 1964): 179–80. A compilation of fifteenth- and sixteenth-century references to recorder consorts. Also discusses the composition of a typical consort (alto in G, two tenors, and a bass).

BAROQUE 107. Alizon, Jean-François. “Amateurs et professionels au XVIIIème siècle” [Amateurs and professionals in the eighteenth century]. Flûte à bec, no. 5 (December 1982): 28–29. In English as: “Amateurs and Professionals in the 18th Century.” NEMA Journal, no. 2 (January 1985): [16–18]. Written to refute the commonly heard modern statement that “the recorder was an instrument only for amateurs in the 18th century.” Concludes that in fact perhaps one of the greatest advantages of the instrument was that it belonged “to different strata of society and culture.” 108. Dolmetsch, Carl. “Recorder and German Flute during the 17th and 18th Centuries.” Proceedings of the Royal Musical Association 83 (1957): 49–63. Traces the parallel development of the recorder and flute in the sixteenth to eighteenth centuries, citing many contemporary sources (mostly about the recorder). Concludes with evidence that the recorder was played through the end of the eighteenth century. The discussion following the paper includes a description by Dolmetsch of six ways of “varying the volume as well as the colour of the recorder.” 109. Griscom, Richard, and David Lasocki. “Bibliography of Writings about the Recorder in the Seventeenth Century.” In item 111, pp. 277–86. A selection of citations from the first edition of the present book (item 4), shorn of annotations. 110. Lasocki, David. “Gaps in Our Knowledge of the Recorder in the Seventeenth Century and How They Could Be Filled.” In item 111, pp. 257–74. Covers some of the same ground as Lasocki’s essay “The Future of Research on the Recorder” from the first edition of this book (item 4, chapter 33), describing five aspects of current research on the recorder: (1) researchers are ignorant of some of the work being done in the field, (2) we lack overview of the field, (3) there could be more debate in the recorder world, (4) research has been improving recently, and (5) “in this day and age, some people are still uneasy about the very idea of [recorder research].” Then gives “a quick overview” of the current state of research on the recorder in the seventeenth century, country by country (Denmark, England, Germany, Italy, the Netherlands, Spain,

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Sweden, and the New World). 111. Lasocki, David, ed. The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht 1993. Utrecht: STIMU Foundation for Historical Performance Practice, 1995. x, 300 p. ISBN 9072786068. Includes items 109–10, 112, 134, 137, 253, 298, 321, 1058, 1716–18, and 1838–39. Reviewed by Clifford Bartlett in Early Music Review, no. 29 (April 1997): 4; Robert Ehrlich in Early Music 25, no. 2 (May 1997): 311–13; Jeff Nussbaum in Historic Brass Society Newsletter, no. 10 (summer 1997): 35; Wendy Hancock in Consort 53, nos. 1– 2 (1997): 61–63; Hermann Moeck in Tibia 22, no. 3 (1997): 530; Wendy Powers in American Recorder 38, no. 5 (November 1997): 27–28; Karsten Erik Ose in Concerto, no. 130 (February 1998): 9–10; Friedrich von Huene in Galpin Society Journal 51 (1998): 236–38; and in Early Music Today 5, no. 5 (1997): 18. 112. Legêne, Eva, with an appendix by Ruth van Baak Griffioen. “The Early Baroque Recorder: ‘Whose Lovely, Magically Sweet, Soulful Sound Can Move Hearts of Stone.’” In item 111, pp. 105–24. Legêne objects to the “Ganassi” recorder commonly used nowadays for seventeenthcentury solo music, “as it is too loud in the low register, there is too much difference in the tone quality of the registers, it is not flexible enough, the high register is too weak, and the fingerings for the highest notes are too inflexible to allow smooth playing.” Similarly, Renaissance recorders are unsuitable for seventeenth-century consort music, which “demands flexible instruments with [a] wide, responsive range, and smooth transition of tone quality between the registers…an excellent high register…[and] the instruments must have a smooth blend among them.” What we now call the Baroque recorder seems to have originated in France around 1670 (and was not introduced to Germany and the Netherlands until the 1690s). “The conclusion must therefore be that the recorder music written between about 1600 and 1670 requires an instrument between the Ganassi or Renaissance types and the Baroque types. I have called it the ‘early Baroque’ recorder.” A table gives the basic characteristics of thirty such surviving recorders, including whether they are known to work with Paulus Matthyszoon’s fingerings (seven do). As for the music of Jacob van Eyck, Fred Morgan already concluded that the illustrations of a cylindrical recorder in Matthyszoon and Blankenburg are a false trail—a conclusion supported by the bore of surviving seventeenth-century recorders. Legêne demonstrates that Matthyszoon (and also Trichet) simply modified the woodcut in Virdung (1511). Her preliminary iconographic study of the seventeenth century shows that only still-life and trompe l’oeil paintings are reliable sources; the early Baroque recorder appears in such works no earlier than 1625 and mostly after 1650. The appendix by Griffioen (based on a section in chapter 6 of her dissertation [item 1833]) analyzes one hundred seventeenth-century Dutch paintings depicting 103 recorders, presenting conclusions about the recorders’ settings, playing position, size, material, design, and head joint. A delightful and insightful article. * Newman, Joel. “Eighteenth-Century Promenades.” See items 115, 962, and 1668 below. 113. Waitzman, Daniel. “The Decline of the Recorder in the 18th Century.” American Recorder 8, no. 2 (spring 1967): 47–51. Reprinted in Recorder & Music Magazine 2, no. 7 (November 1967): 222–25.

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Proposes six reasons for the decline: (1) the instrument lacked a significant class of professional players, (2) the recorder’s true nature was not appreciated, (3) the high tessitura of the instrument discouraged composers from writing idiomatically for the instrument, (4) the exploitation of the highest registers posed special problems for makers and players (Waitzman claims the addition of the bell key “might well have enabled the recorder to hold its own throughout the eighteenth century”), (5) interest in clarino instruments was waning, and (6) the combination of the first five factors gave the recorder a bad reputation, which discouraged serious students from studying the instrument. Concludes with an essay on why the recorder has maintained its bad reputation in the twentieth century and has thus failed to win the consideration it deserves as a professional instrument equal to the flute or oboe. Letters by William Metcalfe and Daniel A.Driscoll in American Recorder 8, no. 3 (summer 1967): 101–2. Waitzman replies to Metcalfe in 8, no. 4 (fall 1967): 134; on the same page is a letter from Marcel Clark. Letter from Bruce Haynes in 9, no. 1 (winter 1968): 33–34, to which Waitzman replies in 9, no. 3 (summer 1968): 94–95 (see also Haynes’s lengthy refutation published as item 592). Letters by Fabienne Smith, Brian Crispin, and A.A.Savage in Recorder & Music Magazine 2, no. 8 (February 1968): 243. Carl Dolmetsch rises to Waitzman’s (and his own) defense in item 593.

CLASSICAL 114. MacMillan, Douglas. “The Recorder in the Late Eighteenth and Early Nine-teenth Centuries.” Consort, no. 39 (1983): 489–97. Summarizes a Fellow of Trinity College London thesis on this subject. Lists fifty surviving recorders, seventeen pieces of music, twelve methods, and several pictures and references to the instrument in literature from the period in question. A useful compilation of information, although some is inadequately evaluated, and the author leaves to someone else the task of placing it in context and writing a real history. A letter from Dale Higbee in 40 (1984): 45–46 points out the need to distinguish recorders from csakans, vertical flutes, and flageolets. 115. Newman, Joel. “The ‘Easy Recorder’ Myth.” (Eighteenth-Century Promenades, 2.) American Recorder 4, no. 3 (August 1963): 6. Cites the earliest source encountered by Newman that presents the recorder as an instrument anyone can play: Essai sur la musique ancienne et modern (1780) by Jean Benjamin de Laborde.

ROMANTIC 116. Betz, Marianne. Der Csakan und seine Musik: Wiener Musikleben im frühen 19. Jahrhundert, dargestellt am Beispiel einer Spazierstockblock-flöte [The csakan and its music: Viennese musical life in the early nineteenth century, presented by the example of a walking-stick recorder]. (Inaugural-Dissertation der Philosophisch-Historischen Fakultät der Ruprecht-Karls-Universität Heidelberg.) Tutzing: Hans Schneider, 1992. xii,

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294 p. ISBN 3795207304. The first large-scale study of the csakan, a type of recorder that had a surprising vogue in early-nineteenth-century Vienna. Betz looks at its etymology, form, makers (especially Franz Schöllnast), sellers, music, composers and players (especially Anton Heberle, Wilhelm Klingenbrunner, Joseph Gebauer, and Ernst Krähmer), and social history. Amazingly, more than four hundred pieces were published for the csakan between 1807 and 1849. Appendixes list surviving instruments, csakan music, and methods and fingering charts. Highly recommended. Reviewed by Hermann Moeck in Tibia 18, no. 3 (1993): 556–57. 117. Denecker, Patrick. “De blokfluit in de 19de eeuw” [The recorder in the nineteenth century]. Musica antiqua 14, no. 4 (November 1997): 167–72. Summarizes what little is known about the survival of the recorder in the late eighteenth century (English methods, the music attributed to J.C. Schultze) and the revival of the instrument in the late nineteenth and early twentieth centuries (the maker Walch, the Bogenhausen Künstlerkapelle, Dumon and the Brussels Conservatoire, Arnold Dolmetsch, Christopher Welch). Then stresses that the csakan really was a recorder, and surveys its design, sizes, methods, makers, players, composers, teachers, and repertory. 118. Reyne, Hugo. “La flûte à bec romantique existe: Je l’ai rencontrée” [The Romantic recorder exists: I have encountered it]. Flûte à bec & instruments anciens, no. 15 (June 1985): 4–5. In German as: “Die romantische Blockflöte existiert—ich habe sie gefunden.” Zeitschrift SAJM 20, no. 6 (November 1992): 3–6. On the csakan, its extensive repertory, and its evolution.

GEOGRAPHICAL FOCUS Austria 119. Seifert, Herbert. “Die Bläser der kaiserlichen Hofkapelle zur Zeit von J.J. Fux” [The winds of the imperial court Kapelle at the time of J.J.Fux]. In Johann Joseph Fux und die barocke Bläsertradition: Kongressbericht Graz 1985, ed. Bernhard Habla, 9–23. (Alta Musica, 9.) Tutzing: Hans Schneider, 1987. ISBN 3795204941. Identifies those oboists of the court who are known to have also played the recorder: the Glätz brothers (Franz, Roman, and Xaver), Gottfried Muffat, and Ludwig Schön. In addition, the organist and theorbist Georg Reutter was said to play the recorder “to perfection.” France 120. Bowers, Jane M. “‘Flaüste traverseinne’ and ‘Flûte d’Allemagne’: The Flute in France from the Late Middle Ages up through 1702.” “Recherches” sur la musique française classique 19 (1979): 7–49. Although this article is mainly concerned with the transverse flute, it does mention some instances of the use (or possible use) of the recorder in France, and in its

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comprehensiveness and imaginative research methods it points the way for similar research on the recorder. 121. Ranum, Patricia. “A Sweet Servitude: A Musician’s Life at the Court of Mlle de Guise.” Early Music 15, no. 3 (August 1987): 347–60. Discusses the musicmaking at the residence of one of the most important patrons in France in the late seventeenth century, Marie de Lorraine, also known as Mademoiselle de Guise. Both she and the director of her musical ensemble “clearly preferred the instruments in vogue during their youth: viols, recorders and theorbo.” One of her composers-in-residence was Marc-Antoine Charpentier. Among her musicians was the recorder player Étienne Loulié. He may also have composed music for her and for another important patron, Elizabeth d’Orléans, known as Madame de Guise, the widow of Marie’s nephew. Germany 122. Polk, Keith. German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice. Cambridge: Cambridge University Press, 1992. xvi, 272 p. ISBN 0521385210. ML 499.2 .P64 1992. Who played instrumental music before the sixteenth century, who did they play for, and what do we know about their music? The surviving evidence published so far has given us scattered, tantalizing glimpses at a lost improvisatory tradition. Polk consolidates his work of a lifetime into a book that sheds more light on the subject than we might have expected. Begins with an overview of the instruments, including of course the recorder, which was generally an alternative instrument for professional musicians as well as a key instrument for amateurs. Discusses the courts and the cities, drawing on extensive archival research. All this, occupying more than half the book, introduces chapters on the music itself: “Sources and Written Repertory of Instrumental Polyphony” and “Approaches to Instrumental Performance Practice: Models of Extemporaneous Techniques.” An essential book for all players of early wind instruments. Joan Rimmer, in a review essay in Music & Letters 75, no. 1 (February 1994): 47–57, finds it “an extraordinarily inconsistent book, whose components sit uneasily together in a single volume.” Great Britain 123. Ashbee, Andrew, and David Lasocki, comps., assisted by Peter Holman and Fiona Kisby. A Biographical Dictionary of English Court Musicians, 1485–1714. 2 vols. Aldershot, Hampshire; Brookfield, Vt: Ashgate, 1998. ISBN 1859280870. ML 106 .G7 B56. Covers the musicians who worked at the English Court between the reigns of Henry VII and Anne, many of whom have never been written up before. The wind musicians— no fewer than 175 of them—are covered by Lasocki, who extended the research reported in his dissertation (item 126) and his book on the Bassano family (item 333). He devotes an especially long article to James Paisible, the greatest recorder player in England in the late Baroque. Winner of the C.B.Oldman Prize awarded by the International Association

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of Music Libraries, Archives and Document Centres (U.K. Branch) for the best music reference book published in 1998. Reviewed by Clifford Bartlett in Early Music Review, no. 41 (March 1999): 3–4; Roger Bowers in Early Music 27, no. 3 (August 1999): 481– 83; Robert Shay in Notes 57, no. 1 (September 2000): 108–9; Trevor Herbert in Historic Brass Society Newsletter, no. 14 (summer 2001): 57; Craig Monson in Sixteenth Century Journal 31 no. 3 (2000): 797–99; and John Milsom in Journal of Seventeenth-Century Music 6, no. 2 (2000). 124. Boxall, Maria. “Elizabeth Henthorn’s Recorder Books.” Recorder & Music 6, no. 9 (March 1980): 263–64. Written as an addendum to item 869. Describes two small “blank” books that a young amateur named Elizabeth Henthorn used in the late seventeenth century to record exercises, simple tunes, rudiments of music theory, and directions for fingering the recorder. 125. Galpin, Francis W. Old English Instruments of Music: Their History and Character. 4th ed., rev. with supplementary notes by Thurston Dart. New York: Barnes & Noble; London: Methuen, 1965. xxviii, 254 p. OCLC #744403 (U.S. ed.), #896676 (U.K. ed.). Earlier editions: London: Methuen & Co., 1910. xxv, 327 p. (Reprint: Clair Shores, Mich.: Scholarly Press, 1978. OCLC #4365687). Chicago: A.C.McClurg, 1911. xxv, 327 p. OCLC #6675999. 3d ed., rev.: London, Methuen, 1932. xxvii, 327 p. OCLC #1855001. ML 501 .G2. A history of instruments in England written at an early stage in the revival of the recorder. See chapter 7, “Recorder and Flute,” which covers the recorder, flageolet, and tabor pipe, with an emphasis on folk and popular instruments. 126. Lasocki, David Ronald Graham. Professional Recorder Players in England, 1540– 1740. 2 vols. Ph.D. diss., University of Iowa, 1983. xxii, 985 leaves. OCLC #11878003, #15183439. UMI order no. 83–27401. A comprehensive study of recorder playing in England by professional musicians between 1540 (from which date onward significant numbers of relevant documents have survived) and 1740 (when the recorder virtually died out). It makes use of a wide variety of archival and musical sources, many unpublished. Volume 1 discusses the settings and performing groups in which professionals played recorders. It also presents general conclusions about the recorder players themselves: their identity, training, musicianship, careers, rewards, and status. The first part demonstrates, for the first time, the existence of a recorder consort at court from 1540 to 1630 and considers its personnel, standard of performance, repertory, instruments, duties, rewards, and privileges (revised version published as item 129). A further chapter describes the reorganized single group of court wind musicians, 1630–85. The second part treats the Renaissance recorder outside the court. The recorder consort was employed by musicians of noblemen, theater musicians (revised version published as item 130), and civic musicians (waits). The instrument also played a small role in the mixed consort. The third part is devoted to the Baroque recorder, and its employment singly or in pairs in the music of the court, noble households, the new public concerts, the theaters (especially their popular intermission entertainments), and the opera house. Demonstrates that the study of music history from the perspective of the musicians

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who played the music yields insights into: the size and nature of the repertory; the dependence of the publishers on music written by and for professionals; the changes in musical style, instrumentation, and performance practices that came with the many foreign performer-composers; and the recorder itself—its attractions and limitations, and the reasons for its decline and fall. Volume 2 consists of detailed biographies of all the professional musicians who played the recorder in England during the period in question, many of them being discussed for the first time. Especially long sections are devoted to the Bassano family, the founders and mainstays of the court recorder consort (revised version published as part of item 333), and James Paisible, the most important player of the Baroque recorder in England. This dissertation won the 1984 Distinguished Dissertation Award of the Council of Graduate Schools in America/University Microfilms International. A preliminary version was published as item 128. Further tidbits on recorder players in England may be found in passing in Peter Holman’s masterly study Four and Twenty Fiddlers: The Violin at the English Court 1540–1690 (Oxford: Clarendon Press, 1993). 127. Lasocki, David. “Professional Recorder Players I: Pre-Twentieth Century.” In item 33, pp. 167–74. Summarizes what is known about the careers of the Bassanos and other professionals who played the recorder in England, 1500–1740, with some side-references to the Continent. 128. Lasocki, David. “Professional Recorder Playing in England, 1500–1740.” Early Music 10, no. 1 (January 1982): 23–29; 10, no. 2 (April 1982): 183–91. Part 1:1500– 1640; part 2:1640–1740. A preliminary version of the findings presented in item 126. Letter from Eleanor Selfridge-Field in Early Music 10, no. 3 (July 1982):417, with a reply by Lasocki. 129. Lasocki, David. “The Recorder Consort at the English Court 1540–1673.” American Recorder 25, no. 3 (August 1984):91–100; 25, no. 4 (November 1984): 131–35. An abridged version of part B from item 126. The court recorder consort was established in 1540 by Henry VIII. Its members were five brothers of the Bassano family, four of whom had been previously employed at the court as sackbut players around 1531. The Bassanos introduced “the highest standards of woodwind instrument making and probably a similar standard of recorder playing.” Recruitment to the consort later came partly from second- and third-generation members of the Bassanos in England, partly from other foreign musicians or their descendants, and eventually from native musicians. Part 1 of the article traces the personnel changes in the recorder consort over the course of more than a century, speculates on the standard of performance, and reviews the repertory of the consort (which included compositions by consort members). Part 2 describes the instruments and duties of the consort, as well as the reorganization of the wind musicians at the court around 1630. 130. Lasocki, David. “The Recorder in the Elizabethan, Jacobean and Caroline Theater.” American Recorder 25, no. 1 (February 1984): 3–10. Based on two chapters in item 126. Divided into two sections: “The Elizabethan Theater, 1574–1610” and “The Recorder in the Jacobean and Caroline Theater, 1610– 1642.” The Elizabethan period “saw the increasing use of instrumental music in the theater, both within the drama and during the intermissions between the acts, and the

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hiring of professional musicians by the companies.” Recorders were called for by name only rarely during this period, the most famous appearance occurring in Hamlet. In the Jacobean and Caroline theater, instrumental music played a significant role. Musicians played during intermission, covered entrances and exits of characters, and accompanied songs and dances. Also, music was used to reinforce particular moods and emotions in the plays. Lasocki sees recorders used in three contexts: “1) apparently representing ‘the music of the spheres,’ they are associated with the supernatural, death, and appearances of or portents from the gods; 2) they express love, whether supernatural or mortal; and 3) they announce entrances of royalty or nobility.” Quotes numerous passages calling for recorders. * Manifold, J.S. The Music in English Drama: From Shakespeare to Purcell. Cited above as item 74. 131. McGrattan, Alexander. “The Solo Trumpet in Scotland, 1695–1800.” In Perspectives in Brass Scholarship: Proceedings of the International Historic Brass Symposium, Amherst, 1995, ed. Stewart Carter, 79–90. Stuyvesant, N.Y.: Pendragon Press, 1997. ISBN 0945193971. It was known previously that a sonata for two recorders, two oboes, and basso continuo by Gottfried Finger was performed at a St. Cecilia’s Day concert in Edinburgh, Scotland, on 22 November 1695. McGrattan here reproduces the entire program of that concert, as originally published in an article by the Scottish historian William Tytler in 1792. The program, which included three recorder works, shows that Johann Christoph Pepusch’s similar quintet sonatas were written more than twenty years earlier than they were published; that such sonatas were played with more than one instrument to a part; and that no fewer than sixteen recorder players took part in the concert, all but one of them local amateurs. 132. Merryweather, James. “York Music”: The Story of a City’s Music from 1304 to 1896. York: Sessions Book Trust, Ebor Press, 1988. 181 p. ISBN 1850720347. A detailed history of the York Waits, based on archival material, by a member of the modern group of the same name. Charmingly illustrated with photographs of that modern group masquerading as members of the historical Waits. Two inventories-after-death mention recorders; otherwise they are not mentioned in references to instruments owned or played by the Waits. Italy 133. D’Accone, Frank A. The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance. Chicago: University of Chicago Press, 1997. xxiii, 862 p. ISBN 0226133664. ML 290.8 .S43 D33. D’Accone’s magisterial monograph includes a wealth of material on the city wind players. Perhaps the most fascinating tidbit is his report on a Sienese poet, Folgore da San Gimignano (fl. 1309–17), who included among the joys of April in the Sienese countryside “the people dressed in the French mode, singing and dancing in the Provencal style with new instruments from Germany” (“con istromenti novi d’Alemagna”). D’Accone comments: “The poet was referring to newly developed forms of woodwind instruments—shawms, recorders, bombards, and others—that had rarely

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been seen or heard in Italy before his time and were now being played by musicians freshly arrived from the north and by others emulating them.” It is true that Folgore also wrote about “the sound of trumpeters, fifes, flutes, and shawms” rallying the victors at a joust (“e sonar a raccolata i trombatori, e sufoli e flauti e ciramelle, e toccar a le schiere i feritori”). The big question for us is: Were the flauti recorders or still only generic duct flutes? In any case, the German wind musicians did stay on in Siena, where the deeds—and misdeeds—of their descendants are recorded in the city archives into the early seventeenth century. The earliest records of the city’s pifferi mention only shawms and trombones, the first documentation of the recorder being a group of visiting Florentine pifferi in 1468 who played in the “soft” combination of lute, rebec, and recorder (“I di leiuto, I di ribechino e I di fiuto”). A case of recorders used by the pifferi is first mentioned in 1547 (“una cassa di flauti all’italiana”). In 1556, the five pifferi with their “recorders, trombones, and cornetts” were ordered to be “in constant readiness to play for the captain of the people and the lord priors.” The 1573 inventory of the palace lists among the items “on loan to the musicians” a case with six recorders (“una cassa co’ sei flauti dritti”). In 1602, when the celebrated wind player Simone Nodi died, the instruments his heirs returned to the palace included two cases of recorders, one black, the other yellowish (“Due casse di flauti dritti, una nera e l’altra gialliccia”). 134. Heyghen, Peter Van. “The Recorder in Italian Music, 1600–1670.” In item 111, pp. 3–63. An earlier version in Dutch as: “De blokfluit in vroeg-17de-eeuws Italië.” Musica antiqua 11, no. 2 (May 1994): 76–85; 11, no. 3 (August 1994): 116–25; and 11, no. 4 (November 1994): 156–92. One of the finest articles ever written about the recorder. Its main themes are that: in Italian early Baroque music there was not as much freedom of instrumentation as we have thought; recorders were not used a great deal; and modern recorder players have been playing historically inappropriate compositions on historically unsuitable sizes and types of instruments. Actually covers not only Italy but also Vienna, Kroměříž, and the northern Netherlands. Begins with the general overview that parts for flauto or flautino are found in only nineteen Italian sources; recorders were apparently used in most musical genres but only in a few important centers (for example, Florence, Mantua, and Venice); and the bulk of Venetian recorder parts appeared between 1610 and 1630. Then gives detailed answers to some important questions: (1) Where was the recorder played and in which circumstances? Who were the composers of recorder music? Who played the recorder? (2) Which sizes of instrument did recorder players use? (3) Which types of instrument did recorder players use? (4) What other music did recorder players adapt to their instrument? Some of the major conclusions are that the vocal clefs known as chiavi naturali—C1, C3, C4, and F4—were the standard notation for the recorder consort throughout the sixteenth and early seventeenth centuries. Recorder players performing music written in the higher set of clefs known as chiavette—G2, C2, C3, and C4 or F3— either transposed it down a fourth or used a consort consisting of soprano in d2, alto in g1, tenor in c1, and basset in f. The standard size of recorder for solo music, whether labeled flauto or flautino, was the alto in g1; Monteverdi’s flautino alla vigesima seconda was a sopranino in g2. The only two types of recorder that this music would have been played on are the early Baroque (to use Legêne’s terminology, see item 112) and the

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“Rafi” (eleven recorders now in Bologna). There are more than two hundred surviving pieces of Italian music in one, two, or three parts that could well have been performed on the recorder, as they have top parts notated in C1 or transposable G2 (a fourth lower). Ends with the advice that modern players should use the article’s conclusions “as a framework…a means to develop their artistic taste, so that they can decide for themselves in every situation whether or not to perform a given piece on a particular size and type of recorder and so that they can safely ‘steal’ repertory from other instruments, having respect for the original composition and for the specific qualities of their own instrument.” Portugal 135. Monteiro, Isabel. “La flauta dulce en Portugal” [The recorder in Portugal]. Revista de flauta de pico, no. 17 (2001): 17–21. Not billed as such, but only a first part. Begins by noting the neglect of early Portuguese music history, then sets out a “methodology” for tackling the recorder part of it: instruments, scores, texts, and iconography. After a curious section on “treatises and methods,” which mentions many early methods without linking them to Portugal, a section on “instruments” mentions a number of early ones in Portuguese collections and a reference to “frautas” in a court letter of 1544. The section on “scores” laments the lack of them. To be continued…. Spain 136. Kenyon de Pascual, Beryl. “Instrumentos e instrumentistas españoles y extranjeros en la Real Capilla desde 1701 hasta 1749” [Spanish and foreign instruments and instrumentalists in the Royal Chapel between 1701 and 1749]. In España en la música de occidente: Actas del Congreso Internacional celebrado en Salamanca 29 de octubre-5 de noviembre de 1985: Año de la Música, ed. Emilio Casares Rodicio, Ismael Fernández de la Cuesta, and José López-Calo, 93–97. Madrid: Instituto Nacional de la Artes Escénicas y de la Música, Ministerio de Cultura, 1987. OCLC #17755060. A brief overview. Mentions the arrival at the court of the two Hauteloche brothers, woodwind players from Flanders, in 1690 (see also her chapter in item 111). Throughout the first half of the eighteenth century, flutes and recorders were used in the Royal Chapel in only two contexts: (1) requiem masses, misereres, and lamentations, and (2) villancicos and cantadas. 137. Kenyon de Pascual, Beryl. “The Recorder Revival in Late Seventeenth-Century Spain.” In item 111, pp. 65–74. Begins by admitting that no seventeenth-century Spanish recorder music has survived and “playing a musical instrument other than a keyboard or plucked string instrument was not a very widespread pursuit among the Spanish nobility and bourgeoisie during this period.” In the surviving scores of church music, shawms and dulcians are the only woodwind instruments employed. Yet recorders are mentioned in some earlyseventeenth-century plays and court entertainments, and Spanish churches and cathedrals were still acquiring the instruments in the first half of the century. After 1650, the

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recorder seems to have disappeared until 1690, when two brothers from Flanders, Michel and Joseph Hauteloche, entered the service of the court. The Hauteloches played the violin and the recorder—“a new instrument that is harmonious when accompanied by others.” Joseph died in 1693, and Michel returned to Flanders two years later, both victims of the climate in Madrid. By 1697, the Spanish dulcian players of the Royal Chapel seem to have learned the recorder. In the early eighteenth century, the recorder was reintroduced to Spanish cathedrals, and composers such as Agustín Contreras, Sebastián Durón, and Pedro Rebassa wrote works of sacred music that incorporated the instrument (all requiem masses and other forms of lamentation). 138. Kenyon de Pascual, Beryl. “Two Sixteenth-Century Spanish Inventories.” Galpin Society Journal 49 (1996): 198–203. Reports the discovery of a new Renaissance inventory of instruments. At his death in 1594, Juan Luis de la Cerda, the fifth Duque de Medinaceli, owned “one set of recorders consisting of eleven small and large recorders kept in a broken case,” along with two sackbuts, four crumhorns, four shawms, a dulcian, two cornettos, a consort of five violins, and two guitars. The large number of recorders in relation to the other instruments is noteworthy. As for the purpose of the instruments, Kenyon remarks that the duke “would have had a number of musicians in his employ for ceremonial purposes, entertainment (dancing, Tafelmusik and possibly chamber music) and perhaps for music in a private chapel.” 139. Martín, Mariano. “La flauta de pico y la flauta travesera en el siglo XVIII en españa” [The recorder and flute in Spain in the eighteenth century]. Revista de musicología 8 (1985): 115–18. Asserts that the use of the recorder and flûte in eighteenth-century Spanish music has been difficult to trace because the repertory has scarcely been cataloged, but that a few references are now beginning to turn up. Lists (without source) a Cantada al Santísimo con dos flautas de pico by one Iribarren. 140. Pallarés Jiménez, Miguel Angel. “Aportación documental para la historia de la música en Aragón en el último tercio del siglo XV. Part V” [Documentation on the history of music in Aragón in the last third of the fifteenth century. Part 5]. Nassarre: Revista Aragonesa de musicologia 9, no. 1 (1993): 227–310. Reports a couple of tidbits relating to the early history of the recorder in Zaragosa, Spain. An inventory-after-death of one Antón Ancóriz in 1472 listed “five recorders,” and that of Martín Zayda “a vihuela, a recorder, and a songbook” (pp. 277–79). 141. Prieto, Mariano Pérez. “Presencia de la flauta de pico y de la traversera en tres capillas musicales salmantinas: Catedralica, universitaria y de San Martin, durante el periodo 1700–1750” [The recorder and flute in three music chapels in Salamanca: the cathedral, the university, and San Martin, during the period 1700–1750]. Revista de flauta de pico, no. 2 (May 1995): 3–6. This article is based on the author’s doctoral dissertation, about the recorder and flute in Salamanca in the first half of the eighteenth century. He found only one archival reference to a recorder player, one Francisco Gómez, who played the violin, oboe, trumpet, and recorder at the cathedral (date unspecified). Five surviving compositions feature the recorder: Lamentación de la Feria Sexta, “Lamed, matribus suis dixerunt” (1722), Lamentación, “Aleph. Ego vir videns” (1736), and Lamentación de la

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Feria Quinta, “Vau. Et egressus esta a filia Sión” (1742) by Antonio Yanguas; and Lamentación, “De lamentatione Jeremiae prophetae” (1745) and Lamentación, “Vau. Et egressus est filia Sión” (1748) by Juan Martín. Note that the recorders are employed in conjunction with death and the supernatural, as in many other instances in Baroque music in other countries. 142. Stein, Louise K. Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain. Oxford: Clarendon Press, 1993. xx, 566 p. ISBN 0198162731. ML 1747.2 .884. According to the evidence unearthed to date, the recorder seems to have been little played in Spain in the seventeenth century. Stein’s book, however, suggests that more evidence may turn up. She sampled just over 100 of the 350 extant plays by the celebrated playwright Lope de Vega looking for musical stage directions. The recorder is mentioned in two—in the supernatural context familiar from English plays of the period. In La gran columna fogos, San Basilio el Magno (1596–1603), flautas are called for; then music accompanies the discovery of an altar. In El truhán del cielo y loco santo (1620– 1630), flautas are played offstage; later, music accompanies the discovery of a Christ figure and the appearance of a Christ child. United States 143. Music, David W. “The Recorder in Early America.” American Recorder 24, no. 3 (August 1983): 102–5. Compendium of references to the recorder in seventeenth- and eighteenth-century American books and newspapers. Many of the citations are taken from advertisements. Speculates on what music might have been played and why the recorder apparently did not appear on concert programs. Includes an arrangement for recorder in F and piano of “The Nightingale,” an anonymous piece published in New York ca. 1799–1803.

5 Periods: Modern This chapter looks at general sources on the recorder in the twentieth century (including its revival) and twenty-first century; the recorder in popular music, jazz, and blues; and aspects of recorder life in particular countries. 144. Anderson, Natasha. “Streamlining for the Future.” Australia’s Journal of Recorder and Early Music, no. 18 (November 1994): 8–10. Reacting to comments on the future of the recorder by Robert Ehrlich, Walter van Hauwe, and Malcolm Tattersall (items 150, 153, and 166), Anderson begins by pointing out the consequences of the Dutch government’s decision to cut funding to their conservatories and music schools. There will necessarily be fewer recorder students and a smaller demand for recorder teachers. The advantage is that “by producing a more realistic number of graduates, the frustration inherent in the piano phenomenon (whereby generations of piano teachers only produce in turn more teachers) may be avoided.” She expects playing standards to rise as a result. The disadvantage is that a certain freedom and security to experiment will be lost. She suggests that we no longer need “to force upon the recorder the image of being a great solo instrument” but recognize that the instrument “belongs at the edge of the great circus that is Western musical life”—a position that many players find attractive. 145. Boeke, Kees. “Recorder Now.” Early Music 10, no. 1 (January 1982): 7–9. In Spanish as: “La flauta de pico hoy.” Revista de flauta de pico, no. 3 (September 1995): 15–17. Boeke touches upon a number of topics in this brief essay, offering some interesting and occasionally provocative insights. Attributes the ability of the recorder to either repel or entice listeners to its unusual, pure tone quality, which has strong extramusical associations for most listeners. Attempts to account for recorder players’ persistent desire to obtain better instruments by noting that many players work under the delusion that, because sounding the recorder requires no special embouchure, the tone produced depends solely on the quality of the instrument. Asserts that the recorder became a protagonist in the revival of early music because it “lacked any successor after 1750,” which “ensured its survival as the arche-typal ‘old instrument.’” Closes with reflections on the place of early music in musical life today and the ability of early and new music to revolutionize musical life and the way we think about music. 146. Braun, Gerhard. “Ballast oder Herausforderung—alte Musik unter dem Blickwinkel der Gegenwart” [Ballast or challenge? Early music from the perspective of the present]. SAJM Zeitschrift 27, no. 4 (July 1999): 3–9. Begins with a meditation on a quotation from Erhard Karkoschka’s mit/gegen sich selbst (1968): “the flood of bygone music, with which and against which we have to compose today.” Notes how some modern composers (Stravinsky, Cage, Helmut

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Lachenmann, Klaus Huber, Berio, Schnittke) have reacted to the music of the past (parody, rebellion, restitution, reflection, resignation, and recycling, respectively). Then considers recorder players (Steinmann, Laurin) whose relationship to early music takes on the character of an arrangement, and Loeki Stardust with their parody of Vivaldi. Continues with further meditations on quotations by Carl Dahlhaus and Theodor Adorno. 147. Braun, Gerhard. “Einige Gedanken zur Ästhetik der Blockflöte und des Blockflötenspiels im 20. Jahrhundert” [Some thoughts on the aesthetic of the recorder and recorder playing in the twentieth century]. In item 39, pp. 91–107. A highly philosophical article about the changing aesthetic from the eighteenth to the twentieth century and its effect upon views of the recorder. In the Baroque period, the recorder was generally valued for its tone, which was used to symbolize love, the supernatural, and so forth. But even then there were dissenters, such as Mattheson and Eisel, who found the tone boring or disgusting. In the twentieth century, even a figure as sympathetic to the recorder as Waldemar Woehl found the recorder’s tone impersonal, and Braun cites the contemporary Korean composer Isang Yung as finding it “too fixed.” But that situation started to change radically in the 1960s, with the advent of truer copies of early recorders, and even more with the devel-opment of avant-garde playing techniques, which have revolutionized the instrument’s range of tone colors and dynamics. 148. Braun, Gerhard. “Das sterbende Pan: Aspekte des Blockflötenspiels am Ende des 20. Jahrhunderts” [The dying Pan: aspects of recorder playing at the end of the twentieth century]. Tibia 7, no. 3 (1982): 188–91. Headed by a quotation from Theodor W.Adorno (1956): “Der Blockflöte ist der schmählichste Tod des erneut stets sterbenden großen Pan” [The recorder is the most ignominious death of the constantly dying Great Pan]. Begins with a resume of the recorder’s role in Germany in the early twentieth century, from Waldemar Woehl’s view of the instrument as a kind of organ pipe that cannot really be affected by the player (1930), up to Adorno’s attack, seconded by his student Heinz Klaus Metzger, on all attempts to play early music with its historical sound quality. These “naive beginnings” of course soon gave way to the “Baroque boom, still flourishing today” and a vastly changed attitude toward the recorder. Recorder-making has taken similar giant steps. And the avant-garde has made a great deal of the recorder’s tone color(s), so that “from the historical model has come an instrument of our time. Here Pan lives or raises himself up constantly new, like a phoenix from the ashes.” 149. Ehrlich, Robert. “Our Recorder Culture: A Pyramid Built on Sand?” American Recorder 34, no. 3 (September 1993): 7–11. “Adapted from a talk given at the International Recorder Symposium, Karlsruhe, 1992.” An interesting and insightful essay on the sociology of recorder-playing “cultures.” The pyramid referred to in the title has “star” professional performers at its apex, professional player-teachers at its center, and school-age students at its base. (Ehrlich argues that adult amateurs play no significant part in a recorder culture.) The health and the stability of the pyramid is dependent on its base; those countries with flourishing recorder cultures are also seen to support recorder instruction in the schools. Since most recorder players cannot support themselves solely by performing (unlike violinists and other mainstream instrumentalists), teaching is an essential source of

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income for recorder professionals, and support for the recorder at the school level provides these necessary teaching opportunities. Ehrlich compares the recorder cultures of Germany, the Netherlands, and Great Britain to show how his theory plays out in reality. 150. Ehrlich, Robert. “Prejudice, Practice and Pride: How to Be a Happy Recorder Player.” Recorder: Journal of the Victorian Recorder Guild, no. 12 (December 1990): 1–5; no. 13 (July 1991): 5–13. In light of Frans Brüggen’s confessions (see items 1389 and 1395), it seems ironic that Robert Ehrlich names him, and the “Dutch recorder school” which followed in his wake, for establishing that almost uniquely twentieth-century musician, the professional recorder player—defined as “someone who earns all or most of his or her living from playing and teaching the recorder.” Ehrlich’s persuasive and engagingly written tour de force, based on his 1989 Cambridge University master’s thesis, argues that “the emergence of a substantial number of professional recorder players in the last thirty years, concentrated in Northern Europe and particularly in Holland” is “a phenomenon very much the consequence of modern marketing techniques and the educational and welfare policies of the Dutch government.” These new players “have succeeded in emancipating their instrument from its traditional, subservient role as the doubling instrument of the professional flautist or oboist. For the first time since the 16th century…we have a really detailed knowledge of how to play the recorder as a first instrument.” Ehrlich examines in detail the role of the recorder in the Baroque era as well as the three branches of recorder playing in the twentieth century: amateur, school, and professional. Concludes with a personal credo about why Ehrlich calls himself a professional, how he freely adopts and adapts his repertory, and why he wants to learn to play the instrument even better. Highly recommended. 151. Feider, Denise. “Contribution à l’étude de la renaissance de la flûte á bec au XXe siècle” [Contribution to the study of the twentieth-century revival of the recorder]. Master’s thesis, Université Lumière Lyon 2, 1994. iv, 242 p. For the main contents, see item 152. The thesis contains two pleasant surprises: long sections devoted to Bohuslav Martinů and Luciano Berio, including background and analyses of their pieces for recorder (Martinu’s Stowe Pastorals for five recorders, clarinet, two violins, and cello; his Divertimento for two recorders; and Berio’s wellknown Gesti for solo alto recorder). 152. Feider, Denise. “Zur Entwicklung der Blockflöte im 20. Jahrhundert” [The development of the recorder in the twentieth century]. SAJM Zeitschrift 21, no. 1 (January 1993): 19–36; 21, no. 2 (March 1993): 3–17; 21, no. 3 (May 1993): 3–17; 21, no. 4 (July 1993): 3–17; 21, no. 6 (November 1993): 3–19. A German translation of a good portion of Feider’s French master’s thesis on the recorder in the twentieth century (item 151), appearing in the form of articles ahead of its submission for a degree. She covers the following topics: what happened to the recorder in the late eighteenth and nineteenth centuries (a diminishing number of recorder pieces; the development of English and French flageolets and csakans); the renaissance of the recorder in the twentieth century in England (Dolmetsch) and Germany (Gurlitt, Danckert, Harlan); an “excursion” about the development of recorder design in the Middle Ages, Renaissance, and Baroque; alterations in design in the twentieth century;

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recorder manufacture; recorder woods used by different makers, including the question about whether the material matters; the construction of a recorder; different fingering systems; tips on recorder performance (playing in, warming up, cooling down, care); copying early instruments; some “exotic” new instruments (by Paetzold, Twaalfhoven, Gosselink, MIDI by Suzuki, Grabbe); and a chart of sizes and names. An informed and useful overview, well illustrated. 153. Hauwe, Walter van. “Plädoyer für eine Akzentverschiebung im Blockflötenunterricht” [Plea for a shift in emphasis in recorder instruction]. Tibia 15, no. 2(1990): 128–31. Wide-ranging ruminations on the future of the recorder. The great change in the status of the recorder over the last twenty-five years has come about more from concertizing than from teaching. Although recorder players have written their own compositions, the significant new contributions to the literature have come largely from composers who do not play the instrument. Despite their enormous technical improvements, recorder players are frustrated with the quality of their literature from all periods. The recorder is accepted in many pop and folk music circles. Contemporary art music is on the periphery in our society, a place where the recorder is used to operating and is most at home. Too many recorder players aspire to being soloists, although only a handful really have the talent. The recorder should therefore: (1) return to the periphery, (2) get away from purely soloistic thinking, (3) return to the ensemble, where the instrument has its roots and in which the literature of various periods is concentrated. Unadulterated soloists should still be encouraged to be soloists, unadulterated teachers to teach, and unadulterated ensemble players to play in ensembles. 154. Hauwe, Walter van. “The Recorder in Crisis? A View from the Dutch Conservatory.” Recorder Education Journal 2 (1995): 75–77. Takes up the theme of the apparent “crisis” for the recorder, at least in the Netherlands. The recorder is little used any more as an educational instrument, having been replaced by the keyboard and saxophone, and “the little army of highly capable soloists” find themselves with few playing and recording opportunities. He sees the recorder’s future more in ensemble playing and new music, “in which much activity can be detected for solo recorder as well as ensembles of the most diverse styles and structures,” concluding that the only crisis is for “the little world of the historically oriented recorder soloist.” As a result, he suggests that future recorder teachers should be trained in composing, arranging, and performance on other types of instruments. 155. Hauwe, Walter van. “Towards a Modern Recorder Technique.” Recorder: Journal of the Victorian Recorder Guild, no. 12 (December 1990): 20–22. Van Hauwe describes having worked to get the recorder taken seriously in Holland, the salutary effect that learning Berio’s Gesti had on Frans Brüggen’s playing, the vastly increased virtuosity of recorder students in the last fifteen years, the new importance of ensemble work for professionals, the need for better recorder repertory, and what kinds of features we might reasonably expect in a truly modern recorder. 156. Heidecker, Martin. “Wege aus dem Blockflötendilemma? Versuch einer Standortbestimmung zum Ende des 20. Jahrhunderts” [Ways out of the recorder dilemma? An attempt at a position definition at the end of the twentieth century]. In 5. Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1997,

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Kongressbericht, Vorträge und Dokumentation, 30–35. A slightly expanded version as: “Quo vadis, Flauto dolce?” Windkanal 2/1998:6–10. Recorder players indulged in much heart-searching, not to mention breast-beating, about their instrument as they approached the twenty-first century. Heidecker poses a “recorder dilemma”: recorder players find themselves “in the situation of a cook who must prepare a tasty menu with only ten seasonings, while the chief cook in a speciality restaurant has one hundred different seasonings to choose from.” Expressed unmetaphorically, it is the well-known problem that nowadays there are hundreds of technically accomplished players worldwide with too few really good pieces of music to play. Heidecker’s solutions? More and better arrangements. The creation, one day, of “the absolute super-recorder, which solves all our problems.” Also, following his own example, having a second string to one’s bow: not just conducting or a second instrument, but musicology, music education, composition, recorder-making, or working for a music publisher. 157. Letteron, Claude. “L’amateur de flûte à bec” [The recorder amateur]. Flûte à bec & instruments anciens, no. 18 (June 1986): 26–28; no. 19 (September 1986): 23–24; no. 20 (1986): 27–28. Begins with the statistic that although many people buy recorders with the intention of learning to play them, most people abandon the effort within three years. Suggests that they do so because they are isolated musi-cally. Proposes to remedy the situation with a kind of amateur recorder club where they can talk over their problems. Continues with further thoughts on recorder playing for amateurs: choice of method; problems of the individual; sight-reading; patience, fortitude, and fun. The second part of the article covers: useful terms in several languages, and major publishers. 158. Loretto, Alec V. “And Oft When on My Couch I Lie…” Recorder Magazine 20, no. 1 (spring 2000): 8–9. In German as: “‘Oft, wenn auf meiner Couch ich lieg’…” Tibia 25, no. 3 (2000): 211–13. Loretto captures the spirit of the early days of the early-music movement through his reminiscences of the 1972 Flanders Festival, triggered by memories of Fred Morgan (1940–1999), whose instruments were heard for the first time by a wide international audience at the festival. Covers: the initial rounds of the recorder competition; the controversy over handmade versus machine-made instruments; Michala Petri’s performance; the progress through the late rounds; and the announcement of the winners. 159. Maute, Matthias. “Remember—die Blockflöte zwischen U- und EMusik” [Remember: the recorder between entertainment music and art music]. SAJM Zeitschrift 27, no. 4 (July 1999): 10–13. Reprinted as: “Die Spitze des Eisbergs: Die Blockflöte zwischen U- und E-Musik.” Windkanal 2/2002, 15–19. Based on a lecture given at the 1. Internationale Blockflötensymposium Stuttgart, February 1999. A philosophical essay, prompted by the decision of the jury in the German competition “Jugend musiziert” (youth makes music) to include only E-Musik (ernste Musik=serious, or art music) in its programs, and therefore to exclude the recorder, which, they imply, plays only U-Musik (Unterhaltungsmusik=entertainment music). Muses on the constant dynamic between entertainment and art in music of the past, citing examples by van Eyck, Mozart, and Telemann, as well as improvisation in Renaissance/Baroque music, jazz, and avant-garde music. Concludes that the separation

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of E and U is a false dichotomy. 160. Moeck, Hermann. “Narziß macht den Musen Konkurrenz: Gespräch aus der Feme zu einem immer wieder neuen Thema” [Narcissus gives the muses competition: a discourse from afar on a theme again and again new]. Tibia 14, no. 3 (1989): 490–95. Musings on narcissism, old and new, taking its inspiration from Christopher Lasch’s The Culture of Narcissism: American Life in an Age of Diminishing Expectation (1979; German translation, 1982). Includes thoughts on Adorno’s famous 1956 quotation about the recorder (see item 148), which Moeck finds “a harsh but not completely incorrect criticism measured against the dilletantish conditions of that time.” He finds the quotation perhaps relevant today from another side: the recorder runs the risk of becoming an instrument for “alternative types” (Aussteiger), as demonstrated by the “hypertrophy” of solo playing, done less for music and its interpretation than for “self-expression.” He also cites recorder players who are interested only in modern recorder music and not the rest of musical life. 161. Noble, Richard D.C. “The Recorder in Twentieth Century Music: A Personal View.” Recorder and Music Magazine 1, no. 8 (February 1965): 243–44. Laments the failure of modern composers up to that date to produce recorder works that can stand on their own as significant compositions. Noble believes that composers have not taken the instrument seriously, and, as a result, the instrument has failed to assume its “place as a valid instrument to vie for public favour with other string and wind instruments in concert performance.” He embarks on a survey of the twentieth-century repertory, pointing out along the way why each piece falls short of greatness. But, “[w] ithout this pioneer work and without the virtuoso performers of the present day, ideas for greater advancement would not have arisen.” Letter from John Turner in 1, no. 9 (May 1965): 277. * O’Kelly, Eve Elizabeth. The Recorder Today. Cited below as item 1210. 162. Pehrsson, Clas. “Is the Recorder a Legitimate Instrument in the 20th Century?” American Recorder 31, no. 4 (December 1990): 7–9. Another translation as: “The Recorder—an Instrument in Its Own Right in the Twentieth Century?” E.R.TA. Newsletter 2 (November 1993): 1–3. In German as: “Die Blockflöte—ein vollwertiges Instrument im 20. Jahrhundert?” Zeitschrift SAJM 20, no. 2 (March 1992): 23–26. From a lecture delivered at the 1990 International Recorder Symposium in Karlsruhe, Germany. Begins by tracing the rise of the recorder from its relative obscurity before 1960 to its generally perceived status of legitimacy today. Questions whether the instrument has truly attained this status, since it lacks a body of significant compositions from established composers, performers are dissatisfied and move on to other musical pastures, the audience is specialized, and in music schools the recorder is not standing up against established instruments. Complains about the low standard of recorder teaching in music schools caused by shortcomings in pedagogy and method. Proposes to remedy that by an integration of technique and interpretation, to produce an “interpretation technique,” which he hopes can lead to “closeness of style” and more relevant modern musicmaking. 163. Rose, Pete. “On the Cutting Edge.” American Recorder 32, no. 4 (December 1991): 35; 33, no. 1 (March 1992): 31–33; 33, no. 2 (June 1992): 37; 33, no. 3 (September 1992): 26–27; 33, no. 4 (December 1992): 26–27; 34, no. 1 (March 1993): 27–29; 34,

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no. 2 (June 1993): 27–28; 34, no. 3 (September 1993): 30–35; 34, no. 4 (November 1993): 27–28; 35, no. 1 (January 1994): 21–23; 35, no. 2 (March 1994): 25–26; 35, no. 3 (May 1994): 15–16; 35, no. 5 (November 1994): 29–30; 36, no. 1 (January 1995): 27–28; 36, no. 2 (March 1995): 23–24; 36, no. 4 (September 1995): 32–33; 36, no. 5 (November 1995): 30–32; 37, no. 1 (January 1996): 31; 37, no. 2 (March 1996): 24– 26; 37, no. 3 (May 1996): 25–27; 37, no. 5 (November 1996): 22–23; 38, no. 2 (March 1997): 27; 38, no. 3 (May 1997): 33; 38, no. 4 (September 1997): 37–38; 38, no. 5 (November 1997): 39; 39, no. 1 (January 1998): 27–28; 39, no. 4 (September 1998): 39; 39, no. 5 (November 1998): 35; 40, no. 1 (January 1999): 35; 40, no. 2 (March 1999): 26–27; 40, no. 3 (May 1999): 26–27; 40, no. 4 (September 1999): 32–33; 40, no. 5 (November 1999): 30–32; 41, no. 2 (March 2000): 37–39; 41, no. 3 (May 2000): 33; 41, no. 4 (September 2000): 33–34; 41, no. 5 (November 2000): 33–34; 42, no. 2 (March 2001): 45; 42, no. 3 (May 2001): 37–38; 42, no. 4 (September 2001): 35; 45, no. 5 (November 2001): 31–32. A column whose purpose is “to call attention to what is happening in the world of modern recorder music by profiling important performing artists, musical compositions, recordings, and concert events” (March 2001). DECEMBER 1991: Helen Rees (item 1593) and Philadelphia-based jazz recorder player Joel Levine, special effects. MARCH 1992: several new compositions for solo recorder: Atembogen by Gerhard Braun, Ofrenda by Mario Lavista, Largo by Guus Janssen, and, briefly, The Voice of the Crocodile by Benjamin Thorn. JUNE 1992: Andrew Waldo and Rodolfo Guzman. SEPTEMBER 1992: the evolution of Joel Levine’s jazz style, John Tyson. DECEMBER 1992: recent performances by Eva Legêne of modern works (item 1531), Frances Blaker (item 1358). MARCH 1993: Aldo Abreu (item 1324), Johannes Fischer’s BlockflötenInstalation (a contraption connecting fourteen recorders to a single mouthpiece). JUNE 1993: Johnny Reinhard, Tui St. George Tucker, Bob Margolis, Michael Vetter. SEPTEMBER 1993: Four Diversions by John Turner, Four Pieces by Donald Bousted, Pipistrelli gialli by Benjamin Thorn. NOVEMBER 1993: Richard and Elaine Henzler (item 1480), new publications. JANUARY 1994: the 1993 Great Recorder Relay in Cambridge, Massachusetts. MARCH 1994: recent performances by members of the Flanders Quartet, Breakdance by Philip Wilby. MAY 1994: Cléa Galhano, Horacio Franco’s February 1994 performances in New York City, more on Breakdance. NOVEMBER 1994: Recorder at Large (an anthology introducing modern performance techniques, comp. Benjamin Thorn), first international convention of the European Recorder Teachers’ Association. JANUARY 1995: microtonal works for fipple flute by La Monte Young, Harry Partch, and Lou Harrison. MARCH 1995: the Amsterdam Loeki Stardust Quartet performance at the 1994 Blockfluitdagen Festival in Mechelen, Belgium. SEPTEMBER and NOVEMBER 1995: four events at the June 1995 Boston Early Music Festival that seemed “to be pointing the way to where the recorder might be going.” JANUARY 1996: Cléa Galhano’s performance of Two Fantasias by Daniel Havens, reflections on the fifth anniversary of the column. MARCH 1996: the CDs Blockflöte Modern I & II, violinist and composer Diane Monroe, musings on three current issues in contemporary music. MAY 1996: small cottage-industry publishers of recorder music in the United States. NOVEMBER 1996: the CD Pictured Air by the Amsterdam Loeki Stardust Quartet. MARCH 1997: the Paetzold square-bored recorders,

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the Helder tenor. MAY 1997: Michael Vetter (item 1642). SEPTEMBER 1997: the Second American Jazz Recorder Workshop, the Second American Jazz Recorder Festival Concert, the Fifth Annual Great Recorder Relay. NOVEMBER 1997: the recorder and electronics. JANUARY 1998: Ricardo Lorenz’s Concerto. SEPTEMBER 1998: the spring 1998 congress of the Austrian chapter of the European Recorder Teachers’ Association, with an emphasis on Joel Levine’s jazz classes. NOVEMBER 1998: Rose’s work with the students of Aldo Abreu and John Tyson at the New England Conservatory, more on the Lorenz Concerto. JANUARY 1999: a reprint of the November 1998 column. MARCH 1999: the recorder music of Hanneke van Proosdij (item 2057). MAY 1999: The Secret by Enid Sutherland, electro-acoustical music at the Second 20th-century Blockflute Festival in Amsterdam, an eponymous CD by the recorder quartet Sadastan. SEPTEMBER 1999: John Turner’s CD John and Peter’s Whistling Book. NOVEMBER 1999: Julia Whybrow’s CD Weeds in Ophelia’s Hair. MARCH 2000: the Kasseler Avantgarde-Reihe (Kassel Avant Garde Series) of compact-disc recordings of modern recorder works. MAY 2000: Susanna Borsch’s CD demonstrating extended recorder techniques and electronic effects, recorder music available from the American Music Center. SEPTEMBER 2000: the CD Different Density by composer and recorder player Ulrich Pollmann. NOVEMBER 2000: a listener’s guide to recordings of the 1990s. MARCH 2001: recorder-music trends of the 1990s. MAY 2001: Gerhard Braun’s March 2001 symposium in Stuttgart, Germany, sponsored by the European Recorder Teachers’ Association. SEPTEMBER 2001: three CDs featuring John Turner, a demo CD by Daniel Koschitzki. NOVEMBER 2001: Daniel Koschitzki (item 1508). 164. Schneider, Michael. “50 Jahre Blockflötenspiel—immer noch Kunst zum Nulltariff. Versuch einer ‘Nestbeschmutzung’” [Fifty years of recorder playing—still always art free of charge. Essays on “fouling our nest”]. Üben & Musikieren 2/1985, 80–84. Uses a quotation from Das Blockflötenbüchlein (Celle, 1941) as the starting point for a series of musings on whether the recorder, despite (over) fifty years of modern performance and the influence of such stars as Brüggen and Linde, can yet be called a “full” musical instrument. Comments on the necessity to expand the Baroque repertory with arrangements. Most of the compositions of the last fifteen years “acknowledge a new kind of ‘Spielmusik’: one composes cheerfully with ‘new playing techniques’ as Telemann used to do with tonic and dominant, with the result that the pieces become interchangeable and finally no longer astonish.” And of course everyone knows the international use of the recorder as a “beginner instrument” (ignoring good intonation, of course, because it is not “appropriate for a child”). In spite of all this, the recorder has established itself in music schools, where, however, teachers may be subjected to teasing by their colleagues. For the author, his love of the instrument overrides all its problems. 165. Steenhoven, Karel van. “Die Blockflöte im 21. Jahrhundert” [The recorder in the twenty-first century]. Tibia 23, no. 1 (1998): 28–32. Van Steenhoven, a member of the Amsterdam Loeki Stardust Quartet, had just taken over Gerhard Braun’s teaching position in Kassel, prompting some philosophical reflections on the future of the recorder. In his opinion, both the strength and the weakness of the instrument is its ability, because of its pure sinewave-like tone, to only “tell the truth” and “simply ‘say it like it is.’” Baroque composers used that truth-telling ability to depict extreme affects like love, death, and signs from the gods. Following the

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philosopher Ernst Cassirer, van Steenhoven declares it the job of the artist today “above all to find forms for still formless structures which are perhaps only felt”—a job for which the recorder is extraordinarily well suited. Nowadays, many players have discovered that the recorder can also imitate other instruments well: horn, saxophone, clarinet, jazz bass, strings. But the instrument has its own character and a number of possibilities for “telling tales” and portraying structures in time and musical space. In the future, we need to explore how this can best be achieved. A letter to the editor from Use Hechler suggests that “it would certainly be helpful to engage in dialog with instrument makers and composers, as for example has been attempted in Switzerland with the International Days for New Recorder Music.” Letters by G.M. Klemisch in 23, no. 2 (1998): 160–62 (followed by a response from Steenhoven) and Hechler in 23, no. 3 (1998): 249–50. 166. Tattersall, Malcolm. “The Recorder in the Twenty-First Century.” Recorder-Journal of the Victorian Recorder Guild, no. 17 (September 1993): 2–8. Tattersall’s valedictory article as editor of Recorder. He goes out with a bang not a whimper, attempting “to project emerging trends in the recorder world, particularly in Australia, into the medium-term future—the next five to fifteen years.” The standard of instrument-making has risen. Professional performance standards have increased dramatically, too, but are leveling off. Recorder recitalists still have a relatively limited repertory and play in one of two ghettos, early music or avant-garde. “There is really not much work for a professional who plays only recorder.” In schools, “the recorder is being treated less as a teaching aid and more as an instrument.” The amateur playing community is shrinking and “greying.” Still, the recorder’s amateur repertory is better than that of many other instruments. Professionals and amateurs are tending to live in two different worlds. The future of the recorder will be less eventful than the recent past. 167. Tenta, Philipp. “Plädoyer für das musikalische Dilettantentum” [Plea for musical amateurism]. Windkanal 1/2001:18–21. Goes back to the original meaning of the terms “amateur” and “dilettante”—someone who does something for the love of it—to argue in favor of retaining that approach to music, not just a professional one. Concludes that, rather than having a bad name because it is a good instrument for amateurs, the recorder should be honored. 168. Thieme, Ulrich. “Die Blockflöte—Aspekte eines populären Instruments” [The recorder: aspects of a popular instrument]. Üben & Musizieren 2/93, 30–32. Reprinted with French summary in SAJM Zeitschrift 22, no. 2 (March 1994): 3–9. Noting that the historical importance of the recorder has been exaggerated, Thieme points out its importance for us today. It is one of the most played instruments in German musical schools (about 100,000 students—almost as many as the piano with 127,000, although the recorder is mostly taught by group instruction). He believes the instrument has found an enthusiastic public that, alongside the composers, performers, and editors, is playing a significant role in the evolution of the repertory. 169. Vetter, Michael. “Leistungsmöglichkeiten der Blockflöte und ihre Tauglichkeit für die neue Musik” [Performance possibilities of the recorder and its suitability for new music]. Kontakte 5/1966:191–92. Argues that Jürg Baur’s “recorder revolution” is not a revolution in the sense that the new will replace the old. The role of the recorder as an amateur, children’s, and early-

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music instrument will be supplemented by its avant-garde capabilities, as considerable as they may be. 170. Weilenmann, Matthias. “Aspecte—Anmerkungen zur Rolle der Blockflöte heute” [Aspects of/remarks on the role of the recorder today]. Tibia 13, no. 3 (1988): 193–95. Like Braun (see item 148), Weilenmann begins with Adorno’s attitude toward the recorder (1956), an instrument “with a tone at once insipid and flaccid,” contrasting that with Ganassi’s view that the recorder was capable of imitating all aspects of the human voice. It was not until a few years after Adorno that Frans Brüggen and others began to take the recorder out of its “unreal existence” to establish it as a “regular” musical instrument. Insists that we should remember the basics for the recorder: (1) its true musical province was and is chamber music in its most diverse forms; (2) it plays a critical role in music education; (3) its professionals have their opportunities outside the normal concert circuit. Comments on the importance of alternative and shade fingerings to achieve good intonation. Puts forward the theory that the recorder disappeared in the eighteenth century because it lacked players who would have treated it as a first instrument and therefore developed its potential (see also item 113). Believes that it is vital for us to study the sociological, political, and cultural environment of the instrument. 171. Weilenmann, Matthias. “Die Blockflöte—ein historisches Instrument in progressiver Rolle” [The recorder: an historical instrument in a progressive role]. Quartalszeitschrift SAJM 15, no. 2 (June 1987). Not seen.

TWENTIETH-CENTURY REVIVAL 172. Buck, Jack Lee. “The Literature of the Twentieth Century Revival of the Recorder in America and England: An Annotated Bibliography.” M.A. thesis, California State College, Long Beach, 1972. iii, 153 p. Uses “literature” in the sense of writings about the instrument. After a short introduction, divided into three chapters: the recorder in books and pamphlets, the recorder in dissertations and theses, and (much longer—375 items) the recorder in periodical literature. The last chapter is particularly valuable for turning up some littleknown early articles on the recorder in nonmusic periodicals. 173. Conrad, Ferdinand. “Am Anfang stand ein großer Irrtum: Die Blockflöte macht Musikgeschichte—Bau und Spielweise seit ihrer Wiederentdeckung” [At the beginning stands a great error: the recorder makes music history—making and playing since its rediscovery]. Neue Musikzeitung 1 (February-March 1980): 61. A summary of the twentieth-century recorder revival in Germany, England, and (briefly) the Netherlands. The “error” at the beginning was Peter Harlan’s invention of German fingering, which hindered the playing of early music. 174. Katz, Erich. “In the Beginning.” American Recorder 2, no. 1 (winter 1961): 3–4. Katz’s reminiscences of the early-twentieth-century revival of early music. Focuses on the “necessary” rejection of nineteenth-century “attitudes and prejudices” toward early

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music. 175. Kinsell, David. “J.C.Bridge and the Recorder.” Recorder & Music 5, no. 5 (March 1976): 157–60. A review of Bridge’s role in the revival of the recorder, based on a study of material in the archives of the city of Chester. Covers the history of the Chester recorders. Includes the score of Bridge’s Quartet for Recorders, first performed in 1901 and considered by Kinsell to be “almost certainly the first piece of ‘modern’ recorder music.” Letter from Carl Dolmetsch in 5, no. 6 (June 1976): 216. 176. Kirnbauer, Martin. “‘Das war Pionierarbeit’—Die Bogenhauser Künstlerkapelle, ein frühes Ensemble alter Musik” [“That was pioneering work”—the Bogenhausen Künstlerkapelle, an early ensemble for early music]. In Alte Musik: Konzert und Reception. Sonderband der Reihe “Basler Jahrbuch für historische Musikpraxis” zum 50. Jubiläum des Vereins der “Freunde alter Musik in Basel,” ed. Veronika Gutmann, 37–67. Winterthur, Switzerland: Amadeus, 1992. OCLC #27882462. Fills out the astonishing history of the Bogenhausen Künstlerkapelle (first sketched in item 180), which performed early music on recorders and other instruments from 1899 to 1939. The concert programs, the music collection, and the instruments used by the Kapelle have all survived (in an unnamed private collection) and are described by Kirnbauer. The Germanische Nationalmuseum will be publishing a catalog of the instruments and a summary of the music holdings. An appendix to the article lists the main events in the life of the Kapelle and its woodwind instruments. 177. Kirnbauer, Martin. “Die Holzblasinstrumente der ‘Bogenhauser KünstlerKapelle’” [The woodwind instruments of the Bogenhausen Künstlerkapelle]. In Flöten, Oboen und Fagotte des 17. und 18. Jahrhunderts: Bericht über den 1. Teil des 12. Symposiums zu Fragen des Musikinstrumentenbaus Michaelstein, 08./09. November 1991, 21–30. (Beiheft…zu den Studien der Aufführungspraxis und Interpretation der Musik des 18. Jahrhunderts, 14/1.) Michaelstein: Institut für Aufführungspraxis, 1994. ISBN 3895121126. Goes into greater detail than item 176 about the instruments belonging to the Bogenhausen group, including photographs and descriptions of an alto recorder by J.C.Denner, an alto by Schuechbaur, a tenor by Jacob Denner, an anonymous (Dutch?) voice flute, a bass recorder in G by “HD” (perhaps a mark of the Nuremberg Wildrufund Horndreher), and the copy of a Jacob Denner alto recorder made by Gottlieb Gerlach by 1909 (the year of his death; not “in 1909” as previously stated), at least ten years before Arnold Dolmetsch made his Bressan copy. Ends with a complete list of the surviving Bogenhausen instruments. 178. Linde, Hans-Martin. “Wie Pans Mysterium die Welt bewegt: Anmerkungen zu einem ‘geschichtsträchtigen’ Instrument: Blockflöte und Traverso” [How the mystery of Pan moves the world: remarks on an instrument “pregnant with history”: recorder and traverso]. Neue Musikzeitung, February/March 1984, 49–50. After a long introduction on the meaning of flutes in the world, posits three phases in the rediscovery of the recorder in the twentieth century: (1) an appreciation for the alleged “simplicity and plainness” of its tone, (2) a growing feeling for the wider musical and technical possibilities of the recorder as a “real” instrument, and (3) the dream of “authentic” playing based on historical sources.

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179. Loretto, Alec V. “Happy Birthday, Whenever That May Be! Or, Is There a Musicologist in the House?” Continuo 17, no. 3 (June 1993): 13. Also published in the Recorder Magazine 14, no. 4 (December 1994): 145–46. Loretto has fun with the conflicting information found in modern sources about some important events in the twentieth-century revival of the recorder: the date on which Arnold Dolmetsch obtained his first old recorder, the maker of that recorder, the date and place it was lost, the year Dolmetsch started making recorders, the person who discovered the lost recorder, the present whereabouts of that instrument, and the year Peter Harlan visited the Haslemere Festival. He invites musicologists to look into these questions. Hilary Meadows takes up the challenge in item 351. 180. Moeck, Hermann. “Zur ‘Nachgeschichte’ und Renaissance der Blockflöte” [On the “post-history” and renaissance of the recorder]. Tibia 3, no. 1 (1978): 13–20; 3, no. 2 (1978): 79–88. English translation, mostly of part 2, as “The Twentieth-Century Renaissance of the Recorder in Germany.” Edited by Jean Seller and William Hettrick. American Recorder 23, no. 2 (May 1982): 61–68. Part 1 takes us to the early 1920s. “As an orchestra and chamber music instrument, the recorder did not survive the Baroque period.” But some recorder-like instruments were popular among amateurs in the second half of the eighteenth century and the whole of the nineteenth: the French flageolet, the English flageolet, and the csakan. Nevertheless, Carl Maria von Weber seems to have scored for the recorder twice (Peter Schmoll und seine Nachbarn, 1801; Kleiner Tusch, 1806) and Hector Berlioz once (La fuite en Egypte, 1853); Donizetti owned three recorders. The revival of the recorder came in the late nineteenth century (date not specified) when Professor Dumon of Brussels and his students played a march for eight recorders and drum in London. Around 1890 the Bogenhausen Künstlerkapelle was founded under Josef Wagener, an amateur group that lasted for fifty or sixty years (a detailed letter on the subject from Wagener is quoted). Beginning around 1924, Gustav Scheck became “perhaps the father of ‘artistic’ recorder playing.” But the main instigator of the recorder revival was of course Arnold Dolmetsch. Independently, Wilibald Gurlitt, a musicologist in Freiburg, began using recorders in his Collegium Musicum in 1921 (letter from him quoted). Similarly, in 1922, the Nuremberg woodwind maker Georg Grässel made copies of the Kinsecker recorders in the Nuremberg museum; around 1924, Max Hüller followed suit and also made copies of various late Baroque recorders. In 1923, Werner Danckerts began using such copies in his early-music performances in Jena, Dessau, and Erfurt (letter from Danckerts cites performances by others). Part 2 covers in detail the recorder movement in Germany from the early 1920s through the 1930s (skirting around its association with the Hitler Youth Movement). Peter Harlan’s search for a simple folk instrument playable by anyone (children in particular) was the impetus behind the movement. Discusses historical fingerings and the true origin of Harlan’s “German” fingering (surprisingly, Ganassi’s fingering chart). Explains that the confusion over fingering systems and the availability of recorders in as many as seven pitches led many amateurs in Germany to give up the instrument. An important article, based on much new research. 181. O’Kelly, Eve. “The Recorder Revival II: The Twentieth Century and Its Repertoire.” In item 33, pp. 152–66.

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Recapitulates the author’s book The Recorder Today (item 1210), taking us briefly through German fingering; Spielmusik; the conservative English composers of the 1930s1950s; Gustav Scheck and his students; the Falling Leaves, Manfred Mann, and the Rolling Stones; Frans Brüggen, Michael Vetter, and the avant-garde; the Japanese composers of the 1960s and 1970s; Hans-Martin Linde and Gerhard Braun; modern techniques; Michael Barker and electro-acoustic music; Loeki Stardust; Walter van Hauwe’s Ladder of Escape; and beyond. 182. Pringle, Rosa. “Revival of the Ancient Recorder: An Interview with Irmgard Lehrer.” Etude 59 (November 1941): 732, 782. “During the past ten years there has been a very definite movement in Europe and in America to revive the ancient recorder so frequently mentioned in history and literature. The instrument has a peculiar appeal to children.—EDITOR’S NOTE.” An interesting— and occasionally amusing—early account of the revival of the recorder written for a general musical audience. Lehrer was “director of old instruments” at the Greenwich House Music School in New York City and founder and director of “The Center for Old Music.” Describes the history of the recorder and quotes references to the instrument by Shakespeare and Pepys. Among the quainter passages are Lehrer’s account of the recorder’s “temporary retreat before more aggressive instruments in our modern categories” and the caption “Recorders with a primitive stringed instrument” beneath a photograph of two recorder players and a harpsichordist. 183. Robert, Cécile. XXème siècle et flûte à bec: Sa redécouverte en France [The twentieth century and the recorder: its rediscovery in France]. Preface by Beverly Barbey. Bourg-la-Reine, France: Editions Aug. Zurfluh, 1998. 162 p. ISBN 2877500748. This book, which apparently originated as a thesis, is actually a short history of the recorder in France in the twentieth century. It begins with a chapter on “European precursors”: England (the Dolmetsch family, Edgar Hunt, the founding of the Society of Recorder Players, the association of the recorder with amateurs) and Germany (Peter Harlan, German fingering, Der Block-flöten-Spiegel, the Youth Movement). The second chapter covers the beginnings of the recorder revival in France in the 1930s (methods by Angèle Ravizé, Victor Delfolie, and D.Aeschimann; music for home and school). Then we learn about the “first recognition” of the recorder during the period 1950–1970 (the early-music group of Roger Cotte; the educational work of Jean Henry; further methods; the first recorder maker, Claude Monin; recorder music by Gaston Saux and Georges Migot; the first soloists, Pierre Paubon, Michel Sanvoisin, Nicole Millot; the first conservatory class, with Jean-François Alizon). An interlude deals with developments in the early-music and recorder movements outside France during the same period, especially the influence of Frans Brüggen and the “Dutch school.” (Walter van Hauwe is quoted as saying that he hates the term.) This leads into new developments in France: the first international summer schools; new French players such as Hugo Reyne and Sébastien Marq; new methods. And finally there is a chapter on the “years of glory” (1970s and 1980s): the founding of the Association Française pour la Flûte à Bee (AFFB); classes in several conservatories; the first recorder manufacturer, Adège; avantgarde repertory; and the involvement of recorder players in the French opera productions conducted by William Christie. Beverly Barbey, who wrote the preface, was a student of

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Edgar Hunt’s who, under her maiden name Smith, played an important role in the French recorder movement of the 1960s. Reviewed by Hermann Moeck in Tibia 25, no. 4 (2000): 314–15. 184. Thomson, John Mansfield. “The Recorder Revival I: The Friendship of Bernard Shaw and Arnold Dolmetsch.” In item 33, pp. 137–51. Does not merely review this friendship, but encompasses John Finn, Christopher Welch, and other figures in the twentieth-century recorder revival. 185. Whitney, Maurice C. “Recorders for Everyone.” Instrumentalist 16, no. 9 (May 1962): 47–48. An attempt to explain the recorder’s “comeback” in the United States to a professional audience. Considers it “a wholesome reaction against certain aspects of contemporary life…a refreshing counter-foil to the passionate lushness of romanticism and to the frenetic cacophony of much of our ‘modern’ music.” Of course, this was written before avant-garde recorder music….

POPULAR MUSIC, JAZZ, AND BLUES 186. Gordon, David. “Die Blockflöte—die beste Freundin eines Komponisten” [The recorder: a composer’s best friend]. Windkanal 1/1997:4–7. Gordon launches the inaugural issue of Windkanal with this provocative heading. The article turns out to contain his ideas about the recorder’s role in jazz (restricted by the instrument’s dynamic range—and, he might have added, tone color) and in jazz-inspired art music (much greater, particularly in consort). He discusses a few of his own compositions for his group Respectable Groove, which features the recorder player Evelyn Nallen, himself on harpsichord, and “groove”-making bass and drums. 187. Gordon, David. “The Improvising Recorder Consort: Jazz.” Recorder Education Journal (1998): 16–18. A brief introduction to improvising jazz, “Latin,” soul, and blues. 8. Levine, Joel, and Pete Rose. “The Recorder Player’s Introduction to Jazz.” American Recorder 36, no. 3 (May 1995): 6–12. In German under the same title: Tibia 22, no. 1 (1997): 335–45. Offers generally helpful advice on how recorder players with no experience of jazz, but drawing on their early-music background, can learn to play jazz. Interesting music examples (including a complete jazz improvisation on the blues by Levine in a style influenced by 1950s John Coltrane). Unfortunately, the authors do not emphasize how important it is to steep yourself in jazz in order to get a feeling for it, instead offering the awkward understatement: “It will be useful to listen and then choose a style you like and begin to study or be influenced by that way of playing.” Letter from Manuel Jaggi in 22, no. 4 (1997): 640, corrects Levine and Rose’s jazz chord symbols. 189. Noble, Richard D.C. “The New Recorder Sound.” Recorder and Music Magazine 1, no. 9 (May 1965): 275–76. A profile of the Falling Leaves, an Oxford-based rhythm-and-blues band that employed the recorder. 190. Noble, Richard. “The Recorder in Pop: A Progress Report.” Recorder and Music

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Magazine 2, no. 5 (May 1967): 135–36. Discusses the use of the recorder by the Rolling Stones (“Ruby Tuesday”) and Manfred Mann (“Trouble and Tea”). 191. Reiss, Scott. “Blues, Jazz, Improvisation und die Blockflöte” [Blues, jazz, improvisation, and the recorder]. Tibia 22, no. 2 (1997): 408–19. Describes his experience with “crossover music” (see also item 1594) before giving good advice on how to play the blues on the recorder (choose the right instrument, find the right key, learn the melody, imitate other instruments such as the trumpet and harmonica, practice improvising using pentatonic scales with “blue notes”). Includes transcribed examples of early blues by Henry Thomas, Bertha “Chippie” Hill (with the recorder taking Louis Armstrong’s cornet line), Lillian Glinn, and Elmore James.

GEOGRAPHICAL FOCUS Australia 192. Horn, Nick. “Recorders in Borderland: The Recorder and World Music in Australia.” Recorder and Early Music [Australia], no. 22 (1998): 11–17. A discursive exploration of how Australian recorder players such as Zana Clarke, Racheal Cogan, Greg Dikmans, and Rodney Waterman are creatively blending Western art music with traditional and folk music from other cultures. 193. Hughes, Geoff. “Victorian Recorders before the Guild.” Recorder: Journal of the Victorian Recorder Guild, no. 14 (December 1991): 18–20. Memoirs of the author’s part in the recorder movement in Victoria from 1949 until the founding of the VRG in 1971. Among other things, chronicles Fred Morgan’s beginnings as the soprano recorder player in a church youth recorder group at the age of sixteen. Plenty of Aussie humor. 194. Waterman, Rodney. “Recorders…and All That Jazz.” Recorder: Journal of the Victorian Recorder Guild, no. 6 (June 1987): 26–28. Enthuses about Lazy Ade Monsbourgh, the “father” of Australian jazz, who has been playing the recorder in jazz and ragtime since the early 1950s. Also reveals that recorders were first manufactured in Australia by Monsbourgh and another jazz player, Don “Pixie” Roberts, “not directly as a result of the European Dolmetsch-led early music revival.” For more on Monsbourgh and Roberts, see Bruce Johnson, The Oxford Companion to Australian Jazz (Melbourne: Oxford University Press, 1987), 213–14, 246, passim. Belgium 195. Boullet, Jean-Pierre. “La situation de la flûte à bec en Belgique” [The state of the recorder in Belgium]. Flûte à bec, no. 3 (June 1982): 23–24. Reports that although the recorder is doing well in Flanders (the Dutch-speaking part of Belgium), in the French-speaking part of the country, the instrument is little known and appreciated.

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Chile 196. Rondón, Victor. “Die Blockflöte in Chile, ihre Verbreitung und gegenwärtige Rolle” [The recorder in Chile, its propagation and current status]. Tibia 23, no. 4 (1998): 282–84. The recorder was introduced to Chile by a German player, Anne Marie Lauber, around 1945. At the same time arrived a dancer named Rolf Alexander, who had had contact with Arnold Dolmetsch and built up an Ensemble for the Cultivation of Early Music in the 1950s. (The ensemble was incorporated into the Catholic University in the 1960s.) By the end of the 1960s, the recorder was taught in universities. The flutists Mirka Stratigopoulou and René Covarrubias had already given the first performance in Chile of the Brandenburg Concerto no. 4 in 1962; both players also taught. In the 1970s, Octavio Hasbún and the author studied in Europe; the two players were active in the 1980s and made the first Chilean recordings of the recorder in the early 1990s. A curiously repetitive article that needed a good editing. Germany 197. Rose, Pete. “Gerhard Braun on the Recorder and Education in Germany.” American Recorder 34, no. 3 (September 1993): 12. Interview conducted at the 1992 International Recorder Symposium in Karlsruhe, Germany. Covers: the position of the recorder in German musical life and how it is changing; prospects for professional study and employment in Germany; his promotion of new music; how avant-garde techniques and Johannes Fischer’s work (item 1158) have broadened the dynamic range of the recorder; and the future of the recorder. 198. Sayers, Keith. “Recorders on the Elbe.” Recorder & Music Magazine 3, no. 10 (June 1971): 365–66. Sayer makes observations on recorder playing in Germany, after having taught three years in Hamburg. Covers: the German educational system; the prevalence of German fingering and the problems it causes; popular instrument makers; and the tendency toward overblowing and a “swooping” style of playing. The remarks on German fingering elicit a letter from Hermann Moeck in 3, no. 11 (September 1971): 411, with a reply from Sayers and a comment by Edgar Hunt. Great Britain 199. Holtslag, Peter. “The Present State of the Recorder in England.” Recorder Magazine 14, no. 3 (September 1994): 79. In German as: “Zum Stand der Blockflöte in England.” Tibia 20, no. 2 (1995): 451–52. Holtslag sees three “essential points which seem to me to be causing bottle-necks in present-day Recorder Britain”: (1) many players come to the recorder from another instrument late in their musical training, and as a result, their standard of playing is low; (2) because the instrument is seen as “easy,” it is difficult to promote a professional attitude toward it; and (3) recorder players “prefer to be the lazy type and tend not to

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practise like violinists or pianists.” Asserts further that the general level of professional recorder playing in England is comparatively low because (1) there is no standard by which to judge good playing; (2) many professionals think there is no competition; and because of the first two points, (3) no one is inclined to study the instrument seriously. Argues that England needs “better professional players with a professional attitude and a broad mind…to raise the standard and to radiate their love for the instrument.” Letter from Roy Brewer in 14, no. 4 (December 1994): 143. Substantive response by Evelyn Nallen in 15, no. 1 (March 1995): 9 (in German as: “‘Wir brauchen in England bessere und aufgeschlossenere Blockflötisten mit professioneller Einstellung,’” Tibia 20, no. 2 [1995]: 453–54). Israel 200. Tidhar, Shlomo. “Blockflötenspiel in Israel” [Recorder playing in Israel]. Tibia 3, no. 1(1978): 38–39. The recorder (halilith) plays an important role in music education in modern Israel. Tidhar was the first Israeli recorder player to study abroad (with Linde in Basel). He now teaches in Tel Aviv, plays in a recorder consort and a Baroque ensemble that concertizes and broadcasts widely, and has written a recorder method. Israeli composers have begun to write for the instrument and a recorder factory has been set up in Gewim Kibbuz. Italy 201. Alton, Edwin. “The Recorder in Italy.” Recorder & Music 5, no. 1 (March 1975): 6– 7. Alton, a frequent visitor to Italy as a recorder teacher, describes the activities and events of the summer of 1974. Covers: the musicianship of the children of Danilo Dolci; the Sixth Summer Course organized by the Societa Italiana del Flauto Dolce (the Italian Recorder Society); the society itself, its bulletin, and its Armonia strumentale music series; the First Competition for the Recorder (a composition contest sponsored by the Society); and Italian music shops. The article is followed by a report of recent activities of the Accademia del Flauto Dolce, based in Turin. Japan 202. Tada, Ichiro. “The Recorder in Japan.” Early Music 10, no. 1 (January 1982): 38– 40. A sketchy, incomplete history of recorder playing and making in Japan. Poland 203. Hunt, Rosemary. “The Polish Scene: Recorders and Early Music in Warsaw.” Recorder & Music Magazine 3, no. 10 (June 1971): 367. Describes the work of two Warsaw musicians: Jozef Klukowski, a recorder teacher at the music school, and a Professor Piwkowski, bassoonist and director of the school, who

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founded the early-music group Fistulatores et Tubicinatores Varsovienses. South Africa 204. Devroop, Chatradari. “Blockflöte und Apartheid? Aspekte der Musikerziehung in Südafrika” [Recorder and apartheid? Aspects of music education in South Africa]. Tibia 15, no. 3 (1990): 208–9. Begins with a summary of the political and educational situation in South Africa, which of course has heavily favored the whites. The small group of Indians, to whom the author belongs, has had more musical opportunities than the other nonwhites, being able to study the recorder (although no other instrument) as well as music theory through high school. Almost all private music schools have been white. Each racial group has had its own universities, a few of which teach music (more theory than practice). Recorder teaching is generally poor, so serious recorder players have to pick up what they can from recordings. The international boycott has severely restricted concert life and the flow of musical information. Switzerland 205. “Dokumentation: Die Konzertprogramme und die aufgeführten Werke.” [Documentation: the conceit programs and the works performed]. In Alte Musik: Konzert und Rezeption. Sonderband der Reihe “Easier Jahrbuch für historische Musikpraxis” zum 50. Jubiläum des Vereins der “Freunde alter Musik in Basel” ed. Veronika Gutmann, 179–390. Winterthur, Switzerland: Amadeus, 1992. OCLC #27882462. Concerns the concert programs of the “Freunde alter Musik in Basel” (Friends of Early Music in Basel). Peter Reidemeister presents a “little chronicle” of the FAMB board of directors. The second section consists of excerpts from the introductory texts of the yearly programs. The third section transcribes the programs (from 1942 to 1992); the fourth indexes them by composer and title. No fewer than forty-two recorder players are represented, most of them known primarily as players of other instruments. The changing fortunes of the recorder and its personnel in the FAMB concerts make fascinating reading. For an earlier overview of the FAMB, see Kurt Deggeller, “Aus der Geschichte der ‘Freunde alter Musik in Basel’: Beobachtungen zur Konzerttätigkeit der Schola Cantorum Basiliensis in Basel,” in Alte Musik, Praxis und Reflection: Sonderband der Reihe “Easier Jahrbuch für historische Musikpraxis” zum 50. Jubiläum der Schola Cantorum Basiliensis, ed. Peter Reidemeister and Veronika Gutmann (Winterthur: Amadeus, 1983) 77–90. United States 206. Bergmann, Walter. “Recorder Playing in the States.” Recorder & Music Magazine 3, no. 9 (March 1971): 344. A wry account of his trip to the [United] States in August 1970, teaching and visiting

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people in the recorder world. Assesses the state of the recorder movement in comparison with that in England. 207. Comstock, George W. “An Early American Recorder Consort.” American Recorder 33, no. 4 (December 1992): 5. The story of the Niagara Falls High School Recorder Quartet, which played on recorders purchased in 1930 or 1931 from the Dolmetsch family by a man named Lidbury, the chief executive officer of the Oldbury Chemical Company. The quartet provided background music for various social functions throughout Niagara County, New York, for a couple of years and disbanded when the members graduated in 1932. * Dallin, Lynn. “‘And Sweetly Trilled the Fipple Flute.’” Cited below as item 1645. U.S.S.R. (former) 208. Jürisalu, Heino. “Blockflötenmusik in der Sowjetunion” [Recorder music in the Soviet Union]. Tibia 12, no. 1 (1987): 364–66. Describes the growth of interest in the recorder in the Soviet Union during the 1970s, listing the most important teachers, groups, methods, and compositions.

6 Studies of Particular Sizes of Recorder “The” recorder is, of course, a family of instruments of various sizes. This chapter discusses sources devoted to individual sizes in the past and present. 209. Benedikt, Erich. “Recorders of Unusual Sizes.” Recorder & Music 5, no. 2 (June 1975): 42–44. An abridged English translation of item 211. A table of the various sizes (from garklein down to bass) lists the terms used to refer to the instruments in the seventeenth and eighteenth centuries. 210. Benedikt, Erich. “Die Stimmlagen der Blockflöte und die GrossbassBlockflöte” [The ranges of the recorder and contrabass recorder]. Musikerziehung 21, no. 1 (September 1967): 28–30. After a long introduction on the various higher sizes of recorders and their names, discusses the bass and contrabass, their ranges, modern makers, and repertory. 211. Benedikt, Erich. “Ungewohnte Stimmlagen der Blockflöte und ihre Bedeutung” [Recorders with unusual ranges and their significance]. Musikerziehung 25, no. 4 (March 1972): 156–59; 25, no. 5 (May 1972): 210–12. Discusses at some length the Baroque repertory (original and arrangeable) of recorders higher than the tenor (excluding the alto). An abridged English translation appeared as item 209. 212. Ganty, Henry [sic]. “Petit plaidoyer pour les grandes flûtes” [Small speech in defense of the large recorders]. Flûte à bec & instruments anciens, no. 11 (June 1984): 35. Largely on playing a voice flute or tenor recorder with basso continuo, the necessity for a fine instrument, choosing suitable repertory, and realizing the continuo in an appropriate manner. 213. Hunt, Edgar. “Fitting the Instrument to the Music.” Recorder & Music 7, no. 9 (March 1983): 227–28. A short survey of various sizes of recorders and their repertory. Covers the voice flute (d1), fourth flute (bb1), fifth flute (the modern soprano), sixth flute (d2), octave flute (the modern sopranino), and Telemann’s “flute pastorelle,” which Hunt believes to have been panpipes. 214. Meierott, Lenz. Die geschichtliche Entwicklung der kleinen Flötentypen und ihre Verwendung in der Musik des 17. und 18. Jahrhunderts [The historical development of the small members of the flute family and their use in the music of the seventeenth and eighteenth centuries]. (Würzburger Musikhistorische Beiträge, 4.) Tutzing: Hans Schneider, 1974. 279, 33 p. ISBN 3795201527. A thorough and carefully reasoned study of the flageolet, small recorders, small duct flutes with fewer fingerholes, the one-handed pipe, the fife, and the piccolo in the

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seventeenth and eighteenth centuries. Recorders are dealt with in three sections: (1) a brief survey of nomenclature and surviving instruments [pp. 71–80]; (2) the “flautino” and “flauto piccolo” in Monteverdi, Praetorius, Schütz, and Schein [pp. 143–50]; and (3) France in the late seventeenth and early eighteenth centuries, drawing partly on the work of Eppelsheim (item 1888) [pp. 155–75]. Essential reading. 215. Thalheimer, Peter. “In Quinten und Quarten: Zur Geschichte des Blockflötenstimmwerks” [In fifths and fourths: the history of the various sizes of recorder]. Tibia 25, no. 1 (2000): 16–24. Looks at the history of the recorder “Stimmwerk,” an old German word that means something like “whole consort”: a group of similarly made instruments of various sizes and registers. That history involves constantly shifting groupings of recorders pitched a fourth or a fifth (or both) apart. The earliest source, Virdung (1511), mentions three sizes of recorder a fifth apart (f, c1, g1); using different clefs, the performer can play these sizes with identical fingerings. Cardanus (ca. 1546) added a recorder a fifth higher (d2). Praetorius (1619) reported an extended consort, with a recorder a fifth lower (Bb) and octave doublings below and above other sizes, thus in effect mixing separation of fourths and fifths (for example, c2, an octave above c1, is a fourth above g1). Mersenne (1636) compared the high and low quartets (which have the f instrument in common) to the high and low registers of an organ. In the late seventeenth century, recorders in f1, g1, and c2 were common (occasionally also f2, d1, c1, and f); while the early eighteenth century made use of recorders in f1, c2, and d2. In the twentieth century, all these sizes have been reconstructed as well as extended upwards (f3) and down-wards (C), and some forays have been made in unusual directions.

GARKLEIN (c3) 216. Thalheimer, Peter. “Aspekte zur Geschichte der Blockflöte in c″′ [Aspects of the history of the recorder in c3]. Tibia 15, no. 3 (1990): 202–5. After a survey of high recorder-like instruments in the Renaissance and early-Baroque periods, describes a true recorder in c3 that came to light during the restoration of the woodwind collection in the Musei Civici, Modena. This ivory one-piece instrument was made by the Nuremberg maker with the mark “M” (probably from the Mazel family) and dates from around 1670. Thalheimer goes on to describe an interesting set of high recorder-like instruments made by Carl Kruspe of Erfurt around 1930, as well as true c3 recorders made by Rainer Weber since 1947 not to mention a few other modern makers. Letter from Erich Benedikt in 16, no. 1 (1991): 417–18.

SOPRANINO (f2) 217. Clark, Paul. “A Guide to the Sopranino.” (For Younger Players.) Recorder and Music Magazine 3, no. 12 (December 1971): 472–74. A cursory and incomplete survey of the solo and ensemble repertory for sopranino. Explains how the repertory can be extended by assigning the sopranino to soprano lines

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or by doubling a lower part at the octave. Begins by arguing that the sopranino is not suitable for young beginners because of the precise breath control it requires, nor is it negotiable by many adults because of its size. Clark believes that the ideal player of the instrument, therefore, is an experienced youth.

SIXTH FLUTE (d2) 218. Higbee, Dale. “On Playing Recorders in D: Being a Short History of the Odd-Sized Recorders and Concerning the Revival of the Voice Flute & Sixth Flute.” American Recorder 26, no. 1 (February 1985): 16–21. Covers what the rather eighteenth-century subtitle says. Also suggests ways to adapt music for other instruments (alto recorder, flute, oboe) to the voice flute. Lists some modern makers of voice flutes and sixth flutes. Brief additions in 26, no. 3 (August 1985): 139. Letter from Alec V.Loretto in 27, no. 1 (February 1986): 38.

SOPRANO (c2) 219. Lasocki, David. “The C Recorder in the 18th Century.” American Recorder 11, no. 1 (winter 1970): 20–21. Although the alto in F was the most common recorder size in the late Baroque, many other sizes were in use. Lasocki isolates the popular subset of C instruments and aims “to collect all known written information about recorders in the key of C and to discuss some problems associated with them and their music.” The terminology falls into three categories: the soprano as a fifth flute; the tenor as a fourth flute; and the soprano as a fourth flûte. For each, Lasocki gives a summary of citations to the instrument in treatises of the time and a brief discussion of the repertory, when appropriate. Modern editions are cited in footnotes. 220. MacMillan, Douglas. “The Descant Recorder in the Early Eighteenth Century.” Recorder & Music 7, no. 1 (March 1981): 12–13. A brief discussion of the history and repertory of the fourth (bb1), fifth (c2), and sixth 2 (d ) flutes. Letter from Ralph Leavis in 7, no. 3 (September 1981): 71.

ALTO IN G (g2) See also “Brandenburg Concerto no. 4 and the fiauti d’echo controversy” below (items 1789–1805). 221. Higbee, Dale. “On Playing the Baroque Treble Recorder in G Today.” Galpin Society Journal 52 (1999): 387–88. After the prolonged debate about whether J.S.Bach intended alto recorders in G rather than F in the Fourth Brandenburg Concerto, Higbee asks what other music might the alto in G have been used for. For a start, he suggests three pieces by Vivaldi in D major that have prominent f#3 s: the Concerto for Recorder, Violin, and Bassoon, RV 92; the

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Concerto “La pastorella” for Recorder, Oboe, Violin, Bassoon, and Basso continuo, RV 95; and the Concerto for Recorder, Oboe, Violin, Bassoon, and Basso continuo, RV94. 222. Sherwood, Thomas. “Baroque G Recorders.” Galpin Society Journal 51 (1998): 267–69. Responding to the oft-made suggestion that J.S.Bach had alto recorders in G available for the Fourth Brandenburg Concerto, Sherwood seeks to discount it based on the evidence of surviving late-Baroque instruments but “ignoring the important influence of bore on pitch.” Unequivocal F recorders from the late Baroque have a length of 49–50 cm. Two altos made by Rippert (Paris) are 46 cm. There are fifteen surviving altos by German makers (particularly Ganz and Oberlender of Nuremberg) with lengths in the 43– 45 cm range. As F recorders, these would have sounded at a1=466 Hz or higher, or around Chorton pitch, which might have been used “for local historical reasons.” If these recorders had been used as G recorders, the rest of the ensemble by way of compensation would have had to play at about a1 =423 Hz—impossibly high for Cammerton pitch. Sherwood concludes that, with the possible exception of the Ripperts, “there are no Baroque G recorders.” If he had said “no German late Baroque G recorders,” he would have been on safer ground. The existence of G recorders in the seventeenth century is well documented, all the way up to Bismantova’s treatise (revised in 1694). And surely the influence of bore on pitch does need to be taken into account in any reasoning about the length of recorders. Clearly, more research needs to be done on this interesting question.

VOICE FLUTE (d1) * Higbee, Dale. “On Playing Recorders in D: Being a Short History of the Odd-Sized Recorders and Concerning the Revival of the Voice Flute & Sixth Flute.” Cited above as item 218. 223. Hunt, Edgar. “The Voice Flute.” Galpin Society Journal 10 (1957): 86–87. Briefly surveys the origins and repertory of the instrument. 4. Macmillan, Douglas. “The Voice Flute: An Historical Survey.” Consort, no. 47 (1991): 5–7. Seeks to present “a distillation of the information available” on the voice flute and its music. Only a little of the information seems to be new (on the late eighteenth and early nineteenth centuries). Unfortunately, he does not distill but makes an emulsion—using only part of the available information, and committing several errors besides (the first names of Bressan and Dieupart; the dates of Schickhardt, the Talbot treatise, and Dieupart’s suites). Moreover, the prose style is awkward. For a far better survey of the voice flute, see item 218.

TENOR (c1) 225. Alker, Hugo. “The Tenor Recorder: Its Development, Special Characteristics & Repertoire.” With additions and amendments by Edgar Hunt. Consort, no. 20 (July

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1963): 166–73. Includes measurements of tenor recorders in the collection of the Vienna Kunsthistorisches Museum. Little of value on the repertory; rather, gives the standard recommendation that “the lack of original solo music for the tenor can be made up by the selection of suitable violin, oboe and viola da gamba [and viola, cello and soprano recorder] music.” * Lasocki, David. “The C Recorder in the 18th Century.” Cited above as item 219. 226. White, Beverly. “Discovering the Tenor Recorder.” American Recorder 16, no. 2 (May 1975): 43–45. Defends the much-maligned instrument and suggests ways of expanding its limited repertory. 227. Wyatt, Theo. “Playing the Tenor and Bass.” (Where Do I Start? [4].) Recorder and Music Magazine 1, no. 7 (November 1964): 206–7. Opens with a few caveats to consider before taking up the tenor or bass (particularly the demands on fingers, breath, and pocketbook). Offers advice on selecting an instrument and adjusting to the changes necessary in breath support and articulation. Suggests that the best way to learn tenor or bass is through experience in a consort.

BASS (f) AND LARGER 228. Hersom, Herbert. “Bass Recorders in School.” Recorder and Music Magazine 4, no. 1 (March 1972): 15–16. Although written with schoolchildren in mind, the article contains information of use to anyone learning the bass recorder. Includes a description of method books, advice on learning bass clef, and a discussion of possible solo repertory. 229. Hunt, Edgar. “The Baroque Bass.” (The Bass Recorder.) Recorder and Music Magazine 1, no. 3 (November 1963): 74–75. A description of the instrument and its history. Although this was the era of the solo alto recorder, the bass was still played. Several period instru-ments have survived, as well as music for the instrument (Johann Friedrich Fasch’s Parties sur les fleut dous à 3 [ATB] and C.P.E.Bach’s Trio for Viola, Bass Recorder, and Basso continuo, H. 588). The Baroque bass was in use from about 1650 to 1750 and incorporated many of the design changes introduced to other woodwinds by the Hotteterres (jointed construction, tapered bore, a more refined tone quality, etc.). The bass in F (the basset) was generally direct blown, while the larger sizes employed the bocal. Some bassets also included a simple RH4 key and an end post. 230. Hunt, Edgar. “The Modern Bass.” (The Bass Recorder.) Recorder and Music Magazine 1, no. 4 (February 1964): 109–10. Concerns the history and design of the twentieth-century bass. According to Hunt, the bass made its modern debut at the Haslemere Festival in 1926. Modern English basses followed Baroque models, while German basses were patterned after Renaissance instruments. Makers modernized the instrument by extending its range to two octaves and a note and by adding key work (in addition to the traditional RH4 key). Describes the various ways in which breath is directed to the wind way in modern basses. Because of

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its weight, some means of support is necessary; Hunt recommends an end-pin rather than a sling. Letter from Donald Grimmer in 1, no. 6 (August 1964): 185–86. 231. Hunt, Edgar. “Playing the Bass Recorder.” Recorder & Music 4, no. 8 (December 1973): 283–84. Much of the article concerns “the mechanics of the bass and finding a comfortable playing position.” Describes the two basic types of instrument (direct blown and bocal) and available options, such as the addition of a sling and end-pin. Emphasizes the need for breath support and agility. 232. Hunt, Edgar. “The Renaissance Bass.” (The Bass Recorder.) Recorder and Music Magazine 1, no. 1 (May 1963): 10–12. Reviews historical references to the instrument in Virdung, Ganassi, Praetorius, and the inventory of Henry VIII’s instruments. Includes a photograph of a basset/bass/greatbass consort that was formerly a part of the Obizzi collection at Catajo, near Padua. Also discusses an extended great bass in the Vleeshuis at Antwerp. Hunt speculates that the makers of these larger instruments did not add keywork—except on the lowest hole— because it would have removed the flexibility of adjusting pitch by shading. Movable head joints did not appear until the time of Praetorius, since most instruments were made and voiced to be played as a part of individual consorts and there was little need for adjustment. Because most basses were blown direct, it was necessary to support the instrument between the legs; the fontanelle was added to protect the key and to avoid its accidental closing. 233. Oestreicher, Klaus. “Zur Geschichte der Baßblockflöte” [On the history of the bass recorder]. Musik international 35, no. 12 (December 1981): 794–96. Goes over familiar territory: Virdung, Agricola, Henry VIII’s inventory, Praetorius, Mersenne, Weigel, C.P.E.Bach, as well as a claimed recorder quartet by John Eccles (London, 1704) and a brief discussion of the problems of designing an instrument comfortable for the hands. 234. Primus, Constance M. “Beginning the Bass.” American Recorder 25, no. 2 (May 1984): 54–56. Covers basic technique: choosing between direct blown and bocal; finding a comfortable playing position; practicing breath control, intonation, and articulation; tips on reading bass clef. Includes an eight-item bibliography, “Practice Materials for Bass Recorders.” 235. Primus, Constance M. “The Bass Recorder in Consort.” American Recorder 25, no. 3 (August 1984): 101–4. Reviews references to the bass recorder in Virdung and Praetorius, then offers several examples of bass parts from various types of consort music (including publications by Attaingnant, Holborne, and Praetorius). The bibliography lists modern editions of duets and trios with parts for bass recorders. * Wyatt, Theo. “Playing the Tenor and Bass.” Cited above as item 227.

7 Art and Iconography The work of Anthony Rowland-Jones has been demonstrating in recent years that the recorder has a rich history of representation in works of art. He has been assisting Nicholas Lander in putting up a comprehensive list of these representations, with illustrations wherever possible, on the Recorder Home Page (item 68). 236. Ballester, Jordi. “La flauta dulce en la antigua corona de Aragón a finales del siglo XIV: Nuevas aportaciones” [The recorder in the ancient kingdom of Aragón at the end of the fourteenth century: new contributions]. Revista de flauta de pico, no. 15 (2000): 9–12. Building on Rowland-Jones’s work on the recorder in Catalan art (item 263), Ballester reports that, in addition to the two altarpieces by Pere Serra dating from the late fourteenth century (mentioned by Rowland-Jones), there is a third, “in all probability” from this period, a Virgen del Lirio in the church of Longares and painted by the anonymous “Master of Longares.” It depicts the Virgin and Child surrounded by six angels, five of them playing musical instruments, including a recorder. He has also turned up an interesting document: a letter from the Infante (Crown Prince) Juan (later Juan I) of Aragón, written from Zaragoza in 1378 to his chamberlain, Pere d’Artés, asking him to send, presumably from Valencia, “the lutes and the flahutes as quickly as possible.” Ballester believes that, seen in conjunction with the contemporary paintings, these flahutes can only be recorders, and that Juan wanted them to have “instruments in accord with the new musical tendencies in the French avant-garde manner,” or in other words, “to interpret the ballades, virelais, and rondeaux so popular in the courts of contemporary France.” Unfortunately, whether the instruments were made in Valencia, elsewhere in Spain, or abroad is not clear. 237. Ballester, Jordi. “El pastor músico y la flauta dulce en la pintura catalana y valenciana del siglo XV” [The shepherd musician and the recorder in the Catalan and Valencian painting of the fifteenth century]. Revista de flauta de pico, no. 16 (2000): 11–15. Ballester writes about the five fifteenth-century Catalan and Valencian paintings he found that depict shepherds playing the recorder (out of a total of 315 surviving works of art, of which 28 feature shepherds). He concludes that these paintings probably tell us nothing about what shepherds really played, but only confirm that the recorder was a sophisticated instrument employed in court circles. 238. Ballester i Gibert, Jordi. “Retablos marianos tardomedievales con ángeles músicos procedentes del antiguo reino de Aragón. Catálogo” [Late medieval Marian altarpieces with musician angels from the ancient kingdom of Aragón: catalog]. Revista de musicología 13, no. 1 (1990): 123–201. This catalog of 141 Aragonese altarpieces dating between 1350 and 1525 shows

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vertical flutes (flauta recta) in eighteen of them and double pipes (flauta doble) in five. As in Brown’s catalog (item 239), the black and white reproductions are unfortunately too small to enable us to see any of these instruments clearly. 239. Brown, Howard Mayer. “Catalogus: A Corpus of Trecento Pictures with Musical Subject Matter.” Imago Musicae 1 (1984): 189–243; 2 (1985): 179–281; 3 (1986): 103–187; 5 (1988): 167–241. An invaluable catalog of the surviving fourteenth-century Italian works of art with musical subject matter. The first two installments cover panel paintings, frescoes, and mosaics signed by or attributed to particular artists or their followers. The catalog, arranged alphabetically by artist, includes 2 1/2-inch square black-and-white photographs of each work for identification purposes. Entries refer the reader to other sources where the pictures are reproduced—large enough, we hope, to be studied. His index reports recorders in fourteen of the paintings and double recorders in no fewer than seventy-five. Unfortunately, some of the references are equivocal, and we wonder whether the whistle or duct flutes that Brown detects in these pictures are true recorders. 240. Fischer, Pieter. “Music Paintings of the Low Countries in the 16th and 17th Centuries.” Sonorum Speculum, no. 50/51 (1972): 1–128. Includes a reproduction and brief discussion (pp. 96–97) of a vanitas by Ewart Collier (1684), which depicts a recorder and a copy of volume one of Jacob van Eyck’s Der fluyten lust-hof (1646). 241. Frings, Gabriele. “‘Flauti dolci’ und ‘pifferari’: Bemerkungen zur Ikonographie der Blockflöte in der Renaissance” [Flauti dolci and pifferari: remarks on the iconography of the recorder in the Renaissance]. Tibia 17, no. 2 (1992): 117–24. [The author’s last name, given as Limberg at the head of the article and in the table of contents, is corrected to Frings in an errata slip, in which Limburg [sic] is said to be her maiden name.] Written to correct the notion in present-day art history writings that the recorder in sixteenth-century painting “is often a priori negatively classified and considered an indicator of low social degree” (“eine sozial niedere Sinngebung”). Two recent publications are typical: Augusto Gentili, “Savoldo, das Bildnis und die Musikallegorie,” in Ausstellungskatalog “Savoldo und die Renaissance zwischen Lombardei und Venetien. Von Foppa und Giorgione bis Caravaggio.” 71–77 (Milan, 1990); and Elhanan Motzkin, “The Meaning of Titian’s ‘Concert champêtre,’” Gazette des Beaux-Arts 116 (1990): 53– 65. Uses these two sources as the starting point for a consideration of paintings by Savoldo, Giorgione/Titian, Costa, Moroni, del Piomba, Frangipane, Raimondi, and others, showing that in both iconography and music practice the recorder possessed an elevated rank, far different from that of the piffari (shawms, trumpets, crumhorns, and cornettos). 242. Frings, Gabriele. Giorgiones Ländliches Konzert—Darstellung der Musik als künstlerisches Programm in der venezianischen Malerei der Renaissance. Berlin: Gebrüder Mann Verlag, 1999. 222 p. ISBN 378611806X. Not seen. Concerns the Concert champêtre by Giorgione and Titian now in the Louvre. According to Hermann Moeck’s review in Tibia 25, no. 2 (2000): 136–37, Frings interprets the two naked women (one holding a small recorder) as the Muses. * Griffioen, Ruth van Baak. Jacob van Eyck’s Der Fluyten Lust-Hof (1644–c1655). Cited

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below as item 1833. Reports on the depiction of recorders in one hundred selected seventeenth-century Dutch paintings (far more than seem to have been used for item 254). 243. [Hersom, Herbert]. “Duet for Recorder and Harp.” Recorder & Music Magazine 9, no. 6 (June 1988): 173–74. Concerns the depiction of a recorder player and harpist in a carved misericord (dating presumably from the fourteenth century) in Chichester Cathedral. 244. Hersom, Herbert. “The National Portrait Gallery in Yorkshire.” Recorder and Music Magazine 8, no. 1 (March 1984): 4–5. Includes a ca. 1763 portrait from the studio of Zoffany of David Garrick holding a recorder. 245. Hersom, Herbert. “Some Scottish Musical Instruments.” Recorder Magazine 14, no. 2 (June 1994): 64–65. Collects some photographs of recorders in works of art from Scottish “stately homes” and comments briefly on them. A “Boy with Flute” (of course, recorder) by Abraham Bloemart hangs in Brodie Castle near Inverness. The artist flourished in Utrecht in the first half of the seventeenth century and, as far as one can tell from the minute photograph, depicted a handfluit of the early Baroque type. An interior by another Dutch artist of that era, Quiringh Gerritsz[oon] van Brekelenkam, now at Aberdeen University, includes a child in a playpen or walking frame being entertained by his big brother on the recorder. In the saloon of the House of Dun, near Montrose, is a frieze by Joseph Enzer (1742) including a cluster of musical instruments: bassoon, lute, oboe, recorder, flute, and violin. 246. Hunt, Edgar. “Titian and the Recorder.” Recorder Magazine 10, no. 4 (December 1990): 94–95. Discusses a few paintings by Titian (ca. 1487–1576) that depict recorders, noting that “[i]n Renaissance times the recorder took over from the [ancient Greek] aulos as a symbol of love.” Focuses in particular on Venus and Cupid with a Lute Player (Fitzwilliam, Cambridge), in which Venus holds a recorder. In Three Ages of Man (National Gallery of Scotland, Edinburgh), a young girl presents two recorders to a young man, who is already holding a recorder. The Bacchanal (Padro, Madrid) depicts two recorders in the hands of two women, with a third recorder by the foot of a woman. Titian’s paintings were analyzed at far greater length by Winternitz (see item 272). 247. Jud, Siegfried. “Die Musikinstrumente bei Hans Memling (ca. 1440–1494): Schluss” [Musical instruments in the painting of Hans Memling (ca. 1440–1494): conclusion]. Intrada 1, no. 3 (1995): 18–22. This part of the article covers shawms, trumpets, and (briefly) one recorder: “the depiction is so small that further descriptions are superfluous.” 248. Koldeweij, Jos. “The Best Flutes Come from a Donkey’s Bone’: The Recorder in 17th-Century Dutch Art=‘Van eens esels been de beste fleuyten comen’: De blokfluit in de Nederlandse kunst van de 17e eeuw.” In Programma: Holland Festival Oude Muziek, 27 Augustus-5 September 1993, 53–62. Utrecht: STIMU, 1993. In Dutch with parallel English translation. The recorder is one of the most frequently represented instruments in seventeenthcentury art. It was popular among both sexes in all social classes, yet curiously almost all

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the players are “amateurs”: beggars, drunkards, street musicians, artists, ladies, and gentlemen. In contrast to the instruments that have survived, the most commonly represented sizes of recorder are the soprano and alto; they were presumably played until they fell to pieces, then thrown away. The recorder was played alone and in ensembles, indoors and outdoors, rarely however with an audience. The recorder was one of the instruments used to symbolize the sense of hearing and the transience of life (vanitas). The recorder is also an obvious phallic symbol, a fact that did not escape the painters of the time. (The author’s opinion that the recorder was also a phallic symbol in certain vanitas paintings is debatable.) It could also symbolize lightheartedness and gaiety, as in a print depicting a recorder being made from a donkey’s bone—hard work turning into pleasure for silly youth. 249. Lander, Nicholas S., comp. “Recorder Iconography.” Available from the Recorder Home Page (item on the World Wide Web at 68) http://members.iinet.net.au/~nickl/art.html. Accessed May 2002. An ongoing comprehensive index to works of art that feature the recorder or recorderlike instruments, from the fifth century to the present. As of May 2002, it already included the details of about twenty-five hundred works, including many clickable illustrations. Indexed by artist. Anthony Rowland-Jones is said to be “the real genius behind this catalogue.” 250. Legêne, Eva. “A ‘Foolish Passion for Sweet Harmony’: The Musical Instrument Collection of a Compleat Gentleman, a Monarch and an Artist in the Seventeenth Century.” In The Hoogsteder Exhibition of Music & Painting in the Golden Age, ed. Edwin Buijsen and Louis Pieter Grijp, 81–110. The Hague: Hoogsteder & Hoogsteder, 1994. 388 p. ISBN 9066304685. In 1994, the celebrated Dutch art dealers Hoogsteder & Hoogsteder organized an exhibition of paintings with musical subjects from the country’s “Golden Age” in the seventeenth century. To the lavishly illustrated exhibition catalog, which must weigh about twenty pounds, Legêne contributed a fascinating article based on her researches into inventories of musical instruments. Two of the four sections of her article have connections with the recorder. First, she looks at the instrument collection of King Christian IV of Denmark and his son King Frederick III, putting into context the celebrated Rosenborg recorders (which were owned by Frederick, and one of them was perhaps even made by him). Second, she challenges the negative symbolism many art critics have seen in the recorder in seventeenth-century Dutch paintings, pointing out that countless recorders are found in inventories of collectors, and “[a]rtists such as Vondel and Rembrandt are depicted holding the recorder as the instrument of ‘Dorian song,’ reminding the viewer that the poetic and musical calling was the highest mark of distinction.” The article has good color reproductions of two fine recorder paintings. Dirck Dircksz[oon] Santvoort’s Portrait of Elisabeth Spiegel as Hearing (ca. 1638–1639) had four companion paintings of Elisabeth’s sisters representing the other four senses. (Incidentally, Elisabeth is holding a soprano recorder and fingering the note Eb, which in Dutch is Es.) A vanitas by Ewart Collier (1662) includes a recorder and a volume of Jacob van Eyck’s Der fluyten lust-hof open to the tune “Questa dolce sirena.” 251. Moeck, Hermann. “Flötensignaturen auf alten Gemälden” [Maker’s marks in old paintings]. Tibia 19, no. 2 (1994): 128–29.

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Moeck reports that after he had written that he had never seen a maker’s mark depicted on a painting of a recorder, Gerd Dickers pointed out to him a still life by the Dutch painter Harmen Steenwijck (ca. 1640–1650) on which a gothic capital A is clearly to be seen. William Waterhouse in The New Langwill Index identifies this A with the Nuremberg family of Schnitzer. Since Silvestro Ganassi in his celebrated recorder treatise La Fontegara (1535) also shows a recorder with a capital A, Moeck asks whether the celebrated “Ganassi recorder” might not have been German. 252. Montagu, Jeremy. “The Restored Chapter House Wall Paintings in Westminster Abbey.” Early Music 16, no. 2 (May 1988): 239–49. Draws attention to a possible recorder among these wall paintings, painted between 1390 and 1404. 253. Pottier, Laurence. “The Iconography of the Recorder in France during the Second Half of the Seventeenth Century.” In item 111, pp. 127–44. Classifies late-Baroque French paintings and engravings into six types by subject matter: social scenes (for example, surrogates for shepherds’ pipes), allegories (of air, of music, the Muses, St. Cecilia), portraits (of young men playing the recorder), religious subjects, decorative motifs (in frontispieces of books), and ancient subjects (Polyphemus). Confirms the symbolism of the recorder as: the pastoral, amorous discourse or dialogue, and the gods and demigods (in addition to the above-mentioned allegories of air and music). The drawback of the article is that Pottier cites a relatively small number of “especially representative examples” but does not mention how many works of art she studied altogether. 254. Rasmussen, Mary, and Friedrich von Huene. “Some Recorders in 17th-century Dutch Paintings.” Early Music 10, no. 1 (January 1982): 30–35. Opens with a short history of the recorder in art. The instrument often appeared in pastoral scenes, in Venus paintings, and in a variety of settings as a sexual symbol. Paintings of this period often reveal reliable details of construction, which can be helpful in designing modern copies of old instruments. In sum, “this genre is a fertile source of reliably delineated instruments and a reminder of the subtle symbolism which has always attended the relationship of musical instruments and western European art.” Includes twelve black-and-white reproductions. See also Ian F.Finlay, “Musical Instruments in 17th-Century Dutch Paintings,” Galpin Society Journal 6 (1953): 52–69. 255. Rowland-Jones, Anthony. “Early Sixteenth-Century Brussels Tapestries of the Virtues and Vices, and Their Implications for Performance Practice.” Recorder and Early Music [Australia], no. 23 (1999): 11–13 and color insert. In Spanish as: “Los tapices de Zaragoza y las prácticas de ejecución con flauta dulce.” Revista de flauta de pico, no. 12 (October 1998): 11–16. Takes a look at some remarkable Flemish tapestries (ca. 1520), made to similar designs, that have survived in Brussels (originally from Palencia), Hampton Court (England), Lamengo (Portugal), and Zaragoza (Spain). One tapestry, which he has titled “Dance” or “The Seven Deadly Sins,” depicts a sensual scene of “three female singers and three male recorder players making music for lightly clad [female] dancers,” while a man warns them of the punishment that will surely ensue from their sinfulness. “One of the recorder players appears to be (understandably) distracted by the semi-topless dancer at his side.” In “Music” or “Justice,” as the hedonistic musicians are being attacked by

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the figure of Justice, one musician is escaping with his recorder held above his head, while another musician has dropped his recorder on the ground. A woman in an extravagant blue dress—perhaps St. Cecilia, the patroness of Music, who exemplifies redemption through piety—is playing the organ surrounded by a group of three musicians (two male and one female) playing recorders of different sizes (apparently soprano, alto, and tenor). Rowland-Jones does not comment on it, but women recorder players were unusual in the sixteenth century. Elsewhere in this large tapestry, a man plays a recorder with a woman playing the clavichord and a woman singing, while behind them stand an amorous couple—a clear association of the recorder with love. In “The Prodigal Son,” a group of musicians play two duct flutes (depicted too uncertainly to be called recorders), lute, and hammered dulcimer, apparently accompanying a singer. As Rowland-Jones notes, the combination of recorder and plucked and/or struck strings is common in paintings of the late fifteenth and early sixteenth centuries. 256. Rowland-Jones, Anthony. “The Iconography of Two (or Three) Recorders: Recorder Symbolism in Some 15th to 17th Century Paintings from Italy and the Low Countries.” Recorder Magazine 17, no. 1 (March 1997): 12–17; 17, no. 2 (June 1997): 48–52; 17, no. 3 (September 1997): 88–92. A brilliant study. Points out an important difference in symbolism in paintings of the fifteenth to seventeenth centuries: “While a recorder on its own may represent a selfgratifying aspect of sex, two recorders, which together give forth a sweet harmony, are more likely to indicate a shared union, equally meaningful to both partners.” The earliest extant painting that employs the erotic symbolism of the recorder is Francesco del Cossa’s April, or the Triumph of Venus (1470), which shows two flared-bell recorders (representing the masculine, but also marriage) accompanied by lutes (the feminine); nearby are rabbits, depicting the products of the union. Titian painted several fine examples. In The Three Ages of Man (ca. 1510–1515), a girl presents two recorders to a youth holding a recorder in his right hand, perhaps an interpretation of the Daphnis and Chloe legend. The Bacchanal of the Andrians (1518–1519) includes four recorders: two held almost parallel by two women lying together, suggesting harmony; another at the foot of one of the women; and a fourth by the foot of a nude nymph, suggesting abandonment to drink. Finally, in Venus and Cupid with a Lute Player (ca. 1560), Venus holds a recorder, representing both sacred and profane love. Raphael’s altarpiece The Ecstasy of St. Cecilia (1515) includes three broken and discarded recorders, which seem to represent the unconsummated marriage of the saint and Valerian. A fresco by Girolamo Romanino at Trento (1531) shows a courtesan holding a recorder, symbolizing the erotic, whereas Chastity beneath caresses a unicorn. In this context it is worth recalling that Castiglione in Il Cortegiano (1513–1518) recommended that flutes and recorders be used only in private, especially in the presence of women, but with “tact and good judgement, for it is, after all, impossible to imagine all the things that can happen.” 257. Rowland-Jones, Anthony. “Images of the Recorder on the Web.” Recorder and Early Music [Australia], no. 24 (2000): 16–18. Describes the important “Recorder Iconography” section of Nicholas Lander’s Recorder Home Page (item 249), to which Rowland-Jones has made an extensive contribution. Mentions the diverse sources of the images and the difficulty of finding real recorders (rather than other duct flutes and woodwinds) in catalogs of medieval art.

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258. Rowland-Jones, Anthony. “Jesus Christ and the Recorder.” Recorder Magazine 18, no. 4 (December 1998): 127–29. German translation appears in SAJM Zeitschrift 27, no. 6 (1999): 2–9. Notes that associations of the recorder with angels or the Virgin Mary are common, but the instrument is more rarely found in conjunction with Jesus Christ. One obvious linkage is pictures of Mary holding the infant Jesus, when angel musicians play recorders in nativity scenes or occasionally ‘The Rest on the Flight to Egypt.” “The Adoration of the Shepherds” may make use of the traditional association of the recorder with pastoral scenes. For example, a woodcut from a fifteenth-century French Book of Hours shows a shepherd presenting Jesus with a recorder larger than the child. As a symbol in its associations with Christ, the recorder at his birth “represents goodness and devotion, but close to His death it becomes a horrible symbol of malice and evil.” Thus a number of paintings with recorders of “The Mocking of Christ,” starting with perhaps the earliest representation of the recorder, from a fresco dating from 1315 in a Macedonian church. 259. Rowland-Jones, Anthony. “The Nativity Shepherds’ Gifts.” Recorder Magazine 19, no. 4 (winter 1999): 124–25. In German as: “Die Geschenke der Hirten an der Krippe.” SAJM Zeitschrift 28, no. 6 (November 2000): 2–9. Following up on his article about “Jesus Christ and the Recorder” (item 258), Rowland-Jones finds more examples of recorders in gifts made by the Nativity Shepherds to the Christ-Child. In two paintings by Adam Eisheimer (1578–1611) of “The Rest on the Flight into Egypt,” wind instruments seem to be sticking out of the Holy Family’s basket in one painting, and Joseph has a recorder-like instrument, or perhaps a bagpipe chanter, by his belt in the other painting. A painting with the same title by Claude Lorrain (painted in 1647) shows a young man playing his pipe, perhaps a recorder, to a shepherdess, thus mixing two associations of the recorder. Rowland-Jones follows up with a postscript in 20, no. 1 (spring 2000): 11–12 and a letter in 20, no. 4 (winter 2000): 165. 260. Rowland-Jones, Anthony. “Portrait of a Man with a Recorder.” Early Music 27, no. 1 (February 1999): 174. In a letter to the editor, Rowland-Jones reports that Savoldo’s painting (see item 268), last known to be in a private collection in New York, is now in a prominent position in the Pinacoteca Tosio Martingeno at Brescia, on permanent loan from the Banca Populate di Brescia, who acquired it from its American owner. As Savoldo came from Brescia, this seems a fitting resting place. 261. Rowland-Jones, Anthony. “The Recorder & Marriage.” Recorder Magazine 19, no. 1 (spring 1999): 3–7. Seeks to put forward further evidence to support the theory, proposed previously by Edgar Hunt and Rowland-Jones himself, that in Renaissance Italy and the Netherlands a pair of recorders was associated with marriage. Alas, his evidence is largely reiteration that a pair of recorders probably symbolized marriage. Still, Rowland-Jones’s speculations are always intriguing. 262. Rowland-Jones, Anthony. “The Recorder in the Art of Titian.” American Recorder 42, no. 3 (May 2002): 7–13. Originally published in Spanish as: “Tiziano y la flauta dulce.” Revista de flauta de pico, no. 17 (2001): 7–16. A comprehensive article, seeking to show the variety of ways in which Titian used the

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recorder in at least seven paintings and how his symbolism became more complex and profound in his later work. Based partly on the author’s earlier articles (items 256 and 267). 263. Rowland-Jones, Anthony. “Recorders and Angels: First Sightings in Catalan Art.” American Recorder 38, no. 5 (November 1997): 7–13. Expanded version in Spanish as: “La flauta de pico en el arte catalán” [The recorder in Catalan art]. Part 1: “Alrededor de 1400: La ‘invención’ de la flauta de pico” [Around 1400: the “invention of the recorder”]. Part 2: “El siglo XV” [The fifteenth century]. Part 3: “Después de ca. 1500” [After ca. 1500]. Revista de flauta de pico, no. 6 (October 1996): 15–20; no. 7 (January 1997): 9–15; no. 8 (May 1997): 9–13. Notes that recorders do not feature in the art of northern Europe, southern France, and Italy before the mid-fifteenth century, and states that the earliest incontrovertible depictions of the instrument are in paintings from the Catalan court of Aragón in Barcelona in the late fourteenth century, particularly from the workshop of the Serra brothers. After discussing paintings and altarpieces by Pere Serra, Jaume Cabrera, Ramon de Mur, the Master of La Secuita, the Master of Fonollosa, and Pere Vall, Rowland-Jones concludes that “[t]he recorder appears often enough in Catalan art between 1390 and 1430 to suggest that the instrument had become well established in playing the soft music of the time.” Catalan works of art from later in the fifteenth century show trios of angels playing recorders in conjunction with singers or plucked strings. Finally, he asks whether the recorder might have been invented in Barcelona in the late fourteenth century. Even asking such a question, however, he ignores the surviving evidence from other kinds of sources and even some iconographic evidence. The earliest surviving recorders (Dordrecht and Göttingen)—quite different from one another—are northern European, apparently dating from the fourteenth century, and there is documentary evidence of the recorder in England in 1388. There are also two earlier probable depictions of the recorder: “The Mocking of Jesus” (1315 or later) from the Church of Staro Nagoricino, near Kumanova in Macedonia, and a fourteenth-century wood-carved misericord from Chichester, England. It is also worth asking whether the recorder did have a single “inventor,” like the clarinet or piano (see item 101). Letter from Alec V.Loretto in American Recorder 39, no. 1 (January 1998): 24. 264. Rowland-Jones, Anthony. “Recorders Rising from Ashes.” Recorder Magazine 18, no. 1 (March 1998): 34. Discusses a miraculously preserved carving of three enormous cylindrical recorders, which acts as the corner-post of a wood-framed house in Bourges, capital of the French province of Berry, built in 1499. Unfortunately, there is nothing in the city archives to say who originally owned the house, “Aux Trois Flutes,” although it belonged in the sixteenth century to a patissier and today is once again a patisserie and tea-room. As Rowland-Jones reminds us, some fifteenth-century paintings depict three recorders played together in consort. 265. Rowland-Jones, Anthony. “Renaissance Recorders—the Pictorial Evidence.” Recorder Magazine 14, no. 3 (September 1994): 76–78. In Spanish as: “Flautas de pico renacentistas: Evidencia pictórica.” Revista de flauta de pico, no. 1 (January 1995): 11–17. Distinguishes four different types of recorders from the Renaissance: (1) cylindrical

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bore or nearly so, producing a limited range and a flat high register; (2) cylindrical bore with a slight widening of the bore at the bell end, bringing the high notes better into tune; (3) cylindrical bore with a marked flare at the bell end from about four-fifths of the way down the bore, producing even better high notes (the so-called Ganassi type); and (4) cylindrical bore for the top third, followed by a slight taper to a narrowing or “choke” of the bore by the little-finger hole, then cylindrical or flaring slightly to the bell end (the socalled Praetorius type). Points out that many modern makers of Renaissance recorders have concentrated on the near-cylindrical types, giving the impression that they were the standard and the flared bell types exceptional. Yet a perusal of hundreds of paintings with recorders reveals that whereas the near-cylindrical types prevailed in the fifteenth century, in the sixteenth century they and the flared bell types were depicted approximately equally, “and the flared bell (presumably often choke-bore) type tends to dominate in the seventeenth century up to the point where, except in Holland, the new [late] Baroque recorder takes over.” Goes on to illustrate and discuss some paintings showing recorders with flared bells. Hermann Moeck reports on the article in Tibia 20, no. 3 (1995): 548–49. 266. Rowland-Jones, Anthony. “Seven at a Blow.” Recorder Magazine 20 [marked 21], no. 4 (winter 2000): 141–43. Concerns two paintings depicting seven recorders each: a triptych above the altar of the Cathedral at Freiburg im Breisgau in southern Germany, painted during 1512–1517 by Hans Baldung Grien; and a Portrait of the Van der Dussen Family (1640) by Hendrick Cornelisz[oon] van Vliet, held in the Prinsenhof Museum in Delft. 267. Rowland-Jones, Anthony. “The Symbolism of the Recorders in Rubens’s Version of Titian’s Bacchanal.” Art Bulletin of the Nationalmuseum Stockholm 7 (2000): 84–90. Writing for an audience of art historians rather than recorder players, Rowland-Jones details all his researches into the symbolism of a pair of recorders. His purpose is twofold. First, to demonstrate that the two women lying together and holding parallel recorders in Titian’s Bacchanal of the Andrians (1518–1519) were about to have sex. (Note that this goes beyond his earlier opinion, expressed in item 256, that the paired recorders here “suggested harmony.”) Second, to suggest that in copying this painting (probably in the 1630s), Rubens made certain changes to the upper woman and the river below that suggested he disapproved of the women’s relationship. 268. Slim, H.Colin. “Giovanni Girolamo Savoldo’s Portrait of a Man with a Recorder” Early Music 13, no. 3 (August 1985): 398–406. Reprinted in his Painting Music in the Sixteenth Century: Essays in Iconography, 398–406. Aldershot and Brookfield, Vt.: Ashgate/Variorum, 2002. ISBN 0860788695. ML 85 .S55. Concerns the painting by Savoldo (fl. 1508–1548), now in a private collection in New York. Identifies the music depicted (a sonnet-in-dialogue by Francesco Patavino) and discusses its significance. Confirms that sixteenth-century recorder players in Northern Italy played vocal music. See also Volker Scherliess’s article, “Alles war hell in hell gemalt: Musikalische Bildthemen in der venezianischen Malerei” [Everything was painted in bright colors: musical depictions in Venetian painting], Concerto 2, no. 3 (April-May 1985): 16–29, which suggests that the painting may have been a gift for the man’s bride, inviting her to musical (symbolically, sexual) union. 269. Staiti, Nico. “Satyrs and Shepherds: Musical Instruments within Mythological and

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Sylvan Scenes in Italian Art.” Imago musicae 7 (1990): 69–113. In this study of musical imagery in depictions of mythological and pastoral subjects in Italian art in the sixteenth to nineteenth centuries, Staiti mentions numerous occasions on which recorders (as well as bagpipes, bladder pipes, flutes, and shawms) are used as substitutes for the ancient auloi and panpipes, thus reinterpreting classical images in the light of contemporary life. For example, in an engraving by “Master of 1515” entitled Famiglia di satiri (Family of Satyrs), “the panpipes are transformed into bundles of recorders of increasing lengths, held together by a ribbon or by strips of wood.” As one would expect, recorders are also among the instruments played by shepherds. 270. Thieme, Ulrich. “Was Bilder erzählen—zur Ikonographie des BlockflötenEnsemblespiels” [What pictures tell us: on the iconography of the recorder ensemble]. In 3. Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation [4 p.]. Based on a slideshow of thirty pictures, dating between ca. 1400 and 1535. Notes a number of tendencies in the subject matter: religious symbolism is always shown against a secular background; the transition from three to four parts in the music is well documented; soprano recorders are often placed in the hands of angels (or children); bass recorders and SATB recorder ensembles are absent. An Arragonese picture of ca. 1430 depicting two recorders with doubled holes for the right-hand little finger indicates that players were no longer making their own instruments. A fontanelle and little-finger key for a tenor recorder shows up ca. 1512. 271. Torre, Barbara. “Alcune note su uno sconosciuto ritratto di musicista del XVI secolo” [Remarks on a portrait of an unknown musician of the sixteenth century]. Rivista italiana di musicologia 29, no. 1 (1994): 7–16. Torre reports on her detective work on a portrait of a musician in the FenaroliAvogadro private collection in Brescia. A bearded man, depicted half-length, is holding in his right hand the bassus part from “Occhi leggiadri, amorosetti, et gravi” from the first book of four-part madrigals by Hoste da Reggio (Venice, 1547), and in his right hand a recorder with a slightly flared bell. Noting the possible erotic implications of the recorder, she opts instead for considering it as simply “the symbol of instrumental music.” She concludes with the strong suggestion that the man in the portrait is none other than the composer himself. Curiously, she reports in passing that she has discovered a similar portrait including a book of madrigals and a recorder by the Veronese painter Domenico Riccio, “Il Brusasorzi,” in the Museo di Castelvecchio, Verona, so perhaps this was a kind of minigenre. 272. Winternitz, Emanuel. Musical Instruments and Their Symbolism in Western Art: Studies in Musical Iconology. New York: W.W.Norton, 1967. 240 p., 96 plates. OCLC #20881. Reprinted with a new appendix and bibliography: New Haven: Yale University Press, 1979. 253 p., 96 plates. ISBN 0300023243 (hardcover); 0300023766 (paperback). ML 85 .W58. This classic study deals with the recorder in passing, especially in chapter 2, “The Knowledge of Musical Instruments as an Aid to the Art Historian.”

8 Humor, Fantasy, and Fiction Because of its shape, its use in school music, and its largely amateur clientele, the recorder is often the butt of humor. This chapter is restricted to items in which members of the recorder world make fun of themselves and their instrument. We could not resist throwing in a fantasy as well as a short story we came across by a well-known American writer, knowing that it must be the tip of the iceberg. 273. Bergmann, Walter. [“Golden Rules for Ensemble Playing.”] Recorder News, June 1957. Reprinted in Recorder and Music Magazine 9, no. 7 (September 1988): 188. ——. “Golden Rules for Ensemble Playing.” Recorder & Music 5, no. 6 (June 1976): 191. Reprinted in Recorder and Music Magazine 9, no. 7 (September 1988): 188. ——. “26 Golden Rules for Ensemble Playing.” American Recorder 13, no. 3 (August 1972): 76–77. Reprinted in American Recorder 29, no. 3 (August 1988): 109–10. Humor with a pedagogical purpose. The 1988 version in American Recorder includes an introduction offering the following history: At least three versions exist. A set of fourteen rules appeared in the June 1957 issue of the Recorder News. The original twenty-six rules appeared in Recorder & Music in 1976. The American edition of the twenty-six, published four years before the British, is an expanded version with the rules in a slightly different order. 274. Gemmach, Hans. “Die ‘grüne Blockflöte’” [The “green recorder”]. Tibia 11, no. 3 (1986): 439–40. An alleged portrait of seventy-six-year-old recorder maker Joseph Bergner, who makes green recorders from Uzbekhian oak (acer sogdos). 275. Grasshoff, Fritz, and Hermann Moeck. Den singende Knochen: Kurzge-lochte Parahistorie zur echten Flötenforschung unter Benutzung des Tibilarium Moeckii d. i. Hermann Moecks wissenschaftliche Beschreibung wie man auf Bein und Holz geblasen hat und bläst [Of the singing bones: brief parahistory of the true recorder research, making use of the Tibilarium Moeckii, i.e., Hermann Moeck’s scholarly description of how one plays and has played on bone and wood]. Celle: Edition Moeck, 1971. 40 p. Humorous history of the recorder, based on facts gleaned from Moeck’s dissertation (Ursprung und Tradition der Kernspaltflöten des Europaischen Volkstums und das Herkommen der musikgeschichtlichen Kernspaltflötentype [Göttingen, 1951]). Review in Recorder and Music Magazine 4, no. 5 (March 1973): 174. 276. Halfpenny, Eric. “Fingering.” American Recorder 5, no. 4 (November 1964): 22. Reprinted from the Recorder News and the ARS Newsletter, no. 18. A facetious description of four types of fingering (English, old English, German, and buttress). 277. Halfpenny, Eric. “Serpent in the Midst.” American Recorder 24, no. 2 (May 1983): 65.

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Five excerpts from a humor column of the same name that appeared in the Recorder News during the 1950s. 278. King, Ronald. Recorder Humour. London: Schott, 1976. ISBN 0901938572. 37 p. Thirty-one cartoons originally published in the Recorder and Music Magazine. Some seem dated and others are perhaps too British to register with Americans, but most are still amusing. * Lander, Nicholas S., comp. “Literary & Theatrical References to the Recorder.” Cited above as item 88. 279. Schafer, Elizabeth D. “Recorders in Children’s Literature.” American Recorder 39, no. 1 (January 1998): 15–19, 38–39. Provides plot synopses of Beany and His New Recorder (1972) by Carol Panter, Arthur, for the Very First Time (1980) by Patricia MacLachlan, and Song of the Gargoyle (1991) and Season of Ponies (1964) by Zilpha Keatley Snyder, in all of which the recorder plays a central role, and fifteen other books in which the recorder (or the vertical flûte, in the case of folk stories) makes an incidental appearance. A sidebar offers a bibliography of the nineteen titles. Letter from Anne J.M.Strupp in 39, no. 3 (May 1998): 24. 280. Thiem, Jon. “A Note on the Recorder in the Year 2440.” American Recorder 16, no. 2 (May 1975): 49–50. Broadly over-interprets a brief account of amateur musicmaking in Louis Sébastien Mercier’s seventeenth-century fantasy about Parisian life in the year 2440 (L’an 2440). 281. Updike, John. “The Man Who Became a Soprano.” New Yorker, 26 December 1988, 28–35. Reprinted in John Updike, The Afterlife and Other Stories (New York: Knopf, 1994), 74–91. A short story that considers the formation of an amateur recorder consort and the havoc it wreaks on the lives of its members. We will not give away any more of the plot, but merely note the Adorno-like attitude of one of the members: “Fritz told him, ‘The recorder is the easiest instrument in the world, next to the triangle and the tambourine. And I suppose the maracas.’ There was a German pedantry to Fritz.” Ron Skins offers brief remarks on the story in Recorder Magazine 16, no. 4 (December 1996): 154. 282. Wyndham, John. “Bargain from Brunswick.” Magazine of Fantasy and Science Fiction 2, no. 3 (June 1951): 22–32. Reprinted as “A Present from Brunswick” in John Wyndham, Jizzle (London: Dennis Dobson, 1954), 40–56, and John Wyndham, Tales of Gooseflesh and Laughter (New York: Ballantine, 1956), 95–108. A humorous fantasy set in post-World War II, small-town America. The premise: What if the flûte played by the Pied Piper had been a recorder, and what if that same recorder found its way into the hands (and mouth) of a member of the Pleasantville Cultural Club Musical Society, Recorder Section, via her son serving in Germany?

9 Instrument Makers and Instruments: Historical This chapter covers both biographical material on historical recorder makers and surveys of their instruments. As far as it is possible to make the distinction from “survey,” the design and properties of historical instruments are treated separately in chapter 12.

INDEXES 283. Brown, Adrian, comp. “Renaissance Recorders Data Base.” Available on the World Wide Web at http://www.adrianbrown.org/database. Accessed May 2002. An ongoing comprehensive database of information about surviving Renaissance recorders. Can be searched by keyword. 284. Lander, Nicholas S., comp. “Original Makers Database.” Available from the Recorder Home Page (item 68) on the World Wide Web at http://www.iinet.net.au/~nickl/cgi-bin/db.cgi?db=omakers&uid=default. Accessed May 2002. An ongoing comprehensive index to historical recorder makers. Can be searched by keyword. 285. Langwill, Lyndesay G. An Index of Musical Wind Instrument Makers. 6th ed. Edinburgh: Author, 1980. xix, 331 p. OCLC #6926848. Earlier editions: 1st ed., 1960. viii, 139 p. OCLC #1248341; 2d ed., 1962. x, 202 p. OCLC #857756; 3d ed., 1972. xii, 232 p. OCLC #515021; 4th ed., 1974. xv, 272 p. OCLC #3090256; 5th ed., 1977. xvi, 308 p. OCLC #3930370. ML 404 .L3. Written and published by an enthusiastic amateur bassoon player and organologist, “Langwill” rapidly became an indispensable tool for the wind researcher. The body of the book is an alphabetic index of makers, giving place of work, dates, brief biographical details, and surviving instruments. This is followed by an index by place of work and a bibliography. The main listing remained unaltered after the 4th edition, “Addenda and Corrigenda” being added in separate listings for the 5th and 6th editions, which also reproduce Friedrich von Huene’s charts of makers’ marks (from item 289). Item 286 is a complete revision. First edition reviewed by Philip Bate in Galpin Society Journal 13 (1960): 106. Second edition reviewed by C. K[enworthy] in Recorder and Music Magazine 1, no. 1 (May 1963): 31. Third edition reviewed by Dale Higbee in American Recorder 13, no. 4 (November 1972): 129; J.M. Thomson in Recorder and Music Magazine 4, no. 5 (March 1973): 173; and Philip Bate in Galpin Society Journal 25 (July 1972): 134. Fourth edition reviewed by Edgar Hunt in Recorder & Music 5, no. 4 (December 1975): 125 and Jeremy

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Montagu in Galpin Society Journal 29 (1976): 130. Review of the fifth edition by Dale Higbee in American Recorder 20, no. 3 (November 1979): 134–35. 286. Waterhouse, William. The New Langwill Index: A Dictionary of Musical Windinstrument Makers and Inventors. London: Tony Bingham, 1993. 518 p. ISBN 0946113041. ML 404 .W38 1993. Not based on Langwill’s An Index of Musical Wind Instrument Makers, 6th ed. (item 285), but a completely new work intended to supersede it. The New Langwill Index, as Waterhouse modestly calls it, was researched anew over a period of twelve years; in the process, twenty-four hundred makers were added to Langwill’s four thousand. Remarkably, this enormous and valuable task was undertaken not by a musicologist or instrument maker but a performer. (Waterhouse is a well-known bassoonist in England.) Each entry includes the following information: biography, maker’s mark, serial numbers, addresses, inventions, patents, exhibitions, writings, catalogs, locations of representative instruments, and bibliography. The book includes a valuable essay on “Makers’ marks on wind instruments” by Herbert Heyde. See also Waterhouse’s article, “Langwill and His Index,” Galpin Society Journal 39 (1986): 58–67. Reviewed by Friedrich von Huene in Tibia 19, no. 4 (1994): 312–13 and American Recorder 37, no. 4 (September 1996): 37. 287. Young, Phillip T. 4900 Historical Woodwind Instruments: An Inventory of 200 Makers in International Collections. London: Tony Bingham, 1993. ISBN 0946113033. Earlier edition: Twenty-five Hundred Historical Woodwind Instruments: An Inventory of the Major Collections. New York: Pendragon Press, 1982. xii, 155 p. ISBN 0918728177. ML 461 .Y69. The main listing, arranged by maker, gives the following information about each instrument: Young identification number; number of keys and metal; country, city, owner, and number; approximate pitch; number of pieces; length; material of body and mounts; shape of the key flaps; where the key spring is attached; any double fingerholes; number of vent holes (for double-reed instruments); additional details; maker’s stamps; and sources of photographs. An appendix lists the instruments by type (recorders are divided into sopranino, soprano, alto, voice flûte, tenor, basset, bass, great bass, columnar, Renaissance, walking-stick, csakan, and double) and says which makers made them. For example, there are surviving Baroque-type alto recorders by no fewer than fifty-one makers. Only time will tell how accurate and comprehensive Young’s book is, but its very existence represents a considerable achievement. An essential book. First edition reviewed by Jeremy Montagu in Early Music 11, no. 2 (April 1983): 239–41; Dale Higbee in American Recorder 24, no. 2 (May 1983): 75; and William Waterhouse in Galpin Society Journal 38 (1985): 158–59. 1993 edition reviewed by Barra Boydell in Early Music 23, no. 1 (February 1995): 152–53; Martin Kirnbauer in Tibia 19, no. 4 (1994): 311–12; and Wendy Powers in American Recorder 35, no. 5 (November 1994): 24–26.

MAKERS’ MARKS 288. Bouterse, Jan. “Stempels en inscripties op Nederlandse houten blaasinstrumenten uit de barok” [Stamps and inscriptions on Dutch Baroque woodwind instruments].

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Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 49, no. 1 (1999): 32–54. Covers the same ground as parts of his dissertation (item 324), submitted two years later, concentrating on the development of makers’ marks from the mid-seventeenth to the mid-eighteenth centuries. The first appendix lists all the makers in question with descriptions of and comments on their stamps. 289. Huene, Friedrich von. “Makers’ Marks from Renaissance and Baroque Woodwinds.” Galpin Society Journal 27 (1974):31–47. Includes over one hundred illustrations of makers’ marks from recorders, flutes, cornettos, shawms, oboes, and so forth. An important, pioneering article. * Kirnbauer, Martin. “Überlegungen zu den Meisterzeichen Nürnberger ‘Holzblasinstrumentenmacher’ im 17. und 18. Jahrhundert” [Reflections on the makers’ marks of the Nuremberg woodwind instrument makers in the seventeenth and eighteenth centuries]. Cited below as item 299.

GEOGRAPHICAL FOCUS Denmark 290. Duhot, Jean-Joël. “Une énigme musicale résolue? La flûte de van Eyck. Jean-Joël Duhot a rencontré Irmgard et Aksel Mathiesen” [A musical enigma solved? The van Eyck recorder. Jean-Joël Duhot has met Irmgard and Aksel Mathiesen]. Flûte à bec & instruments anciens, no. 27 (March 1989): 9–11. Concerns their discovery of a so-called van Eyck recorder in a Danish castle in 1985. The instrument seems to date from 1630 to 1650 and is of a type that was used during Jacob van Eyck’s lifetime. Although the Mathiesens claim this instrument as “totally unique,” a few apparently similar ones have survived (see item 112). France 291. Giannini, Tula. Great Flute Makers of France: The Lot and Godfroy Families, 1650–1900. London: Tony Bingham, 1993. xxvi, 245 p. ISBN 094611305X. Although Giannini’s book focuses on the transverse flute and its prominent French makers in the eighteenth and nineteenth centuries, the flute makers of the early eighteenth century also made recorders. The recorder is mentioned several times in inventories-afterdeath. A recorder by Lot is shown in one of the plates. Giannini has also discovered that Jacques Christophe Naudot, the composer of some pieces that could be played on the recorder, was a “seller of flutes and of music” rather than a professional performer (his inventory-after-death, 1762). Reviewed by Nikolaus Delius in Tibia 19, no. 2 (1994): 141; Peter H.Bloom in American Recorder 36, no. 3 (May 1995): 16–17; and Ardal Powell in Journal of the American Musical Instrument Society 23 (1997): 153–58. 292. Guidecoq, P. “Les buis de La Couture: Aux tourneurs qui créèrent la flûte à bec” [The boxtrees of La Couture: on the turners who created the recorder]. Flûte à bec, no. 5 (December 1982): 14–18.

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Fascinating historical information on turners and the cultivation of boxwood in the neighborhood of the Normandy town of La Couture Boussey (Eure moyenne), home of the Hotteterre family in the seventeenth century and later of many other important instrument makers such as Godfrey, Noblet, Buffet, and Thibouville-Martin. Coupled with some brief notes on the Hotteterres, marred by the contestable statement that “[i]t is not contested that the final form [of the recorder], called Baroque, is the work of the Hotteterres.” 293. Lesure, François. “La facture instrumentale à Paris au seizième siècle” [Instrumentmaking in Paris in the sixteenth century]. Galpin Society Journal 7 (1954): 11–52. A short overview introduces a series of archival documents, including inventoriesafter-death of the makers Mathurin de La Noue (d. 1544) and Philippe de La Canessière (d. 1551), and the musician Etienne Loré (d. 1553), which mention recorders. Note that this article is in French, despite being published in the English-language GSJ. 294. Thomé, Gilles. “Promenade baroque: Un dimanche à La Couture Boussey” [Baroque promenade: a Sunday in La Couture Boussey]. Crescendo, no. 32 (March-April 1990): 25–29. On Thomé’s “Sunday walk” around La Couture Boussey he introduces us to the mayor of the town, its history, the local boxwood (“Boussey” is derived from “buxum,” the Latin word for the wood), and finally its instrument museum. Germany 295. Bruckner, Hans. “Die Pfeifenmacherei in Berchtesgaden” [Pipe-making in Berchtesgaden]. Tibia 4, no. 2 (1979): 289–96. Wood-turning was associated with the Berchtesgaden monastery almost from its founding in 1100, although the first extant regulations date from the early sixteenth century. In the late eighteenth century the Berchtesgaden makers developed a special type of double recorder (“Paar Flauten”) with narrow bore and small fingerholes. There survive recorders and double recorders by Albrecht or Jakob Plaikner (fl. 1696–1708), Johann (b. 1716) or Joseph (b. 1722) Eggl, and the following members of the Walch family: Augustin Walch (b. 1668) or his brother Andreas (b. 1672); their brother Georg (b. 1690); Georg’s sons Johann Georg (b. 1764) and Lorenz (1735–1809); his grandson Lorenz II (1786–1862); and his greatgrandson Paul (1810–1873). Lorenz II’s brother Andreas (b. 1777) was also a “Flautenmachermeister,” as were several members of the Fischer family. An appetite-whetting article based on archival sources. Josef Zimmermann’s Die Pfeifenmacherfamilie Walch in Berchtesgaden (Breslau, 1937) is cited in the bibliography. Letter from John Henry van der Meer in 4, no. 3 (1979): 441. 296. Hakelberg, Dietrich. “Some Recent Archaeo-organological Finds in Germany.” Galpin Society Journal 48 (1995): 3–12. Reports on the recent find of what is probably the earliest surviving recorder: a fourteenth-century plumwood instrument in Göttingen. It is 256 mm long, in one piece, with a cylindrical bore, narrowing at the second and seventh fingerholes, and expanding at the bottom. The obliquely cut fingerholes taper conically outward (the opposite of the undercutting found in Baroque recorders). There are double holes for the bottom finger, allowing for left- or right-handed playing. Unfortunately, the top of the instrument is

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damaged. A reconstruction by Hans Reiners of Berlin produced a penetrating sound, rich in overtones, and a range of about two octaves. Curiously, opening the lowest finger hole (s) produces a semitone, not a tone. (In a commentary on Hakelberg’s article, Hermann Moeck, an expert in folk whistles, suggests that the lowest holes could originally have been tuning holes, which were later put to “higher service,” as it were.) In passing, Hakelberg corrects the dating of the celebrated Dordrecht recorder, which Horace Fitzpatrick believed to be from the mid-thirteenth century, arguing that it is more likely to be from the early fifteenth century. Hakelberg also reports the finding of a small ivory recorder in Lübeck similar to the Rosenborg recorders of the mid-seventeenth century. He speculates that it is the smallest surviving example of the instruments made by the Nuremberg Wildruf- und Horndreher (makers of animal calls and horn products). Hermann Moeck reports on the issue of the Galpin Society Journal in question in Tibia 20, no. 3 (1995): 546–48. A fuller version of the material on the Göttingen recorder appears in Dietrich Hakelberg, “Eine mittelalterliche Blockflöte aus Göttingen” [A medieval recorder from Göttingen], Göttinger Jahrbuch 42 (1994): 95–102. * Haynes, Bruce. “Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective.” Cited below as item 628. 297. Kauert, Kurt. “250 Jahre Blasinstrumentenbau im vogtländisch-westböhmischen Musikwinkel” [250 years of wind-instrument making in the west Bohemian (Vogtländ) musical region]. Das Musikinstrument 43, no. 11 (November 1994): 6–13. Woodwind-making in the (former East) German town of Markneukirchen goes back to at least the beginning of the seventeenth century, and there were a number of makers designated Pfeifenmacher (pipe maker) in the eighteenth. Recorder-making in Markneukirchen dates from the twentieth-century recorder revival, when Peter Harlan, after a visit to Arnold Dolmetsch in Haslemere in 1925, looked for local firms to make the instrument. Soon Alexander Heinrich, Johannes Adler, Albertus König, Gustav Herrnsdorf, Wilhelm Herwig, and others began to produce recorders in quantity. All of these firms were gradually absorbed into Musima, founded in 1954. See also item 433. 298. Kirnbauer, Martin. “‘No Smoke without Fire’: An Approach to Nuremberg Recorder Making in the Seventeenth Century.” In item 111, pp. 91–103. The established view has been that Nuremberg recorder-making was of minor importance in the seventeenth century, “a dark valley between the peaks of the Schnitzer family in the sixteenth century on one side and the Denner family in the eighteenth century on the other side.” Nickel (item 302) concluded that Hieronymus Franciscus Kinsecker is the only recorder maker of the period whose instruments survive. Yet Nickel also listed nearly forty (potential) seventeenth-century woodwind makers, so Kirnbauer begins with the idea that some of their work has probably survived (thus the proverb of the title). The bass recorders by Johann Christoph Denner (1655–1707), although they evolved over time, had some similar characteristics: an unusual spring, a master’s mark with fluttering ends to the scroll, and an unusual foot joint. Kirnbauer sees such instruments as a “cross-breeding” of the seventeenth-century Nuremberg recorder and the new French Baroque type. Most instruments by Kinsecker have a style of turning called “wave profile,” a style found on a number of other, so-far unattributed recorders. This unusual feature is reminiscent of animal horn, and perhaps originated with those Nuremberg makers who belonged to the Wildruf- und Horndreher (makers of animal

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calls and horn products). All Nuremberg makers of whatever rank were required to have their own master’s mark (see item 299), and most of the surviving wave-profile recorders have capital letters as marks (D, G, H, L, M, O, S). Kirnbauer concludes that not only the wave-profile instruments but also instruments with these marks were all made by Nuremberg makers—for example, a recorder in c3 marked M (in Modena), a recorder with undulating lines marked H (in Leipzig), and a set of recorders marked S (in Quedlinburg). 299. Kirnbauer, Martin. “Überlegungen zu den Meisterzeichen Nürnberger ‘Holzblasinstrumentenmacher’ im 17. und 18. Jahrhundert” [Reflections on the makers’ marks of the Nuremberg woodwind instrument makers in the seventeenth and eighteenth centuries]. Tibia 17, no. 1 (1992): 9–20. “Despite the groundbreaking work of Ekkehard Nickel on Nuremberg woodwind making [item 302], many kinds of questions on this complex theme are still open…. To these open questions belong, for example, those about the possibly surviving instruments of the Nuremberg ‘pre-Denner era.’ Bound up with this also is the question about the maker’s marks of the craftsmen, which would make an attribution of these instruments possible.” So begins this long, important article, which tries to answer those questions. In Nuremberg, wind-making was a “free art,” and the makers could belong to one of two guilds: first, the wood, bone, and brass turners; second, the “animal call” and horn makers (who also used ivory and bone). Makers’ marks were obligatory. Individual marks had to be clearly differentiated, yet marks could be taken over by other makers. The only surviving guild book of marks largely contains sets of initials, only occasionally a name or symbol. Hieronymus Franciskus Kinsecker signed himself HF on all instruments; only the larger ones also included his name and city. A large number of small recorders and flageolets survive that have various attributes in common, including the “wave profile” that appears on Kinsecker’s instruments. Therefore the makers can probably be associated with Nuremberg, and the waves correspond to the principal material of the animal call and horn makers—rippled animal horn. Many of these instruments have marks, particularly the initials D, H, M, O, and S, some of them later associated with “recorder makers” such as Schell, Denner, and Oberlender. The conclusion is that these initials belonged to the animal call and horn makers, being favored because of the small space available for a mark on the small instruments they made. In 1697, Schell and J.C.Denner, animal call and horn makers who began to make woodwind instruments exclusively, used both the old initials (obligatory) and their signatures inside a banner (voluntary); before then their instruments had been sold by other makers under their own marks. The plain initial D has been attributed without cause to J.C.Denner; it is more likely to have belonged to the “forgotten” brother Johann Carl, who made “nothing but recorders and flageolets.” The banner became an important attribute of a Nuremberg woodwind instrument, later copied by makers from Berchtesgaden and other cities. The I.C.DENNER mark was clearly used by other makers after Denner’s death in 1707, through the mid-eighteenth century. A similar situation is likely with J.W.Oberlender I and his successors. 300. Kirnbauer, Martin, and Dieter Krickeberg. “Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750” [Investigations into Nuremberg

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recorders of the period 1650–1750]. In Anzeiger des Germanischen Nationalmuseums 1987, 245–81. Nürnberg: Germanische Nationalmuseum, 1987. Detailed description of the authors’ measurements of the historical recorders in the Nuremberg collection as well as “comparison instruments” of non-Nuremberg provenance. Reports (for the alto recorders, then the basses) on such measurements as the conicity of the bores, the position and size of the fingerholes, and the relative lengths of the pieces of the instrument. A unique study. 301. Meer, J.H.van der. “Nuremberg Instrument Makers of the 17th and 18th Centuries.” American Recorder 18, no. 2 (August 1977): 33–37; 18, no. 3 (November 1977): 65– 69. Covers makers of both string and woodwind instruments. The recorder makers mentioned are Hieronymus Franciskus Kinsecker and the Denner family. Includes photographs of a Kinsecker consort as well as tenor and bass instruments by J.C.Denner and altos by Jacob Denner. * Moeck, Hermann. “Flötensignaturen auf alten Gemälden.” Cited above as item 251. 302. Nickel, Ekkehart. Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg [Woodwind instrument making in the German free town Nuremberg]. (Schriften zur Musik, Bd. 8.) Munich: Musikverlag Emil Katzbichler, 1971. ISBN 3873970082. A doctoral dissertation (Friedrich-Alexander-Universität Erlangen-Nürnberg, 1969) of great importance. See especially part C, chapter 4, “Die Flötenbauer des 17. und 18. Jahrhunderts” [The recorder and flute makers of the seventeenth and eighteenth centuries], which covers the following recorder makers: the Herbst family, Hieronymus Franciskus Kinsecker, the Denner family, Johann Schell, Nikolaus Staub, Johann Benedikt Gahn, the Zick family, the Oberlender family, the Löhner (Lehner) family, and Georg Franz Carl. Detailed biographies based on archival research and descriptions of surviving instruments. Part B, chapter 5 includes a similar study of the sixteenth-century Schnitzer family. Also includes transcriptions and a discussion of the Nürnberg instrument inventories of 1575,1598, and 1609. 303. Reiners, Hans. “Reflections on a Reconstruction of the 14th-Century Göttingen Recorder.” Galpin Society Journal 50 (1997): 31–42. Reiners first describes his reconstruction of the Göttingen instrument in considerable detail, disputing Hakelberg’s description of the bore (see item 296) and cautioning against making generalizations about recorders of this era. Then he notes his surprise that, beyond the normal compass, “all the whole tones and semitones listed in Ganassi’s ‘sette voce de più’ (seven additional notes) could be made to speak easily and clearly (except of course XV natural), up to XX…. Are we to understand, then, that someone was making ‘Ganassi recorders’ more than 150 years before Ganassi?” This leads him to reassess what Ganassi was trying to say: he was not relying on a special (“Ganassi”) instrument for his additional notes. Reiners disputes the finding of some modern recorder makers that instruments with the famous rabbit’s feet/silkworm moth mark (!!, which David Lasocki has put forward as the mark of the Bassano family in London and Venice [see items 330–32]) “fulfill the requirement of overblowing into the double octave (XV) and the major third above (XVII) with the same fingering as the fundamental note, leaving thumb-hole and, for XV, no. 2, fractionally open to help the change of register.” The rather fat recorders in the woodcut on Ganassi’s title page look more like Paris,

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Musée de Musique, no. 179–2–11, a tenor which has a length of 52 cm, “an enormous cylindrical bore of 28 mm and a sudden step to 21.5 below the 7th hole,” then a “flamboyant backbore. Alas, the instrument has no third-octave notes worth noting, but then Ganassi seems to expect those in full from the sopran only.” 304. Richardson, Paul. “Nuremberg, música y construcción de flautas de pico” [Nuremberg, music, and recorder-making]. Revista de flauta de pico, no. 5 (May 1996): 9–12. An overview of the recorder in the life of historic Nuremberg. Begins with the famous Dürer engraving of “Bathers of Nuremberg,” one of whom is playing a recorder while another plays a drum. The illustration of the musicians at the banquet to celebrate the end of the Thirty Years War in 1649 is too small for readers to be able to tell whether recorder players are included. After noting the existence of a wind instrument maker called Hannß Franck in Nuremberg as early as 1427, Richardson goes on to survey the principal makers of the seventeenth and eighteenth centuries: Kynseker and the Denner family. Great Britain 305. Halfpenny, Eric. “Biographical Notices of the Early English Woodwind-making School, c. 1650–1750.” Galpin Society Journal 12 (1959): 44–51. Brief biographies of five makers who produced French-style, jointed instruments in England: John Ashbury, Joseph Bradbury, Peter Bressan, Samuel Drumbleby, and the Stanesbys. Halfpenny argues that there was no connection between Peter Bressan and Pierre Jaillard Bressan, a position later refuted by Maurice Byrne in item 343. 306. Mezger, Marianne, and Ture Bergstrøm. “Die Kilmarnocker Flöte” [The Kilmarnock recorder]. Tibia 26, no. 1 (2001): 386–87. The collection of miniature instruments in Dean Castle, Kilmarnock, Scotland, includes an instrument described as “Sopranino recorder 18th c.” but probably neither a sopranino nor from the eighteenth century. Rather, it seems to be a rare seventeenthcentury soprano recorder at very high Cammerton with a narrow bore. Mezger describes her discovery of the instrument; Bergstrøm, his impressions of the design, fingerings, intonation, and the desirability of making modern copies. 307. Myers, Arnold. “A Renaissance Recorder in Edinburgh.” Recorder Magazine 21 [marked 21a], no. 3 (autumn 2001): 94–95. Describes an ivory tenor recorder acquired in 2000 by the Edinburgh University Collection of Historic Musical Instruments. The recorder, which bears the !! maker’s mark below the window, dates from the sixteenth or early-seventeenth century and was recorded in the inventory of the Margravate of Baden-Baden in 1772. Summarizes the measurements of the instrument made by Lerch and Löbner, who also created a replica from polymethyl methacrylate enriched with aluminum hydroxide. Italy * Bernardini, Alfredo. “Woodwind Makers in Venice, 1790–1900.” Cited below as item 363.

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308. Castellani, Marcello. “I flauti nell’inventario di Lorenzo il Magnifico (1492)” [Flutes in the inventory of Lorenzo the Magnificent]. In item 39, pp. 185–99. Tackles the inventory of the possessions of Lorenzo de’ Medici, known as “il Magnifico,” made upon his death in 1492. It contains three entries that mention “zufoli,” which could have been flutes or recorders. 309. De Gregorio, Vincenzo. “Flauto a becco sopranino del secolo XVII” [Sopranino recorder of the seventeenth century]. Il flauto dolce, no. 9 (June 1983): 36–37. Describes the discovery of a seventeenth-century sopranino recorder in an old house in Foligno in 1982. Includes a rough drawing. 310. Li Virghi, Francesco. “Il flauto diritto basso della collezione di Assisi” [The bass recorder in the collection at Assisi]. Il flauto dolce, no. 10/11 (January-June 1984): 51– 52. Briefly describes an anonymous Baroque bass recorder in the collection of the Biblioteca Comunale in Assisi, inside the Franciscan monastery. Includes a table of the deviations of the notes from equal temperament at a1 =415 Hz. The second page is a drawing with measurements. 311. Ongaro, Giulio. “16th-Century Venetian Wind Instrument Makers and Their Clients.” Early Music 13, no. 3 (August 1985): 391–97. Brings to light and discusses a significant sixteenth-century contract between three of the wind players of the Doge of Venice and two Venetian wind makers (Jacomo Bassano and Santo Griti). The terms of the contract concern a promise to supply instruments (including recorders), and the players acting as agents for the makers and lending money to them. Ongaro also furnishes the first documentary evidence of a link between the Venetian and Anglo-Venetian branches of the Bassano family. 312. Toffolo, Stefano. Antichi strumenti veneziani 1500–1800: Quattro secoli di liuteria e cembalaria [Early Venetian instruments, 1500s-1800s: four centuries of instrumentmaking]. Venice: Arsenale Editrice, 1987. 231 p. ISBN 8877430079. ML 503.8 .V46 T6 1987. An enormous expansion of item 313. The chapter on wind instruments includes a disappointingly short section on the recorder (pp. 174–75). The following chapter on wind instrument-making consists of brief studies of six makers, among them Santo Bassano and Andrea Fornari (documents about whom are presented in an appendix). Reviewed by John Henry van der Meer in Galpin Society Journal 41 (1988): 147–50. 313. Toffolo, Stefano. “La costruzione degli strumenti musicali a Venezia dal XVI al XIX secolo” [The construction of musical instruments in Venice in the sixteenth to nineteenth centuries]. Il flauto dolce, no. 14/15 (April/October 1986): 24–30. A series of four short essays on various aspects of Venetian instrument-making. The first essay quotes Francesco Griselini (1768) to the effect that under the rubric il flautajo (flute maker) one understands a craftsman who makes all wind instruments, “such as flutes, recorders, oboes, bagpipes, trumpets, horns, etc.” The third essay is on the sixteenth-century maker Santo Bassano. The fourth essay, on Andrea Fornari, includes a transcription of a petition by him (1791) in which he lists the woodwind instruments he makes, among them alto recorder, third flute, and octave flute. 314. Vio, Gastone, and Stefano Toffolo. “La diffusione degli strumenti musicali nelle case dei nobili, cittadini e popolani nel XVI secolo a Venezia” [The distribution of

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musical instruments in the houses of nobles, citizens, and commoners in sixteenthcentury Venice]. Il flauto dolce, no. 17–18 (October 1987-April 1988): 33–40 (English abstract, 92–93). Lists and analyzes the musical instruments mentioned in the inventories-after-death of sixteenth-century Venetians. Twenty-one of the more than twenty-six recorders (plus “a case”) in these inventories can be assigned to members of the three social classes: nobles (nine), citizens (ten), and commoners (two). The recorder is the fourth most frequently mentioned instrument (after the lute, harpsichord, and clavichord). “Ganassi” recorder 315. Loretto, Alec V. “Catajo and Ganassi: An Italian Castle and a Flauto Dolce.” Recorder Magazine 19, no. 2 (summer 1999): 43–44. Originally published in FoMRHI Quarterly, no. 91 (April 1998): 28–30 (Communication no. 1570). Loretto reports that we have all been mistaken about the provenance of the famous Vienna recorder (originally numbered C 8522, now SAM 135) that has been taken as the model for the “Ganassi” instrument by himself, Fred Morgan, and other makers. It originated in Catajo Castle (the C in the number stands for “Catajo”), which was built by Pio Enea Obizzi I, the inventor of the howitzer, in the early 1570s. His son, Pio Enea Obizzi II, added a theater and a collection of instruments for its orchestra. At some unspecified time, the collection acquired this recorder. Eventually the castle came into the possession of the Habsburg family, the rulers of Vienna. Toward the end of the nineteenth century, perhaps for fear of the actions of Italian nationalists, the Habsburgs moved the treasures of Catajo to Vienna, where they have remained ever since. 316. Lyndon-Jones, Maggie. “A Case for the ‘Ganassi Recorder’ in Vienna.” FoMRHI Quarterly, no. 92 (July 1998): 20 (Communication no. 1584). Reveals that our famous “Ganassi” was not a solo instrument, but part of a consort. Along with the recorders in the Vienna collection is a case (SAM 171) that bears the same variation of the maker’s mark as SAM 135, and the recorder fits into it perfectly. The case was made to hold four recorders: an alto, two tenors, and a bass. The same variation of the mark is found on three tenor recorders in the Vienna collection (SAM 146, 149, and 150), so they must have originally been part of at least two sets. The Netherlands 317. Acht, Rob J.M.van. “Dutch Wind Instruments from the Baroque Period: Scientific Qualities and Features.” Musique, images, instruments: Revue française d’organologie et d’iconographie musicale 4 (1999): 33–52. After brief comments on the importance of the Dutch woodwind “school,” immediately notes that in their instruments “we observe mainly a number of marked characteristics, but also many differences…. Their common features are mainly due to place—Amsterdam—and period—the heyday of Dutch wind instrument production between about 1600 and 1780.” Then discusses the instruments’ appearance and tone production. Finally, presents some of the results of a sound analysis carried out with the assistance of the Institute of Sonology in the Hague, including notes on pitch and tone

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color. An alto recorder by Engelbert Terton reveals “a colorful overtone structure [which] results in a round and dark tone color.” An appendix lists all of the surviving woodwinds by Dutch makers of the seventeenth and eighteenth centuries in both public and private collections, including eighty-eight recorders by eighteen makers. 318. Acht, Rob van. “Dutch Wind-instruments, 1670–1820.” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 38 (1988): 99–122. In Dutch as: “De bouw van houten blaasinstrumenten in Nederland in de periode 1670 tot 1820.” Bouwbrief, no. 49 (May 1988): 3–13; no. 50 (August 1988): 3–10. In German as: “Niederländische Blasinstrumente, 1670–1820.” Tibia 15, no. 3 (1990): 169–85. An English version without the survey of extant instruments as: “Dutch Wind-instrument Makers from 1670 to 1820.” Galpin Society Journal 41 (1988): 83–101. Draws together what is known about the school of woodwind makers that flourished in the Netherlands in the late seventeenth and eighteenth centuries. The school is more extensive than had previously been realized: no fewer than sixty-six recorders from nineteen makers survive, and inventories or advertisements show that a further ten makers made recorders. Gives biographical sketches of all the makers, lists the instruments now in the Hague as well as the whereabouts of other surviving instruments, and reproduces some of the makers’ marks. Caution: van Acht sometimes uses “flutes” in the sense of transverse flutes, sometimes to mean both flutes and recorders. Letter from Günter Angerhöfer in Tibia 16, no. 1(1991): 418. For a previous short essay on this subject, see S.A.C.Dudok van Heel and Marieke Teutscher, “Amsterdam als centrum van ‘fluytenmakers’ in de 17e en 18e eeuw,” in Historische blaasinstrumenten: De ontwikkeling van de blaasinstrumenten vanaf 1600, Kasteel Ehrenstein te Kerkrade, 6–28 Juli 1974 ([The Hague]: Haags Gemeentemuseum, Gemeente Kerkrade, Wereldmuziekconcours Kerkrade, 1974), 53–56; in English (trans. Peter Bree) as: “Amsterdam: From Flute Makers to Factories of Musical Instruments,” in Phillip T.Young, Loan Exhibition of Historic Double Reed Instruments (Victoria, B.C.: University of Victoria, 1988), iv-vii. 319. Acht, Rob van. “The Sound Quality of Dutch Wind Instruments from the Baroque Period: The Project (1).” In ISMA ’97 [International Symposium on Musical Acoustics, University of Edinburgh, 1997]: Proceedings, 533–42. (Proceedings, Institute of Acoustics, vol. 19, pt. 5.) St. Albans: Institute of Acoustics, 1997. OCLC #40236475. An expanded and more scientific version of the material presented to a general audience two years later in item 317. But an alto recorder by Thomas Boekhout, with “a rich, full and slightly hollow sound,” is used to demonstrate overtone structure. The second part of the article, published in ISMA ’98 (pp. 27–32; not seen), offers a comparison of “the results of the various analyses to which [Dutch] wind instruments were subjects.” * Acht, Rob van, Vincent van den Ende, and Hans Schimmel. Niederländischen Blockflöten des 18. Jahrhunderts=Dutch Recorders of the 18th Century: Sammlung/Collection Haags Gemeentemuseum. Cited below as item 420. 320. Bouterse, Jan. “The Bolhuis Auction (1764) of Musical Woodwind Instruments.” FoMRHI Quarterly, no. 89 (October 1997): 20–22 (Communication no. 1538). Michiel van Bolhuis was a magistrate on the city council of Groningen, the Netherlands. After his death in 1764, his large collection of musical scores, instruments,

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and art objects was auctioned off. The surviving copy of the auction catalog lists a number of woodwind instruments, including four recorders. A fifth recorder was not sold at the auction but was passed down in the Bolhuis family and is now in the hands of the granddaughter of the recently deceased Mr. Jonxis, a Groningen doctor. 321. Bouterse, Jan. “Early Dutch Fipple Flutes, with Emphasis on the Seventeenth Century and Jacob van Eyck.” In item 111, pp. 77–90. Begins by noting the importance of Richard Haka, who was born in London in 1646 and emigrated to Amsterdam with his parents as a child; he made recorders in both earlyBaroque and Baroque styles, having presumably studied with a Dutch maker. Asks the questions: How did woodwind-making develop in the Netherlands from the Renaissance to the Baroque? From whom did Haka learn to make instruments? Who made Dutch recorders in the middle of the seventeenth century? Takes an excursion to consider all surviving Dutch duct flutes from the seventeenth century and earlier: the “Dordrecht recorder,” a damaged recorder found in an Amsterdam excavation, bone whistles, duct flutes with three to five fingerholes and a thumbhole, tabor pipes, children’s “rattle flutes,” French flageolets, a sopranino recorder found in Rotterdam, another sopranino found in a former castle moat at ’t Huys Dever, an ivory alto recorder by IVH (probably Jan Jurriaanszoon van Heerde, an older contemporary of Haka), and a soprano recorder with a flared bell by Haka himself. A brief section considers “some of the possibilities and problems of iconography”—the problems being that “the painters allowed themselves some artistic freedom, or else they were just careless when depicting musical instruments.” Bouterse critiques the fingerings in the Matthyszoon chart. And he describes a doll’s house built for Petronella de la Court in Amsterdam, between 1670 and 1690; on the miniature harpsichord in the music room sit a miniature recorder and flute. He concludes that it is difficult to draw conclusions, other than that one-piece recorders were made well into the seventeenth century, the tuning a1=440 Hz was common, and Baroque instruments from sopranino down to bass have been preserved, making ensemble playing possible. 322. Bouterse, Jan. “Historical Dutch Recorders in American Collections.” American Recorder 33, no. 3 (September 1992): 14–18. Describes the eight pre-1760 Dutch recorders extant in the United States: an alto by Abraham van Aardenberg, a soprano by Richard Haka, and an alto by “I-V-H” (see item 321) in the Shrine to Music Museum (Vermillion, S.D.); a sixth flute by Willem Beukers and an alto by Engelbert Terton in the Library of Congress; a soprano by Thomas Boekhout in the Metropolitan Museum of Art (New York, N.Y.); and a bass recorder by Boekhout and an alto by Terton in private collections. For most of the recorders, the description offers physical specifications (including stamps and other markings), an evaluation of pitch and intonation, and an assessment of present playing condition. Includes several detailed drawings with measurements. 323. Bouterse, Jan. “The Inventory of the Musical Instruments of Michel Charles Le Cene (1743).” FoMRHI Quarterly, no. 90 (January 1998): 18–19 (Communication no. 1552). Le Cene (d. 1743) was one of the most important publishers of the late-Baroque era, the son-in-law and successor to the celebrated Etienne Roger in Amsterdam. The inventory of instruments in his possession at the time of his death included no fewer than

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thirteen recorders. Bouterse, introducing this inventory, does not make clear whether these instruments were ones that Le Cene was selling or whether they were for his own use. Many music publishers of the time owned shops where, besides music, they also sold books and musical instruments. As Bouterse points out, the descriptions of the recorders, though short, are fascinating and raise a number of questions, notably why there were so many more instruments by the London-based Bressan than by Dutch makers. 324. Bouterse, Jan. Nederlandse houtblasinstrumenten en hun bouwers, 1660– 1760=Dutch Woodwind Instruments and Their Makers, 1660–1760. Doctoral diss., Universiteit Utrecht, 2001. CD-ROM available from Huis-muziek, Moeder Magdalenastraat 4, NL-6109 RC Ohé en Laak, Netherlands. In Dutch with English summary and table of contents. An impressive, comprehensive survey of the Dutch woodwind makers and their surviving instruments, made even more useful by the ability of the CD-ROM format to hold copious color illustrations (over twenty-five hundred!). The main chapters cover: (1) sources and methodology; (2) biographies; (3) the origin, importance, and relations of the makers; (4) lists of surviving and lost instruments; (5) the production and distribution of the instruments; (6) maker’s marks and inscriptions; (7) recorders; (8–11) traversos, oboes and Duitse schalmeien, bassoons and rackets, and clarinets. Appendixes cover: (A) historical Dutch nomenclature; (B) earlier Dutch woodwind instruments; (C) a discussion of iconographic research; and (D) full descriptions and measurements of the surviving instruments. The recorder chapter is first divided by size and type of instrument (sopraninos, third and sixth flutes, altos, tenors and voice flutes, basses, walking-stick recorders, double recorders, French flageolets), then by maker (van Aardenberg, Beukers, Boekhout, Borkens, Eerens, Haka, van Heerde, de Jager, Parent, Roosen, Rijkel, Steenbergen, Terton, Wijne), with a concluding overview. We look forward to the planned English translation. 325. Bouterse, Jan. “The Selhof Auction (1759).” FoMRHl Quarterly, no. 89 (October 1997): 23–26 (Communication no. 1539). Five years before the Bolhuis auction (see item 320), in 1759, the music library, instruments, and other property of Nicolas Selhof, a music seller in the Hague, were also sold at auction. The catalog (published in facsimile by Frits Knuf in 1973) lists even more woodwind instruments, including twenty-six recorders, among them “a long bass recorder by R.T. [recte P.I.] Bressan,” “the same by De Bie” (probably a Dutch or Flemish maker), “a first and a second recorder by Borkens” (apparently a matched pair, perhaps with different properties), and “two walking stick alto recorders.” 326. Rice, Albert R. “The Musical Instrument Collection of Michiel van Bolhuis (1764).” Journal of the American Musical Instrument Society 18 (1992): 5–21. The Groningen collector Michiel van Bolhuis left a great many books, scores, and musical instruments on his death in 1764. The auction catalog listed fifty-one instruments, including four recorders (among them a flûte d’accord, or double recorder, made by Michiel Parent, tuned in thirds) and a transverse flûte by Johann Wilhelm Oberlender “with a mouthpiece similar to a recorder.” Briefly discusses all the instruments.

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Dordrecht recorder * Bouterse, Jan. “Early Dutch Fipple Flutes, with Emphasis on the Seventeenth Century and Jacob van Eyck.” Cited above as item 321. * Fitzpatrick, Horace. “The Medieval Recorder.” Cited below as item 731. * Hakelberg, Dietrich. “Some Recent Archaeo-organological Finds in Germany.” Cited above as item 296. 327. Weber, Rainer. “Recorder Finds from the Middle Ages, and Results of Their Reconstruction.” Galpin Society Journal 29 (1976): 35–41. Describes and discusses two medieval recorders discovered during excavations in Dordrecht and Würzburg (a fragment). Includes a report on the Dordrecht excavation by Clemens von Gleich. Spain 328. Kenyon de Pascual, Beryl. “Ventes d’instruments à vent à Madrid au 2e moitié du 18e siècle” [Wind instrument sales in Madrid in the second half of the eighteenth century]. Larigot: Bulletin de l’Association des Collectionneurs d’Instruments à Vent, no. 15 (June 1994): 24–27. An abridged version of: “Ventas de instrumentos musicales en Madrid durante la segunda mitad del siglo XVIII.” Revista de musicologia 5, no. 1 (1982): 309–23. Reports on the results of the author going through the daily newspaper of Madrid published between 1758 and 1799, unearthing numerous references to musical instruments advertised as for sale (or lost). There are two references to recorders being sold: (1) 1758, “two recorders made by one of the better makers, decorated with ivory and silver”; (2) 1788, “two recorders of fine wood and high voices [small sizes?] ornamented with excellent carvings and other working.”

INDIVIDUAL MAKERS Bassano Family 329. Kenyon de Pascual, Beryl. “Bassano Instruments in Spain?” Galpin Society Journal 40 (1987): 74–75. Cites archival evidence from Spain to show that the cathedral of Rodrigo ordered recorders from England in 1567, and that in 1626 the cathedral of Huesca owned a case of eight recorders together with a very large recorder that had been bought in England at an unknown date. Suggests that these instruments were all made by the Bassanos in England. 330. Lasocki, David. “The Anglo-Venetian Bassano Family as Instrument Makers and Repairers.” Galpin Society Journal 38 (1985): 112–32. Based on item 126, especially pp. 555–71. Summarizes the lives and careers of the family, then discusses in detail their making and repairing of recorders, other wind

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instruments, viols, and lutes. Suggests that the Bassanos made the large recorders depicted by Mersenne (1636). Speculates that the “rabbit’s feet” mark found on many surviving sixteenth-century woodwind instruments belonged to the family (see also items 331 and 334). 331. Lasocki, David. “The Bassanos: Anglo-Venetian and Venetian.” Early Music 14, no. 4 (November 1986): 558–60. Drawing on recent evidence unearthed by Ongaro (item 311), demonstrates the relationship between the Bassanos who emigrated to England in the 1530s and those who remained in Venice. Speculates on the meaning of that relationship for instrumentmaking in the sixteenth century, particularly that the !! mark was used by both branches of the family. (But see item 334.) 332. Lasocki, David. “The Bassanos’ Maker’s Mark Revisited.” Galpin Society Journal 46 (1993): 114–19. Summarizes the recent research on the Bassanos’ maker’s mark. Then presents a new theory: that the “rabbit’s feet” mark does in fact represent a silkworm moth, which appears on the Bassano family coat of arms (now thought to have been brought from Venice by the original five brothers). 333. Lasocki, David, with Roger Prior. The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–1665. Aldershot, Hampshire: Scolar Press; Brookfield, Vt.: Ashgate, 1995. xxxvi, 288 p. ISBN 0859679438. ML 385 .L367 1995. The most detailed account published to date of the Anglo-Venetian Bassano family. Covers: biographies; economic affairs, privileges, and social standing; Jewish identity; performing; composing; instrument-making and repairing; and the question Was Emilia Bassano the Dark Lady of Shakespeare’s sonnets? Extensive bibliography. Appendixes include “Music and the English Bassanos after 1665,” and notes on Jacomo and the Venetian Bassanos. Intended to supersede the earlier study by Eleanor Selfridge-Field, “Venetian Instrumentalists in England: A Bassano Chronicle (1538–1660),” Studi musicali 8 (1979): 173–221. Reviewed by Clifford Barlett in Early Music Review, no. 13 (September 1995): 3; Christopher Brodersen in Continuo 19, no. 5 (October 1995): 41– 42; Anthony Rowland-Jones in Leading Notes 5, no. 2 (1995): 28–30; Early Music Today 3 (October-November 1995): 23; Jeffrey Nussbaum in Journal of Synagogue Music 24, no. 2 (December 1995): 139–40; Trevor Herbert in Historic Brass Society Journal 7 (1995): 207–9; Michael Fleming in Chelys: The Journal of the Viola da Gamba Society 24 (1995): 62–64; Emile Roi in the Jerusalem Post Magazine, 26 January 1996, 20; Brett Usher in Consort 52, no. 1 (May 1996): 43–44; Douglas Kirk in American Recorder 37, no. 5 (November 1996): 33–35; Gordon Gallon in Notes 53, no. 2 (December 1996): 451–53 (with response by Lasocki in 54, no. 1 [September 1997]: 306); Giulio Ongaro in Journal of the American Musical Instrument Society 23 (1997): 158–61; Edgar Hunt in Galpin Society Journal 50 (1997): 290–91; and Jeremy Montagu in FoMRHI Quarterly, no. 92 (July 1998): 6–7. 334. Lyndon-Jones, Maggie. “The Bassano/HIE(RO).S/!!/Venice Discussion.” FoMRHI Quarterly, no. 47 (April 1987): 55–61 (Communication no. 802). Begins by summarizing what is now known about the Anglo-Venetian Bassano family as instrument makers (see items 311 and 330–31). Then adds important information and theories about surviving instruments and makers’ marks that could be linked with the

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family. An appendix aims to list all surviving instruments with the marks HIE(RO).S. (or variants) and !! (or variants). Further suggestions about the !! maker’s mark are in Douglas Kirk, “Cornetti and Renaissance Pitch Standards in Italy and Germany,” Journal de musique ancienne 10, no. 4 (summer 1989): 16–22. 335. Lyndon-Jones, Maggie. “A Checklist of Woodwind Instruments Marked !!.” Galpin Society Journal 52 (1999): 243–80. Lyndon-Jones, in seeking to clear up some of the mystery surrounding the !! and Hieronymus marks, traveled around European collections and made an inventory of all instruments with such marks: cornettos, crumhorns, curtals, flutes, recorders, and shawms. In this helpful inventory she classifies the !! instruments by type of mark—no fewer than eighteen different types (plus some unclassified because they were too faint, unique, or unseen by her), illustrated with photographs. Forty-two percent of the !! instruments belong to the first four types: A (before 1628; twenty-two examples), B (ca. 1559–1608, twenty-seven examples), C (before 1596, ten examples), D (three examples). After the inventory, Lyndon-Jones has a series of useful “conclusions and observations,” the most important of which would be that “[t]here is no evidence that [the !! mark] was the exclusive mark of the Bas-sano family,” if it were not for the fact that she found no evidence that it wasn’t the exclusive mark of the Bassano family. Appendixes (1) sum up what is known about the Bassanos’ instrument-making and (2) list many contemporaneous references to English and Venetian wind instruments. 336. Lyndon-Jones, Maggie. “More Thoughts on the Bassanos.” FoMRHI Quarterly, no. 83 (April 1996): 18–28 (Communication no. 1428). A summary of the Bassanos’ instrument-making activities (based largely on David Lasocki’s research) and some thoughts on the family. Suggests that the five musicians on the title page of Sylvestro da Ganassi’s Opera intitulata Fontegara (Venice, 1535) may be the Bassanos. Her evidence is that through the window in the background can be seen a small hill town with two mountain peaks behind—the same view that appears in the background of a painting, “The Adoration of the Shepherds,” by a famous artist from the town of Bassano, Jacopo Bassano (no relation to the musicians). 337. Lyndon-Jones, Maggie. “Who was HIE.S/HIER.S/HIERO.S?” FoMRHI Quarterly, no. 83 (April 1996): 10–17 (Communication no. 1427). Lyndon-Jones, in the process of making a photographic study of all the surviving Hieronymus and !! marks (published later as item 335), presents some of her preliminary findings. It is possible that the Venetian branch of the Bassano family (Jeronimo I, Jacomo, Santo) used the HIER.S. mark. A couple of other possible makers with the first name Hieronimo lived in or near Venice during the sixteenth century: Hieronimo de Udine and Jheronimo Geroldi. Two of the cornettos marked HIER.S. are also stamped with double eagles, perhaps the mark of the Tiefenbrucker family, who may have sold instruments by other makers at their shop in Venice. It may be significant that all surviving references to the bassanello (invented by Jeromino I or Santo Bassano) are found in conjunction with curtals, sometimes with especially low ones. None of these findings is conclusive—and indeed, she offers no real conclusions—but they do push the identity of Hieronimo closer to the Bassano family. 338. Marvin, Bob. “A Bassano flauto.” FoMRHI Quarterly, no. 41 (October 1985): 22– 23 (Communication no. 651).

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Gives suggested measurements for the type of recorder that might have played sixteenth-century “diminutions and ricercare, the best known perhaps being those of G [iovanni] Bassano (1585).” * Ongaro, Giulio. “16th-Century Venetian Wind Instrument Makers and Their Clients.” Cited above as item 311. 339. Ruffatti, Alessio. “La famiglia Piva-Bassano nei documenti degli archivi di Bassano del Grappa” [The Piva-Bassano family in documents of the Bassano del Grappa archives]. Musica e storia 6, no. 2 (December 1998): 349–67. In item 333, David Lasocki appealed for research to be done in Venetian archives to shed light on the early history of the family. In this article, Ruffatti reports that he searched not only in Venice but also the city of Bassano itself and found several interesting documents, which shed light on the history of the family in the late fifteenth and early sixteenth centuries. (For more details, see item 15.) 340. Ruffatti, Alessio. “Italian Musicians at the Tudor Court—Were They Really Jews?” Jewish Historical Studies 35 (1996–1998): 1–14. On the basis of recently discovered documents about the Bassano family (see item 339), Ruffatti now seeks to show that their evidence refutes Roger Prior’s hypothesis, which David Lasocki has endorsed, that the Bassanos were of Jewish origin. Alas, in doing so he distorts or ignores Prior’s evidence (for details, see item 16). In our opinion, the Jewish hypothesis has been the best produced so far to explain some features of the family’s lives and behavior. Boekhout, Thomas (1666–1715) 341. Bouterse, Jan. “Die Baßblockflöten von Thomas Boekhout” [The bass recorders of Thomas Boekhout]. Tibia 24, no. 2 (1999): 457–61. Boekhout’s workshop produced the largest numbers of surviving basses of any Dutch maker. Bouterse begins by lamenting the surprisingly small amount of interest in Baroque basses: “Today there are only a few recorder players who play Baroque sonatas with a bass recorder, and consort music is mostly performed on copies of Renaissance instruments. Players seldom ask about Baroque bass recorders.” Boekhout experimented with his bass recorders, making both one-keyed and two-keyed models (the second key being for the third finger hole) at several pitches. It was presumably about the two-keyed models he was writing when he advertised (in 1713) that he “makes and sells…bass recorders which produce all their notes like a normal [alto] recorder.” Bouterse suggests this is a reference to the fact that one-keyed bass recorders, because of the positioning of the fingerholes, tend to be out of tune on their C- and D-octaves, but the second key eliminates this problem. Bressan, Peter (1663–1731) 342. Boydell, Barra. “Another Bass Recorder by Bressan.” Galpin Society Journal 32 (1979): 131–33. Description and measurements of an instrument housed in a private home near Dublin. 343. Byrne, Maurice Anthony. “Pierre Jaillard, Peter Bressan.” Galpin Society Journal 36

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(1983): 2–28. Previously, little was known of the life of Bressan, one of the great recorder makers of the Baroque era. In a tour de force of archival work, Byrne establishes Bressan’s life in detail: his birth in Bourg-en-Bresse in 1663 as Pierre Jaillard, training (still a hazy area), appearance in London around 1691, marriage and family, residence, publishing ventures, association with Schuchart, denization, exhibitions of anatomical bodies and other objects, death while in Tournai, and will, as well as the difficulties over his estate and some vignettes from his business in the 1720s. He lived at Duchy House, formerly the town residence of the chancellor of the Duchy of Lancaster, so his maker’s mark is presumably a representation of the red rose of Lancaster. Appendixes include the apprenticeship agreement, the will, and a partial inventory of Bressan’s estate, recorded in November 1731. Unfortunately, marred by some awkwardness in prose and organization, but still well worth plowing through. 344. Byrne, Maurice. “More on Bressan.” Galpin Society Journal 37 (1984): 102–11. Discusses in detail some legal cases involving Bressan and his estate. Brings to light some important new information, including the exact date of his arrival in England (1688), the fortune he had made by the time of his marriage in 1703, the falling off of his trade by 1715 (Byrne states this was because of the decline in popularity of the recorder), the financial extravagance of his temperamental wife, his eventual money problems, and his leaving for Tournai to live alone in 1730. 345. Byrne, Maurice. “Peter Bressan.” Recorder & Music 7, no. 10 (June 1983): 250. A summary of the biographical material in item 343. 6. Chilton, Charles. “Recording for the BBC Sound Archives.” Recorder and Music Magazine 1, no. 10 (August 1965): 298. Describes a BBC project to record music played on original instruments—in particular, a group of Bressan recorders (including the instruments from the Chester Museum) played by Frans Brüggen, Edgar Hunt, Walter Bergmann, and Beverly Smith in March 1965. 347. Dart, Thurston. “Bressan and Schickhardt.” Galpin Society Journal 10 (1957): 85– 86. Written in response to items 348 and 542. Discusses the forms and origins of Bressan’s name and incorrectly identifies the maker named Schuchart as Johann-Jakob Schickhardt. Superseded by the work of Byrne (item 343). 348. Halfpenny, Eric. “The Bass Recorders of Bressan.” Galpin Society Journal 8 (1955): 27–31. A detailed description, with measurements, of three Bressan basses housed in the following collections: Grosvenor Museum, Chester; St. Peter Hungate, Norwich; and the Victoria and Albeit Museum, London. 349. Hunt, Edgar. “Left-handed Recorders by Bressan.” Galpin Society Journal 37 (1984): 121. A brief note on Hunt’s examination of left-handed recorders in the Grosvenor Museum, Chester. Dale Higbee comments on his own left-handed Bressan voice flute in 38 (1985): 143. 350. Hunt, Edgar. “Life of a Bressan.” Recorder and Music Magazine 2, no. 5 (May 1967): 157.

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The story of the acquisition of Hunt’s Bressan alto recorder (“my most valued possession”), his early performances on the instrument, its survival of an air-raid bombing, its appearance in several exhibitions, the performances on the instrument by Hunt and Frans Brüggen, Coolsma’s plans to copy the instrument (see item 447), and the qualities that make it an excellent recorder. * Loretto, Alec V. “Happy Birthday, Whenever That May Be! Or, Is There a Musicologist in the House?” Cited above as item 179. 351. Meadows, Hilary. “‘Happy Birthday, Whenever That May Be’: Further Thoughts on Mr. Loretto’s Article.” Recorder Magazine 15, no. 3 (September 1995): 87–88. Picks up on one of Loretto’s requests for musicological research on the recorder (see item 179). Meadows reports that she traced the correct entry for the celebrated Bressan recorder on which Arnold Dolmetsch based his first recorder copies in Sotheby’s sale catalog for 1905, when Dolmetsch bought it for £2: “111. VARIOUS. A box-wood and ivory recorder, by Barton [sic].…” Then she reports on her examination of the instrument, now in the Horniman Museum, London. Dolmetsch put a band around the ivory mouthpiece, presumably because it was cracked, then replaced it. Then he replaced the block, changing Bressan’s narrow curved windway for “the typically Dolmetsch, wide, straight windway.” 352. Waterhouse, William. “A Case of Flutes by Mr Bressan.” Galpin Society Journal 46 (1993): 162–63. Reports the recent discovery of a pair of Bressan alto recorders in its original case. Describes the case in detail (and there are also two photographs). 353. “Woodwind Instruments by P-I Bressan.” Galpin Society Journal 17 (1964): 106–7. Lists thirty-two recorders, their owners, and their sizes. See also the occasional “Current Register of Historic Instruments” scattered throughout Galpin Society Journal. Chester recorders 354. Bergmann, Walter. “The Chester Recorders.” Recorder and Music Magazine 1, no. 5 (May 1964): 141. The Chester recorders were discovered in 1886, when a collection of antiquities belonging to the Chester Archaeological Society was moved to new quarters. The collection consists of six Bressan instruments: the traditional set of four “Chester” recorders (f1, d1, c1, f), and two others (f1, eb1) that are locked away. Bergmann describes the instruments and offers a bibliography of literature. * Bridge, J.C. “The Chester ‘Recorders.’” Cited above as item 90. 355. Dolmetsch, Carl. “Cataclysms and the Chester Recorders.” Recorder & Music 5, no. 6 (June 1976): 192–93. Dolmetsch’s account of his work on voicing and refurbishing the Chester recorders. Paul Jacobs, in 5, no. 7 (September 1976): 239, questions whether Dolmetsch should have tampered with the Chester recorders, asserting that Dolmetsch rendered them useless as models for copies. Dolmetsch replies in 5, no. 8 (December 1976): 263 that he did only what was necessary to make them playable. Alan Davis rises to Dolmetsch’s defense in 5, no. 9 (March 1977): 299. * Kinsell, David. “J.C.Bridge and the Recorder.” Cited above as item 175.

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Denner Family 356. Bouterse, Jan. “Four Baroque Recorders at Sotheby’s, November 1996.” FoMRHI Quarterly, no. 86 (January 1997): 31–35 (Communication no. 1501). Describes three of the four Baroque recorders at this auction (it turned out that he had seen the fourth before—a damaged voice flute by Beukers): an alto by Stanesby Jr., and an alto and tenor by Jacob Denner. 357. Kirnbauer, Martin, and Peter Thalheimer. “Jacob Denner and the Development of the Flute in Germany.” Early Music 23, no. 1 (February 1995): 83–100. Mostly concerned with the Denner’s (transverse) flutes, but includes a new biographical source (Doppelmayr, 1730) that presents Denner as not only “a worldfamous master of his own and other instruments but…specially remarkable for his oboe playing.” 358. Nickel, Ekkehart. “Johann Christoph und Jacob Denner: Zwei Lebensbilder” [Johann Christoph and Jacob Denner: two biographical sketches]. Tibia 4, no. 3 (1979): 393–95. Sketches the lives of Johann Christopher Denner and his son Jacob, two of the most important woodwind makers of the late Baroque, based on material in item 302. 359. Warner, Robert Austin, and Friedrich von Huene. “A Jacob Denner Recorder in the United States of America.” Galpin Society Journal 21 (1968): 88–96. Discusses a recorder in the Stearns Collection as well as Denner recorders at the Royal College of Music, London, and the Musikhistorisk Museum, Copenhagen. 360. Young, Phillip T. “Woodwind Instruments by the Denners of Nürnberg.” Galpin Society Journal 20 (1967): 9–16. Lists twenty-seven recorders by Johann Christoph Denner and six by plain “Denner.” Includes information on physical characteristics and ownership. J.H.van der Meer makes additions and corrections in 21 (March 1968): 208. 361. Young, Phillip T. “Some Further Instruments by the Denners.” Galpin Society Journal 35 (1982): 78–85. An update of item 360. Includes five plates illustrating Denner recorders. John Henry van der Meer comments on one of the bass recorders in 36 (1983): 127–28. Firth, Pond & Co. 362. Thompson, Richard. “The Anachronistic Recorder.” Illustration by Russell Gerhardt. American Recorder 2, no. 4 (fall 1961): 3. Discusses a mid-nineteenth-century capped duct flute made in New York by Firth, Pond & Co. Includes comments by Russell Gerhardt. Letter from Alfred H.Sinks in 3, no. 1 (February 1962): 22. Fornari, Andrea (1753–1841) 363. Bernardini, Alfredo. “Woodwind Makers in Venice, 1790–1900.” Journal of the American Musical Instrument Society 15 (1989): 52–73. An expanded English translation

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of: “Andrea Fornari (1753–1841) ‘fabricator di strumenti’ a Venezia” [Andrea Fornari (1753–1841), instrument maker in Venice]. Il flauto dolce, no. 14/15 (April/October 1986): 31–36. Includes a study of the life and work of Andrea Fornari, who was primarily a maker of oboes and English horns but also made recorders (see also item 313). Haka, Richard (1645 or 46–1705) 364. Bouterse, Jan. “Three Baroque Soprano Recorders by Richard Haka: Instructions on How to Make a Copy.” Woodwind Quarterly, no. 1 (May 1993): 120–33. Begins by describing the recorders in question (now in the Frans Brüggen collection, the University of Leipzig, and the Shrine to Music Museum). The point of looking at three different instruments by the same maker is to avoid copying “the problems and faults” of any one instrument. Presents comparative pitch measurements over the range c2 to c4, then discusses a few problems with them. Speculates on the original pitch of these instruments (which has changed over time with shrinkage of the wood). Finally, presents tips, measurements, and drawings for making a usable copy, preferably of the Shrine to Music Museum instrument. Heitz, Johann (1672–1737) 365. Hart, Günter. “Johann Heitz (1673–1737).” Tibia 2, no. 1 (1977): 207–8. A short biography. Includes photographs of two of his alto recorders (Carse Collection, London; Dayton Miller Collection, Library of Congress, Washington, D.C.). 366. Kirnbauer, Martin, and Dieter Krickeberg. “Musikinstrumentenbau im Umkreis von Sophie Charlotte” [Musical instrument making in the circle of Sophie Charlotte]. In Sophie Charlotte und die Musik in Lietzenburg, 47–60. Berlin: Staatliches Institut für Musikforschung Preussischer Kulturbesitz, 1987. Surveys the life and work of Heitz, fourteen of whose signed recorders survive (thirteen altos and one bass). Most of these have the unusual construction of a boxwood body with a tortoiseshell coating and ivory ornamentation. Suggests that Bressan, the only other maker known to have used tortoiseshell technique, could have been Heitz’s teacher. Hotteterre Family 367. Bowers, Jane. “The Hotteterre Family of Woodwind Instrument Makers.” In Concerning the Flute: Ten Articles Dedicated to Frans Vester…, 33–54. Amsterdam: Broekmans en Van Poppel, 1984. OCLC #12363269. ML 55 .V39 1984. Presents biographies of the seven principal known makers of the family: Jean (d. 1690/92?), Nicolas (l’aîné; ca. 1637–1694), Louis (d. 1716), Nicolas (le jeune or Colin; 1653–1727), Jean (ca. 1648–1732), Martin (d. 1712), and Jacques (le Romain; 1674– 1763). Includes an elaborate family tree on a folded insert. Concludes with a section on the eighteen extant Hotteterre instruments (three flutes, two oboes, five alto recorders, five tenor recorders, and three bass recorders). Describes the makers’ marks and

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speculates on which of the Hotteterres might have used particular marks and made specific instruments. A table of the eighteen instruments offers details on the mark, materials, and present location for each. See also Bowers’s article on Hotteterre in The New Grove Dictionary of Musical Instruments (New York: Grove’s Dictionaries of Music; London: Macmillan, 1984). 368. Giannini, Tula. “Jacques Hotteterre le Romain and His Father, Martin: A ReExamination Based on Recently Found Documents.” Early Music 21, no. 3 (August 1993): 377–95. Uses new archival documents to extend our picture of the Hotteterre family in several ways. Jean I had a previously unknown son called Jean, who was in the woodwindmaking business with his father and brother, Martin. Distinguishes two other Hotteterre workshops: those descending from Louis I and Nicolas I. Suggests that the makers’ marks of these three workshops were “Hotteterre” with an anchor below; “N/Hotteterre” with a six-pointed star above; and “L/Hotteterre” with a fleur-de-lis above, respectively. Another previously unknown Hotteterre, Jacques, son of Louis I, seems to have been working for the British court as a musician in 1675 (not mentioned in any British source discovered so far); he is likely to have been an instrument maker too, and the man who introduced the French woodwinds to England. An inventory made of Martin’s workshop a year before his death shows that he specialized in recorders and flutes; several sizes of recorder are mentioned—“petites,” quintes, tailles, and basses. Jacques Hotteterre le Romain seems to have ceased making instruments in 1720 and had essentially retired by 1728. Letter from David Lasocki in 22, no. 1 (February 1994): 186–88, with a reply by Giannini. 369. Hunt, Edgar. “A Hotteterre Tenor?” Recorder & Music 4, no. 9 (March 1974): 327. Concerns a tenor in the Donaldson Collection at the Royal College of Music. Includes a description and measurement of the instrument. Concludes that the tenor “certainly looks like an Hotteterre and has the characteristic rounding of the upper part of the mouthpiece; but I should hesitate to pontificate and say that it is one, without studying more examples.” Palanca, Carlo (d. 1783) 370. Bernardini, Alfredo. “Carlo Palanca e la costruzione di strumenti a fiato a Torino nel settecento” [Carlo Palanca and wind-instrument-making in Turin in the eighteenth century]. Il flauto dolce, no. 13 (October 1985): 22–26. Principally an archival study of the life and work of bassoonist and woodwind maker Palanca (fl. 1719, d. 1783) from whom survive the greatest number and greatest variety of instruments of any eighteenth-century Italian woodwind maker. Criticizes the quality of his workmanship. Although one would expect his instrument-making to have been influenced by the French (several French oboists were among his colleagues), he seems to have developed in isolation. Pörschmann, Johann (ca. 1680–1757) 371. Bergstrøm, Ture. “Pörschmann-blockflöjten på Musikhistorisk Museum: Beretning

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om en teknisk undersøgelse” [A Pörschmann recorder in the Musikhistorisk Museum: report of a technical examination]. In Musikkens Tjenere: Instrument-Forsker-Musiker: Jubilæumsskrift for Musikhistorisk Museum og Carl Claudius’ Samling 1898–1998, ed. Mette Müller and Lisbet Torp, 139–65. Copenhagen: Museum Tusculanums Forlag, 1998. In Danish with English summary (pp. 161–62). According to the summary, the only surviving recorder by the Leipzig maker Johann Pörschmann is an alto found in Copenhagen. The article describes the measuring of the instrument, some of the general problems involved in measuring woodwinds, and new tools for measuring the bore. “The bore appeared to have features unknown in other Baroque recorders: a tapered narrowing course in the head of the recorder, combined with an out-going [that is, expanding] step at the transition from the head to the middle piece.” The poor condition of the block did not allow any impressions of the sound of the instrument to be gained. Includes a technical drawing and a colored photograph. Rafi, Claude (before 1515–1553) 372. Bär, Frank P. “‘…FAICT DE LA MAIN DE RAFFY LYONNOIS…’: Folgerungen aus einem Sigmaringer Instrumentenfund” [“…made by the hand of Rafi, Lyons…”: conclusions from a Sigmaringen instrument find]. Musik in Baden-Württemberg 2 (1995): 75–108. A long meditation on a recorder by Claude Rafi found in the Sigmaringen Schloß collection as well as three more surviving recorders by this maker (two found in Bologna, one in Eisenach), the four of which may have been part of a consort. Filadelfio Puglisi (see item 416) proposed that, in addition to three members of the Rafi family from Lyons in the first half of the sixteenth century—Michaud, Claude, and Pierre—there was another one with the mark “G.RAFI” in the seventeenth century, perhaps in Italy. But there is no biographical evidence that the Rafi workshop continued after Claude’s death in 1553, and Bär shows that the maker’s mark could not be Italian. Puglisi also believed that the “P/. GRE/C/E” recorders also found in Bologna formed a group with the “G.RAFI” ones and were all made in the seventeenth century. Bär argues that the unusual features of the “G.RAFI” recorders have nothing to do with that century but are due to their having been made by a man who was primarily a flute maker. He concludes that “at the Sigmaringen Schloß is kept one of the oldest recorders [that may] have been made in a consort.” Rauch Yon Schratt, Hans 373. Weber, Rainer. “Säulenblockflöten—Columnarflöten—Colonnen?” [Column recorders—Columnarflöten—Colonnen?]. Musica instrumentalis: Zeitschrift für Organologie 1 (1998): 94–105. An important article, dealing with a neglected area of recorder history: the “column recorders” made by Hans Rauch of Schrattenbach in the late sixteenth century. Five of them survive: a soprano in Frankfurt, altos in Brussels and a private Japanese collection, and a tenor and a bass in Paris. The instruments have a range of about two octaves with close-to-Ganassi fingering. Weber begins by disposing of Curt Sachs’s idea that they

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were “Columnarflöten” made by Anton Caseau, showing that they were actually called “Collonen” in an inventory of 1589 and are likely to have been reed instruments, perhaps similar to sordunes. He also demonstrates that Charles Burney’s account (1772) of encountering such instruments in Antwerp is fraught with errors. The main parts of the article deal with the unusual construction of the instrument (a doubled-back bore like a curtal, keys with rectangular fontanelles) and the problems of reconstructing them today. Rippert, Jean-Jacques 374. Puglisi, Filadelfio. “A Firenze un flauto diritto francese” [A French recorder in Florence]. Il flauto dolce, no. 9 (June 1983): 37. A brief description of an alto recorder by Rippert in the Museo Stibbert, Florence (catalog no. 14289). Includes a photograph, a close-up of the maker’s mark, and a drawing (without measurements). Rosenborg Recorders * Legêne, Eva. “A ‘Foolish Passion for Sweet Harmony.’” Cited above as item 250. 375. Legêne, Eva. “The Rosenborg Recorders.” American Recorder 25, no. 2 (May 1984): 50–52. A companion to item 555. The two recorders were made before 1673 and transferred from the Royal Castle in Copenhagen to Rosenborg Castle sometime between 1673 and 1696. Speculates that one of the recorders was perhaps made by a member of the royal family—possibly the king—under the guidance of a professional maker, who made the second recorder as a model. Includes a facsimile of a handwritten copy, attributed to Jonas Palmqvist, of the preface to Jacob van Eyck’s Der fluyten lust-hof, which includes an illustration of a recorder with an ornamented bell similar to that of the Rosenborg recorders. At the time the recorders were made, narwhal ivory was a precious material associated in the popular imagination with the unicorn. Reviews the allegorical associations of the unicorn and the recorder and offers an example from the visual arts that includes both images. 376. Mathiesen, Penelope. “Nature, Art and Music: The Rosenborg Recorders.” Continuo 13, no. 4 (August 1989): 22–24. Brings us up to date on the Rosenborg recorders, describing Eva Legêne’s receipt of a narwhal tusk and Fred Morgan’s new copies made from that tusk (see items 375 and 555). Also discusses a painting by Gijsbrecht (1672) that includes recorders and other instruments apparently from the Danish royal collection. * Morgan, Fred. “A Recorder for the Music of J.J.van Eyck.” Cited below as item 555. Rottenburgh Family (Eighteenth Century) 377. Ottenbourgs, Stefaan. “De familie Rottenburgh: Een van de talrijke muzikale dynastieen uit het barokke Brussel. Deel 1: Genealogie. Deel 2: De instrumenten” [The Rottenburgh family: one of the numerous musical dynasties of Brussels in the Baroque. Part 1: genealogy. Part 2: the instruments], Musica antiqua 5, no. 4 (November 1988):

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152–58; 6, no. 1 (February 1989): 9–16. In German as: “Die Familie Rottenburgh: Eine der zahlreichen musikalischen Dynastien aus dem barocken Brüssel.” Tibia 14, no. 3 (1989): 477–89; 14, no. 4 (1989): 557–67. Part 1 presents detailed biographies of all the musical members of the Rottenburgh family (four generations), based on archival records. Includes facsimiles of numerous documents. Part 2 discusses the various makers, their marks and addresses, then lists extant instruments (recorders, flutes, oboes, clarinets, bassoons, strings) made by the family with basic measurements of each instrument Short sections on materials and pitch. Based on his Licentiaatsverhandeling, De familie Rottenburgh: Een muzikale dynastie te Brussel in de achttiende eeuw (Katholieke Universiteit Leuven, 1986). Scherer Family (Eighteenth Century) 378. Huene, Friedrich von. “Eine Altblockflöte von Scherer: Scherers in Butzbach” [An alto recorder by Scherer: Scherers in Butzbach]. In item 39, pp. 47–53. At one time it was believed that the Scherer family of woodwind makers lived in Paris. In the early 1980s, von Huene noticed that a bassoon by Scherer in the Metropolitan Museum of Art in New York was marked BUTZBACH. “The nice little old town in Hesse, with remains of town walls, a watchtower, and a beautiful marketplace was well known to me, also as the terminus for excursions to the magnificent Münzenburg [Coin Mountain].” Having turned up some relevant archival information, he passed it on to his schoolmate, the instrument researcher Phillip T.Young, who visited Butzbach, met descendants of the Scherers there, and wrote an important article on the family (item 379). Von Huene devotes most of his article to a description and measurements of an alto recorder by Scherer that was auctioned at Sotheby’s. 379. Young, Phillip T. “The Scherers of Butzbach.” Galpin Society Journal 39 (1986): 112–24. The Scherers’ country of residence was previously unknown. Young shows that they almost certainly lived in Butzbach, near Frankfurt. He reasons that two family members undoubtedly made wind instruments: Johannes Jr. and Georg Heinrich; evidence relating to the others is lacking. The Scherer stamps contain a confusing variety of letters and numbers, only a few of the difficulties of which Young has solved. A sole recorder survives (as compared with some sixty other woodwinds). Schlegel Family 380. Kälin, Walter, and Andreas Küng. “Der Melser Instrumentenmacher Christian Schlegel (1667–1746)” [The Mels instrument maker Christian Schlegel (1667–1746)]. Intrada 2, no. 3 (1996): 5–10. A follow-up to item 381, summarizing some of Kälin’s new research on the early life of Christian Schlegel, who was born in Mels. 381. Küng, Andreas. “‘SCHLEGEL A BALE’: Die erhaltenen Instrumente und ihre Erbauer” [“SCHLEGEL A BALE”: the surviving instruments and their makers]. Basler Jahrbuch für historische Musikpraxis 11 (1987): 63–88. Reports his researches into the life and work of the Basel woodwind makers Christian

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Schlegel (ca. 1667–1746) and his son Jeremias (1730–1792). Four recorders by Christian survive (including a double recorder). According to a document from 1759, Jeremias was still making recorders in that year, leading Küng to speculate that the case of four ivory recorders of his (two sopraninos and two altos) that are housed in the Paris Conservatoire date from around 1750 or later. Based on the author’s Diplomarbeit, Schola Cantorum Basiliensis, Basel, 1976. Schuchart, Johann Just (ca. 1695–1758) * Dart, Thurston. “Bressan and Schickhardt.” Cited above as item 347. 382. Libin, Laurence. “A Unique Soprano Recorder.” (Reports.) American Recorder 29, no. 3 (August 1988): 113–14. Reports on the only extant Schuchart soprano, a ca. 1750 instrument now housed in the Cincinnati Art Museum. Selma, Bartolomé de (d. 1616) 383. Pascual, B.Kenyon de. “The Wind-instrument Maker, Bartolomé de Selma (†1616), His Family and Workshop.” Galpin Society Journal 39 (1986): 21–34. Identifies the maker firmly for the first time, describes his life, and discusses his will and inventory-after-death (which mentions tools and parts for recorders). Settala, Manfredo (1600–1680) 384. Puglisi, Filadelfio. “Signer Settala’s ‘armonia di flauti.’” Early Music 9, no. 3 (July 1981): 320–24. Describes a “multiple recorder” with five speaking pipes that was a part of a large collection of instruments made by Manfredo Settala (1600–1680), a Milanese physician. 385. Weber, Rainer. “Der Flauto Harmonico—ein seltenes Instrument und sein Erbauer” [The flauto harmonico—a rare instrument and its inventor]. Tibia 17, no. 1 (1992): 20–26. Describes a curious instrument in the possession of the Museo Civico, Bologna, with a recorder pipe and four drone pipes attached to a crosspiece and mouth tube. It is identical to one depicted by Athanius Kircher in his Musurgia universalis (Rome, 1650) and said to have been invented by his friend Manfredo Settala. Gives a few biographical details of Settala and reproduces a miniature still life by Evaristo Baschenis that includes both a flauto harmonico (similar but not identical to the instrument in Bologna) and a clownlike portrait apparently of Settala himself (perhaps in a state of sickness); the other items in the picture show it to be in the vanitas tradition of the Dutch seventeenth-century painters. The bulk of the article describes the Bologna instrument in detail. The melody pipe is in g1, the drone pipes, in bb1, d2, g2, and a2 (with three fingerholes for bb2, c#2, and d3) (apparently at modern pitch). The drones overblow as the melody rises. The instrument plays in Bb, presumably A or even G at one of the higher Italian pitches. As the original is in poor condition, Weber made a copy. Speculates on the significance of the instrument.

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Stanesby Family * Bouterse, Jan. “Four Baroque Recorders at Sotheby’s, November 1996.” Cited above as item 356. 386. Byrne, Maurice. “Some More on Stanesby Junior.” Galpin Society Journal 45 (1992): 115–21. Written as a sequel to Halfpenny’s articles on the Stanesbys (items 305 and 387). Mostly concerns the shenanigins over Stanesby Jr.’s will. A few new details of the family’s earlier history. In light of Manfred Brach’s recent research (item 584), the most significant item is an advertisement of Caleb Gedney that mentions his master Stanesby Jr.’s “mathematical calculation.” 387. Halfpenny, Eric. “Further Light on the Stanesby Family.” Galpin Society Journal 13 (1960): 59–69. Contains additional biographical material to item 305. Appendix of surviving instruments by the Stanesbys and by Stanesby Jr.’s apprentice, Caleb Gedney, includes eight recorders by Stanesby Sr. and eleven by Stanesby Jr. 388. Halfpenny, Eric. “Technology of a Bass Recorder.” Galpin Society Journal 15 (1962): 49–54. Description of an instrument attributed to Stanesby Sr. dating from the late seventeenth century. 389. Hunt, Edgar. “Bressan and the Stanesby’s [sic].” Recorder & Music 6, no. 7 (September 1979): 202. A brief article on the Stanesbys, Bressan being mentioned only once in passing. Summarizes the biographical information found in articles by Eric Halfpenny (items 305 and 387) and reprints the fingering chart from Stanesby Jr.’s New System (item 1004). Steenbergen, Jan (1676–1730) 390. Bouterse, Jan. “The Alto Recorders of Steenbergen.” FoMRHI Quarterly, no. 91 (April 1998): 19–27 (Communication no. 1569). Bouterse reports on the three surviving alto recorders (and one middle joint) by the Dutch maker Jan Steenbergen, who used the highest quality of boxwood and had great skill at turning. One recorder has double holes for 6 and 7, apparently the only surviving Dutch recorder with this feature. In this and the short foot joint, Steenbergen’s work is closer to Bressan than to other Dutch makers of the time. (Bressan recorders were known in the Netherlands.) 391. “Jan Steenbergen, Recorder Maker.” Recorder and Music Magazine 8, no. 3 (September 1984): 75–76. Unsigned article based on information given in a booklet from Moeck Verlag. Brief background on Steenbergen, followed by information on the Moeck copies of his instruments. Letter from A.Dolf in 8, no. 6 (June 1983): 185. Terton, Engelbert (1676–1752) 392. Wenner, Martin. “Eine Terton-Blockflöte auf der Intensivstation…” [The Terton

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recorder in the intensive care unit…]. Windkanal 1/1999:22–23. Briefly describes how Wenner restored an ivory sopranino recorder by Engelbert Terton, a Dutch maker of the first quarter of the eighteenth century. He supplied a new tenon for the middle joint, built up the broken bevel of the foot joint, and repaired the crack in the head joint (all illustrated with photographs). Townsend, John (fl. ca. 1816–1869) 393. Blanchfield, David. “A Nineteenth-Century English Recorder.” Recorder Magazine 10, no. 2 (June 1990): 34–35. Reports on a sixth flute from the workshop of John Townsend (active ca. 1816–1869). “As an historical artifact, this little ‘English Flute’ demonstrates that the recorder was still known and treasured well into the nineteenth century, a time when the flageolet was at the height of its short-lived popularity.” Wijne, Robert (1698–1774) 394. Feldhaus, Hanne. “Robert Wijne (1698–1774), Holzblasinstrumentenmacher in Nijmegen: Biographisches und Bemerkungen über eine Sopranblockflöte von ihm” [Robert Wijne (1698–1774), woodwind instrument maker in Nijmegen: biography and observations on a soprano recorder of his]. Tibia 5, no. 3 (1980): 161–64. Reports on newly unearthed biographical information about Wijne, based on material in the Nijmegen archives. Comments on his maker’s mark (based on the Nijmegen coat of arms). Describes in detail a soprano recorder of Wijne’s discovered at an antique dealer in the Hague in 1968. The instrument was restored by Friedrich von Huene (whose drawing of it and fingering chart are appended) and is now in Frans Brüggen’s collection. Concludes with a list of Wijne woodwinds in other collections. M.C.J. Bouterse, “The Flutes of Robert and Willem Wijne,” FoMRHI Quarterly, no. 55 (April 1989): 29–36 (Communication no. 913), includes the revelation that joints of some of the Wijnes’ oboes and recorders were bored with the same reamers used for their flutes. He writes that they “(and perhaps other makers) did not always design a new instrument with new reamers, but tried to save time and money using existing reamers. I think that this trialand-error method resulted sometimes in bad or ‘difficult’ instruments.” Ziegler, Johann 395. Glassgold, A.C. “Another Anachronism?” American Recorder 3, no. 3 (August 1962): 15–16. Sequel to item 362. Discusses a keyed recorder made by Ziegler in Vienna. Glassgold describes a six-keyed soprano recorder made by Louis Lot in 4, no. 2 (May 1963): 27.

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MISCELLANEOUS MAKERS AND INSTRUMENTS 396. Reyne, Hugo. “Quelques notes sur les facteurs de flûtes à bec du XVIème siècle” [Notes on the makers of recorders in the sixteenth century]. Flûte à bec, no. 3 (June 1982): 33. Brief speculations on the identity of the three recorder makers whose marks were given by Ganassi (1535). 397. Wenner, Martin. “Ein ‘Flauto Curvo’” [A curved recorder]. Tibia 15, no. 1 (1990) : 44–45. Describes a unique recorder, apparently from the nineteenth century, in which the top half is angled at about 145 degrees to the bottom half, like a bassethorn, and the end has a bell like that of an oboe d’amore. Considers it really “an English flageolet of tenor range” and dismisses the idea that it might be a joke. Unfortunately, gives no information about its provenance or whereabouts.

10 Collections of Historical Instruments This chapter is concerned only with those articles and books about collections of historical instruments that discuss their recorders as well as a few items of related interest. To save space, catalogs and checklists of entire individual collections have been excluded. (For a listing of the most important of those sources, see Vincent H.Duckles and Ida Reed, Music Reference and Research Materials: An Annotated Bibliography, 5th ed. [New York: Schirmer Books, 1997], 497–514.) 398. Acht, Rob van. Checklist of Technical Drawings of Musical Instruments in Public Collections of the World. Celle: Moeck, 1992. 185 p. ISBN 3875490541. ML 460 .A3 1992. Based on the microfiche collection of technical drawings housed in the Documentation Centre for Musical Instruments at the Gemeentemuseum, the Hague. The original drawings are available from the original collections. Lists recorders from the collections in Berlin, Edinburgh, London, New York, Nuremberg, Oxford, Paris, the Hague; arranged by maker. Reproduces Jean-François Beaudin’s drawing of an alto recorder by Carandet (Paris Conservatoire). 399. Lehman, Robert A. “Preparation and Management of a Descriptive Inventory for a Collection of Flutes.” Journal of the American Musical Instrument Society 12 (1986): 137–48. Describes a computerized data-management program for making an inventory of a flûte collection, using simple-system and Boehm-system transverse flutes as examples. Suggests that a similar format could easily be adapted for duct flutes (recorders and flageolets). 400. Marvin, Bob. “Recorders & English Flutes in European Collections.” Galpin Society Journal 25 (1972): 30–57. A highly influential article, reporting the fruits of his tour of western European museums in 1970. Lists more than two hundred instruments that he saw, giving location, approximate pitch, quality of tone and intonation, material, markings, museum number, and comments. Then gives measurements of fifteen of those instruments and comments on their construction methods, voicing practices, and so forth. An appendix presents his preliminary comments on making copies of Renaissance instruments from the Vienna collection. Note that Marvin uses the term “English flutes” to mean recorders from the time of Hotteterre onward. * Young, Phillip T. 4900 Historical Woodwind Instruments: An Inventory of 200 Makers in International Collections. Cited above as item 287.

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AUSTRIA Schlägl 401. [Hunt, Edgar]. “Ivory Recorders at the Monastery at Schlägl, Austria.” Recorder and Music Magazine 8, no. 5 (March 1985): 138–39. A summary of item 402. 402. Pichler, Isfried H., and Richard Hinteregger. “Die Elfenbein-Blockflöten des Stiftes Schlägl” [The ivory recorders of the Schlägl monastery]. In Schlägler Orgelkonzerte: Jubiläumsschrift zu den 10. Schlägler Orgelkonzerte, ed. Rupert Gottfried Frieberger, 74–82. (Musikwissenschaftliche Beiträge der Schlägler Musikseminare, Bd. 1.) Rum bei Innsbruck: Helbling, 1979. OCLC #5941306. ML 55 .S32. In two sections. Pichler gives a history of how the instruments came into the collection; a biography of their maker, Johann Benedikt Gahn; and a description of each of the three recorders (sopranino and two altos). Then Hinteregger describes his pitch measurements of the instruments. Several photographs show off the unique carvings. Sigmaringen 403. Bär, Frank P. “Musikinstrumente auf Schloß Sigmaringen” [Musical instruments in Sigmaringen castle]. Tibia 17, no. 2 (1992): 124–31. Lists and briefly discusses the wind instruments in the collection of the FürstlichHohenzollernsche Schloß zu Sigmaringen an der Donau. It includes recorders by Gahn, Jacob Denner/Rijkel/Haka, Weis, A.Hoch-schwarzer (mid-nineteenth century), and anonymous. For full details, see the author’s Die Sammlung der Musikinstrumente im Fürstlich-Hohenzollernschen Schloß zu Sigmaringen an der Donau, Tübinger Beiträge zur Musikwissenschaft, neue Folge, 1 (Tutzing: Hans Schneider, 1992). Vienna 404. Stradner, Gerhard. “Das Blasinstrumente in einem Inventar der Wiener Hofkapelle von 1706” [The wind instruments in an inventory of the Vienna court Kapelle of 1706]. Studien zur Musikwissenschaft 38 (1987): 53–63. Discusses an inventory of the instruments that belonged to the music ensemble of the Viennese court in 1706. It included sixty recorders, among them such unusual ones as “altar posts that can be used as recorders” and “two great keys of St. Peter, [which can] also [be used] as recorders.” A few sixteenth-century columnar recorders have survived; recorders in the shape of a key do not seem to have survived. The inventory was first published in Susanne and Theophil Antonicek, “Drei Dokumente zu Musik und Theater unter Kaiser Josph I,” in Festschrift Othmar Wessley zum 60. Geburtstag, 11–37 (Tutzing: Hans Schneider, 1982).

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CZECH REPUBLIC Prague 405. Puklický, Milan. “Die Holzblasinstrumente des Nationalmuseums Prag” [The woodwind instruments of the Nationalmuseum, Prague], In Bericht über das VI. Symposium zu Fragen des Instrumentenbaus—Holzblasinstrumente des 17. und 18. Jahrhunderts, Michaelstein 28./29. November 1985, 39–42. Michaelstein/Blankenburg: Kultur- und Forschungsstätte Michaelstein, 1986. OCLC #17323787. Briefly mentions their holdings of two alto recorders (Bressan, Denner) and five bass recorders (anonymous, Bressan, Gheier, Fridrich). FRANCE Paris 406. Beaudin, Jean-François. “De nouveaux plans de flûtes anciennes du Musée du Conservatoire de Paris” [On new drawings of the early recorders in the Paris Conservatoire Museum]. Flûte à bec & instruments anciens, no. 23 (1987): 26–27. In English as: “New Plans of Old Flutes.” Recorder: Journal of the Victorian Recorder Guild, no. 8 (July 1988): 22–25. Discusses the drawing of twenty-seven instruments in the Paris Conservatoire (eleven recorders, fourteen flutes, and two oboes) with brief descriptions of the most interesting instruments. Also lists instruments in Berlin and Edinburgh of which Beaudin has made drawings. 407. Bran-Ricci, Josiane. “Holzblasinstrumente im Museum des Conservatoire National Supérieur de Musique, Paris” [Woodwind instruments in the museum of the Paris Conservatoire]. Tibia 7, no. 2 (1982): 128–31. The Paris collection was founded in 1864 on the acquisition of the important private collection of Louis Clapisson, son of an instrument maker in Lyon, and a composition and harmony teacher at the Conservatoire. The collection was strengthened by the more than four hundred instruments from the private collection of the former director, Geneviève Thibault de Chambure. Mentions recorders by Hans Rauch von Schratt, van Heerde, Hotteterre, Haka, Rippert, Bressan, J.C.Denner, Heytz, Stanesby Sr., Jeremias Schlegel, Gahn, and Oberlender, as well as several double recorders (including an ivory one signed “Anciuti, Milan, 1719”). An appetite-whetter. 408. Garden, Greer. “Models of Perfection: Woodwind Instruments from the Museum of the Paris Conservatoire.” Recorder and Music Magazine 4, no. 4 (December 1972): 116–17. Briefly describes selected instruments, including several recorders from the sixteenth to eighteenth centuries. Includes photographs of some of the recorders and flutes. 409. Tellier, Michelle. “Musée Instrumental du Conservatoire de Paris: Les flûtes à bec renaissances” [Instrumental museum of the Paris Conservatoire: The Renaissance recorders]. Flûte à bec, no. 3 (June 1982): 31–33.

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Notes on nine Renaissance instruments in the collection. 410. Tellier, Michelle. “Musée Instrumental du Conservatoire de Paris: Les flûtes à bec baroques” [Instrumental museum of the Paris Conservatoire: The Baroque style recorders]. Flûte à bec, no. 2 (February 1982): 36–41. A brief descriptive overview, divided into instruments “for the eye” (“remarkable for their visual qualities”) and those “for the ear” (“which deserve to be heard”). GERMANY Bogenhausen * Kirnbauer, Martin. “Die Holzblasinstrumente der ‘Bogenhauser Künstler-Kapelle.’” Cited above as item 177. Munich 411. Schmid, Manfred Hermann. “Die Blockflöten des Musikinstrumentenmuseums München” [The recorders of the musical instrument museum in Munich]. In Bericht über das VI. Symposium zu Fragen des Instrumentenbaus—Holzblasinstrumente des 17. und 18. Jahrhunderts, Michaelstein 28./29. November 1985, 18–39. Michaelstein/Blankenburg: Kultur- und Forschungsstätte Michaelstein, 1986. OCLC #17323787. ML 929.5 .S9 1985. The Munich recorders consist of two sixteenth-century great basses by Hans Rauch von Schratt; two sopraninos by Rippert; two anonymous mid-seventeenth-century sopranos; altos by Rippert, Heitz, Oberlender I, and anonymous; a tenor by Rippert; and basses by J.C.Denner (fourteen in all). Discusses the provenance of the collection (the recorders were largely taken over from the old Bavarian Nationalmuseum). Describes each recorder (no detailed measurements) and its maker. Claims that one of the von Schratt recorders may be represented in a miniature by the Munich court painter Hans Mielich (ca. 1570). Suggests that the Rippert instruments, made in ivory, were originally part of a seven-member consort (similar to the Nuremberg Kinseckers). The costliness of the materials and other evidence points to the recorders having belonged to the Bavarian court, where several members of the ducal family were enthusiastic recorder players (and Jacques Loeillet was hired in 1715). Nuremberg 412. Eschler, Thomas Jürgen. Die Sammlung historischer Musikinstrumente des Musikwissenschaftlichen Instituts der Universität Erlangen-Nürnberg [The historical musical instrument collection of the Musicology Institute of Erlangen-Nürnberg University]. (Quellenkataloge zur Musikgeschichte, 25.) Wilhelmshaven: Florian Noetzel, 1993. 120 p. ISBN 3795906369. ML 462 .E75. Includes a few recorders (pp. 29–33). First, an alto recorder made by Johann Andreas Löhner, a Nuremberg maker of the end of the eighteenth century. Second, two altos, a bass, and a quint-bass made by Georg Graessel in Nuremberg probably in 1922—among

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the first copies of early instruments made in the twentieth-century revival of the recorder, but not the earliest (see item 176). * Kirnbauer, Martin, and Dieter Krickeberg. “Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750.” Cited above as item 300. 413. Kirnbauer, Martin. “Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseums in Nürnberg” [Historical woodwind instruments in the collection of the German National Museum in Nuremberg]. Tibia 14, no. 2 (1989): 424–29. A “brief overview” of the approximately five hundred woodwind instruments in the Nuremberg collection, which is divided into various parts. The part designated “old” (inventory numbers with the prefix MI), which has survived since the founding of the museum in 1853, came partly from older collections, such as those of Nuremberg churches or town musicians. The recorders mentioned in the overview are by Rauch von Schrattenbach, Kinsecker, J.C.Denner, Gahn, Staub, Oberlender, Schell, Zick, Jacob Denner, and Eichentopf. 414. Kirnbauer, Martin. Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg [An index of the European musical instruments in the Germanische Nationalmuseum, Nuremberg]. Band 2: Flöten- und Rohrblattinstrumente bis 1750 [Flute and reed instruments to 1750]. (Quellenkataloge zur Musikgeschichte, 24.) Wilhelmshaven: Florian Noetzel, 1994. ISBN 3795905877. Measurements, photographs, and descriptions of recorders appear on pages 19–85. ISRAEL 415. Joppig, Gunther. “Rubin Academy Collection of Musical Instruments.” Das Musikinstrument 43, no. 9 (September 1994): 60–61. This collection in Jerusalem includes over sixty instruments bequeathed by the famous conductor Serge Koussevitzky, who is thought to have acquired them on his concert tours. The Koussevitzky bequest includes a lone recorder, a late Baroque alto “presumably originating from Nuremberg.” ITALY Bologna 416. Puglisi, Filadelfio. “The 17th-Century Recorders of the Accademia Filarmonica of Bologna” Galpin Society Journal 34 (1981): 33–43. Description of eleven of the thirteen surviving recorders that were in use by the Accademia between its founding in 1666 and the death of its founder in 1675. Nine are marked “P. GRE/C/E” and two “C.RAFI.” Selected bore measurements and drawings. These recorders were evidently intended to be played as a homogeneous group. Rome * Lyndon-Jones, Maggie. “Renaissance Woodwinds in the Museo degli strumenti

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musicali, Rome.” Cited below as item 2105. Verona 417. Pasquale, Marco di. “Gli strumenti musicali dell’Accademia filarmonica di Verona: Un approccio documentario” [The musical instruments of the Accademia Filarmonica of Verona: a documentary approach]. Il flauto dolce, no. 17–18 (October 1987-April 1988): 3–17. An exhaustive study of references to musical instruments in the archives of the Accademia. Looking at the many listings of recorders in the Accademia’s inventories made between 1562 and 1716, skillfully distinguishes five different groups of instruments and identifies the provenance of the first two groups. 418. Weber, Rainer. “Die Instrumentensammlung der Accademia Filarmonica in Verona und Probleme ihrer Restaurierung” [The instrument collection of the Accademia Filarmonica of Verona and problems of its restoration]. Tibia 6, no. 2 (1981): 313–19. At least a part of the famous instrument collection of the Accademia has survived (under the inventory numbers 13247–13307). The large recorders consist of two basses in C (by Hans Rauch von Schratt) and bassets in F, a basset in F with extension to D, three basses in Bb, and two great basses in F (all with the double !! mark [see items 330–32]). Presents a little biographical information on the Rauch family. After surveying the flutes, cornettos, crumhorns, and dulcian-like instruments in the collection, discusses his restoration of the entire collection in 1971–1973. * Weber, Rainer. “Some Researches into Pitch in the 16th Century with Particular Reference to the Instruments in the Accademia Filarmonica of Verona.” Cited below as item 631. THE NETHERLANDS 419. The Recorder Collection of Frans Brüggen. Drawings by Frederick Morgan. Tokyo: Zen-On, 1981. 36 p.+18 technical drawings. OCLC #8820565. Booklet with photographs of seventeen late-seventeenth-century and eighteenthcentury recorders with captions (including some errors), the name of the previous owner, and recordings of Brüggen’s on which the instrument is featured. Also includes eighteen sheets of drawings with detailed measurements. All contained in a portfolio. Reviewed in Recorder & Music 7, no. 5 (March 1982): 129 and by Dale Higbee in American Recorder 23, no. 3 (August 1982): 122. THE HAGUE 420. Acht, Rob van, Vincent van den Ende, and Hans Schimmel. Niederländische Blockflöten des 18. Jahrhunderts=Dutch Recorders of the 18th Century: Sammlung/Collection Haags Gemeentemuseum. Celle: Moeck, 1991. 163 p. ISBN 387549038X. ML 990 .R4 A2 1991. A coffee-table-sized book devoted to fifteen eighteenth-century recorders in the

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collection of the Gemeentemuseum in the Hague. The text is in English and German. Van Acht’s introduction summarizes his material on Dutch recorder makers of the period (from item 318). The descriptions of the instruments are by Jan Bouterse; measurements were made with the assistance of Ella Siekman. The makers represented are Abraham van Aardenberg, Willem Beukers, Thomas Boekhout, one of the van Heerdes, Frederik de Jeger, I.Roosen, Engelbert Terton, and Robert Wijne. For each recorder, the body of the book presents a description, an X-radiograph, a color photograph, a line drawing, measurements, and the pitches of the notes. An appendix lists all surviving Dutch recorders of this period with their locations. Jeremy Montagu in Early Music 19, no. 4 (November 1991): 636–41 criticizes the lack of information on who took the measurements (of dimensions and pitch) and how. Also reviewed by Eve O’Kelly in Recorder Magazine 11, no. 4 (December 1991): 121–22; David Ohannesian in American Recorder 33, no. 1 (March 1992): 29–30; Friedrich von Huene in Galpin Society Journal 46 (1993): 195–97; and Gerhard Braun in Tibia 18, no. 1 (1993): 394–95. SWEDEN Stockholm 421. Karp, Gary. “Baroque Woodwind in the Musikhistoriska Museet, Stockholm.” Galpin Society Journal 25 (1972): 80–86. Lists the woodwinds in the Stockholm collection made before ca. 1750 but discusses only the Eichentopf oboe da caccia. The collection includes recorders by Bressan, J.C.Denner, Eichentopf, van Heerde, I.W.Oberlender, Pfegl, Rykel, Sattler, Staub, and Steenbergen. SWITZERLAND Basel 422. Tarasov, Nikolaj. “Die Blockflötensammlung im Musikmuseum, Basel” [The recorder collection in the musical instrument museum, Basel]. Windkanal 1/2001:24–29. A “tour” of the collection of some 650 historical recorders, now housed in a new home in the old city, with its curator, Martin Kirnbauer. Covers: a double recorder by Christian Schlegel “on which one can play little pieces in thirds”; bass recorders by Schlegel and Johann Christoph Denner; Harlan and Dolmetsch instruments from the early twentieth century; an ivory sopranino by Johann Carl Denner; two small ivory flageolets from Nuremberg; the value of boxwood in the Baroque; pitch in the Baroque; carved recorders in the Baroque; differences between historical recorders and modern copies; recorders and similar instruments from after the mid-eighteenth century; and whether museum instruments should be played and copied.

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Zurich 423. Meier, Edwin. “Die Musikinstrumentensammlung im Museum Bellerive in Zürich” [The collection of musical instruments in the Bellerive museum in Zurich]. Intrada 1, no. 3 (1995): 24–27. A short introduction to the collection, including a photograph of a carved Baroque recorder head joint (apparently anonymous). UNITED STATES * Bouterse, Jan. “Historical Dutch Recorders in American Collections.” Cited above as item 322. 424. Oler, Wesley M. “My Collection of Modern Replicas.” Recorder and Music Magazine 1, no. 7 (November 1964): 197–99. Describes his collection of instruments, addresses questions frequently asked of him, and explains why he chose to collect replicas rather than original instruments. Letter from Virginia C. Oler in 1, no. 8 (February 1965): 249. 425. Powers, Wendy. “Checklist of Historic Recorders in American Private and Public Collections.” American Recorder 30, no. 2 (May 1989): 56–66. A catalog of eighty recorders held in fourteen collections. Each entry includes information on size, key, maker, date, markings, construction, number of sections and fingerholes, length, citations for illustrations, and general bibliographic citations. Includes photographs of ten instruments. 426. Powers, Wendy. “Historic Recorders in American Private and Public Collections: An Update” American Recorder 32, no. 1 (March 1991): 17–20. Sequel to item 425, providing details on new acquisitions and changes in ownership for seven collections. Includes photographs of six instruments in the Shrine to Music Museum, Vermillion, South Dakota. Ann Arbor, Michigan 427. Warner, Robert Austin, and Friedrich von Huene. “The Baroque Recorders in the Stearns Collection of Musical Instruments.” Galpin Society Journal 23 (1970): 69–81. Description of four recorders that were restored and studied: a bass by Souvé and altos by Fische, Sattler, and Denner. Fingering charts are included for the altos. Lyndesay G.Langwill suggests that “Souvé” should be “Jouve” in 24 (1971): 124, which Warner then disputes in 25 (1972): 146. New York City 428. Libin, Laurence. “Holzblasinstrumente im Metropolitan Museum of Art in New York” [Woodwind instruments in the Metropolitan Museum of Art, New York]. Tibia 5, no. 1 (1980): 28–31. The musical instruments of the “Met” are in the André Mertens Gallery, given by the widow of the famous impresario in his memory. Visitors can listen to recordings

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(occasionally also live performances) of the instruments with musicians such as Frans Brüggen and Michel Piguet. The catalog of 1904 is no longer current and is now being updated. The group of recorders is not large compared with those of other collections but still contains representative instruments. Mentions in particular an anonymous Renaissance alto recorder at high pitch in maple; a seventeenth-century ivory flageolet in G stamped “De Haze”; an experimental double flageolet by Collin (by 1830); an ebony soprano recorder by Boekhout (ca. 1700); alto recorders by I.W.Oberlender, Gahn, and Bradbury; a set of soprano, alto, and tenor recorders, probably by Kinsecker; and a boxwood flûte d’accord by Ulrich Ammann. 429. Nagle, Sigrid. “Musical Instruments at the Metropolitan Museum of Art.” American Recorder 15, no. 4 (November 1974): 111–17. Concerns the collection in general. Includes photographs of the case of recorders and flutes as well as a few individual recorders. Vermillion, South Dakota 430. Larson, André P. “Original Bass Recorders in the United States.” American Recorder 26, no. 4 (November 1985): 171–72. Reports on two early bass recorders recently acquired by the Shrine to Music Museum at the University of South Dakota in Vermillion: one in G (ca. 1552–1590), formerly in the Galpin collection, and one in D by J.C.Denner. RUSSIA St. Petersburg (formerly Leningrad) 431. Jürisalu, Heino. “Die Leningrader Sammlung und ihre Flöteninstrumente” [The St. Petersburg collection and its flutes and recorders]. Tibia 5, no. 2 (1980): 105–7. Gives a brief history of the collection, which was based on 360 instruments from the Belgian collector Snoeck, then absorbed various other collections. Now contains about two hundred flutes and recorders, half of which are folk instruments. The thirty recorders, half of them anonymous, chiefly stemmed from the Snoeck collection. They include alto recorders by Bressan, Lot, and Parent, tenor recorders by Hotteterre and Bizey, and an anonymous Italian great-bass recorder from the sixteenth century.

11 Instrument Makers: Modern This chapter looks at writings about the life and work of modern recorder makers. We have also included one directory of makers that appeared in a series of articles. For more recent directories, see those published by Early Music America and the National Early Music Association (U.K.). DIRECTORIES 432. “Les facteurs et fabriquants de flûtes à bec” [Makers and manufacturers of recorders]. Flûte à bec, no. 1 (June 1981): 12; no. 2 (February 1982): 21. Reyne, Hugo. “Les facteurs et fabricants de flûtes à bec dans le monde entier: Liste durement établie” [Makers and manufacturers of recorders worldwide: list compiled with difficulty]. Flûte à bec, no. 6 (March 1983): 34–36. ——. “Les facteurs et fabricants de flûtes à bec dans le monde entier: Liste durement et fraîchement établie” [The makers and manufacturers of recorders worldwide: list compiled anew and with difficulty]. Flûte à bec & instruments anciens, no. 8 (September 1983): 16–18. A directory of modern makers’ names, addresses, and phone numbers, arranged by country. Reyne’s updates, despite the efforts alluded to in the titles, are full of amusing misprints. INDIVIDUAL MAKERS AND MANUFACTURERS Adler-Heinrich 433. Joppig, Gunther. “Adler-Heinrich Blockflötenbau GmbH in Markneukirchen im Aufwind” [The Adler-Heinrich recorder factory in Markneukirchen on the rise]. Das Musikinstrument 43, no. 11 (November 1994): 32–35. After the privatization of the former East German state operations in the reunified Germany in 1992, the firm of Musima (see item 297) was bought by Dietrich Hahl, who changed the name to Adler-Heinrich and appointed as manager Manfred Uebel, a man with nearly forty years of experience as a recorder maker. About a third of the recorders produced today still have German fingering, introduced by Harlan, although this figure is declining. Ammann, Heinz 434. Ammann, Heinz, as told to Nikolaj Tarasov. “Auf der Suche nach der Seele: Historische Blockflöten als Vorbilder im Blockflötenbau” [In search of the soul:

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historical recorders as models for recorder-making]. Windkanal 4/2001:16–19. Describes the involvement of Ammann, a Swiss recorder maker, with historical instruments for more than thirty years. He was most influenced by an alto recorder by Thomas Stanesby Jr. that survived in almost mint condition—the richest tone spectrum he has ever heard. The modern maker must always ask: What does an original instrument want? What is its character? Old instruments have a particular fascination because the cell structure of their wood has changed over the centuries, producing a soft resonance, unlike the “aggressive” quality of new instruments. In general, recorders improve with age. He varnishes the bore of his instruments, which does not affect the tone and helps to resist condensation. The article ends by comparing the sound produced by different kinds of wood. 435. Jud, Siegfried. “Es geht eine helle Flöte…” [A bright recorder is heard…]. (Werkstattbesuch.) Intrada 2, no. 3 (1996): 26–30. A portrait written when Ammann had just set up his own workshop after working twenty-seven years for Fehr as a tuner. Covers: his double-dolphin mark; his training as a singer; being inspired by Frans Brüggen to get involved with the recorder; his perfectionism and love of order; his experience at Fehr; and being inspired by Baroque instruments in museums. Good photographs of his workshop and instruments. The title is the first line of a song, the second line of which reads “der Frühling ist über dem Land” (spring is upon the earth). Bariaux, Daniel 436. Ritchie, Jacqueline. “Entretien avec Annie Sturbois et Daniel Bariaux” [Interview with Annie Sturbois and Daniel Bariaux]. Flûte à bec, no. 3, (June 1982): 18–20. Covers: their early recorder-making; what they like about the profession; their training; the “harmonization” of a recorder; the meaninglessness of the term “copy”; their contacts with recorder players; woods; the aesthetic of the Baroque recorder; and the types of recorders they make. Beaudin, Jean François 437. Epstein, Jan. “Jean François Beaudin.” Recorder: Journal of the Victorian Recorder Guild, no. 5 (November 1986): 1–6. Interview. Covers: background; the recorder scene in Canada; his model of tenor recorder as an equivalent of the flute and oboe; copying the Quantz flute; “working in the style of the old makers”; and what makes a good instrument. Bigio, Robert 438. “Robert Bigio: Flute and Recorder Maker.” Recorder & Music 7, no. 7 (September 1982): 173–74. Covers: his career as a flutist; his work as a maker of headjoints for modern flutes; his subsequent interest in wood-turning and his work on Baroque flutes and recorders; his tools and workshop; and the historical instruments he has chosen as models.

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Bleazey, Phil 439. Reinhardt, Kay. “Phil Bleazey Winwoods [sic]: Ein Flötenbauer aus Kent auf dem 10. Tanz- und Folkfest Rudolstadt” [Phil Bleazey woodwinds: a recorder maker from Kent at the Tenth Dance and Folk Festival, Rudolstadt]. Windkanal 4/2000:20–21. A witty description of the work of Bleazey and his wife Cathie. They make recorders (copies of the medieval Göttingen instrument) and wooden whistles, polishing them “with beeswax and elbow grease,” as well as hand drums. They sell them on their annual tours, from April to November, around western Europe in a caravan. Blezinger, Stephan 440. “Berufsbezeichnung: Holzblasinstrumenten-machermeister. Ein Gespräch mit dem Flötenbauer Stephan Blezinger” [Professional designation: master woodwind maker. A conversation with recorder maker Stephan Blezinger]. Windkanal 2/1998:18–19. Covers: his early career as an elementary-school teacher; switching to recorder-making on the suggestion of his flute teacher, Bernhard Böhm; his love of the recorder; his training at Mollenhauer; his “unromantic” work-day; taking an apprentice; the types of copies he makes and their characteristics; the recorder as an “anachronistic” instrument; and his outside activities. Boudreau, Jean-Luc 441. Eicken, Alexa. “Jean-Luc Boudreau: Alexa Eicken sprach mit dem Blockflötenbauer aus Montreal” [Jean-Luc Boudreau: Alexa Eicken spoke with the recorder maker from Montreal]. Windkanal 2/2001:12–14. Covers: how he went from engineering to teaching himself recorder-making; what he learned from two days with Bob Marvin (to work with absolute precision); the current success of his workshop; the (lack of a) Canadian recorder scene; the characteristics of his recorders; and working with Matthias Maute on an amplified recorder. 442. Gagnon, Robert, and François Filiatrault. “Interview avec Jean-Luc Boudreau, facteur de flûtes à bec” [Interview with Jean-Luc Boudreau, recorder maker]. Le TicToc-Choc 4, no. 4 (May 1983): 10–11. Covers: his background; making and playing; Ganassi recorders; copying early instruments; Renaissance versus Baroque recorders; temperament; woods; and his projects. 443. Kirk, Douglas. “An Interview with Jean-Luc Boudreau.” Continuo 15, no. 2 (April 1990): 2–5. Boudreau declares that he no longer even tries to produce “authentic copies” of original instruments but rather recorders that will suit the demands of modern players for register balance, reliability, and “a certain resistance” in the blowing. Breukink, Adriana 444. Kunath, Jo, and Gisela Rothe. “Portrait: Adriana Breukink.” Windkanal 2/2000: 11– 15.

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Covers: her early course in recorder-making with Fred Morgan; being a woman in a male-dominated profession; the qualities of her recorders; learning from her mistakes; the importance of a maker being able to play the instrument well; the qualities of good consort instruments; the new instruments she has developed (a slide recorder; Adri’s dream recorder—a Renaissance school recorder); the mass-production of the dream recorder by Mollenhauer; and the dream she realized in that recorder (a real instrument for children; an adult instrument for Renaissance and early-Baroque music). 445. Mayes, Andrew. “The Dream Flute: Andrew Mayes Talks to Adriana Breukink about a New Instrument Designed for Mollenhauer.” Recorder Magazine 21 [marked 21a], no. 1 (spring 2001): 12–13. Breukink describes the genesis of her Traumflöte, a brightly colored, wide-bore wooden recorder designed as a serious instrument for beginners. Brown, Adrian 446. Richardson, Paul. “Entrevista con…Adrian Brown” [Interview with… Adrian Brown], Revista de flauta de pico, no. 17 (2001): 3–6. Conducted in 1987. Covers: why he took up recorder-making; the early instruments he has copied; the great recorder makers of the past; the difficult position of recorder makers today; making recorder consorts (including at the high pitches of the Renaissance); consorts modeled on Virdung, Agricola, Ganassi, Praetorius, and Rafi; and his recent move to Amsterdam. Coolsma, Hans 447. Kliphuis, Harry. “First ‘Coolsma Bressan.’” Recorder & Music Magazine 2, no. 10 (September 1968): 334. An account of Hans Coolsma’s formal presentation of his first Bressan copy to Edgar Hunt, owner of the original instrument. Describes Coolsma’s deviations from the original, assesses the quality of the copy, and summarizes Coolsma’s comments on the production of replicas. 448. Rothe, Gisela. “Coolsma von AAFAB BV” [Coolsma of AAFAB BV]. Windkanal 1/2000:31–32. A brief interview with Otto van Boetzelar, the director of AAFAB, a recorder sales company that took over Coolsma in 1990. Covers: the history of Coolsma; their current models; what they learned from Hans Coolsma; their production statistics; and the future of the recorder. Cranmore, Tim 449. [Hunt, Edgar?]. “Tim Cranmore: An Interview.” Recorder & Music 7, no. 11 (September 1983): 282. Interview conducted at the Boston Early Music Festival and Exhibition. Covers: his start as a biochemist; his training; the instruments he uses as models; and the various pitch standards he uses for his copies. 450. Mayes, Andrew. “Interview: Tim Cranmore.” Recorder Magazine 16, no. 1 (March

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1996): 4–6. Covers: why he began making recorders; why being able to play the recorder can be disadvantageous to a maker; the need to make compromises when copying historical instruments; temperament and tuning in recorder-making; why he is not interested in modernizing the recorder; how he selects historical instruments as models for copies; his contact with other makers and why it is necessary to maintain trade secrets; the recent popularity of his voice flutes; the alarming decline in the worldwide supply of boxwood; how the market drives changes in recorder design; and his plans. * O’Kelly, Eve. “Professional Recorder Players (and Their Instruments) II: The Twentieth Century.” Cited below as item 1320. Dolmetsch Family See also under the subheadings “Dolmetsch, Arnold” and “Dolmetsch, Carl” in chapter 24, “Biographies and Interviews: Modern.” 451. Farleigh, John. “Carl Dolmetsch and Leslie Ward: Musical Instrument Makers, Haslemere.” In his Creative Craftsman, 168–86. London: G.Bell & Sons, 1950. NK 928 .F3. Begins by seeing Arnold Dolmetsch’s instrument-making (and playing) as part of “a movement that today is recognised as the rebirth of the crafts.” Then interviews Dolmetsch and Ward (head of the Dolmetsch keyboard department) about: makers being able to play the instruments they make, Arnold Dolmetsch’s work, taking up his mantle, making “improve-ments” to early instruments, producing “better” instruments than the early ones, craftsmanship, materials, instrument decoration, the condition of surviving early instruments, plastic recorders, Carl’s training, and the satisfaction of active musicmaking. 452. Hunt, Edgar. “Arnold Dolmetsch, die Dolmetsch-Sammlung und das Familienunternehmen” [Arnold Dolmetsch, the Dolmetsch collection, and the family enterprise]. Tibia 7, no. 3 (1982): 198–200. Summarizes the life of Dolmetsch, emphasizing his unantiquarian interest in old instruments and his attempts to “improve” them. Dolmetsch’s collection, formerly kept in his house at Haslemere, has now mostly gone to the Horniman Museum, London. It includes the famous “lost” Bressan (later found, of course) and another recorder by Stanesby. The family firm went backrupt and has now been replaced by the new firm of J. & M.Dolmetsch. 453. Stuart, Charles. “‘Dolmetscherie’ Today.” Musical Times, no. 1301=92, no. 7 (July 1951): 297–303. Covers the activities of the post-war Dolmetsch workshops, particularly the making and manufacture of recorders, lutes, viols, and keyboard instruments. Describes the work of Carl Dolmetsch on the voicing and tuning of recorders. During this period, Carl worked with each recorder—approximately ten—each day before it left the shop. Briefly mentions the “superplastic” soprano recorder “which is selling at just over a guinea in tens of thousands.” Also mentions Carl Dolmetsch’s activity in the commissioning of new recorder music.

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Foky-Gruber, Gyula 454. Tarasov, Nikolaj. “Gyula Foky-Gruber: Nik Tarasov traf den ungarischen Komponisten, Flötenbauer and -spieler” [Gyula Foky-Gruber: Nik Tarasov meets the Hungarian composer, recorder maker, and recorder player]. Windkanal 4/2000: 14–17. An account of his life and work. Covers: his training as a musician in Hungary and, after the 1956 uprising, in Vienna; beginning to make recorders; recording with Friedrich Gulda and others; composing “folklike chamber music”; his invention of a cylindrical metal recorder; playing the piano in bars; making his recorders for Hopf (1965–70); after recovering from sickness, learning to repair pianos; his new peasant whistles; and still playing, “but only in serious piano bars.” Geiger, Georg 455. Epstein, Jan. “Profile: Georg Geiger.” Recorder: Journal of the Victorian Recorder Guild, no. 9 (February 1989): 20–23. Covers: his taking up the recorder late in life; his training in recorder-making; his partnership with Clas Pehrsson; the problems of making recorders in Australia; and his philosophy of recorder-making (making instruments to suit individual needs). Hanson, Carl 456. Dopadlik, Adam J. “An Interview with Carl Hanson.” Recorder Magazine 18, no. 3 (September 1998): 94–96. An interview conducted at Hanson’s home in Hipperholme, West Yorkshire, on 27 October 1997. Covers: why he took up recorder-making; why he decided to specialize in Renaissance instruments; the limited value he sees in iconographical research; his study of historical instruments in Vienna; his experiences making Ganassi and Virdung instruments; his search for an appropriate instrument for the music of van Eyck; his favorite woods; his work on Baroque copies; and his perfectionist tendencies. Haynes, Bruce (b. 1942) 457. McRae, Lee. “Bruce Haynes: Performer, Instrument Maker, and Teacher.” American Recorder 14, no. 2 (May 1973): 46–49. Profile written while Haynes was preparing to fill in temporarily for Frans Brüggen at the Hague Conservatory. Haynes started his career as an oboe player and took up the recorder only after becoming disillusioned with the professional opportunities of an oboist. He received a fellowship to study with Brüggen. After passing his exams, he still believed he could not support himself by playing, so he began work in Boston with Friedrich von Huene, who needed an experienced player to help voice and tune instruments. His increased interest in low-pitch Baroque oboes and recorders led him to open a workshop of his own on the West Coast, where he continued to perform. Discusses why Brüggen selected Haynes as his replacement and reports the differences Haynes sees between American and European players.

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Helder, Maarten 458. Bowman, Peter. “The Birth of a Truly Contemporary Recorder.” Recorder Magazine 15, no. 4 (November 1995): 126–27. Making use of the so-called lange Bohrung (long bore) of early-twentieth-century German makers, Maarten Helder has designed a new type of tenor recorder in which the bottom and second notes, instead of playing sharp as on the standard recorder, produce pure harmonics. Bowman reports that this makes it possible to play strong, stable low notes with a tone quality that more closely matches the other registers. The third register can be readily produced from harmonics of the low notes, sometimes with adjustments of fingering and the use of the B, C#, and Eb keys, even at low breath pressure. The long, wide footjoint leads to a powerful sound. The block, based on a patent by Arnfred Strathmann of Kiel, is adjustable, making possible a wide range of tone quality and special sound effects—and of course, minimizing the need for revoicing. An optional “piano” key controlling a pin allows a true decrescendo to be obtained. 459. Fischer, Johannes. “Hat die Zukunft im Blockflötenbau bereits begonnen? Eine neue Tenorblockflöte von Maarten Helder” [Has the future in recorder-making already begun? A new tenor recorder by Maarten Helder]. Üben & Musizieren 6/1996, 51, 53. A largely favorable report on Helder’s new type of recorder, which also for once gives some credit to Nikolaj Tarasov for collaborating in the design. Fischer sees the instrument as particularly suitable for playing the Classical and Romantic flute repertory. 460. Helder, Maarten. “The Harmonic Recorder.” Recorder Education Journal 3 (1996): 27–29. In German as: “Die rein überblasende Blockflöte” [The recorder that overblows pure]. In 4. Internationales Blockflöten Symposium Kassel, ERTA Kongress, 6.-9. Juni 1996, Vorträge und Dokumentation, 39–44. Explains why the impure partial tones of a Baroque recorder cause problems for the functioning of the instrument. Then describes the author’s new recorder and some of the first professional performances on it. 461. Izquierdo, Joan. “La flauta tenor armónica” [The harmonic tenor recorder]. Revista de flauta de pico, no. 9 (October 1997): 23–25. A discussion of Maarten Helder’s instrument in comparison with a Baroque recorder and a plastic modern Yamaha. * Rose, Pete. “A New Recorder for New Music.” Cited below as item 609. Huber, Gerhard and Markus 462. “Blockflötenbau am Zürichsee: Ein Gespräch mit den Blockflötenbauern Gerhard und Markus Huber” [Recorder-making on Lake Zurich: a conversation with recorder makers Gerhard and Markus Huber]. Windkanal 3/1998:14–15. The Hubers are father and son. Covers, for the father, Gerhard: his beginnings as a maker; the firm’s workers; and the instruments they make. For the son, Markus: following in his father’s footsteps; automation; ideas for new instruments; and the market. 463. Ettlin, Alex. “Gerhard Huber, Blockflötenbau Horgen: Ein Firmenporträt” [Gerhard Huber Recorder Factory in Horgen: a portrait of the company]. Zeitschrift SAJM 21,

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no. 6 (November 1993): 35–42. A brief overview of the development and work of the Huber factory (which took over the Nägeli company in 1967). Lots of photographs of the production. Huene, Friedrich von (b. 1929) * Brodie, Gary. “Recorder Makers at Home.” Cited below as item 521. 464. Ehlert, Ralf, and Sabine Haase-Moeck. “[The Charles Darwin of Early Music:] Friedrich von Huene im Gespräch mit Ralf Ehlert und Sabine Haase-Moeck” [The Charles Darwin of early music: Friedrich von Huene in conversation with Ralf Ehlert and Sabine Haase-Moeck]. Tibia 24, no. 2 (1999): 443–49. Begins by summarizing the life of Friedrich Freiherr von Hoyningen, called Huene. Then covers: his introduction to the recorder (hearing Alfred Mann play in Telemann’s Concerto for Recorder, Flute, Strings, and Basso continuo); the early days of his own workshop; his Guggenheim Fellowship in 1966 to measure early instruments in Europe, which also led to his connection with the firm of Moeck; at the suggestion of Frans Brüggen, making his first Denner copy; making Baroque and Renaissance consorts; the (lack of) influence of certain materials on an instrument’s tone; altering the measurements of early instruments to make copies of them practical today; the poor qualities of some early recorders; a fake Bressan instrument in Vienna that has three sets of double holes; what the many surviving bass recorders were used for in the Baroque; other unusual surviving sizes; his own type of Ganassi recorder; his most important articles (items 289, 605, and 633); keeping his interest in recorder-making (his recent great basses); and his family and their businesses. The inappropriate quotation in the title comes from the laudatory speech when von Huene received the Arion Award from the Cambridge [Massachusetts] Society for Early Music in 1992. * Lewis, Mildred. “How Recorders Are Made at the Workshop of Friedrich von Huene.” Cited below as item 740. 465. Mayes, Andrew. “An Interview with Friedrich von Huene.” Recorder Magazine 19, no. 3 (autumn 1999): 90–93. Covers: why recorders are difficult to make and maintain; the 1955 Telemann concert that inspired him to begin making recorders; the ATBGb quartet he made for the Amsterdam Loeki Stardust Quartet; his reluctance to make exact replicas; the characteristics of historic instruments that he values when making his own copies; the recorders of Bressan and Denner; how the personal style of a player can make as much difference in how a recorder sounds as the particular characteristics of the instrument; his work on the restoration of the head of a Stanesby Junior fourth flute; his interest in iconography; the effect of type of wood on sound; the shortage of good woods; his exchange of ideas and techniques with other makers; his work on contrabass recorders; Maarten Helder’s work on modernizing the recorder; and his thoughts about the future. 466. Merger, Carl E. “Friedrich von Huene: The Man, His Work, and His Family.” American Recorder 11, no. 1 (winter 1970): 3–7. Reprinted in Recorder & Music 5, no. 2 (June 1975): 59–60. Covers: his apprenticeship with Verne Q.Powell; why recorders are difficult to make; his measurement and study of historical instruments; the establishment of his workshop; a

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general description of the layout and workflow of the shop; his Guggenheim fellowship; and his plans. 467. Moeck, Hermann. “Friedrich der Grosse fünfzig (20.2.1979)” [Frederick the Great, 50 (20 February 1979)]. Tibia 4, no. 2 (1979): 327. An appreciation of Friedrich von Huene. 8. Post, Nora. “An Interview with Friedrich von Huene.” American Recorder 23, no. 4 (November 1982): 147–49. Covers: his experience playing recorder, flute, and squeezebox as a youth; how, at the age of sixteen, lathing cannons for model ships led to an interest in flute-making; the need to make instruments that are pleasing to both the ear and eye; how he selects instruments to copy; why he does not copy anonymous recorders, no matter how excellent they might be; the fine distinction between handcrafting and mass-producing instruments; his views on plastic recorders; and differences between American and European makers in their attitude toward their work. 469. Redsell, Matthew James. “Ingeborg von Huene.” Continuo 13, no. 1 (February 1989): 2–5. Ingeborg, the wife of Friedrich von Huene, discusses their life and work, including the role that she and her children have played in the family business. 470. Ritchie, Jacqueline. “Un grand facteur américain: Friedrich von Huene” [A great American maker: Friedrich von Huene]. Flûte à bec & instruments anciens, no. 24 (1988): 3–5. Covers: his background; the beginnings of the early-music revival; his instrumentmaking; the decoration of instruments; and making copies of old instruments. 471. Thompson, Susan E. “Friedrich von Huene Celebrates 70.” American Recorder 40, no. 1 (January 1999): 8–14. An interview conducted by Thompson in July 1998. Covers: his introduction to the recorder and flute as a child; his early work with wood as a model shipbuilder and furniture maker; his military service as a member of the Air Force Band; his visits to recorder manufacturers in Germany following his military service; his apprenticeship at Powell, where he learned the importance of being able to solve problems on his own as well as of maintaining high standards of workmanship; his work with metal at Powell; the 1958 Telemann concert that inspired him to begin making recorders; the models for his early recorders; his early copies of historical flutes; the Denner recorder in the Musikhistorisk Museum in Copenhagen; his recent experiments with keywork; the contrabasses he made for the Loeki, Flanders, and Brisk quartets; his plans; and the principles that have guided him throughout his career. A sidebar on page 13 offers a chronological bibliography of articles and reviews by von Huene. Hulsens, Guido (b. 1954) 472. Ritchie, Jacqueline. “Entretien avec Guido Hulsens, Fluthier” [Interview with Guido Hulsens, recorder maker]. Flûte à bec, no. 2 (February 1982): 19–20. Hulsens is both recorder maker and recorder player. Covers: the advantages of being both; the qualities of different Baroque recorders; Baroque composers writing for an instrument; the differences between Renaissance and Baroque instruments; modern

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recorder-making; recorders for the music of van Eyck; and copying early recorders. James, Clarence 473. Bitters, David L. “Hand Grafting Recorders: A Visit to the Workshop of Clarence James.” American Recorder 20, no. 1 (May 1979): 10–13. Opens with a discourse by Bitters on the continued interest in hand-crafted instruments despite the wide availability and affordability of mass-produced instruments. James, a professional tool and die maker living in Columbus, Ohio, began making recorders parttime in 1974. Describes some of the machines and tools used in his workshop and relates his early experiences making recorders. Lists the types of recorders he has produced and assesses their tone quality. 474. “Clarence James: Recorder Maker.” Recorder & Music 7, no. 3 (September 1981): 72–73. Brief profile. Includes photographs of several machines and finished recorders. Kelischek, George 475. Oler, Wesley M. “A Visit to the Kelischek Workshop.” American Recorder 8, no. 2 (spring 1967): 54–57. Written following a visit to George Kelischek’s workshop in suburban Atlanta. Begins by describing the various rooms and their contents. The biography of Kelischek covers: his musical education, his apprenticeship as a cabinet maker, his early work (by the age of seventeen) making stringed instruments, his subsequent apprenticeship with the Moeck workshops and eventual appointment as foreman of the shop’s stringed instrument section, his decision 4 1/2 years later to open his own shop, his immigration to Canada, and his move to Atlanta. Concludes with a description of the design of his crumhorns and “Kelhorns.” Klemisch, Guido 476. Davies, Malcolm. “Interview: Guido Klemisch.” Recorder Magazine 14, no. 2 (June 1994): 48–50. In German as: “Guido Klemisch, Blockflötenbauer, im Gespräch mit Malco[l]m Davies” [Guido Klemisch, recorder maker, in conversation with Malcolm Davies]. Tibia 23, no. 1 (1998): 15–22. Covers: his early work on Denner copies; the measurement work that has been completed for many museum instruments; the varying quality of surviving Baroque instruments; the pitch and temperament of Baroque recorders; the advantages of Werkmeister tuning; the apparent popularity of the bass recorder among amateurs during the Baroque; why makers do not make exact copies of historical instruments; the differences between modern and Baroque recorders; handmade versus machine-made instruments; regional differences in Baroque recorders; authenticity; and his work on Renaissance recorders. 477. “Guido Klemisch.” Recorder & Music 7, no. 1 (March 1981): 23. Brief profile of the performer and instrument maker. Includes a photograph of seven of his recorders.

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Koch, William (1892–1970) 478. Koch, John. “William Koch: 1892–1970.” American Recorder 12, no. 1 (February 1971): 5–9. Covers: his move from New York City to Haverhill, New Hampshire; his early years in the country-inn and antique businesses; his start in recorder-making; his experiments with the shrinkage of various woods; his keyless bass recorder; and a description of the steps he takes in making a recorder. Küng, Franz (1906–1983) 479. Albrecht, Christian. “Blockflötenbau Küng, Schaffhausen—ein Firmenportrait” [The recorder maker Küng in Schaffhausen: portrait of a firm]. SAJM Zeitschrift 23, no. 1 (January 1995): 10–16. Franz Küng, the firm’s founder, began as a maker and tuner of pianos, branching out into repairing other instruments and selling radios, discs, and phonographs, before getting into recorder-making in 1938. Orders soon came pouring in, as foreign instruments were hard to obtain during World War II. The firm began with sopranos and altos, tried its hand at low-pitch instruments (in the 1940s!), then expanded to sopraninos, tenors, basses, and great basses. By 1960, the production of pianos had become secondary and several thousand recorders were made each year. In 1968, the younger Küng son, Thomas, began working in the business, and garkleins and contrabass recorders were added. In 1976, the elder son Andreas joined, after music study in Basel, and the firm undertook the development of historical models, including sixth flutes, flûtes du quatre, and flûtes de voix, which began to be manufactured four years later. Since the founder’s death in 1983, the firm has computerized and increased quality control. Innovations have included the Folklora recorder in Bb—good for Swiss folk music as well as the csakan or flageolet repertory of the nineteenth century—a new quartet (soprano to bass) good for both ensemble and solo work, the SUPERIO series with cylindrical bore, and a new soprano for schools. 480. Eberle, Ambros. “Klingendes, singendes Holz: Vom Holzblock der Blockflöte”=“Le bois qui chante: La flûte à bec” [Sounding, singing wood: on the block of the recorder]. Heimatleben=Costumes et coutumes, no. 6 (1988): 18–21. Applauds the tradition of families playing Christmas music at home with recorder and piano: “A thousand times better live house music than canned Bing Crosby with Jingle Bells.” Quickly switches to a short account of the work of the recorder makers Andreas and Thomas Küng in Schaffhausen. 481. “Franz Kung†.” Tibia 8, no. 2 (1983): 356. Short obituary. Küng was originally a piano maker. He began making recorders in Switzerland in 1938 and set up a factory during World War II. In 1974, he appointed his sons Andrea and Thomas as his successors. 482. Küng, Andreas. “Blockflötenbau: Bereit für den Spagat” [Recorder-making: ready to do the splits]. Windkanal 3/1999:20–21. Briefly describes the history of recorder-making at Küng. 3. “Obituary: Franz Küng.” Recorder & Music 7, no. 11 (September 1983): 303.

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Levin, Philip 484. Sacksteder, Richard. “Profile: Philip Levin.” American Recorder 20, no. 2 (August 1979): 58–62. Covers: his musical training and early introduction to the recorder; his move from Miami to New York City to study the bassoon; his growing interest in early music and the recorder; Music for a While; his experiments with voicing, which led to his first work repairing recorders in a spare room of his apartment; his expansion into instrumentmaking; the problems one confronts when copying museum instruments; the instruments he currently makes and plans to make; ethical issues in the business of instrumentmaking; his wish that the scope of the American Recorder Society were broadened; and the early-music scene in New York and the growth of early music in general. 485. Valleau, Douglas. “Of Woods and Reeds and Sealing Wax and Fagotti and Things: Philip Levin in Conversation.” Continuo 7, no. 1 (October 1983): 6–13. Covers: woods, Baroque bassoons, and testing copies. Löbner, Margret 486. Cohrs, Benjamin Gunnar. “Margret Löbner, Bremen.” Windkanal 1/2001: 30–31. Profile of Löbner, who has been running a combination of recorder workshop and store for fifteen years, selling her own recorders and those of twenty-five other makers. Loretto, Alec V. 487. “Establishing Historic Instruments: A Conversation in Auckland with Alec Loretto.” Early Music New Zealand 3, no. 2 (June 1987): 22–27. Covers: the beginnings of the early-music movement in New Zealand; his influences as a maker of recorders and harpsichords; his visits to Europe; his commissions; the current recorder scene in New Zealand; the future of the recorder; and his plans. 488. [Hunt, Edgar]. “Alec Loretto: An Interview.” Recorder & Music 6, no. 4 (December 1978): 101–2. Covers: changes he has observed in recorder-playing since his last visit to Europe in 1972; the idea of “schools” of recorder makers; the different approaches makers take to their work; his exhibit of instruments in Bruges; his plans; and his provocative articles in Early Music (item 812) and the Recorder and Music Magazine (item 811). 489. [Hunt, Edgar]. “European Impressions: Dutch Playing, Modern and Historic Instruments.” Recorder and Music Magazine 4, no. 4 (December 1972): 122–23. An interview with Alec Loretto, presumably conducted by Edgar Hunt. At the time, Loretto was in the midst of a year of study in Europe and had just returned from Holland. Covers: the perceived change in Brüggen’s style after he abandoned modern instruments in favor of historical copies; the difference between modern and historical recorders, which he likens to the difference between a piano and a harpsichord; the Brüggen “bulge” and other characteristics of Dutch playing; his experience attending the Northumbrian Recorder and Viol School in Durham; and his plans. 490. [Hunt, Edgar]. “An Interview with Alec Loretto.” Recorder and Music Magazine 8,

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no. 1 (March 1984): 6–9. Covers: his impressions of the exhibition compared to others he has attended; why exhibitors exhibit; how a regional or national “school of playing” helps makers define a market; block-making courses at the Royal Conservatorium in the Hague; his controversial series of articles in Early Music (item 812); the rising standard of quality in recorder-making; the future of the recorder; and his plans. 491. “Recorders Made by Alec Loretto.” Recorder & Music 5, no. 12 (December 1977): 388–90. A profile of Loretto, accompanied by photographs of twenty of his instruments. 2. Richardson, Paul. “Entrevista con Alec Loretto” [Interview with Alec Loretto]. Revista de flauta de pico, no. 7 (January 1997): 3–8, 26. Covers: how he became interested in recorder-making; how he began copying original instruments and how the contact with them has affected him; differences between early and modern recorders; whether the material affects the sound; his favorite materials; whether to use ivory; Baroque recorders; what characterizes an excellent recorder player; his dislike of the modern recording industry; Frans Brüggen; his “symposium” with Tom Prescott and Bob Marvin; not wanting to be a pioneer of the modern recorder; modern machinery for recorder-making; his love of making; working alone; productivity; Arnold Dolmetsch’s idea to use Baroque recorders in consort; the “ill-informed” Ganassi debate; and the recorder as a serious instrument. 493. Simpson, Adrienne. “Making Recorders of Gidgee, Tawa and Black Maire: Two New Zealanders Discuss the Recorders That Come from Down-under.” Continuo 10, no. 2 (November 1986): 2–5. Reprinted in NEMA Journal, no. 8 (January 1988): 14– 19. Interview with Alec Loretto. Covers: living in New Zealand; teaching in Europe; the proliferation of makers of recorders based on historical models worldwide; his making of unusual types of recorders; the woods he uses (including ones from Australia and New Zealand); the desirability of amateurs learning to improve and maintain their own instruments; and his wish for more recorder makers to share the “tricks of the trade.” Letter from Lee Collins in 11, no. 6 (June 1987): 10; reply by Loretto in 11, no. 11–12 (December 1987): 16. Marvin, Bob 494. Marvin, Bob. “Letters from Bob Marvin.” Continuo 3, no. 4 (January 1980): 3–9. Covers: autobiographical material; his philosophy of recorder-making; the qualities of recorders of different periods; and the recorder as an imitator of early voice techniques, including criticism on these grounds of the style of recordings made on his instruments. See also the letter from Norman Stansfield, 3, no. 7 (April 1980): 6–10. Picking up on Marvin’s advocacy of “Zen instrument making,” Stansfield suggests we may gain insights into recorders and their playing by studying the shakuhachi. Moeck, Hermann (1896–1982) 495. “Hermann Moeck senior†.” Tibia 8, no. 1 (1983): 273. Obituary. As well as founding the firm that still bears his name, Moeck was an

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important instrument collector; his collection now belongs to the University of Göttingen. See also Hermann Moeck Jr.’s “50 Jahre Moeck Verlag und Musikinstrumentenwerk: Festrede beim Jubiläum am 5. September 1980,” Tibia 5, no. 3 (1980): 199–202. Moeck, Hermann, Jr. (b. 1922) * Delius, Nikolaus, ed. Sine musica nulla vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16. September 1997. Cited above as item 39. 496. “Dr. Hermann Moeck on the Occasion of His 75th Birthday.” Recorder Magazine 17, no. 4 (December 1997): 159. A brief biography. 7. Herzog, H.K. “Die Blockflöte in unserer Zeit: Ein Gespräch mit Dr. Hermann Moeck” [The recorder in our time: a conversation with Dr. Hermann Moeck]. Das Musikinstrument 24, no. 6 (June 1975): 878–80. Moeck briefly answers questions about the market for recorders in Germany and abroad; the relationships among recorder makers, music schools, and schools in general; recorder ensembles; and the value of the Bruges Early Music Festival. Illustrated with a photograph of the young Conrad Steinmann winning first prize at Bruges in 1972. 498. Moeck, Hermann. “Der Markt der Blockflöte und das Musikleben: Eine Stellungsnahme von Dr. Moeck (Celle) auf eine Frage von H.K.Herzog” [The market for recorders and musical life: a statement by Dr. Moeck to a question by H.K.Herzog]. Das Musikinstrument 21, no. 7 (July 1972): 918–19. Discusses the number of recorders in the world, as well as the twentieth-century history of the recorder in various European countries, the U.S., and Japan. 499. Pratt, Bill. “Dr. Hermann Moeck Talks about His Firm.” American Recorder 14, no. 1 (February 1973): 3–8. Covers: Moeck’s beginnings as a publisher (Der Blockflötenspiegel and Zeitschrift für Spielmusik); the role of the Youth Music Movement in the revival of the recorder; Peter Harlan and the invention of German fingering; Moeck’s entry into recorder production in 1949; work with Friedrich von Huene on the Rottenburgh series of recorders; massproduction versus handcrafting; the demise of the Meister recorders as a result of changing tastes in tone quality; and the shift in emphasis from playability to historical accuracy in the design of Moeck’s historical instruments. 500. Quandt, Reinhold. “Dr. Hermann Moeck wird 70” [Dr. Hermann Moeck turns 70]. (Das Porträt.) Tibia 17, no. 3 (1992): 194–97. Also a short tribute by Ulrich Thieme for the editors of Tibia, “Ein Hermannsdenkmal,” 215. An overview of Moeck’s important work as an instrument manufacturer and publisher since he took over from his father in 1960. Moeck (Firm) 501. Herzog, H.K. “2 Pole des Blockflötenbaues in Nord-Deutschland: Moeck-Celle und Roessler-Heide” [Two poles of recorder-making in north Germany: Moeck-Celle and Roessler-Heide]. Das Musikinstrument 17, no. 9 (September 1968): 1035–38. First, describes the new Moeck factory in Altencelle, next to Celle, and the semiautomated production of recorders there. Then looks at the smaller factory of

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Roessler in Heide-Holstein, now twenty years old. 502. “Moeck: Music Publishers & Instrument Makers.” Recorder & Music Magazine 2, no. 8 (February 1968): 270. A brief description of the company’s publishing and manufacturing activities. Mollenhauer 503. Feider, Denise. “Mollenhauer Conrad, Blockflötenbau Fulda—ein Firmenportrait” [Mollenhauer Conrad, recorder manufacturer, Fulda: a portrait of the firm]. SAJM Zeitschrift 22, no. 5 (September 1994): 9–17. The firm goes back to 1822 when Johann Andreas Mollenhauer established himself in Fulda as a maker of all kinds of woodwind instruments, including flageolets and csakans. Instrument-making has remained in the family ever since. In 1934, Johann Andreas’s great-grandson Thomas, after finishing his training, took up making recorders and modernized the work-place. His son Bernhard, the present owner, employs no fewer than thirty workers, making recorders and modern flutes. Mollenhauer also publishes music and a recorder method, gives free seminars for retailers on the construction and maintenance of recorders, and offers courses for performers and teachers on making and playing. 504. Kunath, Jo. “Blockflöte & Internet” [The recorder and the Internet]. Windkanal 2/1998: 20–21. A brief introduction to the World Wide Web and two of its recorder sites (Mollenhauer, Helge Stiegler). 505. Mollenhauer, Bernhard. “Der lange Atem—einer Flötenmarke” [The long breath—a recorder brand]. Windkanal 1/1997:20–22; 2/1997:20–23. A history of the firm Conrad Mollenhauer GmbH (founded in 1822), written by its current owner. In the nineteenth century, it made csakans and flageolets. Thomas Mollenhauer (1908–1953) began the making of recorders after World War II Now the firm makes a variety of student and professional models, including two different modernized recorders (in collaboration with Maarten Helder and Nikolaj Tarasov/Joachim Paetzold). The article ends with a cute series of photos of all thirty-one current employees. 506. Mollenhauer, Conrad. “Vom Baumstamm zur Blockflöte: Der Werdegang eines beliebten Musikinstruments” [From tree trunk to recorder: the development of a favorite musical instrument]. Das Musikinstrument 7, no. 1 (January 1958): 18–19. A brief account of the making of recorders at the Mollenhauer factory, particularly the careful preparation given to the wood. Monin, Claude 507. Hunt, Edgar. “A Recorder for France.” Recorder and Music Magazine 4, no. 5 (March 1973): 161. Brief profile of Claude Monin, a French telecommunications engineer who makes recorders modeled after Hotteterre instruments. 508. Ritchie, Jacquelin. “Rencontre avec Claude Monin” [Meeting with Claude Monin]. Flûte à bec, no. 3 (June 1982): 21–22.

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Monin was the first modern recorder maker in France (1968). Briefly covers: his early experiments, the uniqueness of the recorder, voicing, the essentials of a good recorder, and modifying a bad recorder. Morgan, Frederick (1940–1999) 509. Brüggen, Frans. “Morgan ist tot!” Tibia 24, no. 3 (1999): 558. A poem: “Morgan ist tot! Und wir gehen still zu seinen Gaben. Und blasen, blasen so ab und zu, nur einen Ton, trauring und freudig, ohne Ansatz, nur Luft. Und wissen auf einmal wieder, wie er lebend war—nein, ist!” (Morgan is dead! And we go quietly to his gifts. And play, play, now and then, only one note, sad and happy, without beginning, only breath. And know once again, how he was—no, is!—living.) 510. Hauwe, Walter van. “In Memoriam Fred Morgan.” Tibia 24, no. 3 (1999): 558–59. Covers: Morgan’s period in Amsterdam in the early 1970s; his ability to make a copy of any historical instrument into “a Morgan”; his unusual generosity in publishing what he knew of instrument-making; how his ability as a player informed his instrumentmaking; and the great loss to the recorder world. 511. Hughes, Geoff. “Memories of the Early Life of Frederick Gilbert Morgan.” Recorder and Early Music [Australia], no. 24 (2000): 8–10. Based on his own memories as well as those of Fred’s brother Peter and friends. Hughes played with Fred as a teenager, and their families attended the same church. 512. “In Memoriam Fred Morgan.” Recorder and Early Music [Australia], no. 24 (2000): 3–7. Contains: a description of the Fred Morgan Tribute Conceit held in Melbourne on 8 October 1999 (by Diane Rex); an English version of Frans Brüggen’s poem “Morgan ist tot!” (item 509); “Fred and the Rosenborg Recorders” by Eva Legêne; and tributes by John Martin, Hans-Dieter Michatz, and Lynton Rivers. 513. Lasocki, David. “Tribute to Fred Morgan.” Recorder Education Journal 4 (1998): 29. Includes a brief reminiscence. 4. Waterman, Rodney. “Obituary: Frederick G.Morgan, Recorder Maker.” Recorder Magazine 19, no. 3 (autumn 1999): 79–80. Originally published in the Melbourne Age, 29 April 1999, 24, and reprinted in the Sydney Morning Herald, 4 May 1999. In German as: “Frederic G.Morgan, Blockflötenbauer, 8.4.1940–16.4.1999.” Tibia 24, no. 3 (1999): 559–60. In Spanish as: “Necrologia de Fred Morgan.” Revista de flauta de pico, no. 14 (1999): 25–26. An abbreviated German version appears in Windkanal 3/1999, 14. A biography, followed on pages 80–82 (in the Recorder Magazine) by the tributes and remembrances of Friedrich and Ingeborg von Huene, Alec V.Loretto, Alan Davis, and Vicki Boeckman. 515. Waterman, Rodney. “Recorder Maker Frederick G.Morgan Dies in Automobile Accident in Australia.” American Recorder 40, no. 3 (May 1999): 6. Adapted from item 514. Covers his: early career as a performer; work for the Pan Recorder factory in Hawthorn (1959–1969); trip to Europe in 1970, during which he met Frans Brüggen; work as a maker, lecturer, and author; move to Amsterdam in 1978– 1980; and work on copies of the Rosenborg Castle recorder for Eva Legêne.

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516. Waterman, Rodney. “Fred Morgan, Recorder Maker, 1940–1999.” Recorder and Early Music [Australia], no. 23 (1999): 3–5. Contains more Australian detail than item 514. Paetzold, Joachim 517. Berger, Christina. “Aus der Blockflötenwerkstatt: Herbert Paetzold & das ‘klingende Sperrholz’” [From the recorder workshop: Herbert Paetzold and “sounding plywood”]. Windkanal 3/2000:11–13. Around 1975, after studying electronics and theater, Herbert Paetzold began to work as a recorder maker, and especially with the square contrabasses invented by his uncle Joachim. In 1977, Frans Brüggen was so taken with these instruments that he ordered three for his trio, Sour Cream. Later, Paetzold developed further square models (great bass, basset, subcontrabass). He was also the first to make copies of the Kynseker recorders from Nuremberg. In 1996, he opened a large music center for early music in Ebenhofen. A subsubcontrabass was due to come on the market in three months’s time. A puff-piece written by Paetzold’s secretary, but still useful. 518. Schmidt, Susanne. “Primitives Instrument voller Rätsel’—ein Gespräch mit den Tübinger Flötenbaumeister Joachim Paetzold” [“Primitive instrument full of puzzles”—a conversation with the Tübingen recorder maker Joachim Paetzold]. Tibia 12, no. 3 (1987): 518–19. Covers: his background, including his introduction to the recorder; his production; his development of a new round foot for the recorder; and his lack of “overperfection.” A humorous report on “the roguish recorder maker.” 519. Tarasov, Nikolaj. “Dazumal und heute noch…Nik Tarasov gratuliert Joachim Paetzold zum 40-jährigen Werkstattjubiläum” [In those days and still today…. Nik Tarasov congratulates Joachim Paetzold on the fortieth anniversary of his workshop]. Windkanal 4/2001:10–11. Brief reminiscences of Paetzold’s early days as a recorder maker. 0. Tarasov, Nikolaj. “Portrait: Joachim Paetzold.” Windkanal 3/1998:10–11. A brief homage to Paetzold, “the longest-serving recorder maker,” on his seventyseventh birthday. Prescott, Thomas 521. Brodie, Gary. “Recorder Makers at Home.” Recorder Magazine 13, no. 1 (March 1993): 17–18. A chatty account of visits to the workshops of Tom Prescott in New Hampshire and Friedrich von Huene in Boston, Massachusetts. * Prescott, Thomas M. “Making Recorders.” Cited below as item 756. 522. Redsell, Matthew James. “The Life and Times of a Recorder Maker.” Continuo 11, no. 5 (May 1987): 2–6. Covers: how Prescott works with his partner, Rob Gilliam-Turner; how he apportions his time; how many instruments they make; his background (detailed); makers he admires; hand-turning versus template-turning; the state of the business; how orders are generated; and what he would look for in an apprentice (including “previous experience

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not required”). Roessler, Heinz * Herzog, H.K. “2 Pole des Blockflötenbaues in Nord-Deutschland: Moeck-Celle und Roessler-Heide.” Cited above as item 501. 523. Kadelbach, Ada. “‘Bauen Sie doch Blockflöten’” [“You’re still making recorders”]. Das Musikinstrument 24, no. 6 (June 1975): 880–81. Traces “the unusual career of Heinz Roessler in Heide/Holstein from ‘pipemaker’ to internationally recognized recorder maker.” 524. Mollenhauer, Bernhard. “Heinz Rössler—einen Kollegen und Freund verloren” [Heinz Rössler—a colleague and friend lost]. Windkanal 3/2001:29. Brief obituary of the much-loved German recorder maker, who died in March 2001 at the age of eighty-one. 525. Sayers, K.J. “The Roessler Recorder.” Early Music 3, no. 1 (January 1975): 19–20. Observes that players and makers have become increasingly interested in improving the recorder’s flexibility and expressivity, but the demand for inexpensive instruments has led to manufacturing techniques that suppress these qualities (see items 811–12 for more on the topic). Sayers advocates the recorders made by Heinz Roessler as instruments that are carefully made and embody many sought-after characteristics. Saunders, Joanne 526. Saunders, Joanne. “Reflections of a Recorder Maker.” Recorder: Journal of the Victorian Recorder Guild, no. 9 (February 1989): 29–30. Brief comments on her training with Fred Morgan and the difficulties of recordermaking. Schöni, Andreas 527. Feider, Denise. “‘Ich werde einfach arbeiten, solange es mir möglich ist…’: Ein Werkstattgespräch mit Andreas Schöni, Blockflötenbauer in Bern” [I simply want to work as long as it’s possible for me…: a workshop conversation with Andreas Schöni, recorder maker in Bern]. SAJM Zeitschrift 26, no. 3 (May 1998): 2–13. Covers: his training as a mechanic as well as on the clarinet and recorder; being selftaught as a recorder maker; working with early instruments; the difficulty of keeping up the quality as a maker (he works part-time as a clarinet and recorder teacher); the influence of the clarinet on his recorder-making and playing; his philosophy of making; buying dry wood; the types of wood he uses; oiling the instruments; his production rate; selling on order, not from stock; his Renaissance recorders; his early clarinets and chalumeaux; the audience for his instruments; and his wishes for the future. Silverstein, Steven 528. Valleau, Douglas. “A Conversation with Steve Silverstein in Boston.” Continuo 6, no. 11 (September 1983): 11–15.

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Covers: background; the qualities of an instrument maker; copying and testing early instruments; tools; finishing; and materials. Soubeyran, Claire 529. Duhot, Jean-Joël. “Facture restauration recherche: Claire Soubeyran” [Instrumentmaking restoration research: Claire Soubeyran]. Flûte à bec & instruments anciens, no. 17 (December 1985/February 1986): 18–21. Interview. Covers: her study (undertaken at the Dayton Miller Collection and the Smithsonian Institution, Washington, D.C.) of the deforming influence that the wrappings (of cork or waxed thread) of the joints exert on the bore of the flutes; her philosophy of restoration of early flutes; and combining restoration and making in her life. Soubeyran is primarily a maker of early flutes; she has made only one copy of an early recorder. Stieber, Ernst 530. Cawley, Margaret E. “Ernst Stieber, Tuebingen: 50 Years an Instrument Maker.” American Recorder 12, no. 4 (November 1971): 113–22. An idyllic portrait illustrated by many photographs. Topics related to recorder-making include: his apprenticeship with Max Schuster and Paul Seckendorf; his acquisition of an E.G.Kirst one-keyed flute, which subsequently served as a model for several copies; his great-bass recorders; his daily routine; why he remained in Europe. 531. Hunt, Edgar. “Ernst Stieber: Recorder Maker.” Recorder & Music Magazine 3, no. 4 (December 1969): 130. A brief profile. Stiegler, Helge 532. Catalan, Jean Sébastien. “Roggenbrot, Schafskäse & Blockflöten” [Rye bread, sheep cheese, and recorders]. Windkanal 2/1998:12–13. A portrait of the Austrian recorder player and maker Helge Stiegler. Covers: his early involvement with the foods in the title; being self-taught as a recorder maker; making instruments in the winter, farming in the summer; his training as a performer and preference for modern recorder music; his credo as a teacher, “to communicate fun in music”; the training of recorder teachers; and his relationship to town and country. * Kunath, Jo. “Blockflöte & Internet.” Cited above as item 504. Sturbois, Annie * Ritchie, Jacqueline. “Entretien avec Annie Sturbois et Daniel Bariaux.” Cited above as item 436. Toyama, Nobuo 533. Burakoff, Gerald. “An Interview with Nobuo Toyama.” (The Recorder in Education.) American Recorder 31, no. 2 (June 1990): 15–17. Covers: the history of the Toyama Musical Instrument Company; his decision in the

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early 1950s to experiment with the manufacture of plastic recorders for schools; the appearance of his plastic instruments under the name Aulos in the mid-1950s and the role they have played in elementary music education in Japan; quality control in the production of Aulos recorders; improvements to instruments through research and development; the Aulos alto based on an instrument by Richard Haka; the lack of a market for plastic Renaissance-style recorders; current trends in plastics; differences in buying habits among the United States, Japan, and Europe; sales of English fingering (70 percent) versus German (30 percent); and recorder instruction in Japan. Letter from Tada Ichiro in 30, no. 3 (September 1990): 37. 534. “Nobuo Toyama, Maker of Plastic Recorders.” American Recorder 36, no. 2 (March 1995): 3. Brief obituary. Valdivia Rivera, Eduardo (b. 1947) 535. Rothe, Gisela. “Eduardo Valdivia Rivera: Stradivari, Kynseker & Co.” Windkanal 4/2000:10–12. An interview with the Latin American string, guitar, and woodwind maker, who has been living in Germany since 1983. Covers: how he began instrument-making in Colombia; moving to Italy, then Germany; becoming a recorder maker “overnight, so to speak”; using his knowledge of hydraulic engineering; working for Mollenhauer on the Kynseker models, and more recently on the Dream Recorders developed by Adriana Breukink; and the similarities and differences among his different types of instrumentmaking. Wenner, Martin 536. Wenner, Martin. “Blockflötenkauf ist Vertrauenssache” [Buying a recorder is a matter of confidence]. Windkanal 1/1999:29. A description of Wenner’s woodwind-making, repairing, and restoring business. Willman, John 537. [Hunt, Edgar?]. “John Willman: An Interview.” Recorder & Music 7, no. 5 (March 1982): 118–19. Covers: his apprenticeship in machine engineering; his musical study; his decision to make recorders; the voicing and bore design of Bressan recorders and the difficult task of copying them; and the importance of using low pitch for modern copies.

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MISCELLANEOUS 538. Geissmann, Annemarie. “Der Blockflötenbau in der Schweiz” [Recorder-making in Switzerland]. Tibia 15, no. 1 (1990): 43–44. Only two Swiss recorder makers from the Baroque period are known: Christian Schlegel and his son Jeremias. Briefly sketches their lives, then moves on to modern makers: the recorder firms (Küng, Huber, Fehr, which collectively produce twenty to thirty thousand instruments per year) and the private makers (Santi Occorso, Olivier Delessert, Andreas Schwob, Ernst Meyer, Andreas Schöni, and Dieter Graf). Ends with the curious statement that “One must not forget that no literature about recorder making exists!”

12 Construction and Design This chapter deals with sources that discuss the construction and design of historical and modern recorders—that is, the properties of the instruments themselves. It includes such special topics as instruments for the disabled, English versus German fingering, electronic recorders, modernizing the recorder, the bell key, and woods. For information on the making and manufacture of recorders, see chapter 14. 539. Blezinger, Stephan. “Ganassi—Kynseker—Bressan—Denner: Bauliche Unterschiede und ihre Auswirkungen auf die musikalische Praxis” [Ganassi, Kynseker, Bressan, Denner: constructional differences and their consequences for musical practice]. In 3. Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation [unnumbered pages]. Reprinted in Tibia 23, no. 1 (1998): 77–78; 23, no. 2 (1998): 158–59; 23, no. 4 (1998): 340–41. For readers who may justifiably be puzzled about the differences among the early types of recorders and why they differ considerably in tone, Blezinger provides a helpful survey. He begins with the basic acoustic principles, emphasizing the importance of the bore and windway size. Then he discusses most of the important early types: “Ganassi” (briefly compared with the other type of Renaissance instrument, which he calls “consort recorder”), early Baroque (Kynseker, “van Eyck”), and late Baroque (Bressan, Denner). 540. Bolton, Philippe. “La flûte à bec” [The recorder]. Flûte à bec & instruments anciens, no. 13/14 (December 1984/March 1985): 2–3. Copies obtainable from the author at Le Grand Portail, F-84570 Villes-sur-Auzon, France. Defines “recorder” (fixed embouchure consisting of windway plus lip; thumb-hole for octaving) and describes its basic acoustics and tone production. Summarizes the differences among Renaissance, Ganassi, and Baroque recorders. Looks forward to collaboration between musicians and makers to produce suitable instruments for our own time. 541. Dessy, Raymond, and Lee Dessy. “The Principles of Recorder Design Explained.” American Recorder 33, no. 2 (June 1992): 7–14. Clearly explains much of our understanding of the acoustics of the recorder bore. Relates many aspects of the recorder’s tone, pitch, and sound radiation to the way the open and closed fingerholes affect the internal standing waves. Explains the role of the speaker hole and the relationship of blowing pressure to sounding frequency. Mentions some aspects of the tone-production process and the contribution of the various voicing factors to the tone and stability of notes. A few curious statements cannot be followed up because of the journal’s customary policy of avoiding footnotes. Dessy answers readers’ questions in 33, no. 3 (September 1992): 33–35. Alec V. Loretto discusses the effect of bore shape on intonation in 33, no. 4 (December 1992): 25. * Feider, Denise. “Zur Entwicklung der Blockflöte im 20. Jahrhundert.” Cited above as

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item 152. 542. Halfpenny, Eric. “The English Baroque Treble Recorder.” Galpin Society Journal 9 (1956): 82–90. Detailed description of the physical characteristics of the eighteenth-century alto recorder based on an examination of thirteen instruments. Includes measurements of eight instruments and photographs of four. 543. Haynes, Bruce. “The Baroque Recorder: A Comparison with Its Modern Counterpart.” Drawings by Friedrich von Huene. Recorder & Music Magazine 2, no. 11 (December 1968): 364–68. Reprinted in American Recorder 10, no. 1 (winter 1969): 3–8. Calls for a return to standards of the past. In his explanation of the differences between a typical modern recorder and its Baroque prototype, Haynes makes compelling arguments in favor of retaining many of the characteristics that had been considered flaws in older instruments, such as their soft, nasal tone quality. Also covers voicing, construction of the windway, undercut holes, and low pitch. Includes drawings of altos by Bressan, J.C.Denner, and Küng, as well as cut-away drawings of the head of a Baroque alto. Correction by Haynes in Recorder & Music Magazine 3, no. 1 (March 1969): 20. * Hunt, Edgar. “The Renaissance Recorder.” Cited above as item 97. 544. Lerch, Tom. “Die Entwicklung des barocken Blockflötenbaus in Europa: Ein geschichtlicher Abriss” [The development of Baroque recorder construction in Europe: a historical outline]. Das Musikinstrument 37, no. 7 (July 1988): 16–20. A brief survey with biographies of the principal makers, based on previous research. 5. Loretto, Alec V. “Don’t Judge a Book by Its Cover and Don’t Judge Recorder Bores by Outside Shapes!” Recorder Magazine 15, no. 1 (March 1995): 11–12. Cautions that it is the shape of the bore, not that of the outside of a recorder, which determines the instrument’s musical properties: range, tone color, and fingerings. Summarizes the different basic types of bore—medieval, Renaissance, “transitional” (early Baroque), Baroque, and Ganassi. Believes that the best way forward for the recorder would be a Ganassi bore with extra vent holes and keywork in order to simplify the fingering in the high register and perhaps extend the range. Hermann Moeck reports on the article in Tibia 20, no. 3 (1995): 549. 546. Loretto, Alec V. “Long and Short Recorder Feet.” FoMRHI Quarterly, no. 92 (July 1998): 22–24 (Communication no. 1586). Cautions against accepting the overall lengths of recorder feet as a meaningful measurement. Because of differences in socket length, the bore length of feet with the different overall lengths could be the same, and therefore the instruments could be acoustically similar. In Loretto’s experience, the two most important factors influencing the speech and intonation of the high register are the ratio of foot bore length to the overall speaking length and the distance of hole 7 from the bottom end of the instrument. Independently putting forward the possibility mentioned by Jeremy Montagu that recorder makers bought pre-reamed blanks (see item 553), Loretto concludes by suggesting this as the reason why some makers made long-foot recorders, others shortfoot recorders. In other words, the apparently random choice of foot length was actually dependent upon the source of the blank. 547. Loretto, Alec V. “A New Angle on Finger Holes.” Recorder Magazine 10, no. 3

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(September 1990): 64–66. Presents three reasons why makers use angled fingerholes: to place the holes in more convenient positions for the hands, to avoid drilling into a socket, and to adjust the tuning of the instrument. 548. Loretto, Alec V. “Noise, Windways and Chamfers.” Recorder Magazine 21 [marked 21a], no. 4 (winter 2001): 138–40. Begins by summarizing recent research on the properties of a stream of air flowing against a sharp edge (see item 671 for a detailed discussion). Subsequent commentary on the research raised questions about the use of chamfers (tapered edges at the exit of the windway). Through his own testing, Loretto discovered that a windway ending with ninety-degree angles generates turbulence in the airstream. Rounding the edges of the windway does little to reduce the turbulence, but angled cuts practically eliminate it, provided the cuts are of an optimal size and angle. There is no formula, however, for determining the perfect size and shape of the chamfers; it must be learned through experimentation and practice. Also briefly discusses other characteristics of the windway that affect the amount of noise introduced into the recorder’s tone. 549. Loretto, Alec. “Recorder Window Size.” FoMRHI Quarterly, no. 87 (April 1997): 18 (Communication no. 1508). A method developed by the Norwegian recorder maker Sverre Kolberg “over twenty years ago” for roughly calculating the size of a recorder’s window is presented by Loretto (why not by Kolberg himself?). If the bore circumference at the blockline is represented by a circle, which one then divides into five equal segments, then the tangent chord between the end-points of a segment is the width of the window. (Another part of the diagram gives the height of the window, or “cut-up” in organ terminology.) 550. Loretto, Alec. “Some Basic Recorder Design Problems.” Recorder Magazine 18, no. 3 (September 1998): 91–92. Shows how to convert the measurements of a cylindrical recorder into those for a foursided instrument. 551. Marvin, Bob. “Designing Pre-Baroque Recorders.” Woodwind Quarterly, no. 12 (spring 1996): 98–101. A short article presenting the author’s thoughts on making recorders for performing fifteenth- and sixteenth-century music. 552. Marvin, Bob. “A Serviceable Early Baroque Flauto.” FoMRHI Quarterly, no. 16 (July 1979): 50–51 (Communication no. 226). Taking his cue from the dimensions of three surviving instruments (two in Vienna, one in the Hague), discusses the slightly tapering bore that might be appropriate for a recorder to play early-seventeenth-century music. 553. Montagu, Jeremy. “As Like as Two Peas.” FoMRHl Quarterly, no. 92 (July 1998): 26–27 (Communication no. 1588). How could surviving alto recorders by the famous Bressan and the scarcely known Urquhart be externally alike in virtually every detail but different in bore? After setting out this puzzle, Montagu proposes a solution: that it was possible for recorder makers to buy pre-reamed blanks from another maker, or more likely someone who specialized in blanks. For busy makers, this saved time “by starting with a shaped body and a pilot bore.” Whoever this blank-maker may have been, “he was a master craftsman with an

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unerring eye for beauty of shape and curve.” 554. Morgan, Fred. “Old Recorders and New Ones.” Recorder: Journal of the Victorian Recorder Guild, no. 1 (1984): 12–16. “A sort of ‘recorder maker’s speculative history of recorder design,’ supported by reference to some examples of the maker’s craft from earlier centuries.” Discusses cylindrical-bore recorders, choke-bore recorders, [Jean] Hotteterre’s instrument-making (“solidly based on the work of his predecessors”), modern changes, recent interest in playing recorders to suit the music, and the position of the recorder today. 555. Morgan, Fred. “A Recorder for the Music of J.J.van Eyck.” American Recorder 25, no. 2 (May 1984): 47–49. In Spanish as: “Una flauta dulce para la musica de J.J.van Eyck.” Musica antiqua: Revista illustrada de música histórica, no. 1 (June 1986): 44– 49. Because of its positioning in the Vellekoop edition of Jacob van Eyck’s Der fluyten lusthof, many modern scholars—Morgan among them—have assumed that that collection included the drawing of a recorder that actually belonged to the instructions by Paulus Matthyszoon (item 923). Nevertheless, the collection does require a recorder with a range of two octaves and one note. Because of its extraordinary range, such an instrument has been considered a missing link between “the small-range Renaissance recorders and the Hotteterre type.” The idea of building such a recorder has intrigued many makers, including Morgan, who decided to use Matthyszoon’s drawing as a model. After several attempts, he concluded that the instrument must employ a “choke bore” in order to utilize the high harmonics of the instrument. His theory seemed to be confirmed in 1982, when he and Ture Bergstrøm measured two narwhal ivory recorders that Eva Legêne had seen in the Rosenborg Castle in Copenhagen (see item 375), which had such a bore and range. He concludes: “At this time, I think the Rosenborg recorders provide us with the models we need.” (A different view of the Matthyszoon drawing is taken by Legêne in item 112.) 556. Myers, Herbert W. The Practical Acoustics of Early Woodwinds. D.M.A. thesis, Stanford University, 1981. vi, 134 leaves. OCLC #7648851. UMI order no. 81–09026. A comprehensive account of the acoustics of many early woodwinds, based on practical rather than theoretical knowledge of their behavior. Covers tone holes, bore shapes, materials, and keywork—which are applicable to recorders as well as other instruments. A chapter on tone generators includes several pages on recorder voicing. Most of the information in the thesis is summarized in table form in a useful appendix, which gives the result of each specific change to a general aspect of each type of instrument. For the recorder, summarizes the effects of altering the size, undercutting, and position of fingerholes; changing the basic bore shape; introducing local expansions or contractions in the bore; changing the wall material; and changing the dimensions of the window and windway. 557. Read, Robin. “Recorder Tone.” Recorder and Music Magazine 2, no. 1 (March 1966): 7–9. Focuses on the effects of design, construction, selection of wood, and voicing on a recorder’s tone. Also describes the importance of a comfortable playing position, an appropriate vibrato, and proper breath control. 558. Sandner, Erich. “Irrtum bei Blockflöten?? Steht die Sopran- und Tenorblockflöte in B?” [An error in recorders?? Are the soprano and tenor recorder pitched in Bb?]. Das

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Musikinstrument 29, no. 6 (June 1980): 906, 908. As the title suggests, argues that the C recorders are really pitched in Bb. As Hermann Moeck pointed out immediately, however, “The error of Erich Sandner is quickly cleared up” (Tibia 5, no. 3 [1980]: 210; see also his letter to the editor in Das Musikinstrument 29, no. 8 [August 1980]: 1089). His argument is based on his not having distinguished between instruments with seven upper fingerholes (like the recorder) and those with six (like the fife). Sandner’s suggestion that all recorders should be treated as transposing instruments relative to C fingerings goes against long-standing practice. 559. Stiegler, Helge Michael. “Konstruktionsmerkmale von Blockflöten” [Construction features of recorders]. In I. Internationale Grazer Blockflötentage, Vorträge und Dokumentation [9 p.]. Begins with a brief history of the instrument, which was surely wasted on the lecture’s distinguished audience. Then quickly surveys the instrument’s construction in the Middle Ages, Renaissance, early Baroque, and late Baroque, recorder acoustics and fingering, and finally some principles for adjusting the windway and correcting intonation. 560. Tuschner, Wolfram. “Die frühen Holzblasinstrumente im Lichte der mittelalterlichen Tonlehren” [Early woodwind instruments in the light of the medieval modes]. Tibia 8, no. 3 (1983): 401–6. An imaginative discussion of the transition from woodwind instruments with six upper fingerholes to those with seven (including of course the recorder) in the light of the tetrachord system of the Musica enchiriadis and the later Guidonian hexachord system. 561. Zaniol, Angelo. “A chaque musique sa flûte à bec” [To each type of music its recorder]. Flûte à bec, no. 5 (December 1982): 32–35; no. 6 (March 1983): 3–14. In English as: “The Recorders of the Middle Ages and Renaissance.” Continuo 8, no. 1 (November 1984): 2–7; 8, no. 2 (December 1984): 12–15; 8, no. 3 (January 1985): 6– 9. In German, with updates, as: “Jeder Musik ihre Blockflöten des 14./15.-17. Jahrhunderts.” Tibia 13, no. 2 (1988): 73–83. An influential survey of our state of knowledge of medieval and Renaissance recorders, based on pictures, treatises, surviving examples, and modern attempts to make similar instruments. Classifies such recorders into five main types: medieval, Renaissance I, Renaissance II, Renaissance III, and “van Eyck.” BASS AND GREAT-BASS RECORDERS 562. Bloodworth, Denis. “A New Design of Bass Recorder.” Recorder Magazine 12, no. 1 (March 1992): 3–5. Describes a bass recorder made by Albert Lockwood, interesting for its novel key work, bore design, and close positioning of tone holes. 563. Bloodworth, Denis. “The Lockwood Great Bass Recorder.” Recorder Magazine 14, no. 1 (March 1994): 13. Following up on item 562, Bloodworth describes a new great-bass recorder by Lockwood. Ingenious (and unusually quiet) keywork allows for a comfortable stretch, and “The bottom of the instrument is plugged, with a hole in the side of the foot, so that the instrument can be rested on the floor when playing seated.” 564. Haynes, J.L. “The Production Recorder.” Recorder & Music 6, no. 1 (March 1978):

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12–13. Describes the construction of a bass recorder with a square bore. 5. Waechter, Wolfram. “Klingendes Sperrholz: Testbericht über die neuent-wickelte Paetzold-Kontrabaßblockflöte” [Plywood resounding: test report on the newly developed Paetzold contrabass recorder]. Tibia 2, no. 2 (1977): 302–3, 305–6. “At first sight, it appears to be some piece of modern technical equipment, designed less by an instrument maker than by an architect. And people who in buying a recorder put visual appearance above sound are certainly in for a bit of a shock….” Waechter reports at length (small print) on the “facts and figures,” “development history,” and “details” of the new square cross-section instrument made of thick plywood, close in shape to an organ pipe. Followed by some critical remarks and an enthusiastic note on its “sound and response possibilities” for avant-garde recorder music. A helpful report on an important development in modern recorder-making. CARVED RECORDERS 566. Hess, Stanley. “An Apology for the Carved Recorder.” American Recorder 9, no. 2 (spring 1968): 43–47. Begins by exploring briefly the relationship between functionality and aesthetic design. Notes that the end rings, beading, and swells of the Baroque recorder were not necessary to the instrument’s structure and were added solely to improve appearance. “‘Useless’ ornamentation is part of a craftsman’s art.” Hess’s own interests lie in scrimshawing in relief. He includes drawings of eight plans for carved recorders taken from his notebooks. He doubts, however, that carved instruments will ever become common because of “the ‘functional’ taste of our time.” See also item 567, a sequel. 567. Hess, Stanley. “Tone Building, Figuratively Speaking, with the Baroque Recorder.” American Recorder 21, no. 2 (August 1980): 55–59. Reports that von Huene was reluctant to pursue the kind of high-relief carving proposed by Hess in item 566 for fear that the carving—particularly the depth of the window—would affect the tonal properties and voicing of the instrument. A number of years later, Hess took up instrument-making (he is a professor of art) and was able to realize many of the planned carvings, although several were musical failures. He concludes that the deep windows produced by high-relief carving can be accommodated by proper venting. The article includes photographs and illustrations of the recorders. Letter from Friedrich von Huene in 21, no. 4 (February 1981): 191, offers photographs of six carved recorders dating from the eighteenth-century. Letter from Hess (with more photographs) in 23, no. 4 (November 1982): 175. INSTRUMENTS FOR THE DISABLED 568. Alexandra, Kate. “The Dolmetsch Gold Series Recorder for One Hand.” Recorder Magazine 19, no. 4 (winter 1999): 127–29. In 1997, Dolmetsch began producing the Gold Series recorder, which is their Academy recorder fitted with oboe keys so that it can be played with one hand. Alexandra describes

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the key mechanism, fingering technique, and the problems she encountered during her first year of playing the instrument (and offers solutions to some of those problems). Letter from Brenda Dickeson in 20, no. 1 (spring 2000): 33–34. 569. Godby, Paul J. “Reflections of a Right-Handed Recorder Player.” American Recorder 37, no. 1 (January 1996): 11–13. Unable to finger with his left hand as the result of a stroke, Godby experimented with three one-handed recorders with mixed success: a rose-wood alto by Yamaha and a plastic alto by Zen-On (both with key work), and a plastic soprano by Aulos (model 204AF, composed of eight sections that can be configured for a variety of finger combinations). See also Godby’s “A New Tenor for Paul Godby,” American Recorder 43, no. 3 (May 2002): 16–17. 570. Hunt, Edgar. “Another One-handed Recorder.” Recorder & Music 7, no. 3 (September 1981): 66–67. Sequel to item 574. Describes two open-keyed recorders made by Bernhard Mollenhauer. Both instruments have a normal thumb hole without keywork. 571. Hunt, Edgar. “The One-handed Recorder.” Recorder & Music 7, no. 6 (June 1982): 145. Summarizes items 570 and 574 and includes a photograph of the Tsukamoto keywork applied to a Zen-On Bressan alto and Stanesby Jr. soprano. 572. Langer, Rudolf. “Flöten als Behinderteninstrument” [Flutes as instruments for the disabled]. Das Musikinstrument 43, no. 5 (May 1994): 69–70. Discusses in detail one of Mollenhauer’s specialties: recorders and flutes for the disabled. Reports that “Deficient fine motor control in the fingers, hand injuries—for example, missing fingers, stiff fingers, or even a missing hand—can be extensively compensated for.” Goes on to mention a few other makers who are making instruments for the disabled, including Zen-On of Tokyo. 573. Moeck, Hermann. “Ein neue Behindertenflöte von Aulos” [Aulos’s new recorder for the disabled]. Tibia 21, no. 4 (1996): 289. Describes a patent taken out in 1996 by the recorder manufacturer Aulos for a recorder intended for the disabled. The barrel of the instrument is made up of adjustable segments, each containing a fingerhole. A recorder player with fingers in unusual relative positions then adjusts the placement of the fingerholes to suit. 574. Tsukamoto, Takashi. “A One-handed Recorder.” Recorder & Music 6, no. 9 (March 1980): 258–60, 265. Describes a system of closed keys that allows a person with one hand to play the recorder. Includes a fingering chart. Mentions other possible key systems, including one using open keys, but concludes that the particular closed-key system described in detail is the most practical. Edgar Hunt, in a postscript, states his preference for open-keyed systems, which allow the thumb to assume its traditional role and do not require heavy key springs. Letter from A.J.Davey in 7, no. 3 (September 1981): 71.

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ENGLISH VERSUS GERMAN FINGERING 575. Clark, Paul. “Eurobore.” Recorder Magazine 11, no. 4 (December 1991): 115–17. Compares the pitches that require different fingerings in the German and English systems and determines which system provides easier fingering combinations involving these pitches. (English comes out on top.) Concludes with an account of Edgar Hunt’s role in promoting mass-produced English-fingered recorders in the 1930s. Responses from Hermann Moeck and Carl Dolmetsch appear in 12, no. 1 (March 1992): 15–18. 576. “English or German Fingering.” (What’s Wrong with My Recorder?) Recorder and Music Magazine 1, no. 8 (February 1965): 247. Explains the differences between the two fingering schemes and shows how one can determine which scheme to use on a particular recorder by examining its tone holes. 577. “A New ‘Fingering’ from France.” (What’s Wrong with My Recorder?) Recorder and Music Magazine 1, no. 9 (May 1965): 278. Brief discussion of an advertisement announcing a flûte à bec française, which supposedly combines the advantages of English and German fingering. ELECTRONIC RECORDERS 578. Bolton, Philippe. “The Electroacoustic Recorder.” Recorder Magazine 18, no. 1 (March 1998): 6. Bolton, previously known for his copies of early instruments, has now tried his hand at making an “electroacoustic” recorder. First he created a tenor recorder, inspired by an instrument of Thomas Stanesby Jr. with a traverso-style foot joint, the shape of which allows easy fitting of a bell key. This recorder can be played as it is, “acoustically,” or a microphone can be screwed into the side of the head joint, then connected to a public address system, effects processor, and so forth. Want to play jazz or rock with electric guitars, drums, and the like? Now’s the time. 579. Marvuglio, Matt, and Tony Marvuglio. “Wired for Sound.” American Recorder 32, no. 2 (June 1991): 11–13. Begins with a description of Musical Instrument Digital Interface (MIDI) technology and MIDI wind controllers, which first appeared in 1987. Early wind controllers emulated the flûte, clarinet, and saxophone, but not until 1991 did the first electronic recorders appear: the Suzuki MIDI recorder SRW-100 and the Yamaha WindJamm’r EW20. The remainder of the article reviews these two instruments and offers advice to traditional recorder players who are planning to take up a MIDI wind controller. Letter from William T.Conklin in 32, no. 3 (September 1991): 35–36. KEYWORK See also below, “Modernizing the Recorder” (p. 195). 580. Halbig, Hermann. “Geschichte der Klappen an Flöten und Rohrblattinstrumenten bis zum Beginn des 18. Jahrhunderts” [The history of keys on woodwind instruments to

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the beginning of the eighteenth century]. Archiv für Musikwissenschaft 6 (1924): 1–53. A detailed study, based on treatises and surviving instruments, of the number, positioning, and construction of early woodwind keys. Still valuable. 581. Mollenhauer, Bernhard. “So long…(gute Klappen-Tenorblockflöten sind länger)” [So long…(good keyed tenor recorders are longer)]. Windkanal 3/1998:28. Advocates keywork for tenor recorders, for two reasons. It helps the stretch, especially for people with small hands. And it places tone holes in their acoustically correct positions, helping the instrument to speak, improving the intonation of high notes, and enabling the instrument to be made longer (and therefore more resonant). MEASURING AND MEASUREMENTS 582. Bolton, Philippe. “Mesurer une flûte ancienne” [Measuring an early recorder]. Flûte à bec & instruments anciens, no. 17 (December 1985/ February 1986): 12–16. Copies obtainable from the author at Le Grand Portail, F-84570 Villes-sur-Auzon, France. Useful detailed instructions with photographs and diagrams. 583. Bouterse, Jan. “How Accurate and Understandable Are Measurements of Woodwind Instruments?” FoMRHI Quarterly, no. 83 (April 1996): 46–52 (Communication no. 1437). Bouterse writes with great understanding, borne of long experience, about the difficulties and pitfalls of measuring historic woodwind instruments accurately. It is meaningless to measure, say, a bore to 0.01 mm when small changes in temperature, humidity, and the condition of the instrument can create variance of more than that amount. To be really scientific one should repeat measurements until one knows their variation and can therefore give an estimate of their accuracy. Bouterse has now started giving measurements with such estimates (for example, for sounding lengths and tonehole positions, ±0.25 mm). Certain places on woodwind instruments—narrow grooves, wide diameters, very round turning details, slopes of bells—are very difficult to measure. Most woodwind instruments, particularly those in boxwood, have oval, not round, cross-sections; ideally, therefore, minimum and maximum diameters should be given. 584. Brach, Manfred. “On Three Well-Proportioned Alto Recorders.” FoMRHI Quarterly, no. 60 (July 1990): 35–40 (Communication no. 987). “How to Design a Recorder.” FoMRHI Quarterly, no. 61 (October 1990): 40–47 (Communication no. 1007). Slightly abridged German version of the combined articles as “Von der alten Kunst, ‘auff allerhand Arth’ Blockflöten zu entwerfen” [On the ancient art of designing recorders “of sundry kinds”]. Tibia 18, no. 4 (1993): 610–16. In these articles, Brach opens up new territory for our understanding of early recorders and flutes by studying the proportions of the instruments and the mathematical thinking behind them. Such proportions are difficult to see if the measurements are made in millimeters, as is customary nowadays. Using the contemporaneous linear measures, Brach first looks at recorders from Frans Brüggen’s collection made by Thomas Stanesby Sr. (English foot), Peter Bressan (Burgundian foot), and Johann Heitz (Saxon foot), showing how the lengths of the various parts of the instruments follow strict ratios. In each case, the foot is divided into inches, then lines (1/12ths of an inch). For example, the

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sounding length of Stanesby’s recorder is exactly 18 inches, or 216 lines; he “made his instrument…with stupendous accuracy: there are no tolerances at all!” The lengths of the head joint, middle joint, and foot joint are in the ratio 16:13:25. “The position of the central point of the six finger holes is exactly 8 inches (that is, 4/9 sounding length); the position of the first finger hole is exactly 5/8 sounding length.” Did Stanesby intend to use two squares (16=42; 25=52) and a cube (216= 63)? Brach goes on to show that Bressan and Heitz based their sounding lengths on different numbers with equally interesting properties. Then Brach looks at the measurements of two further recorders by Bressan, which have significant properties when measured in other ancient French units (aune and toise), and a recorder by Thomas Stanesby Jr. (old Amsterdam foot [voet]). Is this stretching the argument too far? In any case, if Brach is correct, his findings lead to a great many questions, which he is the first to ask. We look forward to reactions and questions from modern makers and scholars. See also his “Alte Traversflöten maßanalytisch untersucht” [The measurements of Baroque flutes investigated], Tibia 14, no. 1 (1989): 331–40, and “How to Design a Traverse,” FoMRHI Quarterly, no. 69 (October 1992): 21–26 (Communication no. 1121). 585. Karp, Cary. “Woodwind Instrument Bore Measurement.” Galpin Society Journal 31 (1978): 9–28. A mathematically based article discussing the problems of bore measurement and encouraging the development of uniform procedures for obtaining and recording such measurements. 586. Lerch, Thomas. Vergleichende Untersuchung von Bohrungsprofilen historischer Blockflöten des Barock [A comparative investigation of bore profiles of historical Baroque recorders]. Berlin: Staatliches Institut für Musikforschung, Preußischer Kulturbesitz, Musikinstrumenten-Museum, 1996. Not seen. According to Jan Bouterse’s review (cited below), Lerch has written an extensive study on the bore profiles of sixty Baroque recorders. The main question (or thesis) of the book is how to compare the acoustical qualities of historical recorders without playing them, since playing is sometimes forbidden or impossible owing to damage. Lerch made an elliptical narrowing device and studied its effect on pitch and sound. The effect on pitch of narrowing the bore can be shown in a “W-curve.” The difference in sound pressure between the second and third partials in various places of the bore gives a “K-curve.” Multiplying the degree of change of the bore diameter by the Wcurve for a particular point gives the acoustical behavior (Akustisches Verhalten, or AV). Finally, the sum obtained by multiplying the degree of change of the bore diameter by the K-curve for all points gives the K-value, which is generally negative. Renaissance recorders, which have a tone high in the second partial (octave), have a less negative Kvalue (around −0.18) than Baroque recorders, which have a tone higher in the third partial (twelfth) and a K-value of −0.8 to −0.9. Curiously, Lerch compares his historical recorders using graphs of their bores rather more than his K-values. He concludes that Johann Christoph Denner was important for the development of the late Baroque recorder, being more progressive than Bressan. Reviewed by Jan Bouterse in FoMRHI Quarterly, no. 87 (April 1997): 10–18. 587. Loretto, Alec V. “Determining the Step Size of a Recorder.” FoMRHI Quarterly, no.

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79 (April 1995): 61–63 (Communication no. 1353). Describes the use of GO and NO-GO gauges in measuring the size of a recorder’s “step” (the height of the windway at the lip end). 588. Loretto, Alec V. “Recorder Bore Measuring.” FoMRHI Quarterly, no. 79 (April 1995): 64–67 (Communication no. 1354). Tackles the measurement of a recorder’s bore: what to measure, how to measure it, and how to record the data. 589. Loretto, Alec V. “Recorder Bore Measuring—Using Modified Telescopic Bore Gauges.” FoMRHI Quarterly, no. 79 (April 1995): 67–69 (Communication no. 1355). Advice. 0. Mathiesen, Irmgard Knopf, and Aksel H.Mathiesen. “Ein Messungsprojekt: Datamatische Behandlung von Messungen an historischen Holzblasinstrumenten” [A measurement project: computerized treatment of measurements of historical woodwind instruments]. Tibia 11, no. 3 (1986): 175–87. Discusses the computerized collection of measurements of historical recorders and two computerized methods of scaling such measurements to produce instruments at a different pitch (for example, a1=440 Hz instead of 430 Hz). Letters from Tom Lerch and Klaus Bickhardt and reply to Lerch by the Mathiesens in 12, no. 1 (1987): 394–96. 591. Weber, Rainer. “Zur Vermessung von historischen Holzblasinstrumenten” [On the measuring of historical woodwind instruments]. Tibia 13, no. 2 (1988): 114–19. Traditional methods of measuring historical woodwind instruments have literally left their mark on the instruments in the form of scratches. Fortunately, electronic methods are taking their place. In any case, the measuring is in the hand of the measurer. Moreover, wood shrinks over the years, and researchers have introduced the idea of shrinking factors. But these are only reliable when the instrument has metal rings for comparison (ivory or horn rings can shrink more than wood). Quantz discussed reboring instruments to compensate for their shrinking with use, and reboring grooves are sometimes visible on the insides of fingerholes. The amount of shrinkage varies with the type and origin of the wood as well as the part of the trunk from which it is taken. Now, wood can also expand again with moisture. Reports an experiment with the remoisturizing of a thirty-year-old piece of oak of known initial dimensions; within three days it was roughly back to the original dimensions, although some ovality remained. Another problem in measuring can be grooves in the wall of the bore. Still, the measurements of historical instruments can teach us a great deal.

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MODERNIZING THE RECORDER (arranged chronologically) Daniel Waitzman’s 1967 article on the decline of the recorder in the eighteenth century (item 113) concluded with a call for recorder makers to modernize the instrument. This essay touched off a debate conducted in the pages of Recorder & Music Magazine for the following two years. * Waitzman, Daniel. “The Decline of the Recorder in the 18th Century.” Cited above as item 113. Concludes with an essay on how the twentieth-century recorder has retained the qualities that led to the demise of the eighteenth-century instrument, and for this reason the recorder has failed to win the consideration it deserves as a professional instrument equal to the flute or oboe. Letters in response to this article are listed at the end of item 113. 592. Haynes, Bruce. “The Decline: A Further Scrutiny.” Recorder & Music Magazine 2, no. 8 (February 1968): 240–42. An article-length refutation of item 113. Argues that the only real improvements to the modern recorder will come from the study and imitation of historical instruments. One should not equate evolution with progress. It is quite possible that many of the qualities Waitzman considers faults were looked upon favorably in the eighteenth century (for example, the absence of keywork, the distinction between “good” and “bad” notes in a key, and the soft sound of the instrument). Haynes does not see the point of creating Waitzman’s “truly modern recorder”: “Shall we make the recorder into a romantic instrument in order to better play the music of the Baroque?” Haynes also believes that a bell key is “unnecessary for Baroque, and even many modern, pieces.” In contemporary music, “bell-keys, trill-keys, and whisper-keys will have no more (or less) musical significance than door keys.” Letters from Alan D.Jackson and Michael Rice in 2, no. 9 (May 1968): 285. See also Carl Dolmetsch’s response (item 593). 593. Dolmetsch, Carl. “Which Way to Turn the Clock?” Recorder & Music Magazine 2, no. 9 (May 1968): 283–84. Written in response to item 592. Takes issue with Haynes’s criticism of the voicing of Dolmetsch recorders, citing the success of his own work on the Chester recorders: “Who but a bigoted antiquarian could prefer the wheezy, ill-voiced and out-of-tune performance of most early recorders?” Believes the recorder must be adapted to suit large concert halls, and sees the addition of bell and lip keys and the modification of the bore as appropriate improvements. Challenges Haynes “to produce the ideal Baroque-cumthoroughly-modern recorder.” Responses by Steven Silverstein and Bruce Haynes in 2, no. 10 (September 1968): 330. 594. Ashton, Don. “In Defence of Keywork.” Recorder & Music Magazine 2, no. 10 (September 1968): 313. Agrees with Waitzman (item 113) and Dolmetsch (item 593) that the recorder merits continued development, but takes issue with Dolmetsch’s characterization of keywork as “complicated, cumbersome, clicking, sticking and often leaking encrustations.” Argues that well-crafted keywork is free of these deficiencies. Dolmetsch’s own bell key,

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however, is a “medievally engineered appendage.” Defends extensive keywork as a means of fitting instruments to smaller hands. 595. Hunt, Edgar. “Recorder Making Today.” Recorder & Music Magazine 3, no. 1 (March 1969): 7–10. Discusses various trends in recorder-making in the late 1960s, a time when several makers—such as Coolsma and von Huene—were returning to eighteenth-century ideals (curved windways, wider bores, a reedier tone, low pitch, etc.). Compares nine modern altos (made by Arnold Dolmetsch, Dolmetsch Ltd., Fehr, Küng, Coolsma, Mollenhauer, and von Huene) with his own Bressan alto, the instrument that embodies his ideals. Makes several points in response to the “modernized recorder” controversy. Hunt opposes extending the range of the instrument and adding keywork. In general, his views agree with those of Bruce Haynes (see items 543 and 592). Letter from Don Ashton in 3, no. 2 (June 1969): 66 concerns the bell key. 596. Munrow, David. “Is It Authentic?” Recorder & Music Magazine 3, no. 1 (March 1969): 12–14. Asked to write about the instruments he uses in performance, Munrow takes the opportunity to offer his thoughts on authenticity in instrument-making and the debate over modernization. “A few practical improvements to old instruments seem to me all to the good if they make life easier.” For example, he favors the practicality of plastic reeds and added keys on crumhorns, but some departures—such as all-plastic crumhorns—are less successful. 597. Ashton, Don. “The Value of Keywork.” Recorder & Music Magazine 3, no. 5 (March 1970): 159–60. Written in reaction to articles on the modernized recorder and the bell key (see items 618–19). Explains the traditional functions of keywork (to bring holes within reach, to increase an instrument’s range, to allow one finger to shut more than one hole, to provide alternative fingerings) and proposes an unusual argument in favor of keywork on the recorder—one that “has not yet been propounded”: “the ‘feel’ of the instrument beneath one’s fingers. Modern methods…have made what originally arose largely out of necessity into the science of producing equality of balance and control throughout the instrument…. Unless the recorder player plays other instruments it will be rather difficult for him to understand what he is missing in this respect, but the day will come!” 598. Waitzman, Daniel. “A Plan to Promote the Development of a Modernized Recorder.” American Recorder 12, no. 3 (August 1971): 71–72. Reprinted in Recorder and Music Magazine 4, no. 1 (March 1972): 10–11 under the title “A Plan to Promote a Modernized Recorder.” A quixotic call for the application of modern woodwind technology to the recorder. Does not explain exactly what modernization of the recorder would entail, but goes on at great length in describing its benefits. “If the recorder could be improved as much as the flute has been in the past two-and-a-half centuries, an instrument as technically superior to the modern Boehm flute as the bell-keyed recorder is to the one-keyed flute might result.” Concludes with a proposal that the American Recorder Society fund an honorarium for the development of this modern instrument—a proposal the ARS apparently adopted, since the announcement of a $1,000 honorarium appears in 14, no. 3 (August 1973): 107. Letter from R.W.Church in Recorder and Music Magazine 4, no. 3

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(September 1972): 90 questions Waitzman’s assumption that a modernized recorder would represent an improvement over the traditional one. 599. “Blockflöte mit neuem Klang” [Recorder with a new sound]. Instrumentenbau 31, no. 1 (1977): 24. Describes a new patent taken out by Hendrik Visser in 1975 for a recorder that, “according to the inventor, achieves ‘great suppleness’ in tone quality [and] a good timbre.” 600. Reinhard, Bruno. “La flûte à bec: Des clés pour le futur!” [The recorder: keys for the future!]. Flûte à bec & instruments anciens, no. 15 (June 1985): 2–3. Compares the qualities of the flûte and the recorder in the Renaissance and Baroque eras. Then discusses why the flute superseded the recorder around 1750. Quotes CavailléColl (1840) to the effect that the recorder could have been improved by a sliding bevel operated by a system of keywork. Although this would still present problems, Reinhard believes that modern musicians and makers could create a twentieth-century recorder that preserves the instrument’s timbre, articulation, and attack. 601. Marvin, Bob. “A Flexible Recorder.” FoMRHI Quarterly, no. 41 (October 1985): 21 (Communication no. 649). What would a truly modern recorder be like? Marvin proposes several modifications: a windway short enough to allow players to shade it with their upper lips; a springy plug; a springy junction between the windway and the lip; a deformable windway roof; and a deformable body. He concludes: “The result might be a large wet noodle, not much like a recorder, but it would be quite flexible to play.” 602. Moeck, Hermann. “Zum 100. Mal die völlig beklappte Blockflöte erfunden…” [For the 100th time, the fully keyed recorder invented…]. Tibia 13, no. 4 (1988): 293. A patent for a fully keyed recorder was taken out in 1988 by Arnfred Rudolf Strathmann of Melsdorf. Moeck writes, “Why make it simple when it can be made complicated?!” Describes why the notes outside the basic scale of the recorder can be made with forked fingerings, which also produce a less uniform (and less boring) tone. Does not understand what is patentable about the new “invention.” For diagrams and a description of the new instrument, see item 603. 603. Strathmann, Arnfred R. “Flöte (Blockflöte mit Klappensystem)” [Flute (recorder with key system)]. Musik international 43 (December 1988-January 1989): 138–39. Illustration and description of a new patent by Strathmann for a recorder with saxophone keywork. A saxophone player can even play it directly…. 604. Thalheimer, Peter. “Beobachtungen zum Überblasverhalten von Block-flöten—alte Bauprinzipien als Ausgangspunkt für neue Instrumente” [Observations on the effect of overblowing on the recorder: old principles of construction as a starting point for new instruments]. Tibia 20, no. 1 (1995): 362–68. Classifies historical and modern recorders into types based on their fingerings. Also chronicles a number of attempts that have been made to get around some of the fundamental problems of the instrument, such as the restricted range (for example, extending the range downward by means of a longer footjoint with keys) and the difficulty of obtaining a satisfactory f#3. Singles out for attention Rainer Weber’s newest experiment: “an inverted-conical Baroque recorder is equipped with a long cylindrical footjoint, the soundhole of which is enlarged in the style of a Ganassi recorder…. Now

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with this footjoint, on the Baroque recorder as on the Ganassi instrument, in-tune partials of the fundamental tone can be blown. At the same time, through this footjoint the unstable low register of the recorder is stabilized and the intonation of the previously problematical high register improved.” 605. Huene, Friedrich von. “Efforts to Modernize the Recorder.” Recorder Magazine 15, no. 4 (November 1995): 135–37. Surveys the history of attempts to modernize the recorder, beginning in the 1950s with Dick Jerome’s Orkon (a modified soprano recorder with simplified Boehm-system keywork). Unfortunately, the necessarily high price of the Orkon led to the failure of the venture. Von Huene himself made a keyed recorder in 1959, but concluded that he lacked the time and money to develop it. In 1990, he bought a “Strathmann flute…a recorderlike instrument with the elaborate keywork and fingerings of a saxophone similar to the Boehm system.” Instead of a thumbhole there was an octave key. The block height was adjustable and the roof of the windway was also removable. Von Huene goes on to describe his experiments on Renaissance and Baroque recorders with the German “long bore.” After praising Helder’s new tenor recorder, he concludes by recommending the development of an alto with Boehm keywork. 606. “Recorders of the Future.” American Recorder 36, no. 5 (November 1995): 4. A brief excerpt from a panel discussion at the Boston Early Music Festival in which Alec Loretto, Bob Marvin, Thomas Prescott, and Friedrich von Huene reflect on the future of the recorder. Baroque instruments were designed with minimal keywork so that they could be reproduced inexpensively. As a result, their ranges are limited, and certain notes are weaker than others. By adding keys and holes, makers can extend the range and make the sound quality more uniform across the instrument. Also, flaring the bottom of the bore helps balance the dynamics between the low and high registers. Other possible changes include shortening the windway to allow lip shading, adding a pin and spring to control the position of the block, and constructing the shell of the instrument out of a resilient material that can be squeezed while played. Thomas Prescott, the dissenter of the group, has no interest in reinventing the recorder: “I’m aiming to make recorders that sound well throughout the normal range of the instrument and do it reliably.” Letter from Cal Rosenberg in 37, no. 1 (January 1996): 27. 607. Stavenhagen, Andreas. “Bei den Holzblasinstrumenten findet man zurück zu alten Klangidealen” [Returning to old sound ideals on woodwind instruments]. Das Musikinstrument 45, no. 4 (April 1996): 68–77. Includes a brief report on the Trichterblockflöte (funnel recorder) invented and patented by Klaus Grunwald of Cologne, which is now being manufactured by AdlerHeinrich in Markneukirchen. This is a wide-bore recorder with a less developed conical bore than usual, large fingerholes, and a wide, funnel-like bell (in the case of the alto, made of brass). “This funnel improves the resonance of the recorder and makes easier, above all, the playing of the high notes.” Some measurements of the lip have been rethought. The instrument takes more air than the normal recorder, but for that reason enables a greater dynamic range. On these grounds Stavenhagen pronounces it “a fully new instrument,” good for modern music, jazz, and free improvisation. 608. Dolmetsch, Carl. “The Recorder in Evolution.” Recorder Magazine 16, no. 2 (June 1996): 55–56.

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In perhaps his final piece of writing, Dolmetsch describes the recorder innovations with which he was associated: double holes (later discovered to have been used by Baroque makers such as Bressan), the thumb rest, the bell key, the echo key (operated by lip or chin, to help achieve dynamics), and the tone projector. He emphasizes that none of these inventions altered the basic design of the instrument. 609. Rose, Pete. “A New Recorder for New Music.” American Recorder 37, no. 4 (September 1996): 18–20. Enumerates the characteristics of an ideal recorder for the performance of twentiethcentury music. The instrument should overcome the limitations of standard instruments by providing the following: (1) response to a wide range of breath pressures without changing pitch, (2) a strong and balanced tone across the range of the instrument, (3) keywork to facilitate the playing of chromatic passages, (4) a register key, and (5) the elimination of the “click” when moving from one register to another. On the other hand, it should retain the following desirable qualities: (1) sensitivity to breath pressure, (2) the sound quality of the traditional recorder, (3) the ability to alter intonation easily, and (4) the ability to color notes expressively. Finally, the ideal instrument would include the following characteristics, which are not present on a standard recorder: (1) an easily accessible third octave with substantial dynamic control, (2) a means to alter timbre without changing pitch, and (3) readiness for the use of electronic pickups. Rose then uses these criteria to evaluate a Mollenhauer tenor recorder recently produced by Maarten Helder. The instrument has righthand little-finger keys (for b, c1, c#1, and d#1), an adjustable block to alter timbre, and a “piano key” for soft dynamics. The instrument was the realization of the ideas of Nikolaj Tarasov, who envisioned “a new type of recorder for modern music that could play strongly in both the highest registers and would also have an easily accessible extended range through overblowing.” Letter from Alec V. Loretto in 38, no. 1 (January 1997): 20. 610. Langeheinecke, Renate. “Die Grunwald-Trichterflöte auf Konzerttour” [The Grunwald funnel recorder on tour]. In 4. Internationales Blockflöten Symposium Kassel, ERTA Kongress, 6–9. Juni 1996, Vorträge und Dokumentation, 35–37. The author reports that he took two soprano Trichterflöten (funnel recorders; one with English fingering, the other with German fingering) with him on tour in a program of medieval to Baroque music in halls of widely varying acoustics and size. He especially appreciated the greater loudness of the instrument in comparison with a standard recorder, enabling him to hold his own with singers and other instrumentalists. Although he tested it only on early music, he predicts that it will be particularly useful in the orchestra and generally in modern music. 611. Madgwick, Paul, and Alec V.Loretto. “Old Recorders for New (Recorder Patents).” FoMRHI Quarterly, no. 85 (October 1996): 35–44 (Communication no. 1500). Reprinted as: “Well! Whoever Would Have Thought of That: Some Thoughts on Recorder Patents,” Recorder Magazine 17, no. 1 (March 1997) : 3–8. The system of patents in the United Kingdom goes back to the seventeenth century, when Parliament abolished all monopolies except those relating to new methods of manufacture. Similar principles were established in other European countries and eventually the United States. To be granted a patent for a specific length of time, inventors must reveal the full details of their invention, showing that it is both new and a

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contribution to public knowledge. Madgwick, a patent lawyer, goes on to point out that a patent is a negative monopoly: “It is not a case of ‘I can do it because I patented it’ but rather ‘you may not do what is covered by my patent.’” Curious patents relating to the recorder go back a surprisingly long way—for example, a recorder that doubles as a gavel (E.E.Starck, U.K. 1896) and one that converts into a pipe (Josef Ignaz Lausmann, Germany, 1906). In the same article, Loretto discusses more useful recorder patents: Dolmetsch’s bell key and echo key, Hermann Moeck’s absorbent windways and blocks, Joachim and Herbert Paetzold’s four-sided recorders, Arnfred R.Strathmann’s tilting windway, and his own design for an adjustable windway. Letters from Denis Thomas in FoMRHI Quarterly, no. 86 (January 1997): 30 and Recorder Magazine 17, no. 2 (June 1997): 71, with replies from Alec Loretto in FoMRHI Quarterly, no. 87 (April 1997): 17 and Recorder Magazine 17, no. 4 (December 1997): 155. Another letter from Thomas appears in Recorder Magazine 18, no. 2 (June 1998): 73, with a reply from Loretto in 18, no. 4 (winter 1998): 156–57. 612. Moeck, Hermann. “Blockflötenmundstück mit Frequenzregler” [Recorder mouthpieces with frequency regulators]. Tibia 22, no. 3 (1997): 323. Reports that Arnfred R.Strathmann has patented (1996) a device in the block, operated by the lower lip, that alters the pitch of the recorder by up to five cents. The device is based on the principle of the “universal semitone key, which was already used on recorders in the 1930s.” 613. Kunath, Jo. “Total abgedreht—völlig hochgeschraubt?!” [All twisted off: completely screwed on tight?!]. Windkanal 2/1997: 24–25. Kunath, who works for Mollenhauer, writes about the revolutionary adjustable block invented by Arnfred Strathmann that provides an elegant solution to the problem of moisture-induced alterations in the measurements of the block as an instrument is played. Such a block is now a feature of the modernized recorders being made by Mollenhauer. 614. Tarasov, Nikolaj. “Stationen” [Stations]. Windkanal 1/1997: 8–9. An eloquent plea for using the expanded compass and dynamic range of modernized recorders to perform music not only of the twentieth (and twenty-first) century but also of the Classical and Romantic eras. 615. Braun, Gerhard. “New Generation.” Windkanal 1/1998:22–23. While commenting enthusiastically on recent developments in recorder-making, cautions that the tone of the modernized instruments is “neutral.” “Players of historic instruments will miss the individual, personal color of Baroque copies. Many will perhaps also find the high register somewhat ‘thin.’” Braun therefore wonders whether Tarasov (item 614) will really succeed in purveying the Classical-Romantic repertory. 616. Carmichael, Craig. “Dynamics—and Tremolo, Too!” Recorder Magazine 19, no. 4 (winter 1999): 131–33. It is well known that drilling a hole in the back of the recorder’s head joint, opposite the window, will raise the overall pitch of the instrument. Apparently unaware of Carl Dolmetsch’s patented echo key, which was operated by lip or chin to help achieve dynamics, Carmichael describes how he invented a “plunger tuning device” for the recorder. He drilled a “tuning” hole in the back of the head joint, then installed a plunger made of brass rod down through the block. At the end of the plunger was a valve, which could open, close, or partially open the tuning hole. Pressing against the plunger with the

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lower lip enables the performer to play p or mp, as well as create vibrato. He has no plans to patent his new device, but offers it freely to makers and manufacturers. Any takers? 617. Borsch, Sebastian. “Eine weiteres Klappenpatent für die Blockflöte” [A further key patent for the recorder]. Tibia 25, no. 4 (2000): 304. Reports on a newly patented key mechanism by Norbert Naman for holes 0, 6, and 7 on the soprano and alto recorder. The keys are especially intended to smooth the difficulties that children and adult beginners have with thumbing and half-holing. Borsch considers the keys not only unnecessary but actually a hindrance to the process of learning to play with a variable thumb opening and to shade the half-holes. The Bell Key (arranged chronologically) 618. Waitzman, Daniel. “The Bell Key.” Recorder & Music Magazine 2, no. 10 (September 1968): 324–27. Reprinted in American Recorder 9, no. 1 (winter 1968): 3– 6. Although the technique of closing the bell of a duct flûte was mentioned as early as 1528 by Agricola, it was not until the early 1950s that someone devised a key to stop the bell. The bell key offers the player a variety of fingerings (including a managable one for f#3) and increases the range of the instrument. Waitzman claims that “the instrument becomes louder, more brilliant, and more assertive. Its emotional scope is widened beyond that of a flauto dolce.” Includes a table of fingerings for two full octaves above bb2. Steven Silverstein argues against the bell key, and William F. Koch Sr. corrects a factual error in American Recorder 9, no. 3 (summer 1968): 94. Corrections by Waitzman in Recorder & Music Magazine 2, no. 11 (December 1968): 363 (with a letter from Fabienne Smith) and 3, no. 1 (March 1969): 20. Edgar L.Eichhorn describes his experiments with bell keys in American Recorder 10, no. 1 (winter 1969): 31. 619. Waitzman, Daniel. “Bell-key Probe.” Recorder & Music Magazine 3, no. 3 (September 1969): 86. Written in response to item 595. Describes the requirements of a bell-keyed recorder (see also item 620, which is based on this article). 620. Waitzman, Daniel. “The Requirements of a Good Bell-Keyed Recorder.” American Recorder 12, no. 2 (May 1971): 39–40. Describes the qualities that should be present in a specially designed bell-keyed recorder that are not found in a conventional recorder with a bell key added (what Waitzman calls the “compromise recorder”). The instrument should be constructed in a way that the high register is in tune with the key closed. Certain bell-keyed fingerings should work with acceptable intonation and tone. The middle and high registers should be favored in voicing. Both a right- and a left-hand bell key should be mounted to eliminate completely the need for using the knee to close the bell and to offer a wider variety of fingering combinations. Above all, the key must be airtight. Item 619 is an earlier version of this article. 621. Tsukamoto, Takashi. “Another Bell Key.” Recorder & Music 5, no. 2 (June 1975): 45–47. Claims that lengthening the foot joint of a recorder an inch or so produces the same

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effect as closing the bell. By placing a keyed hole in the lengthened foot at the position of the original bell hole, a player may simulate the opening and closing of a bell key without having to block the end of the instrument. The editor (Edgar Hunt) appends a note saying that the idea seems to be a good one, but he would first want to verify that common alternative trill fingerings are not affected. 622. Peñalver, Guillermo. “El agujero 8: Por un uso sistemático” [The eighth hole: for systematic use]. Revista de flauta de pico, no. 1 (January 1995): 18–20. After surveying some historical methods of obtaining the high register, recommends the bell key for that purpose. 623. Thomas, Denis. “High Notes and Harmonics: A New Bell-Key Design?” Recorder Magazine 15, no. 4 (November 1995): 133–34. In the 1960s, Daniel Waitzman championed the bell key for early and modern music. Thomas, apparently without knowing about Waitzmann’s work, writes about his redesign of the key to avoid the problems inherent in the Dolmetsch version. He goes on to describe his experiments with the key and its resulting harmonics. 624. Thomas, Denis. “Bell Key Acoustics.” FoMRHI Quarterly, no. 83 (April 1996): 35 (Communication no. 1430). A brief note on the acoustics of the recorder bell key. Thomas concludes by describing his own variant of the bell key, operated by the left-hand little finger and opening a hole in the side of the bell. The side opening was in fact patented by Carl Dolmetsch in 1958 (see item 611). PITCH AND TUNING See also chapter 18, “Performance Practices (Historical),” under the subheading “Pitch and Tuning” (pp. 350–51). 625. Allain-Dupré, Philippe. “Lettre ouverte sur la justesse de la flûte à bec en 1983” [Open letter on the justness of the recorder in 1983]. Flûte à bec & instruments anciens, no. 9 (December 1983): 9–12. A rather disorganized series of philosophical thoughts on the nature of justness of pitch on recorders in general, and copies of historical instruments in particular. Includes analyses of four temperaments (meantone, Pythagorean, Werkmeister III, and Zarlino). 626. Bergmann, Walter. “Authenticity or Snobbery?” Recorder & Music 5, no. 8 (December 1976): 260. Argues in support of modern pitch and equal temperament. Writing some time before the authenticity movement had reached larger ensembles, Bergmann believes that adopting historical standards would make it impossible to play with “professional orchestras or players of modern instruments” and thus “[t]he recorder player will be pushed back into his little corner of thirty years ago.” Letter from Ross Winters in 5, no. 9 (March 1977): 299. 627. Davenport, Mark. “Recorder Pitch: Always Throwing Us a Curve.” American Recorder 34, no. 1 (March 1993): 7–10. Argues that true authenticity in instrument-making is unattainable, “perhaps even undesirable.” Shows, through an excellent survey of articles by Bruce Haynes, Bob Marvin, Angelo Zaniol, and others, that extant historical instruments vary considerably in

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their levels of pitch, making it impossible to draw reliable conclusions about historical pitch standards. Then proceeds to demonstrate why effective copies could not be created even if exact pitch standards were known. Suggests that “we can begin to search for that ‘perfect’ instrument using another set of standards—not based obsessively on strict scientific data but rather with a combination of solid research, practicality, and contemporary aesthetic judgments.” Letter from Alec V. Loretto in 34, no. 2 (June 1993): 39. 628. Haynes, Bruce. “Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective.” Journal of the American Musical Instrument Society 11 (1985): 55–114. In French as: “Les diapasons à l’époque de Jean-Sebastien Bach: L’apport des instruments à vent.” Flûte à bec & instruments anciens, no. 22 (1987): 11–19; no. 23 (1987): 4–8; no. 24 (1988): 11–18; no. 26 (November 1988): 11–17. A long, minutely argued evaluation of the pitches that J.S.Bach’s woodwind players would have used. Haynes introduces a wide variety of evidence—theoretical writings, surviving instruments, notation, and contemporaneous tuning measurements and devices—to support his argument that four absolute standard pitches were in use during the late Baroque era: two types of choir pitch and two types of chamber pitch. In numerous asides and appendixes he supplies much other useful information about Baroque pitch in other places, the transmission of Baroque woodwind instruments, the use of surviving instruments to determine pitch, modern players’ experience with historical pitches, surviving French woodwind instruments, and Leipzig woodwind makers contemporary with Bach. A tour de force. 629. Loretto, Alec V. “Recorder Fingerings.” FoMRHI Quarterly, no. 90 (January 1998): 30 (Communication no. 1556). Noting the observation by John Child (an e-mail discussion reported in no. 89 [October 1997]: 3) that the b2 on a Baroque alto recorder fingered Ø1235 is often too sharp, Loretto suggests that Baroque makers could have corrected the intonation of that note by modifying the bore of the instrument, but that would have made the tone of the instrument worse. So instead they may have made the conscious choice not to alter the bore, leaving the intonation of the note to be corrected by the performer. Carl Dolmetsch, continuing the work of his father, modified the bore so that bb1 could be fingered Ø123467 (and bb2 Ø12346), enlarged the fifth hole, and thus altered the tone. 630. Waterman, Rodney. “Recorders—Relatively Speaking: Sixteen Recorders at Four Relative Pitches.” Recorder and Early Music [Australia], no. 22 (1998): 7–9. Points out how, for example, an alto in G at a1=392 Hz is the same as an instrument in F# at 415, F at 440, and E at 466. A table shows the sixteen sizes of recorder referred to in the title and their corresponding base pitch at the four different standard pitches. Discusses the practical consequence of this concept for performance of repertory in difficult keys. 631. Weber, Rainer. “Some Researches into Pitch in the 16th Century with Particular Reference to the Instruments in the Accademia Filarmonica of Verona.” Galpin Society Journal 28 (1975): 7–10. Reports the results of a study of thirteen low-pitched recorders in the Verona collection: five bassets in f, three basses in Bb, two great basses in F, and a basset in f with an extension down to d (all with the double !! mark), as well as two basses in c (with

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the double trefoil mark). Although he notes minor variations among the instruments, Weber concludes that eleven instruments are pitched at a1=450 Hz and two are at a1=465. Also looks at flutes and cornettos in the collection. 632. Zaniol, Angelo. “The NF Treble Recorder at the Museum der Stadt Meran.” FoMRHI Quarterly, no. 33 (October 1983): 14–16 (Communication no. 485). Makes the point that most Italian music of the late Baroque was performed at around modern pitch (it could also be higher—see item 628). Hence the need for “recorderists seriously concerned with authenticity” to find suitable instruments from the period to be models for modern makers. One such may be an alto recorder stamped “NF” in the Museum der Stadt Meran, described by Zaniol, which he believes is either a Tyrolean alto in F at a1=440 Hz or a French alto in G at a1=390 Hz. Von Huene’s Call for Standard Pitch (arranged chronologically) 633. Huene, Friedrich von. “A Plea for Standard Pitch.” American Recorder 12, no. 3 (August 1971): 77–78. An abridged version appears in Recorder & Music as item 634. The tendency toward ever-rising pitch standards can be traced back to the eighteenth century and has continued in the twentieth century despite modern means of keeping matters under control. By loosely observing modern standards, many makers produce incompatible instruments. Von Huene recommends that all makers strictly adhere to the same pitch standards. (For his own instruments, he uses a1=440 Hz for modern pitch, a1=415 Hz for old pitch, and a1=394 Hz for old French pitch and tunes instruments at 70° F.) He argues that there is no need for a1 ever to exceed 440. Carl Dolmetsch, in 13, no. 1 (February 1972): 32, offers excuses for the sharpness of one of the Dolmetsch plastic recorders von Huene tested. Other responses: Theodore Mix in 13, no. 3 (August 1972): 100–101 and Hermann Moeck in 13, no. 4 (November 1972): 138. 634. Hunt, Edgar. [Fidelio, pseud.] “A Question of Pitch.” Recorder & Music 5, no. 10 (June 1977): 324–25. A summary of an article by Friedrich von Huene (item 633). (Hunt used the pseudonym “Fidelio” because the overture to Beethoven’s opera begins with the pitches E-Bb-Bb which, using German pitchnames, is EHH, his own initials.) 635. Hunt, Edgar. “Questions of Pitch.” Recorder & Music 6, no. 10 (June 1980): 292– 93. A sequel to item 634. Explains that variations in pitch between different makes of instruments are often the result of some makers tuning instruments cold and others tuning them warmed up. Also offers a brief history of pitch standards from the late seventeenth century to the present, with an emphasis on the various British standards. 636. Hunt, Edgar, and Friedrich von Huene. “A Question of Pitch Again.” Recorder & Music 7, no. 5 (March 1982): 119–20. Sequel to item 635. An 1884 petition submitted to Bismarck by the editors of the Zeitschrift für Instrumentenbau shows that attempts to establish an international pitch standard date back to at least the late nineteenth century. Includes a translation. 637. Freeman, Willa Fowler. “‘Once More, With Feeling’: A Plea for Standard Pitch.” Continuo 6, no. 7 (April 1983): 5–7.

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Discusses item 633 and the state of thought on the issue in 1983. See also comments by Susan Prior, “The Difference a Pitch Makes,” p. 14 and a letter from von Huene and a reply by Prior, 6, no. 9 (June 1983): 27. VOICING * Joof, Laura Beha. “Recorder Voicing and Tuning, and Use of the Tuning Machine.” Cited below as item 850. * Levin, Philip. “Voicing and Tuning.” Cited below as item 851. 638. Willoughby, Andrew A. “Das Intonieren von Blockflöten: Antworten auf einen Fragebogen” [The voicing of recorders: replies to a questionnaire]. Tibia 10, no. 1 (1985): 245–52. Summarizes the replies (by forty-one recorder makers and players worldwide) to Willoughby’s questionnaire on the results of specified changes in aspects of recorder voicing (the length of the wind canal, raising or lowering the roof or floor of the wind canal, etc.). See also his “Recorder Voicing—Answers to My Questions,” FoMRHI Quarterly, no. 34 (January 1984): 57–69 (Communication no. 514); untitled reply by Angelo Zaniol in no. 35 (April 1984): 41–43 (Communication no. 529) with a response by Willoughby in no. 36 (July 1984): 30 (Communication no. 541). 639. Woods, Timothy. “Recorder Voicing Structures.” FoMRHI Quarterly, no. 41 (October 1985): 32–33 (Communication no. 654). Revised version in Recorder and Music Magazine 8, no. 8 (December 1985): 239–41. Describes three different types of formation of the “inner ramp,” labeled “early,” “late,” and “bad” (most modern recorders). Also comments on the height of the block. Studies four recorders in the Royal College of Music collection, concluding that “knowledge of adjusting the basic quality of the instrument and…of the correct setting up procedure was lost in the 19th century.” (The revised version is better written but omits significant ideas.) WOODS 640. Die Abteilung Musikinstrumente im Bärenreiter-Verlag. “Erkrankungen bei Benutzung von Cocopolo-Blockflöten” [Sicknesses from using cocobolo recorders]. Collegium Musicum 1/1933, 13–14. An article by the musical instrument section of Bärenreiter-Verlag, describing the sicknesses that can ensue from recorders made of cocobolo wood and mentioning other woods that are preferable. 641. Bolton, Philippe. “Les bois dont on fait les flûtes” [The woods of which recorders are made]. Flûte à bec, no. 3 (June 1982): 13–15. Copies obtainable from the author at Le Grand Portail, F-84570 Villes-sur-Auzon, France. Begins with the statement: “If in theory the wood has no influence on the character of the instrument, it is otherwise in practice.” Discusses the effect of the wood on both the timbre of the instrument and the windway. Then briefly summarizes the types of wood used in different eras. Finally, describes some general properties of wood as a material.

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642. Brauer, Christoph. “Holz für Blockflöten: Anregungen zu einer Broschüre für Spieler und Käufer” [Wood for recorders: suggestions for a brochure for players and buyers]. Instrumentenbau 31, no. 12 (1977): 764, 766. A discussion of the suitability of various types of wood for various types of recorders. 3. Davidson, Martin. “Observations on the Relation between Wood and Tone Quality in Recorders.” American Recorder 16, no. 3 (August/September 1975): 88–90. Argues, sarcastically at times, that a correlation between wood type and tone quality does not exist; therefore, one should select a recorder based on perceived tone quality and the stability and weight of the wood. Contradicted by David R.Brooks in 16, no. 4 (February 1976): 156–58; see also item 653. 644. Dessy, Raymond. “New Kinds of Plastic Wood.” American Recorder 36, no. 5 (November 1995): 14–15. Describes a number of promising recent attempts to impregnate wood with chemicals to make it behave more like plastic in order to stabilize the shape and slow down water absorption. A companion article to item 657. 645. Dessy, Raymond, and Lee Dessy. “Wood, Water, and Oil.” American Recorder 36, no. 5 (November 1995): 7–12, 15. Dessy, a retired chemistry professor, and his wife Lee, both recorder players, provide a readable scientific account of the chemistry of wood, how water affects recorders and how to minimize that effect, how oil affects recorders, and how to choose a recorder oil. Particularly fascinating is their discussion of whether different woods do make tonal differences to the recorder (sample: “Direct sound radiation from wall vibration is insignificant…. It is like hearing a cat purr next to a subway train.”). They conclude that the construction material of the bore wall does not noticeably affect the timbre; therefore, “any real perceived differences must be caused by the edges of chamfers, the blade, bore finger-hole edges, key pads, and even finger tips.” In 37, no. 1 (January 1996): 32–34, Raymond Dessy responds to comments sent to him by Bob Marvin. 646. Dolmetsch, Carl. “Is There Magic in Wood?” Recorder & Music Magazine 3, no. 6 (June 1970): 217. Argues that choice of wood has little bearing on a recorder’s tone. The key factors are voicing and the player’s ability. 647. Kuhweide, Peter. “Cedernholz für den Flötenblock” [Cedar for the recorder block]. Das Musikinstrument 39, no. 11 (November 1990): 22–23. Discusses the properties of cedar, nowadays used extensively for recorder blocks. 8. Kuhweide, Peter. “Königsholz: Qualitätsmaterial für den Flötenbau” [Kingwood (violetta): quality material for recorder-making]. Das Musikinstrument 38, no. 11 (November 1989): 26–27. Discusses the properties of the wood and its growing area. 9. Kuhweide, Peter. “Une précision accrue: le buis et les ‘bois de buis’” [An increased precision: the boxwood tree and boxwood]. Das Musikinstrument 39, no. 11 (November 1990): 89–90. Discusses the properties of boxwood, the classic wood for recorders in the Baroque era. 650. Levin, Philip. “Which Wood Should I Choose?” American Recorder 27, no. 2 (May 1986): 60–63.

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Begins by listing eight factors involved in choosing wood (hygroscopic quality; ability to disperse moisture; surface texture; density; acoustical reflectivity; acoustical “liveness”; visual appeal; and the size, weight, and style of instrument in question). Then discusses the qualities of nine specific types (and subtypes) of wood. Concludes that the choice of wood generally has less effect on loudness or tone than the design of the voicing and the bore, although a wood that is dimensionally unstable can defeat efforts to produce a precise voicing. Moreover, since the greatest cost in mass-producing recorders is the few minutes of personal attention they receive, they are likely to receive more attention and thus be better instruments if they are made from an expensive wood. 651. Loretto, Alec V. “Recorder Woods—Do They Influence the Sound?” FoMRHI Quarterly, no. 83 (April 1996): 36–38 (Communication no. 1431). Reprinted in Recorder Magazine 18, no. 2 (June 1998): 48–49. From the layperson’s point of view, Loretto returns to the perennial subject of whether the type of material from which a recorder is made has an influence upon its tone quality. He reasons that turbulence in the windway does affect the air reaching the lip; therefore, if a particular kind of wood encourages turbulence, it will affect the sound. What does produce turbulence is surface grooves. “Surface grooving can be minimized by finishing the timber with a generous coating of lacquer, and to a lesser extent by oiling. However, there can be no substitute for a sufficiently dense timber, with close grain, that finishes very smoothly with no grooving.” He concludes by lamenting the gradual disappearance of what he considers the ideal wood for recorders—boxwood. Letters to the editor from readers ask why a shiny material like plastic is therefore not better than any wood for recorders. Letters from David Brancher and Bill Cartwright in Recorder Magazine 18, no. 3 (September 1998): 109–10, with a reply from Loretto in 19, no. 1 (spring 1999): 27–28. 652. Loretto, Alec. “This Way, or That?: Some Comments on the Direction of Grain in Woodwind Instruments.” Recorder & Music 5, no. 1 (March 1975): 2–4. As its wood dries out, a recorder may bend, lose its roundness, and split or crack. The direction of the grain determines which areas are most susceptible to damage. When the annual rings run vertically (looking at the recorder in cross section), there is a tendency to split on the sides; horizontal rings encourage splitting along the top or bottom. Because damage to the windway and lip can be disastrous, splits and cracks along the side are preferable. Despite this fact, “nearly all modern makers build their recorders with the annual rings horizontal, whereas nearly all of the surviving museum instruments have their annual rings running vertically.” 653. Moeck, Hermann. “Auf Holz geblasen: Wissenswertes über ein Baumaterial für Musikinstrumente” [Blowing on wood: things worth knowing about a building material for musical instruments]. Tibia 1, no. 2 (1976): 81–87. Takes issue with Davidson’s contention that the wood has nothing to do with the tone of an instrument (item 643; see also Moeck’s review of Davidson’s article in the same issue, pp. 105–6). Asserts that “the differences in color between two particular materials certainly depend not only on their resonance properties…but among other things also on the surface conditions, e.g., with recorders, on the frictional resistance in the wind canal and the condition of the bore.” The amount of vibration also depends on the thickness of the material. Finds Davidson’s “psychological” method of allowing listeners to

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differentiate materials acoustically to be useless. Notes the trend toward using harder woods over the last five hundred years, as consort playing gave way to solo playing. Goes on to discuss the general effect of moisture on wood, the use of ivory and metal on woodwind instruments, the repairing of cracks, and the effect of individual players on instruments. Ends with useful descriptions of the most common woods (maple, pear, plum, bubinga, box, cocobolo, grenadilla, ebony, and “polymer wood” or “atom wood” [maple, pear, etc., impregnated with varnish and hardened by gamma rays]), their properties, and uses. 654. Reviers, Bruno de. “De nouveaux bois pour la facture des flûtes à bec: 1. Sélection d’essences exotiques & réalisation d’une flûte en kuredhi” [On new woods for recorder-making: 1. Selection of exotic species and realization of a recorder in kuredhi]. Flûte à bec & instruments anciens, no. 23 (March 1987): 9–13. Discusses the testing of twenty-six different woods from the Maldive islands with a view to finding some that were suitable for the making of recorders. Gives the botanical and local names of the woods, their native uses, and their densities. Concludes that maru, wakaru, ran’doo, and kuredhi were the most suitable. Then describes Claude Monin’s making of an alto recorder in g1 at 415 Hz based on an instrument by Dupuis at 398 Hz (Paris, ca. 1680; Paris Conservatoire E.368/C.388). Concludes that kuredhi is “a wood remarkably adapted to the making of recorders for soloists, because of its durability, its density, the polish of its surfaces, and its aesthetics.” Errata included in item 655. 655. Reviers, Bruno de. “De nouveaux bois pour la facture des flûtes à bec: 2. Réalisation d’une flûte en randoo” [On new woods for recorder-making: 2. Realization of a recorder in ran’doo]. Flûte à bec & instruments anciens, no. 24 (1988): 23–25. Takes as its point of departure the idea that “[t]he use of exotic woods for making recorders was a current practice in the Baroque era.” Describes Monin’s making of a soprano recorder at 415 Hz based on an instrument by Rippert at 398 Hz (Paris Conservatoire E.1515) from a Maldivian wood called ran’doo (found also in India, southeast Asia, and Australia). Finds that wood “perfectly adapted for the making of recorders.” 656. Reviers, Bruno de. “De nouveaux bois pour la facture des flûtes à bec. 3: Réalisation d’une flûte en wakaru (cocotier)” [On new woods for recorder-making: 3. Realization of a recorder in wakaru (coconut)]. Flûte à bec et instruments anciens, no. 26 (November 1988): 7–10. Begins with comments on coconut wood, which proved hard to work with. Then describes Monin’s making of a second alto recorder based on the instrument by Dupuis— this time in F, in the belief that Bach’s fiauti d’echo consisted of altos in G and F—and discusses the properties of the instrument. Followed by a comparative review of the three instruments and conclusions about their woods and the art of copying early instruments. 657. Rowell, Roger M. “One Way to Keep Wood from Going This Way and That.” American Recorder 36, no. 5 (November 1995): 12–13, 15–16. Rowell, a materials scientist, discusses whether chemical treatment can make wood more reliable for instrument makers. Shows that it is possible to use chemicals to reduce the hydroscopicity (water-absorbing power) of wood, slightly reduce sound velocity and sound absorption, stabilize the physical dimensions of wood, and “finish” wood throughout its structure (not just on the outside). Cites a recorder made by Thomas

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Boehm “using hard maple that was first acetylated and then treated with methacrylate. Its acoustical properties are sustained through a wide range of moisture changes, and it has retained its tuning and tone quality without modification since it was made.” A companion article to item 644. 658. Schölch, R. “Geeignete Edelhölzer für den Blockflötenbau” [Suitable high-grade woods for recorder-making]. Das Musikinstrument 27, no. 7 (July 1978): 1052–53. Describes the physical properties of thirteen kinds of wood used for recorders. 9. Serrano Márquez, Carlos. “The Growing World of Wood.” American Recorder 41, no. 1 (January 2000): 7–9. A brief history of the types of wood used by recorder makers. (The author is a professor of botany and music history at the Universidad Javeriana in Bogotá, Colombia.) The unornamented, cylindrically bored recorders of the Renaissance could be made of light woods, including cherrywood, plum, pearwood, and maple, but hardwoods—most prominently, box-wood—were necessary for the conical bores and ornamented exteriors of Baroque instruments. Since the time of the European colonization of Africa, South America, and Asia, European makers have worked with tropical hardwoods, such as grenadilla, ebony, and palisander. Because hardwoods are favored for the construction of Baroque woodwind instruments, and most of these woods are tropical, a new group of makers is emerging in South America. 660. Stiegler, Helge. “Immer nur Buchs?” [Still only boxwood?]. Windkanal 2/1999: 15. A short but impassioned account of the problems of using boxwood for making recorders. 661. Tarasov, Nikolaj. “Synpor—oder die Kunst des Erfindens” [Synpor—or the art of inventing]. Windkanal 2/2001:14–19. Describes Hans-Joachim Burger, a seventy-two-year-old inventor from Regensburg, who “invents almost day and night,” and his invention Synpor, a synthetic material that resembles cedar wood but has none of its unpredictable properties and is now being used for recorder blocks. Ends with a resounding endorsement of Synpor blocks by Michala Petri. 662. Zadro, Michael G. “Woods Used for Woodwind Instruments since the 16th Century.” Early Music 3, no. 2 (April 1975): 134–36; 3, no. 3 (July 1975): 249–51. Part 1, a general historical survey, may be of passing interest, but it is the dictionary of woods in part 2 that make this article most valuable to recorder players. Provides the Latin names, geographic sources, and densities of specific woods within seventeen broad wood types. A descriptive paragraph offers information on texture, grain, and color. Brian Woods makes a minor correction, adds to Zadro’s warning about skin irritation by certain woods, and includes an eight-title bibliography for the study of woods in 4, no. 2 (April 1976): 233. Zadro responds briefly in 4, no. 4 (October 1976): 497.

13 Acoustics and Other Scientific Studies John Martin with Richard Griscom and David Lasocki Acoustics and the Recorder by John Martin Most aspects of our lives at the outset of the twenty-first century are affected by science and technology, so much so that we rarely consider what the two words mean and how they differ. We may consider science the methods we use to try to understand nature, and technology the strategies we use to solve problems associated with human need. So, very loosely, science takes things apart, while technology puts things together. We are used to thinking of science and technology in that order: science increases our knowledge, which technology then applies. It is easy to forget that, during much of history, technology has come first. Musical instruments are good examples of this. Most traditional instruments have their roots in pre-history. The many ways in which various materials can be shaped and acted upon to produce sounds must have been known from very early times and put to use to produce instruments that could imitate human or natural sounds. Instruments would have developed through processes of trial and error, not through the application of an understanding of how sound behaves. By the time scientific enquiry (in any modern sense) was beginning, the recorder was already well established. In this case, technology preceded science. The design and manufacture of recorders came far in advance of attempts to investigate them and understand how they work. In studying the acoustics of the recorder, we are concerned with measuring the sound it produces and relating the measurements to factors determined by the recorder maker or player. Among the important factors in the sound that can be measured are its loudness (amplitude), pitch (frequency), quality (timbre), directional pattern, and the way in which it builds up and dies away. The maker determines the recorder’s shape, the measurable factors here including details of the windway, window, and lip (collectively known as the “voicing”); the length and shape of the bore; and the position and size of the fingerholes. The player has control over the speed with which air enters the windway (through the blowing pressure), the way in which the airflow starts and stops (by articulation), and the stopping of the fingerholes (open, closed, or partially vented). Acoustically, the recorder is closely related to the flûte and organ flue pipe, with which it shares certain features. All three instruments have a common sound production mechanism. But whereas the flautist can exercise wide control over the tone and dynamics by altering the relative position of the mouth and instrument, in the recorder and organ pipe that position is fixed by the maker. While each organ pipe is designed to play only one note at a fixed level, the recorder shares with the flûte the ability to play a wide range of notes by opening holes along the length of the instrument and alter the qualities of each note by varying the breath pressure. This close relationship means that,

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in addition to the research that has been done specifically on the recorder, much research on the other two instruments is also relevant. As an example, let us look at how the recorder produces a sound. The writings we have annotated begin with Sir Francis Bacon in the early seventeenth century (item 663), who, on this question, speculated that a sound is produced because the air blown into the recorder is constricted by the block in the headpiece. Bacon did not mention the lip as important in sound production. Marin Mersenne, a few years later (item 917), realized the importance of the lip, since an organ pipe with a badly made or misplaced lip will not speak. He thought that the airstream is divided by the lip, and that the body of the pipe contributes to the heaviness and other qualities of the sound, although he was unable to be more specific. In the early eighteenth century there was uncertainty about the roles played in sound production by the instrument’s material and the air in its bore. Jacques de Vaucanson wrote that air from the windway collides violently with the lip, thereby setting all the parts of the wood of the recorder in vibration, which in turn sets the surrounding air into vibration, causing sound. (Jacques de Vaucanson, Le mécanisme du fluteur automate [Paris: Jacques Guerin, 1738]; English translation, An Account of the Mechanism of an Automaton; or, Image Playing on the German-Flute, trans. J.T.Desaguliers [London: T.Parker, 1742]; facsimile of both versions with preface by David Lasocki [Buren, the Netherlands: Frits Knuf, 1979].) Malcolm Alexander had a similar view, but thought that “only the very small Particles of the inner Surface and Edge of the Tongue are concerned in the Sound of the Flute” and not the material of the whole instrument, since the sound is not affected by the type of material or its thickness, nor by squeezing the instrument. (Malcolm Alexander, A Treatise of Musick, Speculative, Practical, and Historical [Edinburgh: n.p., 1721]; facsimile: New York: Da Capo, 1970.) On the other hand, Euler (item 664) realized that the vibration of air in the bore is accompanied by compressions and expansions, and that the airstream from the windway starts this vibration. To Euler, the lip was just the junction of the inside surface of the tube, along which the air from the windway can creep, as well as an opening through which the vibrating air in the bore can communicate with the atmosphere. An explanation that approaches our modern understanding was printed in 1830 by Sir John Herschel. He was apparently the first to realize that the oscillatory flow of air through the mouth of an organ pipe carries the jet with it, causing the jet to switch in and out of the pipe. “Thus the current passing over the aperture is kept in a constant state of fluttering agitation, alternatively grazing and passing free of its edge, at regular intervals” (Sir John F.W.Herschel, Sound. Encyclopaedia metropolitana, 4, [London: n.p., 1830]). Each of the explanations mentioned above suffered from the limited observations that were available. (Nowadays we can photograph a smoke-laden jet illuminated by a stroboscopic light, thus getting a series of instantaneous pictures of the jet.) The usefulness of scientific theories is judged by their ability to predict. As our ability to observe and measure improves through better technology, our theories need to be modified or replaced so that they produce more precise predictions. This generally means adopting more specialized mathematical tools. Our present understanding of the above-mentioned question is as follows. The player

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blows air into the windway at the top of the instrument. This forms a jet of air that emerges and travels across the window to the lip. If we consider a note to be already sounding, then the standing wave in the bore causes a flow of air in and out of the window. This tends to carry the jet with it as it emerges from the windway, producing a wave on the jet that travels along it at about half the central jet speed and growing in magnitude. The jet tip then sweeps back and forth across the lip, so that the jet itself blows alternately into and out of the bore. Providing that the correct phase relationship exists between the driving force so produced and the standing wave in the bore, the sound continues. This relationship depends on the speed of the jet. In order to describe this model mathematically, we need to construct differential equations. That is, they contain not just quantities such as position and amplitude, but also the rates at which these quantities change. The equations also need to reflect the nonlinear behavior of the jet. (If the jet behavior were linear, then doubling the sideways movement of the jet tip would double the jet flow into the bore. This does not happen, because the jet does not have a uniform crosssection—it is slower at the edges than in the middle—and because it has a finite width.) Equations such as these generally cannot be solved algebraically but can be solved using step-by-step numerical methods. Computers have made these mathematical models more practical to use. We now have a range of powerful tools for studying the sounds of musical instruments: oscilloscopes to display how the sound varies with time, spectrum analyzers to display how the sound varies with frequency, and computers with which we can process our measurement data and make predictions from increasingly sophisticated mathematical models. Since Lüpke published the first modern investigation of the recorder in 1940 (item 678), measurement and calculation techniques have improved, and our understanding has increased—as documented in the entries that follow. Since the 1960s, our knowledge of the acoustics of wind instruments in general, and flutelike instruments in particular, has increased considerably through the work of researchers including Arthur Benade, John Coltman, Samuel Elder, and Neville Fletcher. A good account of much of this recent work is given by Fletcher and Rossing (item 666), while Martin (item 680) reports on a substantial investigation of the recorder based on these modern developments. HISTORICAL STUDIES 663. Bacon, Francis. Sylva sylvarum, or, A Natural History in Ten Centuries. London: William Lee, 1627. Bacon’s work appears to be the first in which a scientific study of the recorder is reported. In “centuries” 2 and 3, Bacon investigates sounds produced by a variety of things, including recorders, and reports his results, suggestions for further experiments, and speculations. A few examples: he suggests that when a recorder is blown, it is the sudden expansion of the air as it leaves the windway that causes the sound (p. 116); he tries playing the recorder with the end near different materials, such as sand, water, snow, a silver basin, a woolen carpet, ashes, and so forth, and reports on whether the sound remained or was “quite deaded” (p. 159); and he suggests the experiment of making a recorder with two mouthpieces, one at each end, and playing a tune in unison to see

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“whether the sound be confounded or amplified, or dulled” (p. 161). 664. Euler, Leonhard. Dissertatio physica de sono…. Basel, 1727. English translation included in: R.Bruce Lindsay, ed. Acoustics: Historical and Philosophical Development . Stroudsburg, Pa.: Dowden, Hutchinson & Ross, 1973. OCLC #632083. QC 221.7 .L56. Euler, a famous name in the history of mathematics, presented this dissertation to the University of Basel at the age of twenty. His interest in acoustics lasted for many more years. In 1759, he wrote a long memoir about the theory of sound that was later published by the Berlin Academy. Euler devotes several paragraphs to “flutes” and their sounds, noting that “the explanation of the nature of these sounds has bothered investiga-tors in a wonderful way in every age.” He comments that when a recorder is played, “air blown in through the mouthpiece can force its way through the slit along the length of the tube by creeping over the inside surface…. It is clear that when the air enters the tube, the air already contained in it will be compressed along its length. When this air expands again, it goes too far and in turn is compressed again by the surrounding atmosphere, so that vibratory motion is thus produced in the tube. This vibration is the cause of the sound. And so the true cause of the sound in flutes is found.” He gives a method for calculating the frequency of sound produced by an open cylindrical pipe, knowing its length and the air pressure, commenting: “I leave to my honorable competitors the examination of the sounds of pipes which do not have the same width at all points, i.e., are either convergent or divergent.” INTRODUCTORY STUDIES 665. Bixler, Martha, and Richard Sacksteder. “On the Application and Misapplication of Acoustical Theory to Wind Instruments.” American Recorder 17, no. 4 (February 1977): 136–42. Uses two well-known acoustical theories to explain wind instrument operation. The classical theory looks at standing wave patterns in conical and cylindrical pipes, which may be open or closed at either end. Various instruments are classified as F[lute] type (fundamental wavelength=twice tube length; all harmonics present) or C[larinet] type (fundamental wave-length=four times tube length; only odd harmonics present). The recorder is F type, and some aspects of its fingering and tuning can therefore be explained. The Helmholtz theory adds some analysis of the sounding mechanism but predicts that instruments will be less stable than they actually are. Bixler and Sacksteder note that more recent theories include the nonlinear affects of the sound-producing mechanism although more work needs to be done on the initial “transient” of a note. (Item 680 includes a mathematical model for analyzing transients.) 666. Fletcher, Neville H., and Thomas D.Rossing. The Physics of Musical Instruments. 2d ed. New York: Springer, 1998. xix, 756 p. ISBN 0387983740. ML 3805 .F58 1998. Aimed at the reader “with a reasonable grasp of physics and who is not frightened by a little mathematics.” Covers the general principles governing the acoustics of most traditional instruments as well as aspects of particular instruments. Six pages on the recorder in the chapter on flutes and flue organ pipes. Discusses some of the

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consequences of the recorder’s conical shape and some acoustical relationships with performance technique. 667. Martin, John. “Acoustics for Beginners: Some Sound Advice for Recorder Players.” Recorder: Journal of the Victorian Recorder Guild, no. 2 (March 1985): 26–29. Adapted from the author’s lecture at the Recorder ’84 festival in Melbourne. Applies some basic properties of sound and standing waves to aspects of recorder fingering, bore shapes, and sound production. Many of the demonstrations that illustrated the lecture are described for the reader to try. 668. Medley, Daphne. “Tuning and Acoustics.” Recorder Magazine 12, no. 4 (December 1992): 99–101. A fine introduction to Pythagorean tuning, equal temperament, and meantone tuning. Tables show the relative difference between intervals under the various systems. Corrections to the tables appear in 13, no. 1 (March 1993):21. GENERAL STUDIES 669. Castellengo, Michèle. Contribution à l’étude éxperimentale des tuyaux à bouche [Contribution to the experimental study of blown pipes]. Doctoral thesis, Université de Pierre et Marie Curie, Paris, 1976. Describes an extensive experimental study of blown pipes, including flutes, recorders, organ pipes, and various folk instruments. Reports and displays graphically a wide range of measurements, the usefulness of which is limited by the absence of any theoretical framework for the data to test (or to put the data in perspective). 670. Castellengo, Michèle. “La flûte à bec” [The recorder]. Flûte à bec, no. 2 (February 1982): 9–15. Reprinted from L’audiophile 5 (June 1978). Based on the principle that the recorder “is the ideal instrument of study for the acoustician, because most of its parameters have been determined through its construction.” Then briefly discusses the function of the beak, the breath, articulation, sound characteristics (including sonograms of an alto recorder and a Boehm flûte), the positioning of the fingerholes, the material, intonation, and the choice of modern instrument or historical copy. 671. Dessy, Raymond. “What New Experiments, Modeling, and Simulation Are Telling Us about Real Recorders.” American Recorder 40, no. 2 (March 1999): 8–10. Reports on new research conducted on “the hydrodynamic flow of air and the acoustics inside tubes—how air, striking a sharp edge, can create ‘edge tones,’ attack transients, and steady-state tones.” The basic principle of the recorder is that “air striking the labium of the recorder sets off two kinds of physical phenomena that produce sounds—acoustic feedback [sound waves that reflect up and down the bore, creating strong pipe-tone standing waves] and hydrodynamic effects [the shedding of vortices, or eddies, by the jet and the creation of weak edge-tones].” In shallow, flowing streams, you can see such eddies. Scientists are now learning to “see” the eddies around a recorder labium. Most striking is the work of Werner Mahu, who “has injected boluses of carbon dioxide into recorder bores and photographed the streaks resulting from gas density gradients using 80-nanosecond light pulses.” A photograph looking rather like a paper relief sculpture shows the strong, steady vortex-shedding above and below the labium that is produced by

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a “fast” attack. “Based on the insights of such observations, scientists have developed new simulation and modeling programs,” using the increasing power of computers and the ability to couple computers in parallel. They have concluded that “vortex-shedding triggers the recorder’s first sounds, helps define fast attacks, and is important in the creation of the overtone structure that defines timbre.” Nevertheless, there is still much work to be done, especially in elucidating the function of the chamfers at the windway exit (as John Martin is quoted as saying). Letter from Richard Sacksteder in 40, no. 4 (September 1999): 35, criticizes the new work on the grounds that “proposed models lean too heavily on circuit analogies, are too far removed from the fundamental equations of fluid dynamics, and contain too many ad hoc assumptions; experimental results are sometimes carelessly interpreted….” He advises that “the best strategy may be to wait for the dust [of the new research] to settle.” See also the New York Times, 19 January 1999, section D, for another summary of this research. 672. Dessy, Ray, and Lee Dessy. “Hear There Everywhere: The Psychoacoustics of the Recorder.” American Recorder 39, no. 1 (January 1998): 8–14, 26. Explores a wide variety of topics, all related to the production of sound by one or more recorders, its interaction with the surroundings, and its eventual perception by a listener. Topics include sound radiation; the ear and the process of hearing; how the mind perceives sound; the effect of room size and wall materials on sound; the acoustic automonitoring process, or “feedback”; acoustic illusions and mirages, including difference tones; and a recent technological development that might help players improve their articulation. * Dessy, Raymond, and Lee Dessy. “The Principles of Recorder Design Explained.” Cited above as item 541. 673. Driscoll, Daniel A. “Acoustical Characteristics of the Alto Recorder.” American Recorder 8, no. 4 (fall 1967): 109–13. A readable treatment, for an audience that has little or no background in musical acoustics, of the way in which the shape of the bore affects the harmonic structure of the recorder’s sound. The descriptions of the source of the sound and the production of a tone are not entirely correct in the light of later research. Letter from Driscoll in 9, no. 3 (summer 1968): 94, refers the reader to item 690. 674. Elder, Samuel A. “Physical Basis of Woodwind-Recorder Voicing (Abstract).” Journal of the Acoustical Society of America 35, no. 11 (November 1963): 1901. The abstract of a paper presented at a meeting of the society in November 1963 at the University of Michigan. Asserts that certain aspects of recorder voicing can be related to the relationship between edgetone modes and pipe resonance modes. (Subsequent researchers have clarified the distinction between edgetones and the sounding mechanisms of flutes, recorders, and organ pipes. See, for example, Elder’s own discussion in “Edgetones versus Pipetones,” Journal of the Acoustical Society of America 64 [December 1978]: 1721–23.) 675. Fletcher, Neville H., and Lorna M.Douglas. “Harmonic Generation in Organ Pipes, Recorders and Flutes.” Journal of the Acoustical Society of America 68, no. 3 (September 1980): 767–71. The sound produced by instruments driven by air jets (flutes, recorders, and organ pipes) depends in a complicated way on the interaction between the jet and the resonance

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modes of the pipe resonator. Fletcher and Douglas present a simplified model that concentrates on details of the interaction between the jet and the lip. They studied and checked experimentally the effects of certain parameters on the harmonic structure of the sound produced and found that, as blowing pressure is varied, the odd and even harmonics behave in two nearly independent groups. Also that the overall level of even harmonics depends strongly on the position of the lip in the jet, being least when the lip is in a symmetrical position. 676. Herman, Robert. “Observations on the Acoustical Characteristics of the English Flute.” American Journal of Physics 27 (January 1959): 22–29. A discursive presentation of the recorder and some aspects of its acoustics. Herman reports on Lüpke’s investigation (item 678) and quotes the conclusions while noting that in his experience recorders are generally somewhat richer in harmonics than reported there. (Lüpke’s experimental method may explain this.) He reports on a study of the theory of recorder fingering, unfortunately not providing the mathematical background. Also reports the results of investigations into intonation and blowing pressure, commenting that various notes have different sensitivity to blowing pressure, which makes control of intonation quite difficult for the novice. On the basis of his discussion, puts forward some criteria for a “good” recorder. 677. Lottermoser, Werner. “Von der Akustik der Blockflöte” [On the acoustics of the recorder]. Instrumentenbau-Zeitschrift 31 (1977): 757–59. Not seen. According to RILM Abstracts, concerns the factors affecting the resonance frequencies of the recorder. 678. Lüpke, Arndt von. “Untersuchungen an Blockflöten” [Investigations into recorders]. Akustische Zeitschrift 5 (1940): 39–46. English summary: Leo Beranek. “Investigation of Block Flutes.” Journal of the Acoustical Society of America 12, [no. 2] (October 1940): 307–8. The first modern study of recorder acoustics. Describes measuring the harmonic content of the sound of a number of alto and soprano recorders mechanically blown in an acoustically damped (anechoic) room. The sound pressure and blowing pressure of the recorders were measured for each note over two octaves, and their transient response was studied. He concludes: (1) In comparison to almost all other instruments, the tone is lacking in harmonics. (2) The third harmonic is in general stronger than the second, owing to the conical bore. (3) The number and strength of the overtones decrease as one progresses up the scale to a certain limit at which the recorder becomes overblown; at that point the harmonics suddenly become strong and remain so for the rest of the scale. (4) The sound pressure rises steadily through the lower octave and then falls at the beginning of the second octave. (5) The measured strength of the second harmonic relative to the fundamental depends strongly on whether the note is cross-fingered. (6) The maximum range of wind pressures needed for playing a scale in tune is about 1:6, the higher pressures being needed for the higher notes. Martin (item 680) shows that Lüpke’s conclusions about relative harmonic strengths depend strongly on the microphone position he used in the anechoic room and, therefore, are highly suspect. The author of the English summary immediately confesses his unfamiliarity with the instrument: “The block flute is a sort of fife and is unknown to me. Those who

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manufacture musical instruments will undoubtedly recognize it and call it by its proper name.” The only confusing result, however, is the mistranslation of “Altflöte” as “old flute” rather than “alto recorder.” 679. Lyons, Donald H. “Resonance Frequencies of the Recorder (English Flute).” Journal of the Acoustical Society of America 70, no. 5 (November 1981): 1239–47. Compares measured and calculated resonant frequencies of an alto recorder. In the calculations, assumes a constant temperature and an “ideal” recorder with cylindrical head and conical body and foot. Then applies perturbations to this to approximate a real recorder. Determines the effect of the window experimentally, finding it to act like an open extension of the tube about 35 mm long. Finds good agreement between measured and calculated frequencies. 680. Martin, John Stuart. A Study of Acoustical Aspects of the Recorder in Relation to Its Historical Development and Technique. Ph.D. thesis (Physics), University of New England, Armidale, NSW, Australia, 1987. A theoretical and experimental study of the acoustics of the recorder. Begins with a brief history of the instrument, followed by a review of previous modern acoustical studies and a few acoustical speculations from earlier times. Then outlines the basic acoustics of the recorder, with special emphasis on sound radiation, the formation of the jet by blowing through the windway, the resonance patterns of the bore and fingerholes, and the interaction of the jet with the pipe. Applies these results to various aspects of recorder sound production, such as voicing, tone, attack, overblowing, multiphonics, and pitch. Followed by a discussion of how the acoustical results relate to aspects of recorder design, historical development, and performance practice. Revised version published as item 681. 681. Martin, John. The Acoustics of the Recorder. Celle: Moeck Verlag, 1994. Edition Moeck Nr. 4054. xi, 112 p. ISBN 3875490614. ML 990 .R4. A reworking of his Ph.D. thesis (item 680) in book form. Although the discussion generally makes no concession to scientific or mathematical ignorance, Martin includes enough pictures, diagrams, and conclusions to interest the layperson in his discussions of the physical principles of the instrument. In addition, he includes a fascinating chapter in nonscientific English that relates those principles to the construction, historical development, and playing technique of the instrument. The first chapter presents a brief history of the recorder and an account of its terminology. Appendix 2 surveys historical writings on recorder acoustics. Curiously, appendix 1 is concerned with the identity of Bach’s fiauti d’echo—a perennial topic of discussion (see items 1789–1805), but seemingly unrelated to recorder acoustics. Reviewed by Raymond E.Dessy in American Recorder 35, no. 5 (November 1994): 23–24, reprinted in Australia’s Journal of Recorder and Early Music, no. 18 (November 1994): 22–23. Dessy’s review elicits letters from John Martin, Alec Loretto, and Bob Marvin in 36, no. 2 (March 1995): 30– 33. Also reviewed by Jürgen Meyer in Tibia 20, no. 2 (1995): 466–67. 682. Martin, John. “The Acoustics of the Recorder.” Acoustics Australia 14, no. 2 (August 1986): 43–46. Summarizes much of the author’s thesis on recorder acoustics (item 680) in a nontechnical fashion. Includes a discussion of how the jet formed at the windway exit interacts with the lip to produce a sound. Followed by a discussion of the role of the bore

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shape and fingerholes. 683. Martin, John. “The Acoustics of the Recorder.” Recorder: Journal of the Victorian Recorder Guild, no. 7 (December 1987): 22–27. Reprinted in Recorder News (The Society of Recorder Players [New Zealand] Incorporated), January 1988, 2–11. Based on item 682, but adapted for audiences knowing more about the recorder and less about acoustics. Includes a discussion of Francis Bacon’s writings about the recorder. * Mathiesen, Irmgard Knopf, and Aksel H.Mathiesen. “Ein Messingsprojekt Datamatische Behandlung von Messungen an historischen Holzblasinstrumenten.” Cited above as item 590. 684. Medley, Daphne. “Recorders and Reeds: 4 Foot and 8 Foot Pitch.” Recorder Magazine 16, no. 1 (March 1996): 16–18. A technical introduction to the physics of standing waves in open and closed pipes, which is used to explain the properties of a range of instruments such as recorders, crumhorns, and racketts. Explains what is meant by “four-foot” and “eight-foot” pitch and outlines its historical origins in organbuilding. 685. Mühle, Christoph. Untersuchungen über die Resonanzeigenschaften der Blockflöte [Investigations into the resonance modes of the recorder]. (Schriftenreihe Das Musikinstrument, Bd. 16.) Frankfurt/Main: Verlag Das Musikinstrument, 1979. ISBN 3920112733. ML 990 .R4 M8 1979. A Braunschweig dissertation (1966). Relates the results of measurements on an artificially blown recorder to mathematical ways of calculating its resonance frequencies. Among other things, concludes that there is an increase in the amplitude of harmonics that lie near the resonant frequency of the player’s mouth cavity, and moisture in the breath may narrow the windway, causing an increase in frequency and in the amplitude of the even harmonics. * Myers, Herbert W. The Practical Acoustics of Early Woodwinds. Cited above as item 556. 686. Sopranzi, Pietro. “Come e perché il flauto dolce suona” [How and why the recorder produces sound]. In item 42, pp. 15–29. A qualitative and descriptive introduction by a recorder maker to how and why the recorder makes sounds. Discusses the role of the air jet from the windway and other issues, including the dimensions of the recorder mouth, blowing pressure, the position and size of fingerholes, the thumbhole, forked fingerings, and the shape of the bore. 687. Steinkopf, Otto. Zur Akustik der Blasinstrumente: Ein Wegweiser für den Instrumentenbauer [On the acoustics of wind instruments: a guide for the instrument maker]. Celle: Moeck, 1983. 84 p. ISBN 3875490207. ML 930 .D7. Studies a range of wind instrument types, including cylindrical and conical bores, open and closed at one end. Illustrates these types by a range of instruments including the serpent, brass instruments, various transverse flutes, the cornetto, and the recorder. Demonstrates ways of calculating the corrections to the effective sounding length caused by various components, such as the recorder mouth and open holes. Includes a table of tone-hole calculations for the Moeck Rottenburgh alto recorder. 688. Tarasov, Nikolaj. “Der gläserne Blockflötenspieler” [The glass recorder player]. Windkanal 1/1999:6–9. Uses a series of nuclear magnetic resonance (NMR) photographs taken by the physicist

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Claus Kiefer to explain the physiology of articulation, dynamics, and tone color on the recorder. 689. Tarasov, Nikolaj. “Orgel & Blockflöte: Zwei verschiedene Instrumente und ihre Gemeinsamkeiten” [Organ and recorder: two different instruments and their commonalities]. Windkanal 3/2001: 6–9. A visit to the workshop of organ maker Andreas J.Schiegnitz prompts Tarasov to compare recorders with organ pipes in sound, material, construction, and blowing properties. 690. Turicchi, Thomas Edwin. A Study of the Acoustical Properties of a Renaissance, Baroque, and Contemporary Fipple Flute (Recorder). Ph.D. diss., Catholic University, 1966. 86 leaves. OCLC #9227924. UMI order no. 66–12715. Investigates two recorders from the Library of Congress (a Renaissance and a Baroque) and a modern recorder. Measures pitch, sound power, and harmonic content versus blowing pressure. Relates the results to edgetone theory (not now thought to be an important factor). Correctly notes the effect that the lip offset has on harmonic content, particularly the second harmonic. Suggests a method for discovering the original temperament of a recorder based on the pitches at which its ratio of sound power out to blowing power in is greatest. (Turicchi’s measurements of this ratio often approach 100 percent, although item 680 quotes other measurements that never exceed 1 percent. The sound production mechanism in flutelike instruments is known to be inherently inefficient, which casts some doubt on Turicchi’s conclusions.) 691. Verge, Marc-Pierre. Aeroacoustics of Confined Jets: With Applications to the Physical Modelling of Recorder-like Instruments. Doctoral diss., Technische Universiteit Eindhoven, 1995. [iv], 242 p. ISBN 9038603061. In English, with abstracts in Dutch and French. According to the abstract, the object of the dissertation was to develop a model of the sounding mechanisms of recorder-like instruments based on a description of the flow in the mouth of the instrument. A simplified mathematical model allowed analytical calculations and efficient time-domain simulations. The results derived from the model were compared with experimental data derived from flow visualizations and pressure measurements performed on a recorder-like organ flue pipe. Conclusion: the model reproduces many features of the internal acoustic pressure response measured in the experimental flue pipe and recorders. Chapter 3 was published earlier as M.P.Verge, B.Fabre, W.E.A.Mahu, A.Hirschberg, R.R.van Hassel, A.P.J.Wijnands, J.J.de Vries, and C.J.Hogendoorn, “Jet Formation and Jet Velocity Fluctuations in a Flue Organ Pipe,” Journal of the Acoustical Society of America 95, no. 2 (1994): 119–32. Chapter 4 was published earlier as M.P.Verge, R.Caussé, B.Fabre, A.Hirschberg, A.P.J.Wijnands, and A.van Steenbergen, “Jet Oscillations and Jet Drive in Recorder-like Instruments,” Acta acustica 2 (1994): 403–19. 692. Verge, M.P., R.Caussé, and A.Hirschberg. “A Physical Model of Recorderlike Instruments.” In Proceedings: International Computer Music Conference, September 3–7, 1995, 31–44. San Francisco: ICMA; Banff, Alberta: Banff Centre for the Arts, 1995. OCLC #9010760. Based on previous theoretical work and the authors’ own experimental results, a mathematical model is presented that allows computer sound synthesis for a simple one-

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dimensional representation of recorder-like instruments. The model incorporates a steady-state jet-drive component and takes into account vortex-shedding at the recorder lip. The model allows the steady-state amplitude of the fundamental to be correctly predicted. No new insights into how the recorder works, but rather an amalgam of (mostly) recent results with some mathematical manipulation to get it into a computable form. 693. Verge, Marc-Pierre, Benoit Fabre, A.Hirschberg, and A.P.J.Wijnands. “Sound Production in Recorderlike Instruments: I. Dimensionless Amplitude of the Internal Acoustic Field.” Journal of the Acoustical Society of America 101, no. 5, pt. 1 (May 1997): 2914–24. Originally published as: A.Hirschberg, M.Verge, B.Fabre, and A.Wijnands. “Dimensionless Amplitude of the Internal Acoustic Field in Flue Instruments.” In Proceedings of the International Symposium on Musical Acoustics [ISMA 1995], 54–60. [Dourdan: Société Française d’Acoustique], 1995. The internal acoustic pressure signals in an experimental recorder-like flue organ pipe were measured. The dimensionless representation of the amplitude of the fundamental depends on the ratio of the travel time along the jet and the oscillation period, regardless of the acoustic mode and the mouth geometry. The dimensionless amplitude of the second harmonic depends on whether the jet is smooth or turbulent. A study of the effects of varying jet velocity and mouth geometry shows that craftsmen have optimized recorders to yield an optimal harmonic content-to-noise ratio and clear attacks. The more powerful sounds in large organ pipes, requiring a higher jet velocity and hence a larger windway-to-lip distance, are obtained at the expense of a noisy sound, which can be reduced by using a lip that is not as sharp as that used in recorders. SPECIFIC TOPICS Beats, Combination Tones, and Difference Tones 694. Fischer, Johannes. “1+0=2, 1+1=3, 2+1=6 und 2+2=10: Von den Schatten die uns im Zusammenspiel begleiten” [1+0=2, 1+1=3, 2+1=6, and 2+2=10: on the shadows that accompany us in playing together]. In 3. Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation [17 p.]. An essential article on the scientific basis of intonation (combination tones, the overtone series) and its implications. Lists the combination tones of all the intervals up to a major tenth and the properties of major and minor chords. Gives tips on playing in tune. A series of appendixes present the overtone series and combination tones of all notes of the chromatic scale, intervals up to two octaves and their combination tones, and three examples of combination tones in excerpts from duets. 695. Martin, John. “It’s the Extra Beating That Makes the Difference (More Kitchen Physics for Recorder Players).” Recorder: Journal of the Victorian Recorder Guild, no. 11 (June 1990): 1–4. A simple explanation of beats and difference tones (Martin loves puns) and their implications for intonation, temperament, and recorder ensemble performance. Suggests simple experiments so that the reader can illustrate points in the text. 696. Middleton, James. “Those ‘Buzzing Ears.’” Recorder & Music 5, no. 2 (June 1975):

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51. Briefly describes “beats” and difference tones in reply to a query that had appeared in a previous issue: “Recorders make your ears buzz, and I shall be glad to learn if anybody has any ideas for camouflaging this.” Beats are caused by two instruments playing the same note slightly out of tune and can be eliminated by more closely matching the pitch. Difference tones are faint pitches created when two different notes are sounded together. They cannot be avoided and are in fact more prominent when tuning is accurate. Breath Pressure 697. Bak, Niels. “Investigating the Influence of Blowing Technique on Pitch and Tone in Recorder Playing.” Annual Report of the Institute of Phonetics, University of Copenhagen 6 (1971): 307–13. A short account of preliminary experiments for the investigation described more fully in item 698. Concludes that the resonance conditions of the player’s mouth cavity have no effect on the pitch or tone of the recorder and that variations in blowing pressure are of paramount importance for playing quality. 698. Bak, Niels. “A Physical and Physiological Study of Blowing Technique in Recorder Playing.” Annual Report of the Institute of Phonetics, University of Copenhagen 10 (1976): 223–72. In abridged German translation as: “Eine physikalische und physiologische Untersuchung der Blastechnik des Blockflötenspielers.” Das Musikinstrument 27, no. 5 (May 1978): 812–14. Notes the difference between the “German” and “English” recorder schools regarding the role of the player’s mouth. The “German” school holds that forming different vowel shapes with the mouth affects the recorder’s tone, whereas the “English” school denies the mouth any role other than to provide an unimpeded flow of air into the windway. Bak finds no experimental evidence that mouth volume can affect recorder tone. By making continuous x-ray recordings of players’ mouths, however, he finds that professional players at least sometimes alter the flow of air into the windway with their lips. He makes interesting comments on the difficulties of measuring the blowing pressure used by players because of lip movement, and notes that measurements of pressure in the recorder windway can be used to monitor blowing pressure. 699. Bak, N. “Pitch, Temperature and Blowing-Pressure in Recorder-Playing: Study of Treble Recorders.” Acustica 22 (1969/70): 295–99. Of interest for attempting to find whether the player’s mouth size and shape affect the frequency of the note played. By introducing a resonator volume into the airstream before it reaches a recorder, attempts to find a relationship between volume and sounding frequency, although the measured effects were too small to allow this. (Item 680 includes a study of mouth effects, concluding that mouth volume may affect a note’s timbre and readiness to overblow.) Bak also finds that the effect on sounding frequency of increasing temperature could be explained by the expected increase in sound velocity. Also studies the dependence of the frequency of a note on the blowing pressure, finding that the experimental data produced points close to a straight line when plotted on log-log graph paper. 700. Davidson, Martin. “Variation of Pitch of a Tenor Recorder with Blowing Pressure.”

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American Recorder 3, no. 3 (August 1962): 17–19. Describes measurements of pitch being made while blowing each note of an unidentified tenor recorder at three pressures: “soft, medium, and hard.” Finds variations of up to 89 cents; a few notes were consistently sharp or flat. Makes no attempt to measure the blowing pressure quantitatively. 701. Derengowski-Stein, Mary. “Measurements of Sounding Frequency as a Function of Blowing Pressure in the Soprano Recorder.” In ISMA ’97 [International Symposium on Musical Acoustics, University of Edinburgh, 1997]: Proceedings, 379–84. (Proceedings, Institute of Acoustics, vol. 19, pt. 5.) St. Albans: Institute of Acoustics, 1997. OCLC #40236475. Sounding frequencies of a soprano recorder were measured for four fingerings under a wide range of blowing pressures. From this data, the phase delay of the transverse wave along the jet between the windway exit and the lip was calculated, using a simplified jet profile. The calculated phase delays were found to lie between 100 and 250 degrees, corresponding to transverse jet waves with between one quarter and three quarters of a wavelength in the recorder mouth. 702. Dunn, John. “‘The Middle of the Note.’” Recorder & Music 5, no. 9 (March 1977): 291–92. In Italian as: “Il centro della nota.” Il flauto dolce, no. 9 (June 1983): 28–29. Written in response to items 703 and 708. Reports the results of a computer program designed to determine “the resonant frequencies of the tube for any given fingering pattern” on a plastic alto. As with Wyatt’s recorder (see item 708), the lowest notes are sharp and must be underblown, while the highest notes (f3 and g3) are flat and must be overblown—exactly the opposite of what is desired. The octave from c2 to c3 is more balanced, requiring slight overblowing low in the range, then a switch to underblowing at mid-octave. 703. Osmond, D.W.J. “The Optimum Breath Pressure for the Recorder.” Recorder & Music 5, no. 7 (September 1976): 227–30; 5, no. 8 (December 1976): 258–60. In Italian as: “La pressione ottimale del fiato nel flauto dolce.” Il flauto dolce, no. 9 (June 1983): 24–28. Written in response to Theo Wyatt’s statement in item 708 that an ideal recorder would play in tune with equal breath pressure across its range. Studies experimentally and theoretically the breath pressure required to play in tune across the compass of the recorder. Concludes that playing pressure “should be directly proportional to frequency, and so double over each octave,” and that the absolute values of the pressure required are dominated by details of the geometry of the windway. Assumes that in the windway, viscous effects are predominant, and that after leaving the windway the transverse vibration of the air jet is due to the drag of the stationary air on either side of it. Martin (item 680) calls into question some of Osmond’s assumptions and conclusions. It appears that the air does not remain long enough in the windway for viscous effects to predominate, and that the relationship between playing pressure and jet velocity is governed instead by Bernoulli’s law. Also, a result that Osmond uses to discuss tapering windways omits an important factor that leads to results opposite to those expected. 704. Raudonikas, F. “Blown Resonance of Baroque Flute-Traverso IV: The Tone and the Blowing Pressure.” FoMRHI Quarterly, no. 28 (July 1982): 26–33 (Communication no. 419).

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Explains the blowing mechanism of the Baroque flûte with the aid of measurements of blowing pressure and sounding frequency for two alto recorders from the Leningrad Museum. At low blowing pressures, a quiet “ghost” sound can be produced. For this note, the jet has time to oscillate once more than usual before it reaches the lip. At higher breath pressures, the graph of frequency versus pressure can be plotted on log-log paper and divided into three zones: the transitional zone (where the frequency rises rapidly), the working zone (in which the player usually operates and in which the graph is nearly straight), and the overexcitation zone (prior to the note overblowing). Gives explanations in terms of the change of phase of the jet oscillation as it crosses the recorder mouth. Raudonikas’s discomfort with English and the physical layout of the page both make this a difficult article to read. 705. Wogram, Klaus, and Jürgen Meyer. “Über den spieltechnischen Ausgleich von Intonationsfehlern bei Blockflöten” [On the adjustment through playing technique of intonation errors on recorders]. Tibia 10, no. 2 (1985): 322–35. On the graphical measurement of loudness, breath pressure, and pitch deviation to test the performance of several recorders and recorder players. Letter from Andreas Schnur in 10, no. 3 (1985): 478; reply by Wogram in 11, no. 1 (1986): 77–78. 706. Wogram, Klaus, and Jürgen Meyer. “Zur Intonation bei Blockflöten” [On the intonation of recorders]. Acustica 60, no. 3 (June 1984): 137–46. Reports on a study of the dependence of intonation on blowing pressure for a number of artificially blown recorders, the results being displayed effectively on threedimensional graphs. Wogram and Meyer chose five recorders with different blowing characteristics and tested them with a group of players of various levels of musical training. They found that the players adjusted their playing technique very little to suit the different characteristics of the instruments. Based on this observation, they propose criteria for determining the quality of a recorder. 707. Wyatt, Theo. “Measuring Breath Pressure.” American Recorder 28, no. 2 (May 1987): 57–59. Remarks that “[m]easuring pressure along with pitch takes almost all the guesswork out of retuning and is much easier [to do] than most people think.” Describes using a water U-tube (manometer) to measure blowing pressure. Inclining the manometer at 30 degrees to the horizontal doubles its sensitivity and allows the manometer scale to directly display the blowing pressure. Wyatt supplies logarithmic graph paper, noting that graphs of blowing pressure versus pitch should be close to a straight line when drawn on it. Comments that notes that lie off this line may need retuning; gives a few practical hints. Letter from Gary Greenhut in 28, no. 3 (August 1987): 127. 708. Wyatt, Theo. “My Complimentary Recorder.” Recorder & Music 5, no. 4 (December 1975): 120–22. In Italian as: “Osservazioni su un flauto dolce campione ricevuto in omaggio.” Il flauto dolce, no. 9 (June 1983): 22–24. After receiving a complimentary soprano recorder, Wyatt experimented with the measurement of breath pressure across the range of several recorders he often used in order to refute the maker’s claim that it is normal for c2 on the descant to be blown twice as hard as c1 and half as hard as c3. Wyatt’s belief before taking the measurements was that an ideal instrument would require equal breath pressure across its range. To his surprise, he discovered that a significant increase in pressure was indeed required on all

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of his instruments, although not as great as the maker of his complimentary recorder had claimed. Wyatt calls for a published standard to specify a relationship between pitch and breath pressure. See also item 703. 709. Zimmermann, Manfredo. “Atem(führung) und Stütze” [Breath (management) and support]. In 1. Internationale Grazer Blockflötentage, Vorträge und Dokumentation [7 p.]. A useful discussion of breathing from a scientific point of view. Fingerings 710. Brindley, Giles. “A Method for Analyzing Woodwind Cross-Fingerings.” Galpin Society Journal 22 (March 1969): 44–46. Describes the experimental study of the positions of the antinodes in a tenor recorder, made by sliding a thin hollow brass tube connected to a stethoscope in and out of the bore. Finds the end correction to vary smoothly from 61 mm (for e1) to 43 mm (for e2), attributing this to the greater pressure needed for blowing high notes. (Since, however, a similar variation is found when passive resonances are measured, this explanation is probably incorrect.) Uses basic acoustical principles to analyze fingering patterns, quoting some approximate theoretical expressions for determining the effect on sounding frequency of an open or closed fingerhole. 711. Thomas, Denis. “Harmonics and Fingering.” Recorder Magazine 19, no. 2 (summer 1999): 48–50. Explains to the layperson how harmonics work on the recorder, showing clearly how certain fingerholes act as “vents” for each harmonic. In response, John Dunn writes in 19, no. 3 (autumn 1999): 106, of his research, reported in the same magazine in 1975, into why the alto recorder is about ten centimeters shorter than the equivalent organ pipe. The difference, as he now summarizes it, is “due to the effect of the window being rather small compared with the bore area and [the effect of it] being placed next to the block; also the small finger holes give imperfect venting, introducing major differences from a simple organ pipe model.” Modeling 712. Agullo, J., and J.Puig. “Time-Domain Modelling of the Recorder.” In Proceedings of the International Symposium on Musical Acoustics [ISMA 1995], 47–53. [Dourdan: Société Française d’Acoustique], 1995. Existing time-domain models for flutelike instruments have evolved from previous frequency-domain models, retaining some of their characteristics and incorporating a number of ad hoc “fixes” to make them more realistic. The authors introduce a number of innovative features in an attempt to develop a truly time-domain model. They test their ideas using a simplified model of a recorder blown with a simplified articulation. The results are promising, but the authors recognize that further refinements are necessary. 713. Verge, M.P., A.Hirschberg, and R.Caussé. “Sound Production in Recorderlike Instruments: II: A Simulation Model.” Journal of the Acoustical Society of America 101, no. 5, pt. 1 (May 1997): 2925–39. Presents a simple one-dimensional model of recorder-like instruments that could be

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used for sound synthesis. The model combines the effects on sound production of the jet oscillations, vortex-shedding at the edge of the lip, and turbulence in the instrument’s mouth. The model correctly predicts the steady-state amplitude of the fundamental, as well as the noise level and spectrum. The model is suitable for sound synthesis since it can be implemented for real-time simulations. Further research is necessary, however, to account for the quality introduced by instrument makers in three key areas: the sharpness of the lip, the convergence of the windway, and the chamfers at the windway exit. Tone Quality * Acht, Rob J.M.van. “Dutch Wind Instruments from the Baroque Period: Scientific Qualities and Features.” Cited above as item 317. * Acht, Rob van. “The Sound Quality of Dutch Wind Instruments from the Baroque Period: The Project (1).” Cited above as item 319. 714. Ando, Yoshinori, and Tatsuro Shima. “Physical Properties of Sustained Part of the Treble Recorder Tone and its Subjective Excellence of Quality.” Ongaku Gaku=Journal of the Japanese Musicological Society, 23, no. 2 (1977): 81–101. Abstracted as “Physical Properties of Treble Recorder Tones Suitable for Baroque Music.” Journal of the Acoustical Society of America 64, suppl. no. 1 (fall 1978): S151. Investigates how the quality of alto recorder tones depends on various physical properties of the tones. The quality was judged by professional recorder players, experienced recorder players, and amateurs using paired comparison of real and synthesized tones. The best tones showed a decay rate of harmonic amplitude of 4dB/harmonic, a level difference between odd and even harmonics of 10db, with small frequency fluctuation in the second and third harmonics. Frequency fluctuation in higher harmonics was judged harmful for quality. 715. Driscoll, Daniel A. Synthetics of a Recorder Tone-color. Master’s thesis, Rensselaer Polytechnic Institute, 1964. Not seen. 6. Laurin, Dan. “Shaping the Sound.” American Recorder 40, no. 4 (September 1999): 13–17. Through a series of tests using electronic devices designed for phonetic research, Laurin finds evidence supporting a long-disputed belief: changing the shape of the oral cavity affects recorder tone. He also finds that the shape of the oral cavity can affect the pressure required to play notes in tune and suggests that both effects can be attributed to some oral shapes causing the generation of turbulence in the windway. 717. Lottermoser, W[erner]. “Rauhe Innenwände von Blasinstrumenten verändern den Klang: Ein Beitrag zur Akustik der Flöten” [Rough inner walls of wind instruments alter the sound: a contribution to the acoustics of recorders]. Instrumentenbau 30, no. 6 (1976): 452–53. A qualitative discussion of the effects that irregularities in the bore, including the small cavities formed by the sealing of fingerholes, have on the tone of wind instruments. Cites a number of early European studies of recorder acoustics.

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Transients 718. Fabre, B., A.Hirschberg, A.P.J.Wijnands, and A.van Steenbergen. “Transitoire d’attaque des instruments à embouchure de flûte” [Transients at the mouthpiece of the recorder]. Journal de Physique IV, Collogue C1: Supplement au Journal de Physique III, vol. 2 (April 1992): C1–67-C1–70. In French with English abstract. A simple model is proposed to describe the transient of an experimental recorder. Four phases are identified: (1) the jet emerges from the windway and travels toward the lip; (2) the jet reaches the lip and its oscillations grow toward saturation (it is only during this phase that an edge-tone can coexist on the jet); (3) the oscillations in the pipe grow; and (4) the system is saturated. The model is used to predict typical times for each phase of the transient. But the model predicts a threshold driving pressure three times smaller than measured experimentally. 719. Verge, M.-P., and R.Caussé. “Linear Analysis of the Initial Transient of a Recorder.” In SMAC 93: Proceedings of the Stockholm Music Acoustics Conference, July 28-August 1, 1993, 525–30. (Publications Issued by the Royal Swedish Academy of Music=Kungl. Musikaliska Akademiens Skriftserie, 79.) [Stockholm]: Royal Swedish Academy of Music, 1994. OCLC #31802259. Although the sound-production mechanism of a recorder is highly nonlinear, it is possible to use linear analysis to study the initial transient, at least while the transverse jet displacement at the lip is less than half of the jet width. Comparisons of calculated results were made with those measured from an experimental flue pipe and a recorder played by a musician. It was found possible to predict correctly the initial acoustic response of the recorder to a smooth driving-pressure rise. Limitations in the theory meant that some aspects of the initial transient could not be predicted. They were attributed to lack of information about the level of noise in the system.

14 Instrument-Making and Manufacture This chapter deals with writings about recorder-making and manufacture. Items on the properties of the instruments themselves are dealt with in chapter 12. HISTORICAL 720. Art du faiseur d’instruments de musique et lutherie: Extrait de l’Encyclopédie méthodique “Arts et métiers mécaniques,” Paris 1785. Geneva: Minkoff Reprint, 1972. 186 p. OCLC #3539548. Facsimile of sections on instruments and instrument-making from the 1785 reworking of item Diderot’s Encyclopédie (item 1027). Includes the article on the recorder as well as those on the dessus, quinte, and basse (although curiously not the haute contre) de flûte à bec; also includes the plates. 721. Lasocki, David. “Diderot and the Recorder.” Recorder & Music Magazine 2, no. 6 (August 1967): 190. Summarizes the 1756 Encyclopédie (item 1027) article on the recorder. Translates Diderot’s description of the instrument and how it was made. 722. Powell, Ardal. “Science, Technology and the Art of Flutemaking in the Eighteenth Century.” Flutist Quarterly 19, no. 3 (spring 1994): 33–42. For centuries, the art of woodwind-making was a closely guarded secret, passed on from master to apprentice under carefully regulated conditions. The Enlightenment of the eighteenth century brought some of this knowledge into the open, and engravings of turning equipment were published for the first time. Powell draws on those contemporaneous writings and engravings as well as his own expert knowledge as a maker to bring together what is known of the technique of flûte-making, some of which would have applied to recorder-making. MODERN 723. Benedikt, Erich. “Zum Selbstbau verschiedener Flöten” [Making various types of flutes yourself]. Musikerziehung 29, no. 1 (September 1975): 13–16. Begins by describing the various types, including of course recorders, defines some terms, then draws attention to differences in the numbers of fingerholes. A curious article that does not live up to its title. 724. Benn, Nicholas, John Cousen, and Henry Woledge. “A Great Consort: Made and Described by Nicholas Benn, John Cousen, and Henry Woledge.” Recorder and Music Magazine 1, no. 3 (November 1963): 93. The authors set out in the fall of 1962 to make a great consort (tenor in c1, basset in f,

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quart-bass in c, and great bass in F) after sixteenth-century models. Describes the process they used and the qualities of the resulting instruments. 725. “Birth of a Recorder.” Recorder and Music Magazine 1, no. 2 (August 1963): 40– 41; 1, no. 3 (November 1963): 86–87. A series of twelve captioned photographs showing the steps taken in manufacturing Schott’s Concert recorders. 726. Bolton, Philippe. “De l’arbre à la flûte=Van boom tot fluit” [From tree to flûte]. In Matière et musique: The Cluny Encounter: Proceedings of the European Encounter on Instrument Making and Restoration Cluny 1999, ed. Claire Chevallier and Jos van Immerseel, 113–20. Antwerp: Labo 19, 2000. ISBN 9068531433. Describes the steps taken when making a recorder, starting with a piece of boxwood about four inches in diameter. Illustrated with twelve photographs. Text in French and Dutch. A slightly expanded version of item 727. 727. Bolton, Philippe. “La naissance d’une flûte à bec” [The birth of a recorder]. Flûte à bec & instruments anciens, no. 10 (March 1984): 12–15. Copies obtainable from the author at Le Grand Portail, F-84570 Villes-sur-Auzon, France. A brief description with photographs of the steps in making a recorder. A brief summary appears on Bolton’s Web site: http://ourworld.compuserve.com/homepages/philippe_bolton/Fabrication.html. 728. Bolton, Philippe. “Resonans: A Software Program for Developing New Wind Instruments.” FoMRHI Quarterly, no. 79 (April 1995): 69–72 (Communication no. 1356). Reports on a fascinating piece of computer software are called RESONANS, developed by IRCAM and the acoustics department of the Université du Maine in Le Mans. RESONANS produces tables or graphs of the resonant frequencies for the different fingerings of any wind instrument, or visualizes the position of nodes and antinodes, so that hole positions can be checked. The software is of great benefit to makers to test possible defects of a design, try different approaches to a given problem on an existing instrument, or do research on original instruments that no longer sound. Bolton emphasizes that “no solution is suggested by the program, but any solution proposed by the maker can be tested, with economy of time and materials.” * Bouterse, Jan. “Three Baroque Soprano Recorders by Richard Haka: Instructions on How to Make a Copy.” Cited above as item 364. 729. Duggan, Peter T. “A Practice Baroque Recorder.” Recorder and Music Magazine 9, no. 5 (March 1988): 118–20. Offers details on how to make a practice recorder with Baroque fingering by filling and redrilling the bottom four holes of a Bressan Zen-On alto. Corrections in 9, no. 6 (June 1988): 157. 730. Dullat, Günter. Holzblasinstrumentenbau: Entwicklungsstufen und Technologien [Woodwind instrument-making: stages of development and technology]. Celle: Moeck, 1990. 330 p. ISBN 3875490320. According to the preface, the book was finished in 1984 but publication was delayed. Divided into three parts: (1) stages of development and technology, (2) the instruments, and (3) materials and tools. The section on the recorder (pp. 74–80) briefly discusses sizes and consorts, design (including the influences of the tone holes), and stages in

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recorder-making; includes some drawings and measurements. Reviewed by Karl Ventzke in Tibia 15, no. 4 (1990): 312–14. 731. Fitzpatrick, Horace. “The Medieval Recorder.” Early Music 3, no. 4 (October 1975): 361–64. Reports a recorder maker’s research, experimentation, and “blunders” in the course of reconstructing a consort of medieval recorders. Of particular interest is the account of the “Dordrecht” recorder (ca. 1250) in the Gemeentemuseum at the Hague, which Fitzpatrick was able to replicate and use as a model for the other instruments in the consort. 732. “From Cradle to Lathe: The World according to Recorder Makers.” American Recorder 35, no. 4 (September 1994): 5–7, 21–22. Spanish translation with commentary by Bàrbara Sela as: “El cuidado de la flauta de pico: Una constante duda.” Revista de flauta de pico, no. 2 (May 1995): 7–10. Transcription of a June 1994 panel discussion held at the Berkeley Festival, including makers Tom Prescott, David Ohannesian, Phil Levin, and Jean-Luc Boudreau; recorder player Roxanne Layton; and moderator Gene Murrow. Covers: procedures for cleaning the head of a recorder, removing and cleaning the block, and applying oil; selecting instruments for a Renaissance consort; the question of transposition when performing Renaissance music; temperament in Renaissance music; the woods used for Renaissance copies; the challenges facing recorder makers; Layton’s experience as a tester for von Huene; wood allergies; and oils. 733. Goembel, Luke. “Making a Recorder.” Woodwind Quarterly, no. 8 (February 1995): 58–83. A detailed description of how the author, who was self-taught, makes “homemade” recorders, “so that others who would like to try it, or are just curious about how a recorder can be made, will benefit from my experience.” 734. Goembel, Luke. “Reaming Tapered Bores and Making Joint Mortises for the Recorder.” Woodwind Quarterly, no. 6 (August 1994): 66–70. Describes a tapered reamer and a mortising bit that he invented. 5. Goembel, Luke. “Recorder Making at Moeck.” Woodwind Quarterly, no. 10 (August 1995): 36–58. A detailed description of a day the author, a self-taught recorder maker, spent at the Moeck factory in Celle “to learn how others” make recorders. Copious photographs. 736. Gohin, Henri. “Les étapes de la facture d une flûte à bec” [The stages in the manufacture of a recorder]. Edited by Laurent Hay. Flûte à bec, no. 3 (June 1982): 16– 17. A brief attempt to “set forth the major stages in the manufacture.” Hunt, Edgar. “Recorder Making Today.” Cited above as item 595. 7. Hunt, Edgar. “Recorders Based on Eighteenth-Century Models.” Recorder & Music 5, no. 10 (June 1977): 338–39. Sequel to item 595. Reports on two instruments: Rössler’s Oberlender alto and the Zen-On Bressan alto. Hunt’s own Bressan instrument served as the model for the latter, and he draws favorable comparisons between the original and the plastic copy. 738. Kanji and Sorel (firm). “Authenticity.” Woodwind Quarterly, no. 4 (February 1994): 46–56. A curious mix of information about making recorders from Baroque models. After

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some random comments on historical authenticity, notes that woodwind-making today differs in some important ways from that of the Baroque makers. Skips to discussing suitable woods for recorders, past and present. Then introduces the firm’s philosophy of avoiding most modern instrument-making techniques, except for a windway-cutting tool. Offers a little advice on choosing a good model to work from, then briefly describes the process of instrument-making. Finally, mentions a few changes in fingering and pitch that have to be made for today’s playing situation. 739. Klemisch, Guido. “Eine Kopie—warum?” [A copy: why?]. In 1. Internationale Grazer Blockflötentage, Vorträge und Dokumentation [2 p.]. Muses on modern players seeking original instruments—not always the appropriate ones (as, for example, no one has ever asked him for an Eichentopf copy, although that would surely have been the kind of recorder that J.S.Bach’s players used). We must ask ourselves why early recorder makers made instruments in such varied ways. 740. Lewis, Mildred. “How Recorders Are Made at the Workshop of Friedrich von Huene.” American Recorder 1, no. 4 (fall 1960): 4–6. Begins with a biographical sketch and a description of von Huene’s measurement and study of historical instruments. Then takes the reader through the process of making a recorder, from the selection of the wood to the application of the varnish. Since the description is not overdetailed, much of what is said would apply to recorder-making in most workshops. 741. Loretto, Alec V. “Furniture and Recorders: The Problems with Making Copies.” American Recorder 30, no. 4 (November 1989): 143–44. Explains why makers choose not to make exact copies of instruments. They deviate from historical models in order to accommodate modern tastes for double holes, modern fingering, and tuning at a1=415 Hz. Because such adjustments can be made in a number of ways, no two historical copies are alike. Makers are guided by their own experience, and inevitably the results vary considerably. 742. Loretto, Alec. “Improvements or Modifications—Which?” Recorder and Music Magazine 8, no. 8 (December 1985): 236–38. Response to a letter from A.Dolf in 8, no. 6 (June 1985): 185. Loretto and Hermann Moeck exchange views over why Moeck changed his mind about the feasibility of massproducing recorders with high, narrow windways. Moeck says that only advances in knowledge and technology have made such mass-production possible. Loretto cites, in addition, competition from other factories; the influence of teachers, smaller workshops, and performances on original instruments; pressure from players; and writings on the subject. Reply to Loretto by Hermann Moeck in 8, no. 9 (March 1986): 275; response by Loretto in 8, no. 11 (September 1986): 334–35. 743. Loretto, Alec V. “Make Your Own Recorder in C at A-440 Hz.” Recorder Magazine 16, no. 3 (September 1996): 92–95. For readers with basic woodworking skills who would like to try their hand at recorder-making, Loretto presents plans for a cylindrically bored instrument (based on the “Dordrecht” recorder from the early fifteenth century) and briefly describes the construction details. In a companion article, “Tuning Your Square Medieval Recorder,” Recorder Magazine 16, no. 4 (December 1996): 130–32, he gives more detailed advice on tuning the instrument. Letter from Oliver St. John in 16, no. 4 (December 1996): 152,

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a response from Loretto in 17, no. 1 (March 1997): 32, and a follow-up from St. John in 17, no. 4 (December 1997): 158–59. 744. Loretto, Alec V. “Make Your Own Medieval Treble Recorder in F.” Recorder Magazine 18, no. 1 (March 1998): 8–9. Following on his instructions for making a “medieval” soprano recorder (see item 743), Loretto explains how to modify them to make a similar alto recorder. 745. Loretto, Alec V. “Plastic Recorders.” Recorder Magazine 13, no. 1 (March 1993): 3–4. Concerns the process of producing handmade plastic recorders. Although blocks of plastic can be tooled similarly to wood, plastic’s tendency to shatter or melt presents special problems, which Loretto describes. Makers of handmade plastic instruments often use a wooden block to help absorb condensation. (A few even line the windway with wood.) Although many makers have produced handmade plastic instruments, Loretto knows none who have “tooled up for larger production runs.” 746. Loretto, Alec V. “So You’d Like to Become a Recorder Maker, or, Come on in—the Water’s Fine!” American Recorder 28, no. 3 (August 1987): 101–3. Gives advice to would-be makers of historical recorders on how to go about learning their craft: study original instruments, read, “have a go” at making, seek feedback, join the staff of a factory or become an apprentice, take lessons, and attend courses. Letter from Ingeborg von Huene in 28, no. 4 (November 1987): 177, emphasizes the importance of good business skills. 747. Marvin, Bob. “Making Renaissance Recorders.” Continuo 9, no. 4 (January 1986): 2–7. In French as: “Faire des flûtes à bec renaissance.” Flûte à bec & instruments anciens, no. 21 (1987): 3–8. Personal musings on: what constitutes a “copy,” his experiments with different types of Renaissance recorders and their suitability for the music of different parts of that period, double recorders, woods, his attitude toward making, an instrument’s “resistance,” his equipment, and his wishes. 748. Marvin, Bob. “A Recorder Odyssey: Searching for a Renaissance Consort.” Recorder and Music Magazine 4, no. 4 (December 1972): 118–21. Reprinted as a letter in American Recorder 13, no. 3 (August 1972): 102–3. Describes Marvin’s work on a set of nine historical copies (at pitches F, c, c, f, g, c1, 1 c , g1, and c2) to play sixteenth- and early-seventeenth-century music at both 8′ and 4′ pitches. Most of the models were found in Viennese collections and copied during the summer of 1970. Offers details on the problems of balance and intonation he encountered and how he resolved them. Includes an account of his return to Europe with the instruments in the winter of 1971–1972 “to try music on them and to search for a location with enough good players to further develop the instruments in a musical context.” 749. Moeck, Hermann. “Recorders: Hand-made and Machine-made.” Early Music 10, no. 1 (January 1982): 10–13. In German as: “Blockflöten—‘handgemacht’ und in Serie und einige andere Bemerkungen” [Recorders—“handmade” and mass-produced, and several other observations]. Tibia 7, no. 3 (1982): 184–87. Begins with a brief history of recorder-making and manufacturing from Dolmetsch to the 1960s. Points out that the important difference between the two types of instruments is the fact that handmade recorders aim at being completely individual, with all the

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peculiarities in fingering and intonation of the original being copied, whereas massproduced recorders strive to produce even intonation with normal fingerings. No highquality recorders can be made by machine alone; voicing and tuning must still be done by hand. Concludes with some predictions, including that “wooden recorders, because of the quality of their sound, will maintain their position” in competition with plastic instruments. * Mollenhauer, Conrad. “Vom Baumstamm zur Blockflöte: Der Werdegang eines beliebten Musikinstruments.” Cited above as item 506. 750. Moonen, Toon. “Das Umrechnen von Holzblasinstrumenten” [The scaling of woodwind instruments]. Tibia 14, no. 1 (1989): 347–49. Translation of: “Het omrekenen van houtblaasinstrumenten.” Bouwbrief, no. 51 (November 1988): 19–20. Moonen reminds us that surviving examples of early woodwind instruments are not always made to a convenient standard pitch, so copies of them must be scaled up or down, although makers “do not publicize” the fact. Discusses scaling factors in organbuilding. Gives a practical example of the scaling up to a1=415 Hz of the Bressan alto recorder formerly in the collection of Edgar Hunt. 751. Morgan, Fred. “Making Recorders Based on Historical Models.” Early Music. 10, no. 1 (January 1982): 14–21. Outlines the reasons for using old instruments as models and then explains, step-bystep, the process that should be used in copying historical instruments. When selecting an instrument to copy, the maker should play as many old instruments as possible. Once selected, the instrument must be measured carefully. Much can be learned from an examination of the woodworking techniques used by the original craftsmen, but sometimes there are good reasons for making adjustments to the design of an instrument. Covers tools for reaming the bore, cutting the windway, making blocks, and undercutting tone-holes. Concludes by noting that “we still have some way to go before our instruments are as good as those of the earlier times.” An important, influential article. 752. Morgan, Fred. “Old Recorders: Our Design Heritage.” Recorder: Journal of the Victorian Recorder Guild, no. 2 (March 1985): 8–11. Gives “some idea of what must take place before a maker can offer a player an instrument which, while genuinely based on an old recorder, can be played at one of today’s standard pitches, and in tune in one of today’s accepted temperaments.” Points out that “a true and exact copy” is impossible; rather, “the detail of its design and execution represents a good deal of experience, thought, work, and even originality on the part of the maker.” 753. Murphy, Dennis. “Windways Utilizing a Metal Band.” Woodwind Quarterly, no. 12 (spring 1996): 28–29. Describes how to make the windway of a whistle or recorder using the principles of the Indonesian suling. 754. Ohannesian, David. “I Couldn’t Make an Exact Copy If I Tried!” American Recorder 32, no. 2 (June 1991): 8–10, 36–37. Concerns the challenges facing modern recorder makers and the choices confronting players when selecting an instrument. Explains why it is impossible to make a perfect instrument and often undesirable to make an exact copy. Modern makers tend to incorporate the attributes of historical models that meet their own particular needs and

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disregard others as insignificant, so copies become the product of a maker’s individual taste. The practices and trends of modern performance also influence the design of modern copies. Today’s players are not the players of centuries ago, so there are good reasons for historical copies to vary from the models. “The ‘perfect’ recorder doesn’t exist, because there will always be players with divergent styles, a variety of halls to cope with, different tunings with which to experiment, changing combinations of tonal color, and a wealth of literature.” 755. Praetorius, Martin. “Blockflötenbau—Vorstellung eigener Instrumente” [Recordermaking: the idea of my own instrument]. In 1. Internationale Grazer Blockflötentage, Vorträge und Dokumentation [3 p.]. A brief description of how he constructed a consort of Renaissance instruments at a1=440 Hz based on the HIER.S instruments in Vienna (which are at a1=ca. 460 Hz). 756. Prescott, Thomas M. “Making Recorders.” American Recorder 24, no. 3 (August 1983): 95–98. Describes in detail the process of making a batch of his Boekhout sopranos. Includes a short bibliography on recorder-making. 757. Robinson, Trevor. The Amateur Wind Instrument Maker. Rev. ed. [Amherst]: University of Massachusetts Press, 1980; London: Murray, 1981. 116 p. ISBN 0870233122. Earlier ed.: [Amherst]: University of Massachusetts Press, 1973. 115 p. OCLC #671988. ML 930 .R62. In German as: Historische Blasinstrumente—selbst gebaut. Neu-Ulm: Ekkehart Stegmiller, 1983. Written by a biochemist who truly is an “amateur wind instrument maker.” Introductory chapters cover: equipping the shop, sources of designs, pitch and tuning, making measurements, materials and methods for making wooden instruments, choice of wood, boring and reaming, joints, decorations, keys, placement of fingerholes, and finish. Next a chapter is devoted to each type of wind instrument, including the recorder. Appendixes cover some museum collections, sources of materials, making shell augers, useful addresses, and inch/metrical equivalents. Bibliography. According to the preface, the revised edition contains “many improvements.” These consist of a few additions (notably a section on making a Renaissance alto recorder) and updated appendixes. First edition reviewed by Edgar Hunt in Galpin Society Journal 27 (1974): 149–50. 758. Snelling, Virginia. “Flûte à bec médiévale” [Medieval recorder]. Flûte à bec & instruments anciens, no. 17 (December 1985/February 1986): 11. Based on an interview with recorder maker John Hanchet. Describes his attempts to make a medieval recorder based not only on the Dordrecht instrument (damaged and incomplete) but on modern folk instruments and a painting (1425) in which a recorder has a windcaplike mouthpiece. 759. Thomas, Denis. “A DIY Square C Bass.” Recorder Magazine 20, no. 1 (spring 2000): 5–6. A description of the construction of a square greatbass recorder made out of plywood, brass, dental plaster, magnets, and plastic foam. (Detailed plans are available from the author.) 760. Zaniol, Angelo. “Copying Old Recorders.” American Recorder 27, no. 3 (August 1986): 103–7. Courageously attempts to “tell the truth” about modern recorder makers who claim to

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be copying early recorders. Divides such makers into three categories: (1) intransigent purists (who, impossibly, set out to measure and reproduce their models as exactly as possible), (2) compromisers (who are willing to make necessary reasonable adjustments but are careful not to distort an instrument’s character), and (3) free-and-easy copiers (whose instruments bear little resemblance to the originals). Provides much food for thought for both makers and potential buyers of “copies.” THE “GANASSI RECORDER” CONTROVERSY: A CAUTIONARY TALE (arranged chronologically) In 1982–1983, Angelo Zaniol published a pioneering survey article in French on medieval and Renaissance recorders (item 561) which, among other things, looked at the attempts of modern makers to find a type of recorder that would play with the fingerings in Ganassi’s Opera intitulata Fontegara of 1535 (item 892) and have the same large range. Zaniol remarked that, “If the mystery has at last been solved, it is thanks to the research of Fred Morgan.” He went on to note Morgan’s discovery that a slightly modified copy of a damaged Renaissance recorder in g1 in the Kunsthistorisches Museum, Vienna (catalog number C 8522) would fit the bill. Zaniol concluded, “After Fred Morgan, other makers including the author [that is, Zaniol] have tried to make ‘Ganassi’ recorders, each looking to rediscover the ideal form and proportions; for the instrument remains very much a hypothetical reconstruction.” Although Zaniol’s article was quickly published in English (1984–1985) and was soon published again in German (1988), no one wrote to the journals in question to dispute his statement concerning Morgan’s precedence. In 1987, in the course of his review of recent research on the recorder (item 6), David Lasocki discussed Zaniol’s article. He also reviewed an article by Alec V. Loretto (item 762) that described four possible approaches to making a “Ganassi” recorder. Loretto cited no actual recorder makers in conjunction with any of these approaches, couching them in terms of “hypothetical” makers who might use them. But, knowing of Morgan’s work through his celebrated article of 1982 (item 751) as well as Zaniol’s comments, Lasocki summed up: “Alec Loretto has recently considered four possible approaches to the ‘Ganassi,’ coming out strongly in favor of that taken by Morgan.” This conclusion initiated a lengthy and heated debate by Lasocki, Loretto, and Morgan in the pages of the American Recorder and the Recorder Magazine (and behind the scenes by mail, fax, and phone). Benjamin S.Dunham, who had recently become editor of the American Recorder, rather than publishing the protagonists’ latest letters, closed the correspondence by summarizing the debate and the content of those letters (31, no. 1 [March 1990]: 29–30). Edgar Hunt, then editor of the Recorder Magazine, also declared the correspondence closed (10, no. 2 [June 1990]: 38–40). Loretto, believing himself vindicated, privately circulated a spiral-bound, photocopied booklet presenting his view of the debate under the title: “‘The Ganassi Affair’: An Overlong Melodramatic Comedy.” The main point at issue in the debate was the question of who had been the first to make a Ganassi recorder based on Vienna C 8522—Loretto or Morgan. Lasocki argued

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in favor of Morgan, because his work had received such publicity without his precedence being challenged. Morgan supplied information that he first measured C 8522 in 1970 and gave drawings of it to several makers, began his first copies in 1975, sent the first one to Frans Brüggen in 1976, made commercial copies in 1978, and gave drawings to his class on recorder-making in the Hague in 1979–1980, from which drawings students all over the world began to make commercial copies. Asked by Lasocki to support his own claim, Loretto produced evidence that was suggestive rather than conclusive and left what Lasocki called “five puzzling points.” Let us then say that Loretto supplied information that he sketched the Vienna instrument in 1972, made a copy in 1973, and sold his first copy in 1974. One piece of evidence emerged after the closing of the public debate: Klaus Scheele, one of the makers to whom Morgan gave measurements of the Vienna instrument in 1970, reported that he showed them to Loretto when he visited “some years later…and I think he made an instrument based on them in my workshop” (letter to David Lasocki, 10 November 1990). Loretto did eventually write an answer to one of the puzzling points (see item 767): the discrepancy between his and Morgan’s figures for the percentage expansion of the bell of C 8522. He also published, in a short article on recorder woods (item 651), a letter from Morgan dating from 1973, in which Morgan praised him to the skies for having found a supply of fine boxwood. Nevertheless, we stand by the conclusions we came to in 1993. First, the apparent chronology. Fred Morgan was the first to measure Vienna C 8522, and a number of makers, including Alec Loretto, made use of those measurements. Loretto was the first to realize that a copy of the Vienna instrument could be made to function as a Ganassi recorder. Morgan came to that conclusion independently a couple of years later, and his copies became famous through the recordings and concerts of Frans Brüggen. Incidentally, a third maker, Bob Marvin, made a Ganassi recorder using a different approach around the same time (see item 761). Loretto chose to publicize his findings in a booklet that accompanied two lectures he gave in New Zealand; although he may have circulated that booklet privately, he did not publish it as an article until 1990. Morgan was therefore the first to publish an article about the approach to a Ganassi recorder through the Vienna instrument. In the interests of the historical record, it would be wise for makers who wish to claim they were first (or before someone else) in any area of research or construction to document that claim accurately. A good way to establish such a claim is to write up the work and submit it for publication in a journal of sufficiently wide distribution among the interested public of players, makers, and scholars. (Loretto’s chosen method of publicizing his work with the Ganassi recorder condemned it to remain outside the mainstream of recorder-making and its public record.) Another way is to have a recorder player make a recording on the instrument, mentioning the relevant details of the instrument in the program notes accompanying that recording. Without such documentation, in retrospect a claim is difficult to prove. Let us add that neither the editors of the American Recorder and the Recorder Magazine nor many readers of the debate could understand why Loretto and Morgan were arguing so vehemently, yet clearly both makers felt their reputations were on the line. What seems to matter more to the public than who did something first is who does it

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best. To a player, the quality of a recorder is what counts. 761. Marvin, Bob. “A Ganassi flauto.” FoMRHI Quarterly, no. 11 (April 1978): 40–46 (Communication no. 118). Reports the experiments and thinking behind his making of a Ganassi recorder (in 1975) based on the frontispiece of Ganassi’s Fontegara (1535). Also mentions Morgan’s approach without naming the Vienna instrument. 762. Loretto, Alec. “When Is a Ganassi Recorder Not a Ganassi Recorder?” American Recorder 27, no. 2 (May 1986): 64–66. Simultaneously published in Early Music New Zealand 2, no. 2 (June 1986): 3–8. Reprinted with an additional sentence in Recorder and Music Magazine 9, no. 10 (June 1989): 288–91. Describes four different (allegedly hypothetical) approaches to making a Ganassi recorder, working from: (1) the known range of the instrument, (2) Ganassi’s fingering chart, (3) the chart and the frontispiece picture in Ganassi’s treatise, and (4) a suitable surviving instrument of the time. Although certain phrases suggest that Loretto was making a logical progression from worst to best method, he has denied that, claiming that his article only “attempted to discuss the problems facing a maker” (letter to the editor, American Recorder 29, no. 3 [August 1988]: 128). The sentence added to the article in 1989 was: “He made his first Ganassi copy in 1973 and published his first Ganassi article in 1974.” The latter claim seems to relate to item 764, which was first distributed as a mimeographed booklet accompanying a lecture (only a “publication” in the broadest sense of the term—a communication to a public, in this case the people who attended his lecture). 763. Lasocki, David. [Letters to the Editor]. Recorder Magazine 10, no. 1 (March 1990): 17; 10, no. 2 (June 1990): 39–40. In the first letter, Lasocki summarizes the debate to date and offers a bibliography of the relevant sources. In the second, he discusses Loretto’s evidence. 764. Loretto, Alec V. “A Ganassi Model Recorder in Vienna?” Recorder Magazine 10, no. 2 (June 1990): 35–38. Published in response to the controversy generated by item 6. Reprints the contents of a booklet accompanying a lecture at the Auckland Teachers’ College, New Zealand, in 1974, and expanded in 1978. The 1974 installment begins by comparing the bores of medieval, Renaissance, and Baroque recorders and describing how the recorder depicted in Ganassi’s Fontegara matches none of the traditional models. Vienna C 8522 is said to embody many of the features of the Ganassi instrument; Loretto describes it and speculates on its provenance. The 1978 supplement responds to Bob Marvin’s article (item 761) by discussing the Ganassi frontispiece, how Vienna C 8522 differs from the recorders in the illustration, and how Marvin approached the design of his own Ganassi model. 765. Zaniol, Angelo. “Update on the ‘Ganassi’ Recorder: Organology Notes.” Woodwind Quarterly, no. 6 (August 1994): 10–19. Zaniol’s take on the “Ganassi debate” that manages to avoid mentioning Alec Loretto. Begins by describing the kind of recorder needed for playing Ganassi’s embellishments: a full and sonorous low register, a light and brilliant high register (with a compass much higher than other fingering charts of the sixteenth century), a quick response, and dynamic flexibility. Ganassi does not seem to advocate a special kind of recorder, but

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rather the common ones of the times, for which he mentions three different makers. But no surviving instruments seemed to match Ganassi’s requirements. The first to come up with a solution was Bob Marvin, who, based on the Ganassi frontispiece, designed a cylindrical recorder with a bell-shaped end, but Marvin’s results (see item 761) were published in a periodical of limited circulation. The second was Fred Morgan, who published his ideas in a widely circulated periodical (see item 751) and made an ivory “Ganassi” recorder for Frans Brüggen, who immediately used it in concerts worldwide. Morgan, working independently from Marvin, had deduced from acoustic principles that a Ganassi instrument must have a cylindrical bore and flared end; then he remembered a surviving instrument of this design, the famous Vienna C 8522. Zaniol’s iconographical researches have turned up countless flared-bell recorders from the second half of the fourteenth century to the middle of the seventeenth—“throughout Europe, though more marked in Italy, Germany and the Netherlands”—mostly smaller sizes of instruments, alone, with instruments of other families (especially chordophones), or in consort. Why haven’t more examples of such an instrument survived? He speculates that it was more the province of the professional than the amateur, and therefore would have tended to be played out and thrown away. 766. Richardson, Paul. “Reflexiones sobre la flauta Ganassi” [Reflections on the Ganassi recorder]. Revista de flauta de pico, no. 2 (May 1995): 13–16. After a short introduction to Ganassi and his Fontegara, describes how Vienna C 8522 responds to the Ganassi fingerings and has the required compass of more than two octaves. Mentions a visit that the author paid to Vienna in 1987 with Alec Loretto to examine “this most valuable original recorder.” He now makes copies of three sizes each at three pitches. 767. Loretto, Alec. “The Ganassi Bell Diameter.” FoMRHI Quarterly, no. 82 (January 1996): 24–26 (Communication no. 1409). The debate around 1990 on who was the first maker to make a “Ganassi” recorder based on Vienna C 8522, Alec Loretto or Fred Morgan, ground to a halt on what David Lasocki called “five puzzling points” in Loretto’s evidence. This article presents an explanation for one of them—a discrepancy in the percentage of expansion of the bell of the instrument—as being due to the oval cross-section. Morgan had given the expansion was 11 or 12 percent, Loretto 32 percent; according to Loretto, his correspondents give figures from 9 to 35 percent. “The paradox is that all of the above Ganassi claims can be proven by using combinations of the instrument’s maximum and/or minimum dimensions, not forgetting of course…measuring errors.” He concludes that it would be better for all makers to avoid giving percentage increases, instead saying how results have been calculated and what measurements have been used in calculations. * Reiners, Hans. “Reflections on a Reconstruction of the 14th-Century Göttingen Recorder.” Cited above as item 303. * Loretto, Alec V. “Catajo and Ganassi: An Italian Castle and a Flauto Dolce.” Cited above as item 315. * Lyndon-Jones, Maggie. “A Case for the ‘Ganassi Recorder’ in Vienna.” Cited above as item 316.

15 Choice of Instrument This chapter covers articles that give advice about choosing instruments. A special section is devoted to plastic instruments. 768. Akar, Etienne. “Ça y est, je me suis payé une belle flûte” [There we are: I’ve bought a beautiful recorder]. Flûte à bec & instruments anciens, no. 18 (June 1986): 19; no. 19 (September 1986): 37–38; no. 20 (December 1986): 25–26. Whimsical reminiscences on the author’s “pitiful” collection of recorders (“a plastic and a Rottenburgh”), his decision to buy a new Baroque copy, and his delight in its properties. 769. Ball, Christopher. “Renaissance and Baroque Recorders: Choosing an Instrument.” Early Music 3, no. 1 (January 1975): 11–19. A survey of commercially available wooden recorders, with advice for the potential buyer. Tone quality and intonation should be the principal factors in choosing a recorder; the former is purely personal preference, but the latter can be measured, and Ball suggests some problematic notes and octave leaps to test. Describes the differences between the bore, range, and tone quality of Renaissance and Baroque recorders and how these are important considerations if a player can afford only one recorder. Renaissance and Baroque instruments are considered separately, and the surveys proceed maker by maker. Those included are: Bärenreiter, Coolsma, John Cousen, Dolmetsch, Fehr, Heinrich, Hopf, von Huene, Küng, Moeck, Mollenhauer, and Richard Palm. The evaluations are generally based on tone quality, intonation, price, and breath requirements. An appendix lists the instruments and their 1975 prices. * Davidson, Martin. “Observations on the Relation between Wood and Tone Quality in Recorders.” Cited above as item 643. 770. Davidson, Martin. “Of Bleeps, Slurps, and Presbycusis.” American Recorder 9, no. 4 (fall 1968): 113–14. Older players should take hearing loss into account when selecting an instrument. High-frequency loss often masks harmonics and the high-pitched “bleeps” of improperly tongued notes. Lower-pitched instruments (tenor and bass) work best. If a soprano or alto is required, it should be one that does not easily overblow. Despite these caveats, the sound of the recorder is less rich in harmonics than most other instruments, making it one of the best choices for older beginning musicians. 771. Davies, Malcolm. “Recorder or Wreck?” Recorder Magazine 14, no. 1 (March 1994): 6–7. Advice on selecting a wooden recorder. Emphasizes that a high price tag is no indicator of quality: “If you buy a camera, radio or almost any other product it will perform well in relation to its price. Not so with recorders.” 772. Delahousse, D., Alain Sobczak, and B.Reinhard, eds. “Conseils pour le choix et l’entretien des flûtes à bec” [Advice on the choice and maintenance of recorders]. Flûte

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à bec, no. 1 (June 1981): 5–10. Basic information on types and sizes of recorders, terminology relating to parts of the instrument, types of wood, and short- and long-term maintenance. 773. Huene, Friedrich von. “Recorder Clinic” American Recorder 4, no. 1 (February 1963): 5–6. Describes the factors one should consider when selecting an instrument. 4. LaBarre, Kenneth. “On Selecting a Recorder.” American Recorder 13, no. 3 (August 1972): 74–76. Describes what one should consider when evaluating a recorder. The broad areas are general appearance, quality of craftsmanship, tone quality, response, range, and intonation. Letter from Daniel Waitzman in 14, no. 1 (February 1973): 35–36. 775. Loretto, Alec V. “Which?: Some Comments on the Ways in Which Recorders Are Described by Their Makers, Players and Others.” Recorder & Music 5, no. 6 (June 1976): 190–91. Examines the following phrases, often found in advertising for historical copies, and explains what qualities should be present in instruments thus described: “modeled on Bressan” (or some other well-known maker), “incorporating Bressan principles,” “copy of Bressan,” “Bressan copy,” “Bressan model,” “exact copy of Bressan.” 776. Newman, Joel. “Recorders Recommended and Otherwise: A Survey of A.R.S. Examiners’ Views.” American Recorders, no. 2 (spring 1967): 52–53. Of historical interest only, because of its age. Reports the results of a survey completed by the eighteen members of the ARS Examiners’ Board, who were asked to assign ratings of “recommended,” “satisfactory,” or “unsatisfactory” to “nine widely available brands of recorders.” * Ohannesian, David. “I Couldn’t Make an Exact Copy If I Tried!” Cited above as item 754. 777. Saunders, Gordon. “Choosing a Recorder.” Continuo 3, no. 10 (summer 1980): 16– 18. Discusses choice of woods, Renaissance versus Baroque models, and testing the headjoint alone. 778. Schnoll, David. “Choosing Recorders for a Balanced Ensemble.” Continuo 2, no. 5 (February 1979): 7–8. Describes the disastrous results of mixing makes and models of recorders in an ensemble. Promotes the idea of using Renaissance recorders by a single maker; failing that, (1) mixing and matching one make, or (2) using any Renaissance recorders, or (3) using Baroque recorders that speak badly in the low register. 779. Wyatt, Theo. “Choosing an Instrument.” American Recorder 18, no. 2 (August 1977): 44–46. Strongly advocates the purchase of a plastic instrument “unless you are quite sure that a plastic one is not good enough for you.” Offers the following advice for purchasing wooden instruments: there is little correlation between price and musical quality; test the instrument yourself; check intonation of octaves; and pay close attention to tone quality, responsiveness, and flexibility. 780. Wyatt, Theo. “The Perfect Instrument: Does It Exist?” Recorder and Music Magazine 2, no. 4 (February 1967): 105.

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Postscript to item 860. In response to a number of readers who wrote him asking why it is not possible to purchase a recorder free of intonation problems, Wyatt explains why there is no perfect instrument. 781. Wyatt, Theo. “Treble Chance.” Recorder and Music Magazine 8, no. 4 (December 1984): 108–9. Reports the results of an informal test of five instruments, which were played behind a screen and rated by assembled students at Theobalds Park. Concludes that there is a “tenuous and shaky correlation between price and musical quality” when choosing an instrument. (The title of the article, incidentally, is a pun. The expression refers to that section of the British football pools [a weekly competition based on predicting the results of professional soccer matches] on which one could win the most money—sometimes millions of pounds. A treble recorder is the British name for an alto.) See also Wyatt’s postscript in 8, no. 5 (March 1985): 148, which offers mathematical support for his conclusions. 782. “Why I Own and Use More than One Alto Recorder.” American Recorder 13, no. 1 (February 1972): 14–15; 13, no. 2 (May 1972): 54–57; 13, no. 3 (August 1972): 93–95. Responses to a letter sent by Arthur Nitka to the ARS Board and ARS certified teachers. PLASTIC INSTRUMENTS 783. Catrice, Jean-Noël. “Flûtes à bec alto en plastique” [Plastic alto recorders]. Flûte à bec, no. 2 (February 1982): 22–24. A comparative review of the plastic alto recorders on the market in November 1981. Covers: physical characteristics, timbre, intonation, pitch, condensation, and response to double tonguing. 784. “How Do They Stand Up?: Three Recorder Professionals Test Three Plastic Recorders.” American Recorder 32, no. 3 (September 1991): 14–17. Transcription of a conversation between Marilyn Boenau, Frances Blaker, and Judith Linsenberg as they evaluate four Yamaha Rottenburgh altos, two Zen-On Bressan altos, and two Aulos Hakas. 785. “Panorama des flûtes à bec en plastique” [Panorama of plastic recorders]. Ed. JeanNoël Catrice. Flûte à bec, no. 1 (June 1981): 15. Brief table of information on eleven types of plastic soprano recorders, including yesor-no answers to that essential question: “Is this recorder a musical instrument?” 786. Reyne, Hugo. “Une rétrospective des flûtes à bec en plastique disponibles sur le marché français” [A retrospective on plastic recorders available on the French market]. Flûte à bec & instruments anciens, no. 9 (December 1983): 19–22. Lists plastic recorders with Baroque fingering available in France (make, price, tested pitch). Instruments with German fingering are excluded. 787. Wyatt, Theo. “Which Recorder?: A Consumer’s Guide to Plastic Instruments.” American Recorder 23, no. 4 (November 1982): 151–57. Reprinted, with revisions, in Recorder & Music 7, no. 10 (June 1983): 253–63. In French as: “Quelle flûte choisir? Guide du consommateur pour l’achat d’un instrument en plastique.” Edited by Hugo Reyne. Flûte à bec & instruments anciens, no. 9 (December 1983): 23–32.

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An evaluation of most plastic instruments sold in the United States during the early 1980s—a total of twenty-nine instruments (two sopraninos, fourteen sopranos, ten altos, and three tenors). The version in Recorder & Music “excludes those instruments not available in the United Kingdom and includes a number of models not sold in the USA when the survey was started.” Using scientific equipment, Wyatt measured the breath pressure needed for a person to play each note on each instrument exactly in tune. He then averaged the pressures for each note and smoothed out the curve over the range of pitches to arrive at an “average acceptable profile.” A panel of listeners evaluated the tone quality of each pitch (whether it sounded over- or underblown, more suitable for solo or ensemble use, or generally acceptable). The results of the study are summarized in bargraphs showing each instrument’s deviation from the standard profile. A summary table lists model names, prices, technical specifications, and features. Wyatt concludes that there is a wide choice of passable instruments at reasonable prices, but standards of intonation are poor. 788. Wyatt, Theo. “Which Recorder?: A Supplement.” American Recorder 24, no. 3 (August 1983): 110–12. Supplement to the American Recorder version of item 787. “It covers three recorders that have appeared on the U.S. market since that article was written…; it includes some afterthoughts on pulling out…; it updates information on the Dolmetsch soprano; it offers a revised assessment of those instruments with solo pretensions; and it repairs a couple of inadvertent omissions from the original article.” 789. Wyatt, Theo. “Which Recorder?: A Consumer’s Guide to Recent Plastic Instruments.” Recorder and Music Magazine 9, no. 12 (December 1989): 342–46. A sequel to the Recorder & Music version of item 787, covering sixteen models that had appeared on the market since the publication of the original article. 790. Wyatt, Theo. “Which Recorder?: A Supplement.” Recorder Magazine 10, no. 2 (June 1990): 32–34. A second sequel to the Recorder & Music version of item 787, covering three new instruments available in the United Kingdom (Aulos Tenor 311, Aulos Descant 103, and Moeck Flauto 1).

16 Maintenance, Improvement, and Restoration This chapter is concerned with writings on the maintenance and improvement of modern recorders and the restoration of historical ones. General sources are followed by ones on the specific topics of the block, carrying cases, condensation, joints, oiling, tone quality, and voicing and tuning. MAINTENANCE AND REPAIR 791. Bouterse, Jan. Die Blockflöte: Tips für Anschaffung und Pflege, Stimmkorrekturen, Reparaturen [The recorder: tips on buying and care, tuning correction, and repairs]. Celle: Moeck, 1992. 80 p. ISBN 387549055X. Originally in Dutch as: De blokfluit, handleiding voor aanschaf, onderhoud, bijstemmen en kleine reparaties [The recorder: manual for purchase, care, tuning, and small repairs]. Alphen aan den Rijn: Luscinia, 1990.140 p. ISBN 9090037810. For an English summary, see FoMRHI Quarterly, no. 63 (April 1991): 55. Not seen. “A manual for players, makers, and repairers, considering the physical conditions of sound production. Most of the book discusses the tuning of individual tones; fingering tables for various types of instrument are provided” (RILM abstract by the author). 792. Brown, Adrian. “Cuidado y maintenimiento de la flauta de pico” [Care and maintenance of the recorder]. Revista de flauta de pico, no. 8 (May 1997): 15–18; no. 10 (January 1998): 17–21. Extracted from item 794. Covers: (1) breaking in a new instrument, daily maintenance, warming up, cooling down, sending back an instrument to the maker, oiling, and hoarseness; (2) extracting the block, cleaning the block and the windway, fungal and insect problems, preventive measures, repositioning the block, the joints, greasing, and specific problems with certain kinds of recorders (Baroque alto, voice flute and tenor, Ganassi, Renaissance consort). 793. Brown, Adrian. “Pflege der Blockflöte und kleinere Reparaturen” [Care of the recorder and small repairs]. Tibia 15, no. 2 (1990): 106–11. A slightly abbreviated translation of the first two chapters of item 794. Covers: playing-in a new instrument and daily management and maintenance (warming up, storage, oiling, types of oil, clogging, removing the block, cleaning the block and wind canal, problems with mold, replacing the block, tenons, greases, and wrapping thread). 794. Brown, Adrian. The Recorder: A Basic Workshop Manual. Brighton: Dolce Edition, 1989. 45 p. DOL 112. OCLC #26822283. The slightly misleading title hides a useful book for the nonspecialist on playing-in a new instrument, daily care and maintenance, special problems of different sizes and types of recorder, correcting the tuning and pitch, voicing, what makes a good recorder, and woods. Short list of suppliers of tools and materials. Translated excerpts appear as items

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792–93. Reviewed by Jeremy Montagu in FoMRHI Quarterly, no. 57 (October 1989): 8 and Benjamin Dunham in American Recorder 32, no. 4 (December 1991): 36. 795. Duhot, Jean-Joël. “Entretenir une flûte: Jean-Joël Duhot a rencontré Claire Soubeyran” [Recorder maintenance: Jean-Joël Duhot has met Claire Soubeyran]. Flûte à bec & instruments anciens, no. 20 (1986): 3–7. Interview covering in detail: humidity and its effect on recorders, oiling, cracks, precautions, repairs (some by the player), accidents, aging and deformation, the properties of different woods (including a chart of ten woods and their vulnerability to several risks), joints, and dealing with an early instrument. 796. Duhot, Jean-Joël. “S.O.S. flûte à bec: Jean-Joël Duhot a rencontré Irène Oki” [SOS recorder: Jean-Joël Duhot has met Irène Oki]. Flûte à bec & instruments anciens, no. 22 (1987): 2–5. Oki is in charge of regulating and tuning recorders for the firm of Adège, who, according to their advertising slogan in the same issue, “make[s] woods sing.” She discusses the care and maintenance of the block, the lip, and the windway, as well as the qualities of different modern woods. * “From Cradle to Lathe: The World according to Recorder Makers.” Cited above as item 732. 797. Geiger, Georg. “The Compleat Recorder Para-Medic; or, How to Put a Recorder in Trim While Keeping Your Sanity.” Recorder: Australia’s Journal of Recorder and Early Music, no. 15 (June 1992): 19–23; no. 16 (December 1992): 18. Begins with terminology and information on the ideal condition for a recorder as well as advice on how to check it. Continues with instructions for cleaning and oiling. Part 2 covers revoicing and tuning procedures. 798. Huene, Friedrich von. “Recorder Clinic.” American Recorder 4, no. 1 (February 1963): 5–6; 4, no. 3 (August 1963): 10–11. A series of articles answering readers’ questions. The first installment advises a reader who wonders whether a small hair dryer could be used to dry out an instrument during performance breaks (fine, so long as the instrument does not become too hot). The second installment answers the question: How do I care for my recorder? 799. Hunt, Edgar. “Looking after Your Recorder.” Recorder & Music 7, no. 6 (June 1982): 144–45; 7, no. 7 (September 1982): 168; 7, no. 8 (December 1982): 196–97. The first part concerns wood recorders and their maintenance, specifically: the types of wood used for recorders, oiling the bore, condensation and its attendant problems, breaking in a new instrument, and joints (both cork and thread). The second part covers the adjustment of a tightly fitting block and the protection of wood recorders from adverse environmental conditions. The series ends with a description of Hunt’s homemade carrying case. For more on the care of wood recorders, see Hunt’s reply to a letter from John Rowe in 8, no. 12 (December 1986): 362. 800. Jacobs, Guido. “Enkele tips voor het onderhoud van historische houtblazers” [A few tips on the maintenance of historical woodwinds]. Musica antiqua 3, no. 1 (February 1986): 13–14, 19–20. Concentrates on recorders. Good photographs. 1. Nussey, Peter, and Natalie Nussey. “Tips and Maintenance.” Cinnamon Sticks 1, no. 1 (November 2000): 18–19; 2, no. 1 (May 2001): 20–21.

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Briefly describes playing-in, recorder care, oiling, care of joints, and avoiding cracks (“the big C”). 802. Paterson, Scott. Recorder Care. (American Recorder Society Chapter Information Packet, no. 1.) Littleton, Colo.: ARS Education Committee, 1990. [16] leaves. OCLC #34372108. Covers: accessories (thumb rests, bass recorder supports, thumb bushings, and cases); breaking in a new recorder; maintaining and repairing joints (both cork and thread); controlling moisture (warming up the recorder, applying anticondensation solutions, clearing the windway, drying and storing the instrument); oiling; and voicing and tuning. Includes a bibliography for further reading. 803. Richardson, Paul. “El arte del maintenimiento de una flauta de pico” [The art of maintaining a recorder]. Revista de flauta de pico, no. 1 (January 1995) : 6–7. Brief advice. 4. Saunders, Gordon. “Recorder Care and Playing-in.” Continuo 3, no. 3 (December 1979): 4–9. Practical advice on how to maintain recorders. 5. Stern, Claudio. “A Brief Workshop Manual for Recorders.” Early Music 7, no. 3 (July 1979): 359–65. A guide to minor repairs and maintenance that players may perform on their own instruments. Covers: correcting the tuning of octaves by enlarging or reducing the size of fingerholes; raising or lowering the overall pitch of the instrument; improving the voicing by removing and replacing the block or by oiling; and adjusting resistance to breath pressure by moving the block. Describes the proper technique for cleaning and oiling the instrument. Concludes with a prudent warning against tampering with historical instruments. 806. Wyatt, Theo. “Recorder Surgery.” Recorder and Music Magazine 4, no. 3 (September 1972): 86–87. “[An] essential part of every teacher’s professional skill must be the ability to diagnose faults in instruments, particularly of intonation, and to put them right.” Mostly concerned with the diagnosis rather than the “putting right,” for which Wyatt refers the reader to his 1966 article, item 860. Covers problems with both wooden and plastic instruments. IMPROVEMENT 807. Fajardo, Raoul J. “How to Improve Your Recorder.” American Recorder 11, no. 3 (summer 1970): 91–92. Reprinted in Recorder and Music Magazine 3, no. 12 (December 1971): 443–45. Proposes solutions to three problems: clogged windways (suggests applying a wetting agent), inefficient response caused by an improperly positioned lip (suggests either sanding down the windway or adding a veneer of maple, depending on whether the lip is low or high), and response difficulties of problem high notes (suggests inserting an adjustable inner sleeve of rolled paper or plastic into the headpiece at the position of a node for the troublesome note). Daniel A.Driscoll, in 11, no. 4 (fall 1970): 150, recommends a small lump of modeling clay as a satisfactory substitute for the plastic ring and recommends that amateurs not

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attempt adjustments to the windway. Friedrich von Huene, in 12, no. 2 (May 1971): 66, notes a “marked increase” in the number of instruments sent to his workshop for correction of amateur repairs after the appearance of this article. He advises caution and amends a few of Fajardo’s suggestions based on his own experience. A brief article in Recorder and Music Magazine 4, no. 6 (June 1973): 195, reports that several manufacturers of plastic recorders have adopted the concept of the “acoustic ring” to narrow the bore of the headjoint and improve response. A similar report appears in Fajardo’s letter in American Recorder 14, no. 2 (May 1973): 73. 808. Fajardo, Raoul J. “Thumb Hole Reinforcement for the Recorder.” American Recorder 10, no. 2 (spring 1969): 61. Advocates attaching a thin brass plate to the recorder to reinforce the thumb hole. 9. Glassgold, Cook. “Thoughts on Thumb-rests.” American Recorder 3, no. 2 (May 1962): 21. Outlines the controversy over the use of thumbrests. Offers instructions for making a rubber thumbrest. Letter from David Emerson in 3, no. 4 (November 1962): 27, describes a thumbrest for a tenor recorder that requires no drilling. 810. Loretto, Alec V. “Adjustable Lip on the Recorder.” Recorder & Music Magazine 3, no. 8 (December 1970): 278–79. Describes Loretto’s experiments with adjustable lips (edges) on a great bass in F. By changing the position and angle of the lip, he was able to improve the response of the recorder in individual registers, albeit at the expense of the other registers. 811. Loretto, Alec. “Experiments at Celle.” Recorder and Music Magazine 4, no. 5 (March 1973): 156–57. Describes Loretto’s attempts to improve the tone and flexibility of Moeck Rottenburgh recorders by adjusting the size and shape of the windway. “The result was what I hoped for—a much richer sound combined with a very real ability to play loudly and softly, particularly in the upper register.” Letter from Theodore Mix in 4, no. 7 (September 1973): 243, emphasizes that the modifications were neither authorized nor requested by Moeck. Letters from Loretto and Hermann Moeck in 4, no. 8 (December 1973): 285–86. Loretto’s letter points out that his experiments were carried out only to satisfy his curiosity. He also includes a bibliography of writings on experiments with and modifications of instruments. Moeck emphasizes that the changes constitute “modifications” that are not necessarily “improvements” and that Moeck has no intention of altering the production of the instruments. In a reply that follows, Loretto admits to using the term “improvements” in his Early Music articles. 812. Loretto, Alec. “Recorder Modifications: In Search of the Expressive Recorder.” Early Music 1, no. 2 (April 1973): 107–9; 1, no. 3 (July 1973): 147–51; 1, no. 4 (October 1973): 229–31. This series of articles might better have been titled “How to Construct a New Block,” since, except for a brief discussion of modifying the windway ceiling, the only modification covered is the replacement of a recorder’s block to improve flexibility. Loretto emphasizes that at the conclusion of his twenty-step process the recorder can be “fully restored to its original condition” by replacing the new block with the old. Includes a list of tools required, with photographs of each. In 2, no. 1 (January 1974): 49, Friedrich von Huene cautions the amateur against tampering with the voicing of instruments,

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because “too many recorders are made unplayable.” In the same issue (p. 53), Gordon Wood offers instructions for constructing a two-part block with a lathe and a routing or milling machine. Frank Hubbard, in 2, no. 3 (July 1974): 201–3, finds it discouraging to think that professionally crafted recorders “should be considered capable of almost casual improvement by amateurs instructed by a magazine article.” Loretto responds to the latter in 3, no. 1 (January 1975): 77. 813. Thomas, Denis. “Modernising a Plastic Bass.” Recorder Magazine 18, no. 4 (December 1998): 133–34. Motivated by the deficiencies of cross-fingerings and double holes on his plastic bass recorder, Thomas set about developing a ring-key system to put the fingerholes in their acoustically correct positions. The system incorporated a touch-piece that was “invented by a French flute player, Jean Brossa, as an optional extra on the metal Boehm flute.” The result was that the right-hand technique is “easy to learn and similar to that on a modern flute,” the sonority and intonation in the low register was improved, the range of the instrument was extended, and the ability to play in sharp keys was facilitated. He appeals to makers to create new basses, and even tenors, using such new key work. 814. Thomas, Denis. “Further Modifications to a Plastic Bass.” Recorder Magazine 21 [marked 21a], no. 4 (winter 2001): 135–37. A followup to item 813, documenting the lengthening of the footjoint and the addition of a right-hand thumb key to produce a low E (e), which in turn made possible a strong high C (c3). RESTORATION For a useful annotated bibliography on this subject, see Cary Karp, ed., The Conservation and Technology of Musical Instruments: A Bibliographical Supplement to Art and Archaeology Technical Abstracts, Volume 28 (Marina del Rey, Calif.: Getty Conservation Institute, 1992). 815. Li Virghi, Francesco. “Restauro o non restauro?” [Restoration or not?]. In item 42, pp. 30–32. Briefly considers whether we should restore early recorders, coming down strongly on the side of leaving original instruments alone and studying copies of them. 816. Weber, Rainer. “Dokumentation von Schäden an Holzblasinstrumenten: Auszug aus einem Referat der Tagung der Arbeitsgemeinschaft der Restauratoren (AdR) in Bochum 1989” [Documentation of damage to woodwind instruments: summary of a lecture given at the conference of the study group of restorers (AdR) in Bochum, 1989]. Tibia 16, no. 1 (1991): 383–85. A fine brief overview of woodwind instrument restoration. Describes three kinds of damage: through use (for example, breath moisture), dependent upon the construction (mechanical weak points), and dependent upon the material (shrinkage, corrosion). Joints and keys are especially vulnerable. Woodwind instruments are complex creations that need to be constantly under surveillance by museums. 817. Zadro, Michael G. “Aspects on [sic] the Restoration of Woodwind Instruments.” American Recorder 15, no. 1 (February 1974): 7–11, 28. The best article-length treatment of the topic. Although Zadro considers it a

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“fundamental guide to restoration practices,” he goes into quite a bit of detail on certain topics, such as repairing loose or broken ferrules, selecting an appropriate glue, repairing split joints, and rewrapping tenons. 818. Zadro, Michael. “Guide to the Restoration of Woodwind Instruments.” Early Music 2, no. 3 (July 1974): 169–73. Outlines basic steps that can be taken to preserve historical woodwind instruments. Of particular interest to recorder players are the sections on repairing split joints, the use of glues, and preservation treatment for wood. Includes a list of suppliers for ivory, glues, and a wood preservative. Jeremy Montagu, in 3, no. 1 (January 1975): 75, cautions against the application of some of Zadro’s techniques. Zadro defends his suggestions in 3, no. 3 (July 1975): 289–91, followed by a response from Montagu, which Zadro addresses in 4, no. 1 (January 1976): 83–84. SPECIFIC TOPICS Block 819. Loretto, Alec V. “Removing the Recorder’s Block and Replacing It.” Recorder Magazine 20, no. 2 (summer 2000): 56–57. Instructions for removing and replacing the block using a hammer and a wooden dowel (or a length of brass tubing). Letter from Craig Carmichael in 20, no. 3 (autumn 2000): 121. Carrying Cases 820. Glassgold, Cook. “The Glassgold Gatherall.” American Recorder 2, no. 4 (fall 1961): 4–5. Step-by-step illustrated instructions on how to customize a briefcase so that it may serve as a recorder case. 821. Godwin, Joscelyn. “A Design for a Recorder Case.” American Recorder 13, no. 1 (February 1972): 10–11. Instructions on making a case for SpSATB recorders using a briefcase, foam rubber, lining, and miscellaneous supplies. Letter from B.W.Loughry in 13, no. 4 (November 1972): 140. Condensation 822. Budgenhagen, Bärbel. “Von Husten, Schnupfen, Heiserkeit….” [On coughing, sniffing, hoarseness….]. Windkanal 2/2000: 22–23. A circular letter to recorder makers and dealers on the problem of condensation and how they suggest it be overcome. Replies by Stefan Merkl, Adrian Wehlte, Joachim Paetzold, and Christina Berger; further replies from Annette Bock, Susanne Ehrhardt, and Joachim Paetzold in 4/2000, 36–38. 823. Burford, Freda. “Coping with Condensation.” Recorder and Music Magazine 9, no. 9 (March 1989): 249.

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Describes the problems that condensation can cause during performance and raises several questions about the conditions that cause blockage, but unfortunately does not suggest solutions. Letter from Maria Boxall in 9, no. 12 (December 1989): 357, concerns the distinction between saliva and condensation. Burford offers suggestions on controlling saliva in 10, no. 2 (June 1990): 39, but Roy Brewer advises against them in 10, no. 3 (September 1990): 71. 824. “Condensation.” (What’s Wrong with My Recorder?) Recorder and Music Magazine 1, no. 4 (February 1964): 105. Explains the causes and treatment of clogging due to condensation. Clogging of the windway—a problem particularly in the winter—can be reduced by wanning up the instrument before playing. Once clogged, the windway can be cleared by blowing sharply through it. Since the wood of a new recorder is especially sensitive to moisture, the instrument must be broken in slowly to avoid excessive swelling and damage to the windway. Letter from Theo Wyatt in 1, no. 5 (May 1964): 154. 825. “Controlling Salvation [sic].” American Recorder 25, no. 4 (November 1984): 158. Reprints a letter from the New England Journal of Medicine in which Carl E.Dettman recommends the placement of a patch of scopolamine in the mouth in order to suppress salivation and presumably prevent clogged wind ways. Emil Kmetec and Harold Kohn argue against this practice, noting that the scopolamine might control salivation but would have little or no effect on condensation in the windway. 826. Dessy, Ray. “Wet Your Whistle.” American Recorder 38, no. 1 (January 1997): 14– 15, 30–31. A detailed explanation of the chemistry of the breath and saliva and the effects of water vapor, salts, acids, glycoproteins, bacteria, oils, and lipids on the windway. Offers advice on cleaning deposits that sometimes develop in the windway or on the beak. 827. Levin, Philip. “Recorder Moisture Problems—and How Best to Deal with Them.” American Recorder 35, no. 3 (May 1994): 12–13. Describes why moisture causes problems for recorders. First, changes in the weather as well as repeated wettings and dryings may significantly alter the voicing of an instrument (implying that it will need revoicing). Second, a recorder may be made of the wrong type of wood for its purpose. Consort instruments, which are “put on the floor until needed, then played for a few minutes without being warmed,” should be made of softer, lighter woods. Solo instruments, on the other hand, should be made of harder, heavier woods, which take time to warm up but absorb less water and stand up better to severe use. Third, amateur recorder players sometimes put the mouthpiece too far into their mouths and grip it too tightly, resulting in uncontrollable salivation. If a recorder gets wet during playing, the moisture should be sucked out, not blown, and one should always avoid touching the lip or introducing objects such as blotting paper into the windway. Finally, “In an otherwise healthy instrument, some temporary relief from beading moisture might be afforded by the use of a detergent solution intended for the purpose such as Anticondens.” 828. Loretto, Alec V. “Self Inflicted Injuries and the Average Recorder Player.” Recorder and Music Magazine 9, no. 2 (June 1987): 34–35. Describes the serious damage that can be inflicted on the lip by pressing against it while attempting to clear condensation from the windway. Suggests several alternatives

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to protect the lip. 829. Muskett, Michael. “On Wetting One’s Whistle.” Recorder and Music Magazine 4, no. 2 (June 1972): 46, 54. While visiting a few villages in Spain, the author encountered among folk musicians the practice of running water through duct flutes before playing them—people who actually “wet their whistles.” The author discovered that the technique “helps to eliminate clogging trouble during the warming-up period. A little water, cider, or wine should be run through the windway, or the top of the recorder dipped in water; the instrument can then be dried and the excess water blown out.” The author, however, confines himself to the use of water—“my duty-free allowance having been kept for more appreciative ‘whistles.’” Edgar Hunt, in item 52 (p. 42), notes that Francis Bacon “recommends us to wet our whistles to get a more solemn sound” in his Natural Philosophy. Joints 830. Bouterse, Jan. “Scaling and Making New Joints for Recorders.” Woodwind Quarterly, no. 5 (May 1994): 80–90. Describes how to scale a recorder—that is, in making a copy of an original instrument, to modify the length and diameter of the instrument to be able to play at a different pitch. Takes as test cases how to scale a recorder at a1=410 Hz (actually, a Stanesby at 408–10 Hz and a Steenbergen at 412 Hz) to play at 440 Hz as well as how to modify the original fingering to modern Dolmetsch fingering. Also describes how to make an extra middle joint for an instrument at 440 Hz to play at 415 Hz—the corps de rechange principle of Baroque flutes (the reverse process, making a 440 Hz joint for a 415 Hz instrument, proved unsatisfactory). 831. Butler, Brian. “Sloppy Joints on Plastic Recorders.” Recorder Magazine 17, no. 2 (June 1997): 74. Describes a way to increase the resistance between the two parts of a plastic joint by applying and then removing epoxy resin adhesive. 832. Fader, Bruce. “Cork Joints Affect Your Playing.” American Recorder 11, no. 2 (spring 1970): 51–53. Describes the adverse effects of leaky or wobbly joints on a recorder’s performance. Recommends wrapping corks with a nonadhesive Teflon tape and explains the acoustical reasons for the success of this method: air vibration losses in the bore affect the initial transient of the sound. 833. Levin, Philip. “Joints.” (Instrument Care.) American Recorder 23, no. 3 (August 1982): 117. A guide to the maintenance and repair of joints. Although the emphasis is on cork, Levin recognizes that historical makers used thread or string and that many makers of replicas continue to prefer string to cork. Both types of joints should be separated and wiped after use. Cork is kept supple by applying tallow-based cork grease. (Vaseline should be avoided.) Describes the steps taken to replace a cork joint. 834. “Looking after the Joints.” (What’s Wrong with My Recorder?) Recorder and Music Magazine 1, no. 5 (May 1964): 138. Joints are made airtight in one of three ways: (1) wrapping the tenon with waxed

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thread, (2) wrapping the tenon with cork, or (3) lining the socket with cork. Describes how to wrap a tenon with thread and how to maintain (but not replace) cork. 835. Martinet, Inés, and Paul Richardson. “Reposición del hilo en las conexiones de las flautas” [Replacing the thread on the joints of recorders]. Revista de flauta de pico, no. 4 (summer 1996): 19–20. Gives detailed instructions with photographs on how to replace the waxed thread around the tenons of a Baroque recorder. 836. “What’s Wrong with My Recorder?” Recorder and Music Magazine 1, no. 7 (November 1964): 212. How to fix the loose joints and plugs that may result from extended periods of idleness. Oiling 837. Guida, Giovanni. “A Note on ‘The Good Oil’ by Terry Simmons.” FoMRHI Quarterly, no. 76 (July 1994): 53 (Communication no. 1285). Cites evidence that, contrary to a statement by Simmons (see item 842), oil is to some degree “absorbed” by wood. He concludes that “[h]aving more precise information about the physical and chemical phenomena that occur while oiling wood would be an important addition to our knowledge.” 838. Joof, Laura Beha. “Dear Recorder Doctor…” Recorder: Journal of the Victorian Recorder Guild, no. 8 (July 1988): 32–33. Reprinted from Boston Early Music News, September 1985. Detailed advice on oiling recorders. 9. Kunath, Jo. “Eine ölige Sache….” [A slippery matter]. Windkanal 4/2000: 24–27. A recorder maker gives advice on oiling recorders: how often, with what, which parts, how, how long to leave before playing, when not, and a final warning about flammability. Answers a letter from Annette Bock in the same issue (p. 36). 840. Levin, Philip. “Oiling Recorders.” American Recorder 23, no. 1 (February 1982): 27. Describes why oiling is important: oil makes the surface resistant to moisture penetration—thus preventing cracks—and enhances the acoustical reflectivity of the instrument. (Some woods are treated by the recorder maker to make oiling unnecessary.) Gives instructions for oiling a recorder, warning of the damage that can be caused by careless oiling. 841. Moeck, Hermann. “Ist die ‘pflegeleichte’ Blockflöte noch ‘in’?” [Is the “easy care” recorder still “in”?]. Tibia 4, no. 3 (1979): 384–87. Discusses ways of ameliorating the consequences of wood being a live material that “works” according to the temperature and humidity. For a light wood, such as maple or pear, paraffin can be used, allowing the wood to breathe without letting moisture be absorbed. But this does not mean that the player should not take care of the instrument by letting it dry; the advantage is that it does not have to be oiled. Unfortunately, this process cannot be applied to hard woods, such as palisander, grenadilla, or ebony, the only protection for which is to oil them regularly. Discusses the technique of oiling and the choice of oils (paraffinum subliquidum, silicone oil, linseed oil, tung oil, hemp-seed or soy oil, and polyethylene glycol [cites item 818 for others]).

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842. Simmons, Terry. “The Good Oil…What Really Happens When You Oil Your Recorder?” Recorder: Australia’s Journal of Recorder and Early Music, no. 17 (September 1993): 15–22. Reprinted in FoMRHI Quarterly, no. 74 (January 1994): 59–63 (Communication no. 1228). After summarizing the views of the “plenty” and “sparing” schools of thought on oiling recorders, gives a short chemistry lesson on the properties of oils. Then discusses how oiling changes the instrument and how the two schools are both right (for two different types of oil). We should just not mix the two approaches. Finally gives advice on how and where to oil. Tone Quality 843. Fader, Bruce, and Raoul J.Fajardo. “Improving the Tone of Plastic Recorders.” American Recorder 12, no. 2 (May 1971): 41–43. A soft material (fiberglass, foam, felt, balsa wood) positioned over or under the windway of a plastic recorder will effectively suppress harsh overtones. Describes how to construct several devices based on this principle that help improve the shrill, strident tone produced by many plastic recorders. 844. Fajardo, Raoul J. “Enhancing the Recorder Sound” Recorder & Music Magazine 3, no. 5 (March 1970): 172–74. Describes Fajardo’s unusual experiments with the application of electronic reverberation and amplification to recorders. “Although an echo may seem like a small matter, it can make the difference between an ordinary recorder sound and a sound that neighbours will call ‘beautiful.’” 845. Kottick, Edward L. Tone and Intonation on the Recorder. New York: McGinnis & Marx, 1974. ii, 27 p. OCLC #12963416. Begins with the premise that “the aim of every performer should be to play his instrument in tune, with the best possible tone and the widest dynamic range.” Seeks to show the recorder player how to achieve this aim, in three stages: first, by maintaining the instrument properly (smoothing the bore, cleaning the fingerholes and windway, keeping tight cork joints, oiling); second, by achieving the optimum tone (fingers relaxed but not leaking air, responsive thumb, embouchure, breath-pressure, vibrato, dynamics); third, by tuning the instrument (bringing a whole instrument down or up to pitch, principles and techniques of tuning, tuning individual notes). Packs an amazing amount of useful information into a short space. Highly recommended. Reviewed by Edgar Hunt in Recorder & Music 5, no. 1 (March 1975): 21. 846. Maier, Hans-Christof. “Heiserkeit bei Blockflöten—vermeidbarer Ärger?” [Hoarseness in recorders: an avoidable annoyance?] In 3. Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation [7 p.]. Teaches that hoarseness can be prevented or avoided. Describes the tasks and workings of the windway (to provide an undisturbed laminar streaming, to transmit it into the labium, to concentrate and accelerate it as well as to provide resistance to it) and the origins of hoarseness (condensation, residues of droplets, mistakenly oiling the block, weak blowing, narrowness of the windway, blowing “wet,” poor construction of the

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windway). Then discusses some ways of avoiding hoarseness: warming up the recorder before playing; making the windway equally wet all over; putting the thumb across the top of the windway and blowing out; finding the right breath pressure for the instrument; not putting the recorder too far into the mouth; and using an anticondensation solution only in extreme cases. Voicing and Tuning 847. Blezinger, Stephan. “Stimmungskorrekturen an der Blockflöte” [Tuning corrections on the recorder]. Windkanal 4/2001:12–15; 1/2002:13–17. Part 1 encourages recorder players, like harpsichordists, to take charge of retuning their instruments. Then it sets out the “six factors that influence the tuning of a recorder”: the length of the instrument; the diameter and course of the bore; the size of the window; and the positioning, size, and shape of the fingerholes. Part 2 describes the practical steps to be taken in correcting the tuning of a recorder. Excerpted from Stimmungskorrekturen an der Blockflöte, Arbeitsblätter für den Blockflötenunterricht, Nr. 4 (Fulda: Mollenhauer). 848. Blood, Brian. “Tips and Maintenance: Symptoms and Solutions—Does Your Recorder Need Servicing?” Cinnamon Sticks 2, no. 2 (November 2001): 20–21. The first in a projected series. Covers voicing problems (weak bottom notes and poor or nonspeaking high notes). 849. Bolton, Philippe. “Remplacer le bouchon de sa flûte à bec pour lui donner une nouvelle voix” [Replacing the block of your recorder in order to revoice it]. Flûte à bec, no. 4 (September 1982): 9–12; no. 5 (December 1982): 19–21; no. 6 (March 1983): 15–19. Detailed instructions, with line drawings, on how to go about this delicate task. Copies available from the author at Le Grand Portail, F-84570 Villes-sur-Auzon, France. 850. Joof, Laura Beha. “Recorder Voicing and Tuning, and Use of the Tuning Machine.” American Recorder 26, no. 4 (November 1985): 155–59. Presents a clear description, with drawings of parts of a recorder’s voicing. Describes fifteen principles of voicing. Specifies tone holes that influence the tuning of each note (f1-g3 on alto). Offers advice on using tuning machines to measure pitch and lists five tuners on the market. * Kottick, Edward L. Tone and Intonation on the Recorder. Cited above as item 845. 851. Levin, Philip. “Voicing and Tuning.” (Instrument Care.) American Recorder 25, no. 3 (August 1984): 105–7. A thorough discussion of the topic by an experienced maker. Introduces the concept of voicing and why adjustments are occasionally necessary. Describes the components of the mouthpiece and how certain modifications to the windway, window, and lip alter voicing. Recommends trying a commercial anticondensation product on a clogging recorder before resorting to revoicing. Discusses the different types of voicings used on the four main categories of recorders (simple and crudely finished, simple and well finished, more sophisticated but not quite “historical,” and historical). Describes modifications that can be made to correct overall pitch and the relative intonation of individual notes. Adjustments are made either by changing the size of the toneholes, by pulling out the head, or by adding material to or removing material from the bore. Levin

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emphasizes that adjustments to voicing and tuning should not be undertaken by amateurs. * Loretto, Alec V. “A New Angle on Finger Holes.” Cited above as item 547. 852. Loretto, Alec. “Recorder Voicing.” FoMRHI Quarterly, no. 89 (October 1997): 29– 35 (Communication no. 1540). The term “voicing” is often used in reference to the recorder without a clear definition. Loretto offers four definitions (two nouns and two verbs): (1) those parts of the recorder that have a strong and direct influence on how the instrument articulates, the pitch and tone color produced with a variety of breath pressures, the physical “feel” of how the instrument blows, and how the instrument deals with moisture and condensation; (2) working on those parts of the recorder that influence (1); (3) those parts of the instrument extending from the windway entrance to the bottom end of the lip or underlip, whichever is longer; and (4) working on those parts of the recorder mentioned in (3). Revoicing is the act of carrying out adjustments to the original voicing. He goes into detail about the parts of (3) that should be included in (1), at the same time pointing out that other parts of the recorder affect (1)—for example, the bore of the foot. 853. Loretto, Alec V. “Yet More on Tuning Recorders.” Recorder Magazine 10, no. 1 (March 1990): 2-4; 10, no. 2 (June 1990): 30–31. Describes the techniques used by makers to adjust the tuning of recorders. Loretto believes that most problems found in today’s instruments can be corrected by either filling or undercutting individual holes, and he places particular emphasis on the description of those two techniques. Part Two presents a table of standard English fingerings and the open holes that govern the tuning of each. Loretto shows how the filling or undercutting of a particular hole can affect notes other than the one needing adjustment. “The surprising thing is that in spite of these conflicts and contradications, those who tune recorders can actually produce results which make life easier for the players.” 854. Martin, John. “Flattening Your Recorder.” Recorder: Journal of the Victorian Recorder Guild, no. 15 (June 1992): 8. This alarming title hides a discussion of two ways to uniformly lower the pitch of a recorder, both of which effectively involve increasing the thickness of the window. 855. Massy, James. “The Flattening Effect of ‘Pulling Out’ the Recorder.” Recorder & Music 6, no. 2 (June 1978): 34–35. Through controlled tests, Massy determines that extending the length of an instrument results in an increasing degree of flattening in the lowest octave, but in the second octave the instrument quickly becomes less flat. Concludes that recorders should be pulled out no more than necessary, and, when playing on a pulled-out instrument, one should be gentle with the high notes, which will have a tendency toward sharpness. 856. Richardson, Paul. “Afinación de una flauta de pico” [Finishing a recorder]. Revista de flauta de pico, no. 3 (September 1995): 7–10. Gives advice on how to use round files to correct intonation problems on the recorder. 7. “Some Notes on Intonation.” (What’s Wrong with My Recorder?) Recorder and Music Magazine 1, no. 6 (August 1964): 187. Briefly discusses a few reasons why a recorder might go out of tune (accumulation of dirt in fingerholes, excessive oiling, disintegration of the cork). 858. Taylor, Dale. “Putting Recorders and Their Players to the Test.” American Recorder

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41, no. 5 (November 2000): 9–13. Instructions for performing a thorough evaluation of a recorder’s voicing. Provides thirteen challenging music examples, selected from standard Renaissance and Baroque repertory, for use in testing the speech and intonation of an instrument. Emphasizes that a player’s technique must be up to the task; otherwise, the results will be unreliable. * Willoughby, Andrew A. “Das Intonieren von Blockflöten: Antworten auf einen Fragebogen.” Cited above as item 638. 859. Wyatt, Theo. “A Note on Intonation.” Recorder and Music Magazine 4, no. 1 (March 1972): 9. Intonation problems can occur when the socket of the head joint is longer than the tenon of the middle joint. Offers several possible repairs for both plastic and wooden instruments. 860. Wyatt, Theo. “Tuning Your Own Recorder.” Recorder and Music Magazine 2, no. 1 (March 1966): 11–12; 2, no. 2 (July 1966): 37–39. Explains how to correct the faults of an out-of-tune recorder. Part One describes the principles governing pitch and tuning, the most important being the “ease of escape” principle (“the ease with which the pressure waves can escape from the tube to be equalized with the outside air”). Includes a table of pitches and the tone holes that govern their tuning. Part Two describes methods that Wyatt has used to correct his own instruments. Explains how to adjust for overall flatness or sharpness and how to undercut or fill individual holes.

17 Historical Methods (Tutors) and Treatises Three classes of musicians have always played the recorder since at least the early Renaissance: professionals, adult amateurs, and children. With the possible exception of Ganassi’s Fontegara, no extant early instructions could have provided adequate instruction for professionals. This is hardly surprising, because such musicians have always been taught orally. In the Renaissance and Baroque periods they served as apprentices, receiving their training from masters with little or no written assistance. Since the mid-twentieth century, would-be professionals have generally begun with private teachers then gone on to music schools or conservatories, instruction books serving primarily as a source of exercises, studies, and progressive repertory. By the sixteenth century there were enough amateurs in France and Germany to warrant the publication of general instruction books that included material on the recorder. The rise of the middle class in the seventeenth and eighteenth centuries and the concomitant interest in self-instruction brought with it a spate of recorder “tutors” (or methods, to use a more modern term), particularly in England. Yet, despite the extravagant claims of some publishers, none of these instructions were ever intended to bring amateurs to anything like a professional standard of performance. In all periods, whether the pupils have been professional or amateur, the finer points of performance, such as breath control, intonation, ornamentation, and musical interpretation, have been learned with the aid of a teacher; they can hardly be imparted by a book. All instruction books are written for people who can hear contemporaneous musicmaking and absorb its style by ear. In the absence of the sound, even the most comprehensive instructions fail, the reader seeking in vain to develop that bon goût, or good taste, which early writers considered so essential. Recorder instructions of the past can therefore give us only a small idea of what recorder playing was like in a few scattered places at arbitrary times. (This introduction and some annotations are based on item 864 by David Lasocki.) A note on terminology: Mary Vinquist defines “tutors” as “those sources of a didactic or pedagogical nature which treat three or more aspects of recorder playing” (item 863, p. 21). We have preferred the term “methods.” She also discusses (as we do) supplementary sources containing information on one or two aspects of recorder playing as well as those “universal” music methods that contain a small amount of information on a number of instruments including the recorder. The methods and treatises are presented chronologically. Under each method or treatise, entries for the original publication or manuscript are followed by entries for any facsimile editions, translations, or studies. 861. Warner, Thomas E. Indications of Performance Practice in Woodwind Instruction Books of the 17th and 18th Centuries. Ph.D. diss., New York University, 1964. vi, 459 leaves. OCLC #2405434. UMI order no. 65–01678. ML128.W5W4. An overview of woodwind performance practice that would have been influential if it

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had been published in the 1960s. Consists of chapters on: (1) general aspects; (2) articulation (including brief looks at Ganassi and Mersenne as well as detailed discussions of Freillon-Poncein and Hotteterre); (3) tempo (including the views of Freillon-Poncein and Hotteterre); (4) dynamics; (5) “alteration” (melodic ornamentation and rhythmic alteration, the latter including Hotteterre on inequality); (6) improvisation (ornaments, including The 5th Book of the New Flute Master, cadenzas, including summaries of Hotteterre’s L’art de preluder, and extempore variations); and (7) miscellaneous considerations (including Blankenburg’s differentiation of enharmonic pairs). The first draft of Warner’s important bibliography of woodwind methods (item 862) is found on leaves 244 426. 862. Warner, Thomas Everett. An Annotated Bibliography of Woodwind Instruction Books, 1600–1830. (Detroit Studies in Music Bibliography, 11.) Detroit: Information Coordinators, 1967. xvi, 138 p. OCLC #187969. Cites fifty-five books with instructions for the recorder. Still constitutes the most complete published bibliography of such books. Each entry includes: name of author and date; full title transcription (with original spelling, punctuation, and layout); pagination; notes (reason for dating, later editions, relation to other works, etc.); and library holdings. Partially updated by Vinquist (item 863). Reviewed by David Lasocki in Recorder & Music Magazine 3, no. 2 (June 1969): 71. 863. Vinquist, Mary. Recorder Tutors of the Seventeenth and Eighteenth Centuries: Technique and Performance Practice. Ph.D. diss., University of North Carolina, 1974. viii, 328 leaves. OCLC #3083623. UMI order no. 75–15714. A detailed look—always conscientious and sometimes inspired—at the Baroque recorder methods known in 1974 (“Tutto il bisognevole” [item 914], Bismantova [item 928], and Loulié [item 943] were rediscovered afterward). Classifies the contents of the methods as general characteristics (such as music examples and pirating of material), technique (posture, wrist position, hand placement, finger and thumb position, mouth and lips, tone production, tonguing syllables, and fingerings) and performance practice (application of tonguing syllables, meter, tempo, rhythm, and ornaments). It is a pity the dissertation was never published. The appendixes are at least as useful as the body of the dissertation. Appendix A is an updating of Warner’s bibliographic information (item 861), adding biographical material on the authors and publishers. Includes bibliographic information on methods that are not extant (including some not in Warner: The Compleat Instructor to the Flute. The Third Book [London: John Young, ca. 1700]; The Gentlemen’s Diversion; or, the Flute Made Easie [London: J.Young, ca. 1702]; The New Flute Master, the 7th Edit. [London: J.Walsh and J.Hare, 1711]; The New Flute Master for the Year 1725 [London: J.Walsh and J.Hare, 1725]; The New Flute Master for the Year 1728 [London: J.Walsh and J.Hare, 1727]; and The New Flute Master for the Year 1733 [London: J.Walsh?, 1732]). Appendix B is an updating of Lasocki’s composite fingering charts (item 1086) with extra material on fingerings for trills, battements, and flattements. Appendix C contains the sections on “graces” (ornaments) from eight English methods. Appendix D reproduces the sections on meter, tempo, and rhythm from Freillon-Poncein (item 981) and Hotteterre (item 987). 864. Lasocki, David. “Instruction Books and Methods for the Recorder from around 1550

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to the Present Day.” In item 33, pp. 119–35. A survey, most of the material of which has been incorporated into the present chapter of this volume. 865. Sela, Bárbara. “Seleccíon de tratados y métodos antiguos con referencias a la flauta de pico: Edicíon original, facsímiles y traducciones” [Selected early treatises and methods for the recorder: original editions, facsimiles, and translations]. Revista de flauta de pico, no. 3 (September 1995): 11–14. Translated from item 4, chapter 17. EARLIER LISTINGS AND SURVEYS 866. Rawski, Conrad. Flute, Recorder, and Oboe before 1800: A Selected Bibliography. M.S. thesis, Library Science, Western Reserve University, 1957. 52 leaves. The earliest serious attempt to list recorder instruction books and other writings. Intended as “a fairly accurate checklist which may serve as a basis for more extensive and detailed bibliographic investigation” (preface). Based largely on the catalog of the Dayton C.Miller Collection, Library of Congress, and William C.Smith’s catalog of the publications of John Walsh, as well as Degen (item 38) and Welch (item 34). Its main weakness was the lack of explanation of exactly what about the flute, recorder, and oboe is contained in the sources that are not methods. 867. Riley, Maurice W. “A Tentative Bibliography of Early Wind Tutors.” Journal of Research in Music Education 6 (spring 1958): 3–24. “Early” here means through the mid-nineteenth century, except in the case of the flute. Arranged by instrument, where recorder methods are lumped in with “Flute Tutors.” Brief annotations. Completely superseded by items 862–63. 868. Simpson, Adrienne. “A Short-Title List of Printed English Instrumental Tutors up to 1800, Held in British Libraries.” R.M.A. Research Chronicle 6 (1966): 24–50. Published just after the appearance of Warner’s bibliography (item 862). Simpson acknowledges that in Warner “the bibliographic material is fuller than was possible in a short-title list, and the listings from American libraries supplement and provide many duplicates for the material held in British libraries. I decided to allow my list to stand unchanged so that readers might have an overall picture of British sources.” Includes cross-references to Warner. Has allowed “one or two discrepancies to stand… mainly in matters of approximate dating.” 869. Hunt, Edgar. “Early Recorder Methods.” Recorder & Music 6, no. 6 (June 1979): 166–70. A short chronological survey from the early sixteenth to mid-eighteenth centuries, with an admitted emphasis on English methods. Includes rules for gracing, examples of preludes, and facsimiles of frontispieces, all excerpted from the methods. FACSIMILE COLLECTION 870. Flûte à bec [Recorder]. Quatre volumes réalisés par Susi Möhlmeier et Frédérique Thouvenot. 3 vols. (Méthodes & Traités, 8.) Courlay, France: J.M.Fuzeau, 2001.

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What seems to be an attempt to collect facsimiles of all the recorder methods and relevant sections of treatises from the Renaissance, Baroque, and Classical periods. Apart from the word “quatre” on the title page, the three volumes make no mention of a fourth, existing or projected. Volume 1: anonymous, ca. 1510 (see item 871); Virdung (item 872); Ganassi (item 892); Agricola (item 887); Jambe de Fer (item 902); Virgiliano (item 907); Praetorius (item 910); Mersenne (item 917); Trichet (item 922). Volume 2: Blankenburg (item 924); Jacob van Eyck, Der fluyten lust-hof, Bismantova (item 928); Hudgebut (item 933); Salter (item 935); Carr (item 935); Loulié (item 943); The Compleat Flute-Master (item 951). Volume 3: Freillon-Poncein (item 981; flageolet section only); Sébastien de Brossard, Dictionnaire de musique (Paris, 1703); The Fifth Book of the New Flute Master (item 955); Hotteterre, Principes (item 987); Hotteterre, L’art de preluder (item 996); Schickhardt (item 1001); The Compleat Musick-Master (item 956); Johann Christoph Weigel, Musicum theatrum (ca. 1722); Directions for Playing on the Flute (item 959); Majer (item 1006); Eisel (item 1011); Tans’ur (item 1014); The Compleat Tutor for the Flute (item 974); François-Alexandre-Pierre de Garsault, Notionnaire ou Mémorial raisonné (Paris, 1761); Louis Joseph Francoeur, Diapason général de tons les instruments à vent (Paris, 1772); Compleat Instructions for the Common Flute (item 975); Jean-Benjamin de Laborde, Essai sur la musique ancienne et moderne (Paris, 1780); Encyclopédie methodique (Paris, 1788). The project is extremely helpful as far as it goes, but unfortunately the following items are missing: Matthyszoon (item 923), Banister (item 934), Huygens (item 942), Talbot (item 950), Speer (item 978), Douwes (item 979), the recorder section of Freillon-Poncein (a curious omission; item 981), Stanesby (item 1004), Berlin (item 1013), Minguet é Irol (item 1024), Reynvaan (item 1030), and Swaine (item 1031). THE RENAISSANCE AND EARLY BAROQUE RECORDER “Introductio gschriben uf pfifen” 871. Staehelin, Martin. “Neue Quellen zur mehrstimmigen Musik des 15. und 16. Jahrhunderts in der Schweiz” [New sources of polyphonic music of the fifteenth and sixteenth centuries in Switzerland]. Schweizer Beiträge zur Musikwissenschaft 3:57–83. Bern & Stuttgart: Paul Haupt, 1978. ISBN 3258026181. Describes a five-leaf manuscript book, headed only “Discant” (Basel, Universitätsbibliothek, Ms. F.X. 38) on pages 62–64 and reproduces three facsimile pages (plates 4 and 5). It was probably written out for the fifteen-year-old Bonifacius Amerbach around 1510. (The appelation “Introductio gschriben uf pfifen” comes from the Amerbach estate catalog of 1578.) The instructions depict a discant recorder in G, giving fingerings, an explanation of mensural notation, and a series of exercises. Virdung, Sebastian (b. 1465?) 872. Virdung, Sebastian. Musica getutscht und auszgezogen durch Sebastianum Virdung, Priesters von Amberg, und alles Gesang ausz den Noten in die Tabulaturen diser benanten dryer Instrumenten der Orgeln, der Lauten und der Flöten transferieren zu

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lernen Kurtzlich gemacht zu eren den hochwirdigen hochgebornen Fürsten unnd Herren: Herr Wilhalmen, Bischove zü Straszburg, seynem gnedigen Herren [Music translated into German and excerpted by Sebastian Virdung, priest of Amberg. Everything there is to know about transcribing songs from notes into the tablatures of these three given instruments: the organ, the lute, and the recorder—made simple. In honor of his gracious lord, the most reverend, high-born prince and lord, Wilhelm, Bishop of Strassburg (translation from item 883)]. Basel: [M.Furter], 1511. RISM B/VI, p. 865. The first published instructions for the recorder appeared in two similar German publications of the early sixteenth century. The author of the first, Sebastian Virdung, served as a chaplain and singer in Heidelberg and other cities, including Basel, where his Musica getutscht und auszgezogen was published. In writing for the first time in the vernacular and seeking to present “everything…made simple,” Virdung was clearly aiming at the amateur musician. His instructions for the recorder consist largely of descriptions of how to finger the instrument. He gives two systems of notation: one in effect a fingering chart, the other a type of tablature containing one symbol for each note which could be used to notate music. Contrary to later practice, the holes are numbered from lowest (1) to highest (8). His only other technical information is that you must blow into the instrument as well as “learn how to coordinate the articulations…with the fingers.” Virdung reports that the recorder, which nominally had eight fingerholes, in practice had nine: the lowest hole was doubled to allow for both left-handed and right-handed playing, the unused hole being stopped with wax. He discusses (and depicts in woodcuts) recorders of three sizes: discant in g1, tenor in c1, and Baßcontra or Bassus (bass) in f, all of which were notated an octave lower than they sounded. The discant and tenor had a range of an octave and a minor seventh; the bass, an octave and a sixth. Four to six recorders were generally put together in a case called a coppel: two discants, two tenors, and two basses. In four-part music, the range of the contra part determined whether one used two discants, tenor, and bass or else discant, two tenors, and bass. 873. Virdung, Sebastian. Musica getutscht, Basel 1511. Originalgetreuer Nachdruck nach dem Exemplar der Preussischen Staatsbibliothek Berlin. Mit einem Nachwort neu herausgegeben von Leo Schrade. Kassel: Bärenreiter, 1931. [111, 12] p. OCLC #26107205. ML 171 .V5. Facsimile. 4. Virdung, Sebastian. Musica getutscht, 1511. (Publikationen älterer praktischer und theoretischer Musikwerke, Bd. 11.) New York: Broude Brothers, 1966. [111] p. OCLC#29049019. ML 171 .V5. Facsimile. 5. Virdung, Sebastian. Musica getutscht, 1511. Faksimile-Nachdruck, herausgegeben von Klaus Wolfgang Niemöller. (Documenta musicologica, Erste Reihe: DruckschriftenFaksimiles, 31.) Kassel: Bärenreiter, 1970. [118] p. ISBN 3761800045. ML 171 .V5. Facsimile. Includes a selected bibliography of previous editions and studies of Virdung’s treatise. 876. Livre plaisant et ires utilepour apprendre a faire ordonnez toutes tablatures hors le discant dont par lesquelles Ion peult facilement et legierement aprendre a jouer sur les manicordion, luc, et flutes [Entertaining and very useful book to learn to have at your

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command all tablatures except the discant, by means of which one can easily and swiftly learn to play on the organ, lute, and recorder]. Antwerp: G.Vorsterman, 1529. A loose, partial, contemporaneous French translation of Virdung’s Musica getutscht. 7. Dit is een seer schoon boecxken om te leeren maken alderhande tabula-tueren wten discante. Daer duer men lichtelijck mach leeren spelen opt, clavecordium, luyte, fluyte [This is a nice little book for learning all kinds of tablatures except the discant, by means of which one can easily learn to play the organ, lute, and recorder]. Antwerp: Jan van Ghelen, 1568. A literal Flemish translation of the French (item 876). The two versions have been published in a joint facsimile (Amsterdam: Frits Knuf, 1973). 878. Luscinius, Othmar. Musurgia, seu praxis musicae: Illius primo quae instrumentis agitur certa ratio [Musurgia; or, The practice of music: a sure method of music which deals first with instruments]. Strasbourg: Johann Schott, 1536. Loosely based on Virdung’s Musica getutscht. 9. Bullard, Beth Alice Baehr. Musical Instruments in the Early Sixteenth Century: A Translation and Historical Study of Sebastian Virdung’s Musica getutscht (Basel, 1511). Ph.D. diss., University of Pennsylvania, 1987. xi, 433 leaves. OCLC #19899794. UMI order no. 87–25143. 0. Bullard, Beth, trans. and ed. Musica getutscht: A Treatise on Musical Instruments (1511) by Sebastian Virdung. (Cambridge Musical Texts and Monographs.) Cambridge: Cambridge University Press, 1993. xii, 275 p. ISBN 0521308305. MT 5.5 .V573 B8 1993. An English translation with an introduction (nearly as long as the treatise itself) covering the following topics: why one should study Musica getutscht, a biography of Sebastian Virdung, the publication history of the treatise, the “offspring” of the treatise. An appendix includes transcriptions of documents pertaining to Virdung and the treatise. The book is based on item 879. Reviewed by Edgar Hunt in Recorder Magazine 14, no. 4 (December 1994): 141. 881. Mayer, Christian. Sebastian Virdung, Musica getutscht: Les instruments et la pratique musicale en Allemagne au début du XVIe siècle [Sebastian Virdung’s Musica getutscht: instruments and musical practice in Germany at the beginning of the sixteenth century]. Paris: Éditions du Centre National de la Recherche Scientifique, 1980. ISBN 2222026954. MT 5.5 .V573 M5. A detailed study. Includes a complete French translation. 2. Wright, Laurence. “Sebastian Virdung: Musica getutscht und aussgezogen (Basel 1511).” Recorder and Music Magazine 1, no. 10 (August 1965): 301–3. Brief description of the treatise followed by a translation of the significant passages relating to the recorder. Includes facsimiles of the relevant illustrations, fingering chart, and tablature symbols. 883. Hettrick, William E. “Sebastian Virdung’s Method for Recorders of 1511: A Translation with Commentary.” American Recorder 20, no. 3 (November 1979): 99– 105. An excellent summary of the treatise followed by a complete translation of the section on the recorder. 884. Stradner, Gerhard. Spielpraxis und Instrumentarium um 1500: Dargestellt an

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Sebastian Virdung’s Musica getutscht (Basel 1511) [Performing practice and instruments around 1500, described in Sebastian Virdung’s Musica getutscht (Basel, 1511)]. 2 vols. (Forschungen zur älteren Musikgeschichte, Veröffentlichungen des Institutes für Musikwissenschaft der Universität Wien, Bd. 4/I-II.) Vienna: Verband der Wissenschaftlichen Gesellschaften Österreichs, 1983. ISBN 3853695159. MT 5.5 .V573 S8 1983. A detailed study. See especially the section “Flöten” (vol. 1, pp. 281–89). 5. Scharenberg, Sointu. “Sebastian Virdungs ‘Musica getutscht’—ein Sachbuch? Der Traktat von 1511 neu gelesen” [Sebastian Virdung’s Musica getutscht—a practical book? The treatise of 1511 read anew]. Tibia 18, no. 2 (1993): 421–30. Evaluates Virdung’s achievement: removing musica instrumentalis from Latin treatises and describing its practice in the vernacular; systematically classifying the instruments; giving [almost] the earliest advice on recorder education; and inventing methods of intabulation for the organ, lute, and recorder. Virdung straddles the Middle Ages and Renaissance in his thinking. Agricola, Martin (1486–1556) 886. Agricola, Martin. Musica instrumentalis deudsch, ynn welcher begriffen ist, wie man nach dem Gesange auff mancherley Pfeiffen lernen sol, auch wie auff die Orgel, Harffen, Lauten, Geigen und allerley Instrument und Seytenspiel nach der rechtgegründten Tabelthur sey abzusetzen [A German instrumental music, in which is contained: how to learn to play many kinds of wind instruments from vocal notation, and also how to set music into the appropriate tablature for the organ, harp, lute, fiddle, and all kinds of keyboard and string instruments (translation from item 891)]. Wittenberg: Georg Rhau, 1529. Cited in RISM B/VI, p. 70. Martin Agricola was the cantor of the Protestant Latin school in Magdeburg. His Musica instrumentalis deudsch was written in “German rhythm and meter for a special reason, so that youth and others who want to study this art might all the more easily understand it and retain it longer.” The information on the recorder is similar to Virdung’s. The middle size is called both tenor and altus, the latter mistakenly being depicted a little smaller in the woodcut. Rather than describing each fingering, Agricola refers readers to his fingering charts—one for each size of instrument—which contain some differences, giving the impression, as William E. Hettrick remarks, “that he had experimented with three individual instruments, rather than using just one size and duplicating its fingerings for the other two.” Agricola says that graces (Mordanten), which make the melody subtil, must be learned from a professional (Pfeiffer). 887. Agricola, Martin. Musica instrumentalis deudsch, darin das Fundament und Application der Finger und Zungen, auff mancherley Pfeiffen als Flöten, Kromphörner, Zincken, Bomhard, Schalmeyen, Sackpfeiffen und Schweitzerpfeiffen etc. Darzu von dreierley Geigen, als welschen, polisschen und kleinen Handgeiglein und wie die Griffe drauff auch auffLauten künstlich abgemessen werden, item vom Monochordo, auch von künstlicher Stimmung der Orgelpfeiffen und Zimbeln, etc. Kürtzlich begriffen, und für unsere Schulkinder und andere gmeine Senger aufs verstendlichst und einfeltigst jtzund newlich zugericht [A German instrumental music,

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containing the basic rules and application of the fingers and tongue on many kinds of wind instruments, such as recorders, crumhorns, cornettos, pommer, shawms, bagpipes, and Swiss flutes, etc. In addition, concerning three kinds of fiddles, the Italian, the Polish, and the little hand-fiddle, and how the finger positions may be skillfully gauged on them, and also on the lute. Also concerning the monochord and the skillful tuning of organ pipes and small bells, etc. Briefly summarized and now newly arranged for our school children and other beginning singers in the most understandable and simple way (translation from item 891)]. Wittenberg: Georg Rhau, 1545. RISM B/VI, p.71. The substantially rewritten text of Agricola’s second edition of 1545—aimed at “our schoolchildren and other beginning singers”—includes some significant differences and additions. He mentions, approvingly, the use of vibrato (zitterndem Wind) for woodwind instruments, and he includes the earliest account of woodwind articulation. Maxima, longs, breves, semi-breves, minims, and semiminims take the syllable de; semi-minims can also take di ri, the articulation for the shorter note values (fusas and semifusas). Finally, he remarks that in the very small note values of passaggi (Colorirn), some musicians use the articulation tell ell ell ell ell el le, which he calls the “fluttertongue” (flitter zunge). 888. Agricola, Martin. Musica instrumentalis deudsch, erste und vierte Ausgabe, Wittemberg 1528 und 1545. In neuer diplomatisch Genauer, zum Teil facsimilierter Ausgabe. (Publikation älterer praktischer und theoretischer Musik-Werke, Bd. 20.) Leipzig: Breitkopf & Härtel, 1896. 295 p. OCLC #19005535. M2 .G39 Bd. 20. Reprinted: New York: Broude, 1966. OCLC #29049010. Diplomatic “facsimile” of both editions. 9. Agricola, Martin. Musica figuralis deudsch (1532); Im Anhang: Musica instrumentalis deudsch (1529); Musica choralis deudsch (1533); Rudimenta musices (1539). Hildesheim; New York: G.Olms, 1969. OCLC #223955. Facsimile of first edition. 0. Hettrick, William E., trans. and ed. The “Musica instrumentalis deudsch” of Martin Agricola: A Treatise on Musical Instruments, 1529 and 1545. Cambridge: Cambridge University Press, 1994. ISBN 0521366402. ML171 .A26. A fine, idiomatic translation that follows the layout of both editions. All of the illustrations are presented in facsimile, but composite transcriptions of the fingering charts for recorder and related instruments are given in the appendixes. Reviewed by Edgar Hunt in Recorder Magazine 14, no. 4 (December 1994): 141. 891. Hettrick, William E. “Martin Agricola’s Poetic Discussion of the Recorder and Other Woodwind Instruments.” American Recorder 21, no. 3 (November 1980): 103– 13; 23, no. 4 (November 1982): 139–46; and 24, no. 2 (May 1983): 51–60. Reprinted in Recorder and Music Magazine 8, no. 4 (December 1984): 127–29, 116; 8, no. 5 (March 1985): 139–48; 8, no. 6 (June 1985): 171–79; and 8, no. 7 (September 1985): 202–12. A translation with commentary of the woodwind sections in the 1529 and 1545 editions. The translation is accompanied by a complete facsimile. Hettrick’s skillful rhymed couplets evoke the spirit and character of the original. Includes transcriptions of fingering charts.

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Ganassi, Silvestro (b. 1492) 892. Ganassi, Sylvestro. Opera intitulata Fontegara. La quale i[n] segna a sonare di flauto cho[n] tutta l’arte opportuna a esso i[n]strumento massime il diminuire il quale sarà utile ad ogni i[n]strumento di fiato et chorde: et a[n]chora a chi si dileta di canto [Work entitled “Fontegara,” which instructs in playing the recorder with all the proper art of this instrument especially the creation of diminutions that will be useful for all wind and string instruments as well as those who practice singing]. Venice: Author, 1535. Sylvestro Ganassi, the author of the first book devoted entirely to recorder playing, was a notable player employed by the Doge of Venice and the Basilica of San Marco. Ganassi’s is at once the most revealing and the most frustrating of all recorder methods. He declares that “the aim of the recorder player is to imitate as closely as possible all the capabilities of the human voice,” and that the instrument was indeed capable of doing so. He then describes an astonishingly well-developed, expressive style of playing, achieved by good breath control, alternative fingerings, a wide variety of articulations, and extensive use of graces and divisions. Yet he fails to specify the musical contexts in which these techniques were used, and we cannot hear the “practised and experienced” sixteenth-century singer he holds up as a model. Ganassi gives the interval of a thirteenth as the basic range of the three sizes of recorder (sopran, tenore, and basso). In addition, he describes his discovery of a further interval of a seventh, including the accidentals of #1, #3, #4, and #5 in the third octave, making a total compass of two octaves and a sixth. According to Ganassi, imitation of the voice has three interdependent “indispensable peculiarities.” The first is “a certain artistic proficiency,” part of which seems to be the ability to perceive the nature of the music. The second is prontezza (dexterity or fluency), achieved “by varying the pressure of the breath and shading the tone by means of suitable fingering.” The third is galanteria (elegance or grace), achieved by articulation, for which Ganassi uses three basic kinds of syllables—te che, te re, and le re—and by the use of ornaments, the “simplest ingredient” of them being the trill, which varies according to the expression. The majority of Ganassi’s treatise is taken up with a series of tables of the divisions or passaggi that may be applied to a melodic line. As Howard Mayer Brown has suggested (Embellishing Sixteenth-Century Music [London: Oxford University Press, 1976], 25), the complex rhythms of some of Ganassi’s passaggi seem to be an “attempt to capture in print the essentially free rhythmic style of some improvisations.” 893. Ganassi, Silvestro. Opera intitulata Fontegara, Venezia 1535. Milano: La Musica Moderna, 1934. [158] p. OCLC #3915414. MT 340 .G3 1934. Facsimile. 4. Ganassi, Silvestro. Opera intitulata Fontegara. (Bibliotheca musica bononiensis, sez. 2, no. 18.) Bologna: Forni, 1969. [161] p. OCLC #3826293. Facsimile. 5. Ganassi, Silvestro. Opera intitulata Fontegara. (Prattica di musica, Ser. A, 3.) Rome: Società Italiana del Flauto Dolce, 1991. 108 p. OCLC #29845298. MT 350 .G36 1991. Facsimile with introduction in Italian by Luca de Paolis. Spanish translation of the introduction as: “Introdducíon a la ‘Opera intitulata Fontegara,’ Venecia, 1535, de

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Silvestro Ganassi dal Fontego (1492-?),” Revista de flauta de pico. no. 8 (May 1997): 19–24; no. 9 (October 1997): 16–21; no. 10 (January 1998): 22–32. 896. Ganassi, Silvestro. Opera intitulata Fontegara, Venice 1535: A Treatise on the Art of Playing the Recorder and of Free Ornamentation. Edited by Hildemarie Peter. Berlin-Lichterfelde: Robert Lienau, 1959. 108 p. OCLC #1135554. MT 340 .G32. English translation by Dorothy Swainson from the German translation (item 897). Howard Mayer Brown and Giulio Ongaro (The New Grove, 2d ed., 9:508) warn that neither translation is “wholly satisfactory.” Reviewed by Thomas Binkley in American Recorder 1, no. 2 (spring 1960): 19. 897. Ganassi, Silvestro. La Fontegara: Schule des kunstvollen Flötenspiels und Lehrbuch des Diminuierens, Venedig, 1535. Herausgegeben von Hildemarie Peter. Deutsche Übersetzung von Emilia Dahnk-Baroffio und Hildemarie Peter. Berlin-Lichterfelde: Robert Lienau, 1956. 108 p. OCLC #2116299. MT 340 .034. German translation (see item 896). 8. Peter, Hildemarie. “An Introduction to Ganassi’s Treatise on the Recorder (1535).” Consort, no. 12 (July 1955): 18–23. A summary of the contents of Ganassi’s Fontegara with a little commentary. Cardano, Girolamo (1501–1576) 899. Cardan, Jerome. De Musica [On music]. Written ca. 1546. First published in Hieronymi Cardani Mediolensis opera omnia. Lyons: Sponius, 1663. De Musica. 1568, rev. 1574. Vatican Ms 5850. Jerome Cardan, the great Italian Renaissance philosopher, mathematician, and physician, was a keen amateur player, who learned the instrument from a professional teacher, Leo Oglonus, as a child in Milan. Cardan’s first treatise both confirms Ganassi’s account and gives glimpses into aspects of recorder playing otherwise undocumented before the twentieth century. He is the first to mention an unnamed higher size of recorder (in d2). He is interested in the partial closing of the bell hole to produce a tone or semitone below the natural lowest note. After stressing the importance of breath control to follow the expression of the music, he makes the important distinction between the amount and the force of the breath. One of his ways of controlling intonation is by closing the bell hole, by means of which “all tones can be turned into semitones and dieses” (a diesis is half a small semitone). Cardan articulates the recorder by means of Ganassi’s three basic forms of syllables, like him unfortunately giving no examples of their use in pieces of music. He adds that the tongue can be used either extended or turned up toward the palate, improving, varying, and coloring the notes. He describes a trill or vibrato called a vox tremula in which “a tremulous quality in the breath” is combined with a trilling of the fingers to vary the interval from anything between a major third and a diesis. He is especially enthusiastic about the use of the interval of a diesis—“a sound than which nothing finer, nothing sweeter, nothing more pleasant can be imagined”—which can also be produced by repercussively bending back the tongue. Finally, Cardan confirms the importance of diminution technique in recorder playing.

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In his second treatise of the same title, Cardan discusses the use of the recorder and other woodwinds in ensemble, stressing the need to keep together to match intonation, tone, and mood. 900. Cardanus, Hieronymus. Writings on Music. Translated and edited with an introduction by Clement A.Miller. (Musicological Studies & Documents, 32.) [Rome]: American Institute of Musicology, 1973. 227 p. OCLC #1081538. MT 5.5 .C3313 1973. A translation of Cardan’s two treatises on music and selected miscellaneous writings. 1. Miller, Clement A. “Jerome Cardan on the Recorder.” American Recorder 12, no. 4 (November 1971): 123–25. Summarizes the discussion of the recorder in Cardan’s two treatises. Jambe de Fer, Philibert (ca. 1515-ca. 1566) 902. Jambe de Fer, Philibert. Epitome musical des tons, sons et accordz, es voix humaines, fleustes d’Alleman, fleustes à neuf trous, violes, & violons. Item. Un petit devis des accordz de musique, par forme de dialogue interrogatoire & responsif entre deux interlocuteurs. P. & I. [Musical epitome of the tones, notes, and intervals for the human voice, flûte, recorder, viol, and violin. Also, a little description of musical intervals in the form of a question-and-answer dialogue between two interlocutors, P and J]. Lyons: Michel du Bois, 1556. The only French author of the sixteenth century to write about the recorder was Philibert Jambe de Per, a composer and singer. He comments at length on the French name of the instrument, fleutte à neuf trouz (flute with nine holes), which he finds inappropriate since one of the two lowest holes must be stopped; he would prefer fleute d’Italien (Italian flute) or the Italian name flauto. He also mentions the curious practice of “some French-men” of stopping the thumbhole, making the fingering like that of a cornetto. His fingering chart has been taken as the earliest evidence of buttress-or supportingfinger technique—the keeping down of the third finger of the lower hand whenever possible—although it is used for only three notes (the tenor’s bb1, c2, and d2). For the rest of recorder playing he refers readers to “good teachers.” 903. Lesure, François. “L’épitome musical de Philibert Jambe de Per (1556).” Annales musicologiques 6 (1963): 341–46, [i-xl]. Also published separately: Neuilly-sur-Seine: Société de Musique d’Autrefois, 1964. Introductory essay and facsimile of treatise. 4. Hunt, Edgar. “L’epitome musical de Philibert Jambe de Per (1556).” Recorder and Music Magazine 1, no. 8 (February 1965): 250. A brief biography of Jambe de Per gleaned from François Lesure’s preface to the facsimile edition (item 903) and a description of the treatise’s place among other sixteenth-century publications on musical instruments. Zacconi, Lodovico (1555–1627) 905. Zacconi, Lodovico. Prattica de musica utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose

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cantabili [Musical practice, useful and necessary to the composer to compose songs in a regular manner as well as to singers to be sure about everything to do with singing]. Venice: B.Carampello, 1596. ML 171 .Z23. Ganassi’s three sizes of recorder are still mentioned by Zacconi. He gives their ranges as g1 to f3 (canto), c1 to a2 (tenore), and f to bb1 (basso), all notated an octave lower than sounding. 906. Zacconi, Lodovico. Prattica de musica. Hildesheim; New York: Georg Olms, 1982. ISBN 3487071843. Facsimile of the 1596 and 1622 editions. Virgiliano, Aurelio 907. “Il dolcimelo d’Aurelio Virgiliano dove si contengono variati passaggi, e diminutioni cosi per voci, come per tutte sorte d’instrumenti musicale; con loro accordi, e modi di sonare” [Aurelio Virgiliano’s Il dolcimelo, in which are found passaggi and diminutions either for voices or for all kinds of musical instruments; with their charts and methods of playing]. Bologna, Civico Museo Bibliografico Musicale, Ms. C. 33 (ca. 1600). As well as ricercars intended for or playable on the recorder, Il dolcimelo includes a fingering chart for a discant recorder in G. 908. Virgiliano, Aurelio. Il dolcimelo. Edited by Marcello Castellani. (Archivum musicum, Collana di testi rari, 11.) Florence: Studio per edizioni scelte, 1979. MT 80 .V57 1979. Facsimile. 9. Gutman, Veronika. “Il Dolcimelo von Aurelio Virgiliano: Eine hand-schriftliche Quelle zur musikalischen Praxis um 1600” [Aurelio Virgiliano’s Il dolcimelo: a manuscript source on performance practice ca. 1600]. In Basler Studien zur Interpretation der alten Musik, 107–39. (Forum Musico-logicum: Easier Beiträge zur Musikgeschichte, 2.) Winterthur: Amadeus, 1980. A detailed listing and commentary. Praetorius, Michael (1571–1621) 910. Praetorius, Michael. Syntagma musicum ex veterum & recentiorum ecclesiasticorum autorum lectione, polyhistorum consignatione, variarum linguarum notatione, hodierni seculi usurpatione, ipsius denique musicæ artis observatione: In cantorum, organistarum, organopæorum, cæterorumque; musicam scientiam amantium & tractantium gratiam collectum; et secundum hunc generalem indicem toti operi præfixum, in quatuor tomos distributum, à Michaele Praetorio Creutzbergensi…Tomus secundus: De Organographia [A musical treatise gathered from a reading of old and new ecclesiastical authors, from the teachings of learned men, from writings in various languages, from modern usage, and finally from observation of the art of music itself: for the benefit of singers, instrumentalists, instrument makers, and others who love and deal with the science of music; arranged in four volumes according to this general index prefixed to the whole work, by Michael Praetorius of Kreuzburg…Volume two: On musical instruments]. Wolfenbüttel: Elias Holwein, 1619. ML 100 .A2 P8.

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The material on the recorder that the German composer Michael Praetorius included in his encyclopaedic Syntagma musicum has received a large amount of attention because of his scale drawings of no fewer than eight sizes (klein Flötlein or exilent in g2, discant in c2 or d2, alt in g1, tenor in c1, basset in f, bass in Bb, and grossbass in F) as well as the four-holed gar kleine Plockflötlein. He gives the range of the instrument as a thirteenth (largest sizes) or fourteenth (smaller sizes), although a skilled player could sometimes ascend four or even seven degrees higher. Praetorius seems to have been the first to explain that recorders can confuse the ear into believing that they sound an octave lower than pitch—which is presumably why they were commonly notated an octave lower. His charts show that recorders could be used in at least three ranges of consort: 2′ (discant, alt, and tenor), 4′ (alt, tenor, and basset), and 8′ (tenor, basset, and bass). Finally, he proposed cutting the recorder “in two at a point on the upper half, between the beak and the first fingerhole” and making a kind of tuning slide, to raise or lower the pitch of the instrument. This is of course similar to the Baroque practice of “pulling out” the top joint to lower the pitch only. 911. Praetorius, Michael. Syntagma musicum. Band II: De Organographia, Wolfenbüttel 1619. Faksimile-Nachdruck herausgegeben von Wilibald Gurlitt. (Documenta Musicologica. Erste Reihe: Druckschriften-Faksimiles, 14.) Kassel: Bärenreiter, 1958. 235 p. OCLC #22197679, #398783. ML 100 .P83. Facsimile. 2. Praetorius, Michael. The Syntagma musicum of Michael Praetorius, Volume Two: De Organographia, First and Second Parts. In an English trans. by Harold Blumenfeld. New York: Bärenreiter, 1949. vi, a-x, 80, 3 p. OCLC #5790696. 2d ed. New York: Bärenreiter, 1962. vii, a-x, 80, 3 p. OCLC #253074. Reprinted: New York: Da Capo Press, 1980. 158 p. ISBN 030670563X. ML 467 .P7. Includes a translation of the Theatrum Instrumentorum appendix. 3. Praetorius, Michael. Syntagma Musicum, II: De Organographia, Parts I and II. Translated and edited by David Z.Crookes. (Early Music Series, 7.) Oxford: Clarendon Press, 1986. xx, 104 p., 42 plates. ISBN 019316406X. ML 467 .P7 1986. Reviewed by Edgar Hunt in Galpin Society Journal 41 (1988): 142–44. THE EARLY BAROQUE RECORDER “Tutto il bisognevole” 914. “Tutto il bisognevole per sonar il flauto da 8 fori con pratica et orecchia” [Everything necessary for playing the recorder with skill and taste]. Manuscript, 1630. Biblioteca Marciana, Venice, Mss. Ital. Cl. IV. No. 486. The earliest instructions for the transition recorder (between the Renaissance and lateBaroque styles) are ostensibly in this anonymous Venetian manuscript method, which its scribe dated 1630. It seems to be addressed to the amateur who knew something of singing, or at least the well-known tunes of the day. The author depicts a recorder in three joints with Baroque turnery at each tenon, although the bore still appears to be cylindrical. For the first time the fingering chart is for a recorder in f1, showing fingerings up to g3 (including f#3, although curiously not f3) with supporting-fingering technique. If

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this method really was written in 1630, we need to revise our notions of the development of the recorder in the seventeenth century; it may turn out with further research, however, that the method dates from the third quarter of the century, or even from 1730. 915. Delius, Nikolaus. “Die erste Flötenschule des Barock?” [The first recorder method of the Baroque?] Tibia 1, no. 1 (1976): 5–12. A study of “Tutto il bisognevole.” Instrumentälischer Bettlermantl 916. Campbell, J.Patricia. “Musical Instruments in the Instrumentälischer Bettlermantl— a Seventeenth-Century Musical Compendium.” Galpin Society Journal 48 (1995): 156– 67. Campbell reports her discovery of a previously unknown manuscript “musical compendium,” written in southern Germany or Austria by one “A. S.” in the middle of the seventeenth century. It was intended as a comprehensive tutor for no fewer than thirty instruments, mostly stringed, although there is some fingering information for cornetto, curtal, and recorder. The author seems to have been a lutenist or theorbo player of some expertise, aware of developments in composition and theory in Venice, and able to cite sources connected with the courts in the area where he lived—perhaps he was a courtier himself. We look forward to Campbell’s further promised articles discussing the manuscript in detail. Mersenne, Marin (1588–1648) 917. Mersenne, Marin. Harmonic universelle, contenant la théorie et la pratique de la musique, oú il est traité de la nature des sons, et des mouvemens, des consonances, des dissonances, des genres, des modes, de la composition, de la voix, des chants, et de toutes sortes d’instrumens harmoniques [Universal harmony, containing the theory and practice of music, in which is treated the nature of sounds as well as tempos, consonances, dissonances, genres, modes, composition, the voice, songs, and all kinds of musical instruments]. Paris: Sébastien Cramoisy, 1636. ML 100 .M3. In his great, encyclopaedic Harmonie universelle, Father Marin Mersenne devotes a section to recorders, which he calls “Flustes d’Angleterre, que l’on appelle douces, & à neuf trous” (English flutes, which are called sweet and nine-holed). Mersenne’s engraving shows a dessus recorder still made in one piece with a slight inverse conical bore. His fingering chart uses lines to depict closed holes, in a similar manner to the recorder tablature used later in the century in England (see below), apart from the fingering – – 2 – – – – –, which for some reason is shown by means of one closed and seven open circles. The range of the tenor as shown in this chart is two octaves, c1 to c3 (“although some give it only the range of a thirteenth”), with completely Baroque fingering including the supporting-finger technique. The dessus, taille or haute-contre, and basse “make the small register (petit jeu), just as those that follow make the large register; but they can be tuned together, like the large and small registers of organs.” The large register consists of the basse in f together with two lower sizes that are never specified, although the lowest is said to be from seven to eight feet in length. Mersenne says nothing about the articulation of the recorder, but his instructions for

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the cornetto give us some idea of current practice. It may be sounded in four ways: (1) with wind alone, like organ pipes (slurring); (2) with tongue and lip, pronouncing ta ta ra ra ra ra ra ra descending or ascending in diminutions (his examples also show ta ta ra ta ra ta ra ta ra ta ra for dotted notes); (3) with the tongue alone, for all lengths of note except sixteenth-notes, for which one uses the second method; and (4) with the lip, giving a lip-stroke every second note (he shows pairs of sixteenth-notes tongued taa). He shows two methods of articulating a cadential trill: the first with tara tara tara ta; the second with the wind alone (slurred), “which imitates the voice and the most excellent method of singing well.” 918. Mersenne, Marin. Harmonic universelle, contenant la théorie et la pratique de la musique. Paris, 1636. Édition facsimilé de l’exemplaire conservé à la Bibliothèque des Arts et Métiers et annoté par l’auteur. Introd. par François Lesure. Paris: Centre National de la Recherche Scientifique, 1963. 3 vols. OCLC #6333609. ML 100 .M3 1636a. Facsimile of the copy that includes the author’s annotations. 9. Mersenne, Marin. Harmonic Universelle: The Books on Instruments. Translated by Roger E.Chapman. The Hague: Martinus Nijhoff, 1957. xii, 596 p. OCLC #394914. ML 100 .M313. 0. Köhler, Wolfgang. Die Blasinstrumente aus der “Harmonic Universelle” des Marin Mersenne: Übersetzung und Kommentar des “Livre cinquiesme des instruments a vent” aus dem “Traité des instruments” [The wind instruments from Marin Mersenne’s Harmonie universelle: translation of and commentary on the “Livre cinquiesme des instrumens a vent” from the “Traité des instruments”]. Celle: Moeck, 1987. Edition Moeck Nr. 4038. vi, 400 p. ISBN 387549290. ML 930 .K63 1987. Reviewed by Edgar H.Hunt in Galpin Society Journal 44 (1991): 180. 1. Köhler, Wolfgang. “Die Blasinstrumente aus der ‘Harmonie Universelle’ des Marin Mersenne und ihre Bedeutung für die Aufführungspraxis heute” [The wind instruments from Marin Mersenne’s Harmonie universelle and their significance for performance practice today]. Tibia 13, no. 1 (1988): 1–14. Adapted from item 920. Only a little material specifically about recorders. Trichet, Pierre (1586 or 1587–1644?) 922. Lesure, François. “Le traité des instruments de musique de Pierre Trichet, Les instruments à vent” [The treatise on musical instruments by Pierre Trichet: the wind instruments]. Annales musicologiques 3 (1955): 283–387. The same three names for the recorder as Mersenne’s are given by Pierre Trichet in his Traité d’instruments (ca. 1640). Unfortunately Trichet has nothing else of value to say about recorders. Matthyszoon, Paulus (1613 or 1614–1684) 923. M[atthyszoon], P[aulus]. Vertoninge en onderwyzinge op de hand-fluit [(Fingering) depictions and instructions for the recorder]. Amsterdam: Paulus Matthysz[oon], 1649? Found with two of the extant copies of Jacob van Eyck’s Der fluyten lusthof I (1649; 2d ed., 1655) and generally associated with him nowadays, but signed “P. M.” and

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apparently designed for Matthyszoon’s collection ’t Uitnement kabinet II (1649), the title page of which refers to “een korte onderwyzinge op de hand-fluit” (a short instruction for the recorder). Strictly speaking, it is therefore incorrect to speak of “van Eyck fingerings” for the recorder (see item 1834, p. 377). Fingering instructions only (in prose) for C instrument. Note that the Dutch habitually abbreviate the suffix szoon (son) as sz without an ending period. This practice has proved confusing for English-speaking writers (witness the entry for the publisher in The New Grove, 2d ed.). Blankenburg, Gerbrant Quirijnszoon van (ca. 1620–1707) 924. Blanckenburgh, Gerbrandt. Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t’eenemael zuyver blaezen, en hoe men op yeder ’t gemackelyckst een trammelant zal konnen maken, heel dienstigh voor de lief-hebbers [Instructions for how one can learn to play all the most usual tones and semitones on the recorder in tune, and how one can make a trill in the easiest way on each one—very useful for music lovers]. Amsterdam: Paulus Matthysz[oon], 1654. Also found with one of the extant copies of Jacob van Eyck’s Der fluyten lust-hof I(2d ed., ca. 1655). [Warner, no. 1;Vinquist, 151–52] Blankenburg was an organist and carillonneur in the Netherlands. Onderwyzinge is said to have been written at the request of Matthyszoon, the publisher. Fingering instructions (in prose) for C instrument, plus two bits of advice: stop the holes neatly; if you blow too hard or too softly, your intonation will suffer. Blankenburg’s idiosyncratic fingering chart is noteworthy for giving separate fingerings for enharmonically equivalent notes (although the difference usually consists of slightly more or less shading of one fingerhole) and one or more trill fingerings for every pitch (again involving only one fingerhole). 925. Blanckenburgh, Gerbrandt. Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t’eenemael zuyver blaezen…. Munich: Oscar, 1871. OCLC #4197739, #24862149. MT 342 .B4 1871. Reprint. 6. Blanckenburgh, Gerbrandt. Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t’eenemael zuyver blaezen…. Münster: Microprint Musikverlag, 1989. 10, 12 p. Reprint of 1871 edition with German translation and afterword. 7. Dart, Thurston. “Four Dutch Recorder Books.” Galpin Society Journal 5 (1952): 57– 60. Briefly describes Blankenburg’s Onderwyzinge (including a transcription of the fingering chart), Der gooden fluyt-hemel (1644), and the two parts of Jacob van Eyck’s Der fluyten lust-hof.

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THE BAROQUE RECORDER Bismantova, Bartolomeo 928. Bismantova, Bartolomeo. “Compendio musicale. In cui s’insegna à principianti il vero modo, per imperare con facilità, le regole del canto rigurato, e canto fermo; come anche per comporre, e suonare il basso continouo, il flauto, cornetto, e violino; come anche per acordare organi, e cembali” [Musical compendium, in which is taught to beginners the true method to command with ease the rules of figured song and plainsong, as well as to compose and play the basso continuo, recorder, cornetto, and violin, and also the organ and harpsichord]. Manuscript, Ferrara, 1677. Biblioteca Municipale di Reggio Emilia, Ms. Reggiani E. 41. The manuscript Compendio musicale by Father Bartolomeo Bismantova, a wind player in Reggio Emilia and Ferrara, is dated 1677, although the version that has come down to us seems to be that prepared for the printer in 1694. A note by the author informs us that it was not published because of the death of his patron, the abbott Ferrante Bentivoglio, that year. The treatise has an extensive section, “Regola per suonare il flauto italiano” (rule for playing the recorder), about a recorder in g1 “of three joints such as those used today.” (He also gives a scale beginning on d1.) Bismantova’s instructions are full of the wisdom of an experienced professional. To lower the pitch, pull out the head joint “then also lengthen [the recorder] just a bit at the foot joint, so that all the pitches will be in tune.” If the recorder is more than a semitone away from the right pitch and cannot be adjusted by elongating the tube, carefully place a little bit of wax on one part of the windway (linguetta) to adjust it. When playing the recorder in dry weather or in summer, use a feather to oil the inside of the pipe with highclass olive, sweet almond, or jasmine oil, to soften the recorder and make the high notes come in tune. In his repetitive style, Bismantova insists that all wind instruments should be played “in a singing manner and not otherwise, and also in imitation of one who sings.” His tonguing syllables are mostly similar to the Renaissance ones. The direct tongue (de) is used for all note values from a breve to an eighth-note; the reverse tongue (de re le re), for eighth-, sixteenth-, and thirty-second-notes; two other types of syllables (de che and der ler) are little used, except (curiously for the first one) in accompanying in cantabile style. What is new is the importance now given to the smooth tongue (lingua legata), or slurred pairs of notes: de a de a de a; this presumably reflects the influence of violin technique. Bismantova gives a practical method for learning a piece of music: speak the various articulations first in rhythm; only after mastering that, practice the fingerings on the instrument. His fingering chart is marked with the sign “t” to indicate the appropriate finger to shake for trills. 929. Bismantova, Bartolomeo. Compendio musicale (Ferrara 1677). (Archivum musicum, Collana di testi rari, 1.) Firenze: Studio per edizioni scelte, 1978. 123 p. OCLC #12666729. MT 6 .B609 C6. Facsimile. Reviewed by Edgar Hunt in Recorder & Music 6, no. 4 (December 1978): 122.

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930. Cavicchi, Adriano. “Prassi strumentale in Emilia nell’ultimo quarto del seicento: Flauto italiano, cornetto, archi” [Instrumental practice in Emilia in the last quarter of the seventeenth century: recorder, cornetto, strings]. Studi musicali 2, no. 1 (1973): 111–43. A transcription of Bismantova’s treatise together with the small amount of biographical information we have about the author. 931. Dickey, Bruce, Petra Leonards, and Edward H.Tarr. “The Discussion of Wind Instruments in Bartolomeo Bismantova’s Compendio Musicale (1677): Translation and Commentary=Die Abhandlung über die Blasinstrumente in Bartolomeo Bismantovas Compendio Musicale (1677): Übersetzung und Kommentar.” Basler Jahrbuch für historische Musikpraxis 2 (1978): 143–87. English and German translations of Bismantova’s sections on wind instruments together with extensive helpful commentary. The original text is given in an appendix. 932. Castellani, Marcello. “The Regola per suonare il flauto italiano by Bartolomeo Bismantova (1677).” Galpin Society Journal 30 (1977): 76–85. A useful discussion of Bismantova’s section on the recorder. England, 1679–1695 Although the French approach to the new type of recorder is not documented until later in the seventeenth century, we can gain some idea of it from the methods of England, where the taste for French music and instruments brought first the flageolet, then the recorder into vogue among amateurs. Thomas Greeting, a royal violinist who supplemented his income by teaching amateurs such as the wife of the famous diarist Samuel Pepys, wrote a method for the flageolet, The Pleasant Companion (2d ed., London: John Playford, 1673; 1st ed. not traced but claimed to be as early as 1661 or 1667, and definitely published by 1668). This served as a model for such books for over a century: a few rudiments of music are followed by a fingering chart and a selection of “lessons,” or popular tunes of the day. Those who had already learned the flageolet by “dot-way,” as its tablature was known, were presented the recorder by the same procedure. (As the title of a method that has not survived proclaims: The Recorder or Flute made easie; by exact and true directions, shewing the manner and way of playing on that fashionable Instrument by the Notes of the Flagelet; whereby the meanest capacity may, with a little spare time, attain his desire [London: J.Clarke, 1683].) A few methods were aimed at children: J[ohn] B[anister II]’s The Most Pleasant Companion announces “plain and easy rules and instructions for young beginners”; The Compleat Instructor to the Flute lists similar “directions.” Robert Carr’s The Delightful Companion has “plain and easy instructions for beginners,” to be used in conjunction with a teacher. Banister is the only significant professional musician represented among these methods; the remainder are anonymous or else put together by unknowns (Carr) or music sellers (John Hudgebut’s A Vade Mecum and Humphrey Salter’s The Genteel Companion). The four earliest methods—Hudgebut, Banister, Carr, and Salter—are the most revealing because of their use of the flageolet tablature, which indicates slurs and fingerings for ornaments. Generally enharmonic sharps and flats are distinguished. The

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ornaments discussed are elementary ones derived from the French style: the trill, beginning on the upper auxiliary or main note (at first called the “beat,” later the “shake” or “close shake”); the mordent, beginning on the main note or with a rising appoggiatura (“shake,” then “beat” or “open shake”); the slur; the slur and mordent; and the “double shake,” a warbling trill across the registers on g2. The intervals involved in these ornaments are not always a plain tone or semitone. Carr also has a chart for trill fingerings, some of which are ingeniously conceived. 933. Hudgebut, John. A Vade Mecum for the Lovers of Musick, Shewing the Excellency of the Rechorder: With some Rules and Directions for the Same. Also, some New Ayres Never Before Published. London: N.Thompson for John Hudgbut, 1679. MT 348 .H83 V2. [Warner, no. 7; Vinquist, 153–54] 934. B[anister], J[ohn II]. The Most Pleasant Companion, or Choice New Lessons for the Recorder or Flute, Being a New Collection of New Lessons, Set Forth by Dots and Notes, To Which is Added, Plain and Easie Rules and Instructions for Young Beginners. London: Printed for John Hudgebutt, 1681. MT 342 .B25 M6. [Warner, no. 9; Vinquist, 156–57] 935. [Carr, Robert]. The Delightful Companion: or, Choice New Lessons for the Recorder or Flute, to Which is Added, Several Lessons for Two and Three Flutes to Play Together. Also Plain and Easie Instructions for Beginners, and the Several Graces Proper to This Instrument. 2d ed. London: John Playford and John Carr, 1686. 1st ed. announced 1682. [Warner, no. 15; Vinquist, 163–65] 936. Salter, Humphry. The Genteel Companion; Being Exact Directions for the Recorder: With a Collection of the Best and Newest Tunes and Grounds Extant. London: Printed for Richard Hunt and Humphry Salter, 1683. MT 342 .A2 S12. [Warner, no. 13; Vinquist, 160–61] 937. Mezger, Marianne. “Vom Pleasant Companion zum Compleat Flute Master: Englische Blockflötenschulen des 17. und 18. Jh.” [From the Pleasant Companion to the Complete Flute Master: English recorder tutors of the seventeenth and eighteenth centuries]. Tibia 20, no. 2 (1995): 417–31. Reporting her research on English Baroque recorder tutors, Mezger summarizes the contents of the tutors, then discusses what can be learned about ornaments from both the instructions and the musical examples in tablature. Shows that the tutors document three phases in the development of the ornaments: 1679–1683, when they tended to start on the main note; 1686 (Carr), when trills now started on the upper auxiliary and the mordent was transformed into a curious kind of turn; and 1695, when the French accent, turned trill, and flattement were introduced. 938. Myers, Herbert W. “Three Seventeenth-Century English Recorder Tutors.” American Recorder 7, no. 2 (spring 1966): 3–6. A thoughtful discussion of John Hudgebut’s Vade Mecum, John Banister II’s Most Pleasant Companion, and Humphrey Salter’s Genteel Companion (items 933, 934, and 936). Because of their resemblance to one another, Myers treats them as a single source and does not distinguish among them in the article. 939. Dart, Thurston. “Recorder ‘Gracings’ in 1700.” Galpin Society Journal 12 (1959): 93–94. A transcription with commentary of “Rules for Gracing on the Flute,” taken from

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British Library Add. MS 35043 (f. 125), a volume of miscellaneous instrumental music from the late seventeenth century. (Another transcription is found in item 863, p. 293.) 940. Davies, Malcolm. “The Marks and Rules for Gracing—Easy Baroque Ornamentation from English Sources.” Recorder Magazine 13, no. 2 (September 1993): 39–41; 13, no. 3 (December 1993): 69–71. Part 2 includes the “Rules for Gracing on the Flute.” Letter from Roy Brewer in 14, no. 1 (March 1994): 27 and a reply by Davies in 14, no. 2 (June 1994): 62–63. 941. MacLean, Avery Alice. “Performance Practice in Seventeenth-Century Recorder Tablatures.” M.A. thesis, McMaster University, 1996. With CD-ROM containing chapter 4 and some performances. Despite the apparently broader title, this thesis is concerned with the implications of four late-seventeenth-century English recorder tutors: Hudgebut, Banister, Salter, and Carr. After a short introduction, chapter 2 consists of a rather discursive discussion of musicmaking in Restoration England. The next chapter describes the recorder tutors, adding little to our knowledge. Chapter 4 (same title as the thesis), which promises to have a detailed discussion of performance practice gleaned from the tutors, is on the CDROM in an already-obsolete hypercard program for the Apple Macintosh. The concluding chapter offers brief conclusions; the bibliography is rife with errors. It is a shame that the author had not encountered Mezger’s work on the subject (of which items 937, 1039, and 1898 had already been published). Huygens, Constantijn (1596–1687) 942. Huygens, Christiaan. “Tons de ma flute” [Notes of my recorder]. Manuscript, 1686. Universiteitsbibliotheek Leiden, Codex Hugenianus 1, p. 231. Transcribed in Christiaan Huygens, Œuvres completes, vol. 20: Musique et mathématique; Musique; Mathématiques de 1666 à 1695, 104. The Hague: Martinus Nijhoff, 1940. OCLC #25280555. Q 113 .H9. Fingering chart. Transcribed in item 1834, p. 380. Loulié, Étienne (1654–1702) 943. Loulié, Étienne. “Méthode pour apprendre à jouer de la flûte douce” [Method for learning to play the recorder]. Manuscript. Paris, Bibliothèque Nationale, fonds fr. n. a. 6355, xix–xx. The first French method for the Baroque recorder was written by Étienne Loulié, a musician and music director in the celebrated ensemble attached to the household of Marie de Lorraine (better known as Mademoiselle de Guise), later music teacher to the Duke of Chartres (who was to become regent of France). According to Patricia Ranum’s researches (item 948), in the 1680s Loulié wrote the first draft of this recorder method and several other methods and treatises, perhaps for Mademoiselle de Guise’s academy for children of the nobility, later presumably putting all of these methods to good use in his instruction of Chartres. The tablature and some of the wording in Loulié’s recorder method seem to derive from the earliest English methods. As his method was intended for adolescents, it is fairly elementary—failing, for example, to discuss ornaments, which depend on taste and can be formed only under a good teacher. Yet we learn that he taught

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the tonguing syllables tu and ru. Loulié revised and simplified the method in 1701 or 1702, after seeing Freillon-Poncein’s (item 981). Attention was first drawn to Loulié’s manuscript treatises by Albert Cohen in his article “Étienne Loulié as a Music Theorist,” Journal of the American Musicological Society 18, no. 1 (spring 1965): 70–72. 944. Loulié, Etienne. Méthode pour apprendre à jouer de la flûte douce. Edited by Nicolas Stroesser. Strasbourg: Les Cahiers de Tourdion, 1994. Not seen. 5. Pottier, Laurence, ed. Les 3 méthodes de flûte à bec en France à l’époque baroque [The three French recorder methods of the Baroque era]. Paris: Éditions Aug. Zurfluh, 1996. 58 p. ISBN 2877500675. The French text of Loulié’s manuscript method. Uses italics to differentiate the revisions from the original version of the method. (Unfortunately, however, Pottier fails to draw attention to the changes that Loulié made in his articulation syllables.) Throws in the recorder sections of the Freillon-Poncein and Hotteterre methods for good measure. 946. Semmens, Richard. “A Translation of Etienne Loulié’s Method for Learning How to Play the Recorder.” American Recorder 24, no. 4 (November 1983): 135–45. A complete translation based on the first version of the method. Significant variants found in the second version are recorded in footnotes. Music examples are transcribed in a clear hand. Semmens places the method in its historical context, explains Loulié’s tablature, and summarizes his discussion of ornaments. Claims that, because of its excellent organization and presentation of material, the method is a historical document that “is also of demonstrable practical value.” Patricia M.Ranum, in 25, no. 3 (August 1984): 119–21, discusses the problems one encounters when editing Loulié’s manuscripts and corrects several errors in Semmens’s translation. She also speculates on the dating of the revised manuscript based on a death date of 1702 rather than 1707 as found in Brossard. 947. Semmens, Richard. “Étienne Loulié’s ‘Method for Learning How to Play the Recorder.’” Studies in Music from the University of Western Ontario 6 (1981): 7–23. A summary of the method supported by lengthy excerpts of the original French with English translation. A large part of the article is devoted to the sections on ornamentation and articulation. Semmens again places the method in its historical context and compares Loulié’s technique of tablature with that of his contemporaries. 948. Ranum, Patricia M. “Étienne Loulié (1654–1702): Musicien de Mademoiselle de Guise, pédagogue et théoricien” [Étienne Loulié (1654–1702): musician to Mademoiselle de Guise, pedagogue, and theorist]. “Recherches” sur la musique française classique 25 (1987): 27–76; 26 (1988–90): 5–49. A lengthy scholarly article, putting forward a number of plausible hypotheses about Loulié’s life, based on the surviving archival evidence. Speculates on the dating and circumstances of his manuscript recorder method. His inventory-after-death lists eight “fluttes” (recorders [and flutes?]). 949. Ranum, Patricia M. “Étienne Loulié: Recorder Player, Teacher, Musicologist.” American Recorder 32, no. 1 (March 1991): 7–11, 34. A popularized biography focusing on his years of service under Mademoiselle de Guise, his later work with Henri Foucault as an arranger and copyist, and his work on

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acoustics with mathematician Joseph Sauveur. References to his career as a recorder player are scattered throughout, and particular mention is made of the content and sources of the recorder method. Talbot, James (1664–1708) 950. Baines, Anthony. “James Talbot’s Manuscript (Christ Church Library Music Ms 1187).” Galpin Society Journal 1 (1948): 9–26. The article that first told the world about Talbot’s celebrated manuscript on musical instruments (ca. 1692–1695), discovered by Robert Donington. A short general introduction to the manuscript, followed by a transcription of Talbot’s remarks on wind instruments and a commentary by Baines. Talbot included measurements for tenor and bass recorders by Bressan (the section for alto recorder is left blank), as well as listing the pitches of the sizes of recorder known to him (sopranino, soprano, voice flûte, tenor, bass, great bass). England: The Compleat Flute-Master and Successors, 1695–1794 When John Walsh and Joseph Hare entered the music-publishing business in 1695, they immediately issued a recorder method, The Compleat Flute-Master, with the most extravagant claim of all. Their amusing preface includes a shrewd commentary on the work of their predecessors and a fond hope for their own: “Many of our employ have been very industrious to oblige the public in this manner; though they were not very full in their instructions, yet they found their endeavors very successful. Since therefore their imperfect rules have proved thus fortunate, we have reason to hope that this attempt of ours (being more correct than any yet extant, having all the rules that can possibly be expressed by way of printing) will have an effect answerable to its design, the main end we aim at being only the public advantage….” Walsh and Hare were successful beyond their wildest dreams. They could certainly never have predicted that their fingering chart and ornament instructions were to be pirated and incorporated into most English methods (as well as The Bird Fancyer’s Delight) until as late as 1780, when the ornaments must surely have greatly puzzled the performers of classical songs and dances. This series of methods is treated as a group here. None of them has anything significant to add besides selections of the latest tunes. (The other English methods are treated separately below.) 951. The Compleat Flute-Master, or, The Whole Art of Playing on ye Rechorder, Layd Open in Such Easy & Plain Instructions, that by them ye Meanest Capacity May Arrive to a Perfection on that Instrument, with a Collection of ye Newest & Best Tunes, Composed by the Most Able Masters, to Which is Added an Admirable Solo. London: J.Hare and J.Walsh, 1695. [Warner, no. 18; Vinquist, 166–68] In addition to the ornaments found in the earlier English methods, the instructions in The Compleat Flute-Master mention the “sigh” (equivalent to the French accent) and the “double relish” (trill with turn), and give directions for adding graces on ascending, descending, and repeated notes when they are not marked. 952. Lasocki, David. “The Compleat Flute-Master Reincarnated.” American Recorder 11, no. 3 (summer 1970): 83–85.

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A discussion of The Compleat Flute-Master, particularly the fingering chart and ornament instructions. Identifies many of the tunes appearing in the twenty-three pages of music that follow the text. Reprints two tunes by Henry Purcell that are of interest for their ornaments. 953. The Compleat Instructor to the Flute The Second Book. Containing Very Plain & Easie Directions for Young Beginners, With Variety of ye Newest & Best Tunes… London: J.Young, 1700. [Warner, no. 33; Vinquist, 173–74] 954. The Flute-Master Compleat Improu ’d, or, The Gentlemens Diversion Made More Easie Than Any Yet Extant. Book the First. Containing Plain & Easier Directions for Young Beginners, with Variety of the Newest & Best Tunes, Compos ’d & Contrived for that Instrument by the Most Eminent Masters…London: John Young, 1706. [Warner, no. 38; Vinquist, 181] 955. The Fifth Book of the New Flute Master Containing The Most Perfect Rules and Easiest Directions for Learners on the Flute Yet Extant. Together wth an Extraordinary Collection ofAires Both Italian and English…London: J. Walsh and J.Hare, 1706. [Warner, no. 39; Vinquist, 182] 956. B., T. The Compleat Musick-Master: Being Plain, Easie, and Familiar Rules for Singing, and Playing on the Most Useful Instruments Now in Vogue, According to the Rudiments ofMusick. Viz, Violin, Bass Viol, Flute, Treble-Viol, Haut-boy, TenorViol…. The Third Edition, with Additions. London: William Pearson, 1722. [Warner, no. 56; Vinquist, 198–99] 957. The New Flute Master for the Year 1729 Containing the Most Compleat Rules & Directions for Learners on ye Flute. London: J.Walsh and Joseph Hare, 1728. [Warner, no. 57; Vinquist, 202–3] 958. The Second Book of the Flute Master Improv’d Containing the Plainest Instructions for Learners, with Variety of Easy Lessons by the Best Masters. London: D.Wright Jr., ca. 1730. [Warner, no. 60; Vinquist, 207] 959. [Prelleur, Peter]. The Modern Musick-Master, or, The Universal Musi-cian…. London: Printing Office in Bow Church Yard, 1730. Part 2, for the recorder, is entitled: Directions for Playing on the Flute with a Scale for Transposing Any Piece of Musick to ye Properest Keys for that Instrument…. MT 6 .P93 1730. [Warner, no. 59; Vinquist, 204–6] A series of seven anonymous methods. The method for the transverse flûte (The Newest Method for Learners on the German Flute) is of interest as being a (partial) translation of Hotteterre’s instructions. 960. Prelleur, Peter. Instructions & Tunes for the Treble Recorder, from “The Modern Musick-Master,” c. 1731. Edited by Edgar Hunt. London: Schott, 1960. OCLC #7220777. MT 342 .P88 1731a. A facsimile of Directions for Playing on the Flute (from item 959). 1. Prelleur, Peter. The Modern Musick-Master, or, The Universal Musician, 1731. Edited by Alexander Hyatt King. (Documenta Musicologica. Erste Reihe: DruckschriftenFaksimiles, 27.) Kassel: Bärenreiter, 1965. 48 p. OCLC #27138322. MT 6 .P93 1731a. The recorder method is also published separately as Directions for Playing on the Flute. Facsimiles. Reviewed by Erich Katz in American Recorder 7, no. 2 (spring 1966): 20. 2. Newman, Joel. “A Commentary on the Directions for Playing on the Flute (c.

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1731).” (Eighteenth-Century Promenades, 1.) American Recorder 4, no. 1 (February 1963): 3–4; 4, no. 2 (May 1963): 3–4. Newman describes the contents of the method: the title page (reproduced in facsimile) and the familiar engraving on the title-page verso depicting a gentleman playing a recorder by a lake; the instructions on playing the recorder; elementary music theory; ornamentation; and how to transpose violin and vocal works so that they fit on the recorder. Newman identifies the twenty-one opera airs (nearly all by Handel) in the anthology of thirty pieces at the end of the method. Summarizes the “marks and rules for gracing,” which, although Newman did not know it, were lifted ultimately from The Compleat Flute-Master. * Davies, Malcolm. “The Marks and Rules for Gracing—Easy Baroque Ornamentation from English Sources.” Cited above as item 940. Part 1 includes the ornament instructions from item 959. 3. Directions for Playing on the Flute with a Scale for Transposing any Piece of Musick to ye Properest Keys for that Instrument…. London: Benjamin Cooke, ca. 1735. MT 342 .P87. [Warner, no. 67; Vinquist, 211–12] 4. Wright, Daniel. The Compleat Tutor for ye Flute Containing the Newest Instructions for that Instrument . London: Author, ca. 1734. [Warner, no. 69; Vinquist, 213–14] 5. The Compleat Tutor for the Flute. Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency…. London: John Johnson, ca. 1745. MT 342 .C65. [Warner, no. 72; Vinquist, 217–18] 6. The Compleat Tutor for the Flute Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency…. London: John Simpson, ca. 1746. [Warner, no. 75; Vinquist, 219–20] 7. The Complete Flute Master Containing the Best & Easiest Rules to Learn that Favorite Instrument…. London: John Tyther, ca. 1750. [Warner, no. 82; Vinquist, 224– 25] 8. The Muses Delight: An Accurate Collection of English and Italian Songs, Cantatas and Duetts, set to Music for the Harpsichord, Violin, German-Flute, &c. With Instructions for the Voice, Violin, Harpsichord or Spinnet, German-Flute, CommonFlute, Hautboy, French-Horn, Bassoon and Bass-Violin…. Liverpool: John Sadler, 1754. Editions of 1756, 1757, and 1758 entitled Apollo’s Cabinet: or the Muses Delight…. M 1619 .A2 M9. [Warner, no. 88; Vinquist, 228–29] 9. The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency…. London: Peter Thompson, 1754. [Warner, no. 89; Vinquist, 230–31] 0. The Compleat Tutor for the Flute Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency…. London: Thompson & Son, ca. 1760. [Warner, no. 95; Vinquist, 232] 1. The Complete Flute Master Containing the Best & Easiest Rules to Learn that Favorite Instrument…. London: Thomas Bennett, ca. 1760. [Warner, no. 98; Vinquist, 233–34] 2. Rutherford, David. The Compleat Tutor for ye Flute Containing the Newest Instructions for that Instrument. London: Dad. Rutherford, ca. 1760. [Warner, no. 99; Vinquist, 235]

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973. The Compleat Tutor, for the Common Flute, Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency…. London: Chas. & Saml. Thompson, ca. 1765. [Warner, no. 103; Vinquist, 236] 974. The Compleat Tutor for the Flute Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency…. London: R.Bremner, ca. 1765. [Warner, no. 103a; Vinquist, 237–38] 975. Compleat Instructions, for the Common Flute, Containing the Easiest and Most Modern Methods for Learners to Play, Carefully Corrected by Eminent Masters…. London: Longman and Broderip, ca. 1780. [Warner, no. 135; Vinquist, 241–42] 976. New and Complete Instructions for the Common Flute, Containing the Easiest & Most Approved Methods for Learners to Play…. London: G.Goulding, ca. 1794. 977. Henseler, Ewald. “Zwei unbekannte Grifftabellen?” [Two unknown fingering charts?]. Tibia 26, no. 1 (2001): 384–85. Concerns the discovery of the Goulding tutor (see previous item) as well as item 1010. The fingering chart is reproduced. Speer, Daniel (1636–1707) 978. Speer, Daniel. Grund-richtiger kurtz-, leicht-, und nöthiger jetz wolvermehrter Unterricht der musicalischen Kunst [Basic, short, easy, and necessary instruction in the art of music, now augmented]. 2d ed. Ulm: Georg Wilhelm Kühnen, 1697. MT 6 .S73 G8. [Warner, no. 25] Includes a fingering chart for Quart-Flöten (soprano recorder) with a range of two octaves. Douwes, Claas (ca. 1650-ca. 1725) 979. Douwes, Claas. Grondig ondersoek van de toonen der musijk [A thorough examination of the notes of music]. Franeker: Adriaan Heins, 1699. [Warner, no. 27] Douwes, an organist and schoolmaster in Tzum, Friesland, wrote this instruction book, apparently directed at provincial musicians and comprising mostly information on music theory and contemporaneous keyboard practice. His short section on the recorder describes in words the fingerings for a tenor recorder with the range c1 to d3. 980. Douwes, Claas. Grondig ondersoek van de toonen der musijk. Franeker: Adriaan Heins, 1699. Edited by Peter Williams. (Early Music Theory in the Low Countries, 2.) Amsterdam: Frits Knuf, 1970. MT 6 .E232 v.2. Facsimile. Freillon-Poncein, Jean-Pierre 981. Freillon-Poncein, Jean-Pierre. La veritable maniere d’apprendre a jouer en perfection du haut-bois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d’instrumens [The true way to learn to play with perfection the oboe, recorder, and flageolet, with the principles of music for the voice and all kinds of instruments]. Paris: Jacques Collombat, 1700. MT 362 .F8. [Warner, no. 35; Vinquist, 176–77]

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La veritable manière by Freillon-Poncein, who seems to have been a musician in the province of Dauphiné, was the first published French method for the Baroque recorder. It was intended primarily for the oboe, however, and adds little to our knowledge of recorder technique. The fingering chart, shown by means of schematic figures of a recorder, introduces fully chromatic fingering for the first time, apparently with equal half-steps. Trill fingerings are described for the first octave only. Of considerable interest are the extensive instructions for ornaments and for articulation (like Loulié, using the tonguing syllables tu and ru). 982. Freillon-Poncein, Jean-Pierre. La veritable maniere d’apprendre a jouer en perfection du haut-bois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d’instrumens. Geneva: Minkoff Reprint, 1972. 72 p. OCLC #669818. MT 362 .F83. Published with Amand van der Hagen, Méthode nouvelle et raisonnée pour le hautbois (Paris, ca. 1792). Facsimile. 3. Freillon-Poncein, Jean-Pierre. The True Way to Learn to Play Perfectly the Oboe, the Recorder, and the Flageolet Along with the Principles of Music for Voice and All Kinds of Instruments. Translated with introduction by Catherine P.Smith. Brooklyn: Translations Center, Brooklyn College, City University of New York, 1969. 115 leaves. OCLC #10424976. 4. Freillon-Poncein, J.P. On Playing Oboe, Recorder, & Flageolet. Translated with an introduction by Catherine Parsons Smith. Bloomington: Indiana University Press, 1992. ISBN 0253288819. MT 362 .F813 1992. According to the introduction, the author’s original translation (item 983) was “extensively revised” for this edition. Brief introduction, footnotes, and selected bibliography. Examples given in facsimile. Reviewed by Mark Davenport in American Recorder 35, no. 2 (March 1994): 19–20. 985. Freillon-Poncein, Jean-Pierre. “The True Way to Learn to Play the Oboe, Recorder, and Flageolet Perfectly.” Translated and edited by Catherine P. Smith. American Recorder 23, no. 1 (February 1982): 3–10. The introduction offers a brief biography followed by a summary of the treatise. The translation includes chapters 5 (tonguing) and 12 (characteristics of dance forms) and excerpts from chapters 6 (meter), 7 (preluding), and 8 (trilling). 986. Lasocki, David. “Freillon-Poncein, Hotteterre, and the Recorder.” American Recorder 10, no. 2 (spring 1969): 40–43. A general introduction to Freillon-Poncein’s La veritable manière. Includes the text of the part devoted exclusively to the recorder, with a parallel English translation. Compares it in detail with Hotteterre’s method (item 987, published seven years later). Judging from the preludes composed by both authors, the standard of recorder playing in France was much higher than had been believed. * Pottier, Laurence, ed. Les 3 méthodes de flûte à bec en France à l’époque baroque. Cited above as item 945.

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Hotteterre, Jacques (1674–1763) Principes de la flûte 987. Hotteterre, Jacques. Principes de la flute traversiere, ou flute d’allemagne, de la flute a bec, ou flute douce, et du haut-bois, divisez par traitez [Principles of the flûte, recorder, and oboe, divided into treatises]. Paris: Christophe Ballard, 1707. [Warner, no. 42; Vinquist, 185–88] As the order of instruments named on the title page suggests, Jacques Hotteterre le Romain’s Principes de la flûte was conceived primarily as a method for the transverse flute, which had recently become “one of the most fashionable instruments” in France. Although, as Hotteterre says, the recorder had “its merits and its partisans, just like the flute,” he gives the recorder a secondary role by placing its section after that of the flute and referring recorder players to the flute section for information on articulation and ornaments. Hotteterre had recently assumed the duties of flûte de la chambre du roy (flute of the king’s chamber), concentrating on playing the flûte and the musette. Although the engraving in his tutor of two hands playing a recorder has become strongly identified with the Baroque recorder in modern writings, his familiarity with the instrument has been questioned (for example, in item 995). In his fingering charts, Hotteterre seems to have been the first author to use the nowfamiliar symbols—black circles for closed fingerholes, white circles for open fingerholes, and half-blackened circles for half-closed or “pinched” fingerholes—systematically and divorced from a picture of the instrument. Although his method of showing trill fingerings is equivalent to Carr’s, Hotteterre’s adoption of these symbols makes them much easier to comprehend. He devotes a chapter to explaining the fingerings for the battement (mordent) and flattement (a fingered vibrato). The other ornaments—port-devoix (ascending appoggiatura), coulement (descending appoggiatura), accent, and double cadence (trill with turn)—are described in a manner that leaves their rhythm and accentuation open to interpretation. (Hotteterre adds to his instructions on ornaments in the preface to his Pieces pour la flûte traversière et autres instruments, avec la basse continue, op. 2 [Paris, 1708; 2d ed., 1715].) Hotteterre’s instructions on articulation once again use the syllables tu and ru. Tu serves for all long notes. Tu and ru are used for notes inégales, dotted figures, repeated and leaping sixteenth-notes, and two (occasionally four) quick notes that fall between two longer notes. (For the most recent research on the background to these syllables, see item 1058.) In addition, two, three, or more notes can be slurred together; Hotteterre freely notates slurs—including long ones—in his improvisatory preludes and traits. 988. Hotteterre, Jacques. Principes de la flûte traversière, de la flûte à bec et du hautbois, Paris 1707. (Archivum musicum: L’art de la flûte traversière, 53.) Florence: Studio per edizioni scelte, 1998. 50 p. ISBN 887242772x. MT 342 .H74. The first edition of the Principes de la flûte (item 987), finally published in facsimile, with a preface in Italian by Marcello Castellani. 989. Hotteterre, Jacques. Principles of the Flute, Recorder & Oboe (Principes de la flûte). Translated by Paul Marshall Douglas. New York: Dover, 1983. xv, 73 p. ISBN 048624606X. First published in 1968 under the title Rudiments of the Flute, Recorder

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and Oboe. English translation based on the 1707 edition (item 987). Includes facsimile reproductions of selected music examples and figures. Comparative review by Dale Higbee of this and item 990 in American Recorder 11, no. 2 (spring 1970): 63–65. 990. Hotteterre, Jacques. Principles of the Flute, Recorder & Oboe. Translated and edited by David Lasocki. London: Barrie & Rockliff; New York: Praeger, 1968. 88 p. OCLC #11390983 (U.K. ed.), OCLC #448622 (U.S. ed.). MT 342 .H7414 1968b. English translation also based on the 1707 edition (item 987). Extensive introduction and footnotes. Comparative review by Dale Higbee of this and item 989 in American Recorder 11, no. 2 (spring 1970): 63–65. 991. Hotteterre, Jacques. Principios de la flauta travesera, de la flauta de pico y del oboe. Translated by Louis Alvarez and J.D.Martin. Madrid: Seminario de Estudios de la Música Antigua, 1979. [ii], 58 p. ISBN 84855310443. A Spanish translation of the 1707 edition (item 987), although it reproduces the title page of the 1720 edition. 992. Hotteterre, Jacques. Principes de la flûte traversière, ou flûte d’Allemagne, de la flûte à bec, ou flûte douce, et du haut-bois, divisez par traitez. Amsterdam, Aux d’epens d’E. Roger (1728) [sic]. Kassel: Bärenreiter, [1942]. 46, 48 p. OCLC #22040172. MT 342 .H74 1728a. Reprinted, 1973. Reissued on new plates in 1982 as part of the series Documenta musicologica (1. Reihe, Druckschriften-Faksimiles, 34.) 46, 53 p. ISBN 3761800746. Facsimile of the 1710—not 1728—edition (Amsterdam: Estienne Roger) with outdated German translation and afterword by Hans Joachim Hellwig. The Amsterdam edition could not have appeared in 1728, because Roger died in 1716. Rather, a newspaper advertisement shows that it came out in 1710—quite close to the original French edition. Since Roger had agents in several other countries, it was surely his edition rather than any of the French ones that spread Hotteterre’s instructions on ornaments and tonguing syllables around Europe. That this dissemination began in 1710 rather than 1728 has important ramifications for the history of woodwind instruments. Getting dates correct does matter! 993. Hotteterre, Jacques. Principes de la flute traversiere ou flute d’allemagne, de la flute à bec ou flute douce, et du haut-bois. Faksimile-reprint der Amsterdamer Ausgabe von 1728, mit deutscher Übersetzung von Hans Joachim Hellwig und einer Einleitung von Vera Funk. Kassel: Bärenreiter, 1998. 46, 51 p. ISBN 3761814186. Item 992 in a new edition, with a preface in German by Vera Funk. Alas, neither Castellani nor Funk caught the error in the dating of the edition. 994. Hotteterre, Jacques. Principes de la flûte traversière. Geneva: Minkoff Reprint, 1973. 53 p. ISBN 2826601067. Published with [Charles] De Lusse, L’art de la flûte traversière (Paris, 1760). Facsimile of the 1720 edition (Paris: Ballard). 5. Hunt, Edgar. “Thoughts on Hotteterre’s Recorder Fingerings.” American Recorder 27, no. 4 (November 1986): 151. Hotteterre “seems to be writing from the point of view of a flute player, not as someone who has made an intimate study of the recorder.” Criticizes four of Hotteterre’s trill fingerings for the recorder as unnecessarily out of tune and/or ugly, and suggests that

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recorder players follow flutists in finding fingerings that are as in tune as possible. * Pottier, Laurence, ed. Les 3 méthodes de flûte à bec en France a l’époque baroque. Cited above as item 945. L’art de préluder 996. Hotteterre, Jacques. L’art de preluder sur la flûte traversière, sur la flûte-abec, sur le haubois, et autres instruments de deßus…Op. 7 [The art of preluding on the flute, recorder, oboe, and other soprano instruments…]. Paris: Composer & Boivin (also Composer & Foucault), 1719. [Warner, no. 52] A method to learn how to improvise preludes. Includes an extensive set of preludes for the flute, many of which are indicated as playable on the recorder, as well as a set intended for the recorder. Also includes two sets of traits, or exercises, “in the style of caprices, which one makes when one so to speak plays about [badiner] on an instrument.” Followed by lessons on modulation, cadences, keys, transposition, and meter (including notes inégales). Concluded by two preludes with basso continue. A curious compilation of valuable material, both textual and musical. 997. Hotteterre, Jacques. L’art de préluder sur la flûte traversière, sur la flûte-abec, sur le haubois et autres instruments de deßus…. Geneva: Minkoff Reprint, 1978. 65 p. ISBN 2826606727. Facsimile. 8. Hotteterre, Jacques. L’art de préluder sur la flûte traversière, sur la flûte à bec, sur le hautbois et autres instrumens de dessus, Paris 1719. Firenze: Studio per edizioni scelte, 1999. 65 p. ISBN 8872427797. MT 345 .H68 1999. Facsimile. 9. Hotteterre, Jacques. L’art de preluder sur la flûte traversière, sur la flûte-abec, sur le haubois et autres instruments de deßus…. Modern edition by Michel Sanvoisin. Paris: Éditions Aug. Zurfluh, 1966. 76 p. OCLC #11608294. Transcription, typographically having somewhat the appearance of a facsimile. The music examples have been transposed from French violin clef to treble clef, and the little strokes denoting the measure changed to barlines. It served its purpose in its day, but the facsimile is far preferable. 1000. Boyer, Margareth Anne. Jacques Hotteterre’s L’art de préluder: A Translation and Commentary. M.M. thesis, University of Missouri-Kansas City, 1979. vi, 290 leaves. OCLC #4875945. An English translation of L’art de préluder. In the footnotes, Boyer identifies the sixtyseven music examples used by Hotteterre to illustrate his discussion of meter, tempo, and rhythmic alteration, and she provides a cumulative list of the examples on pages 201–4. The four appendixes offer: a photocopy of the copy held by the Library of Congress (appendix A), reproductions of the title page and copie de privilege from the copies held by the Bibliothèque nationale and the Gemeentemuseum (appendixes B and C), and a transcription of the preludes in Hotteterre’s Méthode pour la musette of 1737 (appendix D).

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Schickhardt, Johann Christian (ca. 1680–1762) 1001. Schickhardt, Johann Christian. Principes de la flûte contenant la maniere d’en joüer & la connoissance de musique necessaire pour cela/Avec quarante deux airs à 2 flutes…xii ouvrage [Principles of the recorder, containing the way of playing it and the knowledge of music necessary for that/with 42 airs for two recorders, op. 12]. Amsterdam: Estienne Roger, ca. 1710–15. [Warner, no. 55/63; Vinquist, 196–97] The recorder method of the prolific German woodwind composer Johann Christian Schickhardt is disappointing, consisting of little more than the duets, which admittedly could have been used for teaching purposes. He borrows Hotteterre’s fingering and trill fingering charts with minor alterations. The main interest of the tutor is a couple of music examples that show the articulation syllables ti and ri in dotted figures, a modification of the French vowel sound for Dutch and German speakers. 1002. Schickhardt, Johann Christian. Principes de la flûte…. (Essercizi di música, 3.) Roma: La Stravaganza, [1987]. Facsimile with a preface by Marco di Pasquale. OCLC #18983374. MT 351 .S35 1987. The introduction includes a useful note on the differences—intentional and perhaps otherwise—between the fingering charts of Hotteterre and Schickhardt. 1003. Lasocki, David. “A Newly Rediscovered Recorder Tutor.” American Recorder 9, no. 1 (winter 1968): 18–19. A study of Schickhardt’s Principes de la flûte (see also item 1307). Stanesby, Thomas (ca. 1668–1734) 1004. Stanesby, Thomas, Jr. A New System of the Flute a’bec, or Common English-Flute. London, [1732?]. ML 936 .S72. [Warner, no. 66] This most unusual eighteenth-century instructional document about the recorder is by the celebrated maker Thomas Stanesby Jr., “humbly dedicated to all those gentlemen who like the instrument.” Stanesby proposed to make the tenor, rather than the alto, the standard size of recorder, and included a comprehensive fingering chart containing several notes above the customary Baroque upper limit of d3 (the equivalent of the alto’s g3). 1005. Higbee, Dale. “A Plea for the Tenor Recorder by Thomas Stanesby Jr.” Galpin Society Journal 15 (1962): 55–59. A facsimile, with introduction, of Stanesby’s New System. Majer, Joseph Friedrich Bernhard Caspar (1689–1768) 1006. Majer, Joseph Friedrich Bernhard Caspar. Museum musicum theoretico practicum, das ist, Neueroeffneter theoretisch- und practischer Music-Saal…[Theoretical and practical musical museum; that is, Newly disclosed theoretical and practical music room]. N.p.: Georg Michael Majer, 1732. 2d ed., Nuremberg: Johann Jacob Cremer, 1741. [Warner, no. 65; Vinquist, 208–9] 1007. Majer, Joseph Friedrich Bernhard Caspar. Museum musicum theoretico practicum, das ist, Neueroeffneter theoretisch- und practischer Music-Saal…. Edited by Heinz

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Becker. Kassel: Bärenreiter, 1954. MT 6 .M216 1732a. Facsimile of first edition. 08. Joseph Friedrich Bernhard Caspar Majers Neu-eroeffneter theoretischund praktischer Music-Saal (Nuremberg, 1741). Edited by Eitelfriedrich Thom. Blankenburg/Michaelstein: Kultur- und Forschungstätte Michaelstein, n.d. Facsimile of second edition. 09. Newman, Joel. “The Recorder in Majer’s Museum Musicum 1732.” American Recorder 3, no. 1 (February 1962): 6–8. Describes the treatise in general and offers a translation (with commentary) of the section on the recorder. Includes facsimiles of fingering charts. Letter from Wesley M.Oler in 3, no. 2 (May 1962): 23, takes issue with Newman’s comments on the insignificance of buttress fingering in the history of the instrument. Newman admits his mistake in 3, no. 3 (August 1962): 22, and provides a list of eleven historical methods, four of which call for buttress fingering. See also item 1087 and the letter from John R. Kelsey in 4, no. 2 (May 1963): 27. Olofsen, Arnoldus 1010. Al de toonen van de fluyt abec volgens den nieuwen trant. [All the notes of the recorder according to the new manner], Amsterdam: Arnoldus Olofsen, ca. 1734–1767. A fingering chart included with a set of recorder duets. See item 977, in which this fingering chart is reproduced. Eisel, Johann Philipp 1011. Eisel, Johann Philipp. Musicus oder Der sich selbst informirende Musicus, bestehend sowohl in Vocal- als üblicher Instrumental-musique. [Musicus autodidaktos; or, The self-taught musician, for both vocal and common instrumental music]. Erfurt: Johann Michael Funcken, 1738. MT 6 .A2 E44. [Warner, no. 71; Vinquist, 215–16] Includes fingering charts for alto recorder and Quart-fleute (fourth flute=soprano recorder!). Also refers to a Tenor-Fleute (tenor recorder). 1012. Eisel, Johann Philipp. Musicus oder Der sich selbst informirende Musicus, bestehend sowohl in Vocal- als übl. Instrumental-musique. Leipzig: Zentralantiquariat der Deutschen Demokratischen Republik, 1976. 108 p., [16] leaves. OCLC #4744754. MT 6 .E44 M9 1976. Facsimile. Berlin, Johann Daniel (1714–1787) 1013. Mosand, John. “Ein wenig bekanntes Buch über Musik and Instrumentenspiel: Johann Daniel Berlin, Musicaliske Elementer, 1744” [A little-known book about music and instrumental playing: Johann Daniel Berlin’s Musicaliske Elementer (The elements of music), 1744]. Tibia 8, no. 1 (1983): 276–79. Briefly describes Berlin’s book, which was published in Trondheim, Norway. According to Mosand, “Besides the customary alto recorder are also mentioned an

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octave- or kleine Blockflöte in f2 (sopranino), a QuintBlockflöte [fifth flute!] in d2, a Quart-Blockflöte [fourth flute!] in c2 (soprano), and an Alt-Blockflöte in c1 (tenor)…. The range of the [alto] recorder in Berlin’s fingering chart goes to c4” (including a fingering for f#3). Tans’ur, William (1699?–1783) 1014. Tans’ur, William. A New Musical Grammar, or, The Harmonical Spectator…. London: Author, 1746. 2d ed., 1753. 3d ed., 1756. [Warner, no. 79; Vinquist, 221–23] Elementary instructions: hand placement, fingering charts, and the need to transpose pieces outside the range of the instrument. The most interesting part is the statement “Of Flutes there are many Sizes, as a Concert Flute; a Third Flute; a Fifth, and a Sixth, and an Octave Flute.” 1015. Tans’ur, William. The Elements of Musick Display’d…. London: Stanley Crowder, 1767. Book 3 entitled The Elements of Musick Made Easy: or, an Universal Introduction to the Whole Art of Musick. Book III. Containing, the Structure of Musical Instruments: with the Scale of Musick Applicable to Each; and Directions Thereunto, viz- the Pitch-Pipe, and its Use: the Organ, or Harpsichord: the Bassoon and Hautboy: the Bass Viol, Violin, and Guittar: the German and Common Flutes…. MT 6 .A2 T16. [Warner, no. 113; Vinquist, 239–40] Section on the recorder derived from third edition of item 1014. Quantz, Johann Joachim (1697–1773) 1016. Quantz, Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen [Essay of a method for playing the flute]. Berlin: Voss, 1752. MT 342 .Q3 1752. [Warner, no. 85] Quantz’s celebrated flute method is of course far more than that: it constitutes the most comprehensive compendium of information about performance practice of the entire eighteenth century. Although Quantz does not treat the recorder directly, he did write for the instrument and his advice is extremely valuable for recorder players (see item 1906). 1017. Quantz, Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen. Introduction in German by Barthold Kuijken. Wiesbaden: Breitkopf & Härtel, 1988. xxi, iii, 334, [20] p. OCLC #20163689. Facsimile of first edition. 18. Quantz, Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen. Munich: Deutscher Taschenbuch Verlag; Kassel: Bärenreiter, 1992. x, 424 p. OCLC #29935835. Facsimile of first edition. 19. Quantz, Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen. Edited by Hans-Peter Schmitz. (Documenta musicologica. 1. Reihe: DruckschriftenFaksimiles, 2.) Kassel: Bärenreiter, 1953. OCLC #6562628, #15387304, #19366657, #21770619. Facsimile of third edition (1789). 20. Quantz, Johann Joachim. On Playing the Flute. Translated and edited by Edward R.Reilly. 2d ed. London: Faber & Faber; New York: Schirmer Books, 1985. OCLC

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#12836076 (U.K. ed.), #11971764 (U.S. ed.). Reprint, Boston: Northeastern University Press, 2001. ISBN 0571207804. 1st ed. London: Faber & Faber; New York: Schirmer Books, 1966. OCLC #255669, #16364312 (U.K. ed.), #1634136 (U.S. ed). MT 342 .Q313. An excellent English translation with extensive introduction and footnotes. Based on Reilly’s Quantz’s Versuch einer Anweisung die Flöte traversiere zu spielen: A Translation and Study, 2 vols. (Ph.D. diss., University of Michigan, 1958). See also his Quantz and His Versuch: Three Studies (New York: Galaxy Music Corporation for the American Musicological Society, 1971). 1021. Quantz, Johann Joachim. Essai d’une méthode pour apprendre à jouer de la flute traversiere. Berlin: Chrétien Frédéric Voss, 1752. French version, prepared by the author and published by the same publisher. 22. Quantz, Johann Joachim. Essai-méthode de flûte traversière. 2d ed. Paris: Éditions Aug. Zurfluh, 1990. 1st ed., 1975. 21, xv, 6, 336 p. OCLC #7446619, #17202638. MT 342 .Q314 1975. Facsimile of French version. Reilly, Edward R. “Quantz and the Recorder.” Cited below as item 1906. Sterne, Colin C. “Quavering, Quivering, and J.J.Quantz.” Cited below as item 1122. 23. Lasocki, David. “Quantz and the Passions: Theory and Practice.” Early Music 6, no. 4 (October 1978): 556–67. In Italian as “Quantz e la teoria delle passioni: Gli effetti del clima estetico sulla prassi esecutiva nei secoli XVII e XVIII.” Syrinx: Bollettino ufficiale Accademia Italiana del Flauto 17 (July-September 1993): 30–34. Pulls together what Quantz has to say about the passions or affections in several parts of his Versuch. Then uses the information to gain insight into the interpretation of the composer’s Trio Sonata for Recorder, Flute, and Basso continuo in C Major (QV 2:2). See also Christian Albrecht, “Quantz und die Affekte” [Quantz and the passions], Quartalszeitschrift SAJM 16, no. 3 (September 1988); 16, no. 4 (December 1988); and 17, no. 3 (September 1989). Minguet é Irol, Pablo (d. 1801?) 1024. Minguet y Irol, Pablo. Reglas, y advertencias generates que enseñan el modo de tañer todos los instrumentos mejores, y mas usuales…[Rules and general advice that teaches the method of playing all the best and most common instruments]. Madrid: Joachin Ibarra, 1752–1774. Part 6 is entitled: Reglas, y advertencias generates para tañer la flauta traversera, la flauto dulce, y la flautilla, con varies tañidas, demonstradas, y figuradas en diferentes laminas finas, por música, y cifra, para que qualquier aficionado las pueda comprehender con mucha facilidas, y sin maestro…[Rules and general advice for playing the flute, recorder, and pipe, with various descriptions, fingering charts, and fine illustrations, for music and its notation, so that any amateur can understand it easily and without a teacher]. 1754. MT 170 .M5. [Warner, no. 87; Vinquist, 226–27] Minguet’s section on the recorder has a fingering chart and some elementary guidance on holding the instrument. The chart includes alto fingerings for f#3 and for g#3 through c4. Of special interest is the use of “pinching” on holes other than the thumbhole. 1025. Minguet é Irol, Pablo. Reglas, y advertencias generates que enseñan el modo de

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tañer todos los instrumentos mejores…. Geneva: Minkoff Reprint, 1981.120 p. ISBN 2826607030. Facsimile. 26. Lasocki, David. “A Spanish Recorder Tutor.” American Recorder 9, no. 2 (spring 1968): 49–50. Translates the section on the recorder and gives a facsimile of the fingering chart. The method is also mentioned by Dale Higbee in item 1085. Diderot, Denis (1713–1784) 1027. Diderot, Denis, and Jean Le Rond d’Alembert. Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers…[Encyclopedia or analytical dictionary of the sciences, arts, and trades]. 17 vols. Vols. 1–7, Paris: Briasson, 1751–65; vols. 8–17, Neufchâtel: Faulche, 1765–72. Also Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniques, avec leur explication [Collection of plates on the sciences, liberal arts, and mechanical arts, with their explanations]. 11 vols. Paris: Briasson, 1762–72. In a volume published in 1756 there appear articles on the flûte and recorder and related instruments by Diderot himself, partially borrowed from Hotteterre’s Principes. The article on the recorder (flûte douce ou àbec) summarizes Hotteterre’s descriptions of how to hold the instrument and place the fingers, how to “pinch” the high notes, etc., and his fingering and trill charts are reproduced in their entirety. The novel part of the article is its unique description of the recorder and how it was made. The article on the flûte borrows Hotteterre’s ornaments and articulation syllables (although according to other sources the latter had been abandoned by the wind players of the day). The plates of lutherie depict tools used in woodwind-making. The Encyclopédie also contains short entries on the dessus de flûte à bec (sopranino; vol. 4, 1754), haute contre de flûte à bec (soprano—range of a fourteenth; vol. 8, 1765), quinte de flûte à bec (tenor—range of a sixteenth; vol. 13, 1765), and basse de flûte à bec (bass—range of a thirteenth; vol. 2, 1751). * Art du faiseur d’instruments de musique et lutherie. Extrait de l’Encyclopédie méthodique “Arts et métiers mécaniques” Paris 1785. Cited above as item 720. * Lasocki, David. “Diderot and the Recorder.” Cited above as item 721. Everard, Pater Ferdinand Von 1028. “Principes pour la flute. P.F.E. 1770.” Ms., Stift Melk, lower Austria. Fingering chart dated 1770. 1029. Thieme, Ulrich. “Fingerzeige aus dem Kloster” [Fingerings from the cloister]. Tibia 21, no. 3 (1996): 208. Introduces and reproduces the fingering chart. Reynvaan, Joos Verschuere (1739–1809) 1030. Reynvaan, Joos Verschuere. Muzijkaal kunst-woordenboek…[Dictionary of the art of music], Amsterdam: Wouter Braue, 1795. ML 108 .R494.

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Covers A-M only. The article “Flauta Bocca (Italiaansch)” includes a fingering chart for the alto recorder going up to cb4 with alternative fingerings for many notes. Reynvaan considered that in order to facilitate the playing of music written for violin or flute, one should learn C fingering as well as F, although “this would really work only for a Quartfluit [fourth flute].” Swaine, N. 1031. Swaine, N. The Young Musician, or the Science of Music, Familiarly Explained; with a Glossary of Musical Terms, and Phrases. Stourport: G.Nicholson, ca. 1818. [Warner, no. 361] Considers the English flute the “properest” wind instrument for children and “an excellent introduction” to the transverse flute. Believes it necessary “nearly to plug up the thumb or under hole” then slide the thumb across the small opening, rather than using “pinching” for the high notes. Fingering charts for an instrument in d1 with a range of two octaves.

18 Performance Practices (Historical) All recorder players who play music of earlier times sooner or later have to deal with performance practice. The study of historical treatises and other sources of information about notation and performance techniques of the past has been an important part of recorder research for decades. This chapter looks at sources that treat performance practice specifically for the recorder. For general sources on performance practice see Roland Jackson, Performance Practice, Medieval to Contemporary: A Bibliographic Guide (New York: Garland, 1988), and Mary Vinquist and Neal Zaslaw, Performance Practice: A Bibliography (New York: W.W.Norton, 1971), as well as the regular bibliographies in Basler Jahrbuch für historische Musikpraxis and Tijdschrift voor oude muziek. For the performance practice of individual composers, see chapter 28. For many years, the early-music movement has taken it for granted that the “best” way—sometimes, the only way—to perform early music is by reconstructing the historical manner of performance as closely as possible—in other words, “authentically.” But during the last twenty years, a debate about “authenticity” has been raging in musicological circles. Or rather, Richard Taruskin and a few hardy souls have been battling the early-music world with a view to demonstrating that some of its assumptions have been unfounded (see Taruskin’s Text and Act: Essays on Music and Performance [New York and Oxford: Oxford University Press, 1995] and item 1062; for the most recent overview, see John Butt, Playing with History: The Historical Approach to Musical Performance [Cambridge and New York: Cambridge University Press, 2002]). Taruskin has pointed out two essential truths: we can know only a limited amount about the performance styles of the past; and early-music performers, even when they know something about historical styles, consciously or unconsciously adopt aspects of modern performance style and blend them with the historical. Yet, in Taruskin’s latest views, all modern performers cannot help but be “authentically” of our own times. The main thing is to be honest about what we are doing and endeavor to create performances that communicate with modern audiences. Furthermore, we can all take a leaf out of the book of popular music, where this evening’s performance is everything and the work only a vehicle for the performance. This new view of early-music performance has not made performance practice invalid or historical research useless. We should just be cautious about the prescriptions of the “Three D’s” (Dolmetsch, Dart, and Donington) and authors of that ilk. Performancepractice research produces valuable information that modern performers can use as they see fit. Such information can be inspiring, puzzling, frustrating, or maddening. But to ignore it is to be, in a word, uneducated. 1032. Dinn, Freda. Early Music for Recorders: An Introduction and Guide to Its Interpretation and History for Amateurs. London: Schott, 1974. 58 p. ISBN 0901938076.

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Intended as an introduction to performance practice. Part 1 analyzes and discusses the interpretation of three fantasias by Byrd and five pieces by Holborne. Part 2 discusses Handel’s G-minor sonata, Henry Thornowitz’s Sonata da Camera in F Major, and a Suite in G Major by Louis de Caix d’Hervelois, offering written-out realizations of the ornaments. Recommends for further reading the “3 D’s,” Emery on Bach’s ornaments, and Quantz. A curious book, which must have seemed old-fashioned even at the time of publication. Reviewed by MMCA [Michael Arno?] in Recorder & Music 5, no. 1 (March 1975): 21. 1033. “Due giorni con Frans Brüggen” [Two days with Frans Brüggen]. Il flauto dolce, no. 5 (January/June 1974): 3–18, 23–27; no. 6 (January/June 1976): 3–22. Transcript of a recorder master class held in Rome, 16–17 June 1973; edited and translated from the English by Franco Salvatorelli. Brüggen discusses student performances of: Handel’s recorder sonatas in A minor, C major (i, ii), D minor (i, ii), and F major (ii); Jacques Hotteterre’s Suite in E (originally C) Minor, op. 5, no. 2 (Prelude, Allemande); and van Eyck’s Pavane Lachrymae and Onder de linde groene. 1034. Horn, Nick. “Cantigas & La Romanesca: Looking for the Present in the Past, or the Past in the Present?” Cinnamon Sticks 1, no. 1 (November 2000): 10–13. Contrasts the approaches to medieval music of the two Australian groups named in the title. The latter tries “to base their performance practice on historical evidence rather than modern tradition.” The former, defunct since 1997, presented a kind of crossover music, led anachronistically by a recorder player (Zana Clarke, mostly on a Ganassi recorder) and drawing freely on performance styles from medieval music and modern world music. 1035. Hund-Davies, Malcolm. “A Review of Historical Styles of Recorder Playing.” Recorder & Music 6, no. 3 (September 1978): 66–68; 6, no. 4 (December 1978): 98– 100; 6, no. 5 (March 1979): 133–35. Covers the twentieth century (part 1), the Baroque (part 2), and the Renaissance (part 3). Part 1 is short and sketchy; the discussion of modern recorder technique focuses on phrase markings and dynamics, and little is offered on the avant-garde beyond a description of the techniques employed in Hans-Martin Linde’s Music for a Bird. Part 2 concerns tonguing, rhythm, Affekt, and ornamentation in the music of the French and Italian Baroque. Also briefly covered are vibrato, trills, the “shape” of notes, and the structure of the Baroque recorder. Part 3 covers articulation and ornamentation in Renaissance and early Baroque music and describes the characteristics of the Renaissance recorder. Offers examples of diminution and ornamentation. 1036. Jolibert, Bernard. “Les suites des XVIIe et XVIIIe siècles pour flûte à bec et leur interpretation musicale” [Seventeenth- and eighteenth-century suites for recorder and their musical interpretation]. Flûte à bec & instruments anciens, no. 16 (October 1985): 22–26. Briefly discusses the character and performance of seventeen types of Baroque dance movement. * Köhler, Wolfgang. “Die Blasinstrumente aus der ‘Harmonie Universelle’ des Marin Mersenne und ihre Bedeutung für die Aufführungspraxis heute.” Cited above as item 921. 1037. Kubitschek, Ernst. “Zur Entwicklung der Spieltechnik der Blockflöte im 16./17. Jahrhundert in der Wechselwirkung zum Instrumentarium” [On the development of the

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recorder’s playing technique in the sixteenth and seventeenth centuries in its interaction with the instrumentarium]. In Flöten, Oboen und Fagotte des 17. und 18. Jahrhunderts: Bericht über den 1. Teil des 12. Symposiums zu Fragen des Musikinstrumentenbaus, Michaelstein, 08./09. November 1991, 39–42. (Beiheft…zu den Studien der Aufführungspraxis und Interpretation der Musik des 18. Jahrhunderts, 14/1.) Michaelstein: Institut für Aufführungspraxis, 1994. ISBN 3895121126. Begins by rightly observing that the recorder methods of the periods in question always contain fingering charts (or instructions) and often give details of articulation syllables but say nothing on breathing technique or tone production. Then briefly discusses some of the changes in syllables over the course of the sixteenth to eighteenth centuries. * Kuijken, Barthold. “Lack of Seventeenth-Century Recorder Repertoire: Consequences for the Practical Musician.” Cited below as item 1716. * Kuijken, Barthold, and David Lasocki. “An Exchange of Correspondence.” Cited below as item 1717. * Lasocki, David. “Quantz and the Passions: Theory and Practice.” Cited above as item 1023. * Lasocki, David. “The Recorder’s Role in Seventeenth-Century Music, Then and Now: A Reply to Barthold Kuijken.” Cited below as item 1718. 1038. Legêne, Eva. “Musical Interpretation and the Stirring of the Soul: The Relationship between Rhythm and Emotion in the Renaissance and Baroque.” Recorder Education Journal 2 (1995): 56–69. Looks at the way Baroque musicians used structure “not merely for charming the ear but for stirring the soul” (a memorable phrase found in the Roman author Quintillian’s book on rhetoric, Institutio oratoria, which had great influence in seventeenth-century education). Surveys the various kinds of rhythmic feet found in both poetry and music, linking them to the affections, as reported by Baroque writers on music such as Mersenne and Mattheson. Takes examples from recorder music by Purcell and Handel to show that, whatever the general affect may be, “the words in these arias provide ample variety of rhythm and emotion for the recorder. Two manners of depicting the words occur: the first is by the rhythm that the word itself indicates; the second is by means of imitation of the word—word painting.” The two composers used different kinds of rhythms for different emotions, which Legêne classifies as the pleasant, the beautiful, the pompous, violence, pain, and natural scenes. They also used word painting to depict heat, mischief, calmness, fast movement, love, and so on. She concludes that, “in scratching the surface of the relationship between rhythm and emotion, I hope to have inspired you to explore Baroque instrumental music from this point of view.” 1039. Mezger, Marianne. “Performance Practice for Recorder Players.” Leading Notes: Journal of the National Early Music Association, no. 7 (spring 1994): 13–16. Mezger began to publish her researches on the English recorder methods of the seventeenth and early eighteenth centuries in the prefaces to her editions of James Paisible’s recorder sonatas (Brighton: Dolce Edition, 1993–; 2 vols. to date). Unlike previous researchers, she has taken literally the ornaments notated in tablature in the methods, believing that all of the unusual intervals resulting from the fingerings (not simple whole tones and semitones) were actually intended. The first of this material to be published in article form focuses on adding ornaments to the folia (known in England as

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“Faronell’s Ground” or “The King’s Health”). She offers two selections of ornaments, one taken from Salter’s Genteel Companion (1683), the other based on the instructions in The Compleat Flute Master (1695). According to her assessment, these ornaments, similar to those found in the French practice of the time, have the ability to bring to life some music that looks dull on the page. 1040. Rowland-Jones, Anthony. Playing Recorder Sonatas: Interpretation and Technique. Oxford: Clarendon Press, 1992. xiv, 221 p. ISBN 0198790023. MT 350 .R69 1992. Presents a great deal of information on performance practice and technique, historical and modern, through the study of movements from sonatas (by Handel, Telemann, Delavigne, Herbert Murrill, and Fontana, with passing references to Riccio, Corelli, Paisible, Schickhardt, Anne Danican-Philidor, J.B.Loeillet, Pugnani, Walter Leigh, Lennox Berkeley, and Robert Schollum). Deals with sound and expression, dynamics, rhythmic inequality, articulation, ornamentation and improvisation, tempo, repeats, expressive fingering, and even a section on “authenticity” that makes concessions to the latest views. Highly readable, even in the footnotes. (Readers, though, should not be lulled into believing that the prescriptions for performance are the only possible approach.) Good illustrations of the visual aspect of the Baroque era. A unique and important book. Reviewed by Robert Ehrlich in Recorder Magazine 12, no. 3 (September 1992): 83–84 and Malcolm Tattersall in Recorder: Journal of the Victorian Recorder Guild, no. 17 (September 1993): 26–27. First chapter in Spanish as: “Capítulo primero— Antes de tocar sonatas barrocas. Aspectos generales,” Revista de flauta de pico, no. 7 (January 1997): 20–24, preceded (pp. 17–20) by Agostino Cirillo, “Playing Recorder Sonatas de Anthony Rowland-Jones. Cinco sonatas…y una reflexión.” * Warner, Thomas E. Indications of Performance Practice in Woodwind Instruction Books of the 17th and 18th Centuries. Cited above as item 861. 1041. Winters, Ross. “Historical Source Material.” Recorder Magazine 12, no. 3 (September 1992): 77–81. Written not “to provide an exhaustive account…but rather to try to raise the reader’s awareness of what is involved in a stylistic performance.” Topics receive only cursory treatment, but the reader is referred to books, treatises, and music for further explanations. Part 1 covers music of the sixteenth and early seventeenth centuries, with an emphasis on issues related to articulation and ornamentation. Part 2, on the Baroque, begins by describing the importance of classical rhetoric to music of the period, the concepts of affect and loci topici, and the affective nature of dance movements and keys. The discussion of articulation emphasizes tonguing syllables. Explains the relationship between messa di voce, vibrato, and appoggiaturas, and concludes with a discussion of Baroque ornamentation.

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GEOGRAPHICAL FOCUS England * Mezger, Marianne. “Henry Purcells Chaconne Two in One upon a Ground aus dem dritten Akt der Prophetess or the History of Dioclesian, London 1690.” Cited below as item 1898. * Mezger, Marianne. “Performance Practice for Recorder Players.” Cited above as item 1039. * Mezger, Marianne. “Vom Pleasant Companion zum Compleat Flute Master: Englische Blockflötenschulen des 17. und 18. Jh.” Cited above as item 937. France 1042. Davis, Alan. “Jacques Hotteterre and the French Style.” Recorder & Music 4, no. 9 (March 1974): 319–22. Begins by contrasting Italian Baroque and French Baroque styles. Gives a brief overview of Hotteterre’s life and works. Offers a cursory introduction to the agréments and notes inégales. 1043. Marvin, Robert. “Playing French Late Baroque Music on the Recorder.” American Recorder 9, no. 2 (spring 1968): 39–41 Gives a performer’s own practical advice on the interpretation of French Baroque style, based on treatises by Hotteterre and Freillon-Poncein. Covers articulation (tonguing of notes inégales, Hotteterre’s “reverse tonguing,” when to use pointée) and ornamentation (trills, flattement, battement, port de voix, coulement, and accent). David Lasocki, in 9, no. 3 (summer 1968): 96, contributes additional information on the trill, breath vibrato, and flattement, and mentions the preface to Hotteterre’s Pieces pour la flûte traversière (1708) as an important source on French Baroque performance practice. 1044. Mather, Betty Bang. Interpretation of French Music from 1675 to 1775 for Woodwind and Other Performers; Additional Comments on German and Italian Music. New York: McGinnis & Marx, 1973. 104 p. OCLC #890838. MT 80 .M35. A comprehensive survey of French late Baroque and early Classical woodwind performance practice, based on contemporaneous evidence. Divided into “rhythmic inequality” (including meter and tempo), articulation, and ornaments. Widely cited. Generally holds up well after twenty years (for more recent research, see especially item 1058). Reviewed by Anthony Baines in Galpin Society Journal 28 (1975): 143–44. 1045. Rowland-Jones, Anthony. “First Steps in Applying French Polish.” American Recorder 33, no. 3 (September 1992): 9–13. Uses the first movement of the Sonata op. 2, no. 5 (“La Persan”) by Philibert Delavigne to illustrate the fundamentals of performance practice for music of the French Baroque. Based in part on chapter 4 of item 1040. Begins by offering some background to the sonata. Explains the differences between the French and Italian Baroque styles. Presents a set of guidelines for determining whether a piece should be played with or without inequality. Briefly addresses the complicated issue of articulation, then shows

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how an informed performer might approach the Delavigne movement. His suggestions are summarized in an accompanying annotated solo part, which specifies articulation, phrasing, inequality, dynamics, and ornamentation. Germany * Polk, Keith. German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice. Cited above as item 122. Italy 1046. Garrido, Gabriel. “La flûte à bec dans la musique italienne: Propositions d’interprétations” [The recorder in Italian music: propositions for interpretation]. Flûte à bec, no. 3 (June 1982): 34–35. Briefly discusses treatises, sizes of instrument, pitch, and temperament in sixteenthand seventeenth-century Italy. Reprinted from the linear notes to his album Musique italienne pour la flûte à bec (Lausanne, Switzerland, VDE-GALLO 30–324). SPECIFIC TOPICS Articulation 1047. Arthur, Bradford. “The Articulation of Hotteterre’s Tu-Ru.” American Recorder 14, no. 3 (August 1973): 79–82. Like Lasocki (see item 1053), Arthur speculates on how Hotteterre’s tu-ru articulation syllables might have been pronounced in eighteenth-century France. “The puzzle of musical reconstruction is also necessarily a puzzle of linguistic reconstruction.” He supports Lasocki’s interpretation of the r (pronounced by brushing or tapping the tongue against the alveolar ridge), but disagrees with Lasocki’s suggestion that the t be pronounced “sharply against the teeth.” The French t should be unvoiced and unaspirated. Suggests trying thu rather than tu or du. The proper pronunciation of the syllables produces, at slow tempos, a natural notes inégales, which gradually smooths out as the tempo increases. Proper pronunciation also affects articulation; the tu may be preceded by a distinct articulation, whereas very little more than a soft elision with the preceding note is possible with the ru. 1048. Castellani, Marcello, and Elio Durante. Del portar delta lingua negli instrumenti di flato. Per una corretta interpretazione delle sillabe articolatorie nella trattatistica dei secc. XVI-XVIII [On the tonguing of wind instruments: for a correct interpretation of articulation syllables in the treaties of the sixteenth to eighteenth centuries]. (Archivum Musicum, Collana di studi, B.) Firenze: Studio per edizioni scelte, 1979. 177 p. OCLC #7855993. ML 930 .C39. The longest study of early woodwind articulations made to date. Begins with the foundations of articulation: tongue and mouth positions for various vowels and consonants. Then summarizes the effects of the tonguing syllables used by authors from Ganassi to Drouet (1827), and briefly considers “Onomatopea and instrumental

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articulation.” The extensive appendix (pp. 77–172) includes excerpts in the original languages of the articulation instructions from Ganassi, Agricola, Dalla Casa, Rogniono, Artusi, Brunelli, Rognoni, Mersenne, Bismantova, Freillon-Poncein, Hotteterre, and several other eighteenth-century authors. 1049. Goetz, Freddy. “Les articulations sur la flûte” [Articulations on the recorder]. Flûte à bec, no. 5 (December 1982): 22–24. A brief summary of the articulation instructions of Ganassi, Agricola, Hotteterre, and Quantz. 1050. Greenberg, Abraham. “Articulation in Recorder Playing: A Phonetic Study.” American Recorder 24, no. 3 (August 1983): 99–101. Greenburg, a specialist in speech and hearing sciences, uses modern English phonetics, rather than historical sources, as the starting point for a review of articulation syllables. Emphasizes the need to adjust vowel sounds in order to achieve maximum resonance over the range of the instrument. Although many of the articulation syllables found in historical and modern tutors are mentioned in the introduction, Greenburg does not compare his recommendations with these earlier sources, so the reader is left to decide how Greenburg’s suggestions fit into the context of historical performance practice. 1051. Houle, George. “Tongueing and Rhythmic Patterns in Early Music.” American Recorder 6, no. 2 (spring 1965): 4–13. Claims that most modern players strive to make all tonguing—single and double— sound alike, although there are strong indications that players before 1750 used a variety of attacks with the intention of producing different sounds: “Instruments with limited possibilities of dynamic range and tone color need the variety of sound afforded by these tonguings far more than our ‘perfected’ modern instruments, but the benefits are not only greater interests in the sounds, but greater liveliness of rhythmic design.” Moving from simple to complex, Houle covers the articulations presented in a dozen early method books. Double-tonguing patterns are summarized in a one-page table. Also demonstrates how knowledge of dance steps can aid players in the analysis of articulation patterns in dance music, using the galliard and courante française as examples. Letter from E.Neal Bozarth Jr. in American Recorder 7, no. 2 (spring 1966): 23, corrects an error in the bibliography. 1052. Hübner-Hinderling, Renate. “Artikulation oder Der Versuch, die Musik mit der Sprache zu versöhnen—nicht nur für Blockflötisten” [Articulation, or the attempt to reconcile music and speech—not only for recorder players]. Tibia 16, no. 2 (1991): 421–24. Headed by a quotation from Monterverdi: “…che l’oratione sia padrona dell’armonia e non serva” (that language be the master of harmony and not the servant). Extends this concept to articulation syllables, which the author believes are usually too abstract. Suggests instead using a vast array of real words and nonsense fragments of two to five syllables, varying in length and accentuation (sample: DOdeka, DAEdalo, DEdito, DOrothee, DOridi, DEttero). 1053. Lasocki, David. “The Tongueing Syllables of the French Baroque.” American Recorder 8, no. 3 (summer 1967): 81–82. Aims to “clear up some misunderstandings which have arisen in the English-speaking world over the pronunciation of the tonguing syllables of the French school.” Cites

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Hotteterre, Freillon-Poncein, and Quantz. Concludes that “the syllable tu was pronounced sharply against the teeth; the syllable ru was pronounced with the tongue against the teeth ridge. Thus, any sequence of turuturu etc., was an alternation of sharp and soft articulations.” See also item 1047. 1054. Leonards, Petra G. “Artikulation auf Blasinstrumenten im 16. und 17. Jahrhundert: Ein Beitrag zur Spieltechnik der Blasinstrumente vor dem geistesgeschichtlichen Hintergrund dieser Zeit” [Articulation on wind instruments in the sixteenth and seventeenth centuries: a contribution to the playing technique of wind instruments against the background of the history of ideas of this period]. Tibia 5, no. 1 (1980): 1– 9. Begins with the background: “The music aesthetics of the sixteenth to seventeenth centuries (especially in Italy and German-speaking countries) demands that everything, from the design of the composition to the detailed treatment of the text, has the goal of imitating nature or else speech by musical means and should serve the performance of the affective contents of the underlying text. It is the duty of the singer to bring out the affects of the text in performance. For instrumentalists something similar holds true… they should…‘bring the music toward speech.’” The means for doing so are the articulation syllables of the day. Goes on to summarize the various syllables and their uses. A useful summary—and a salutary warning about the background. Letter from Elli Edler-Busch in 5, no. 2 (1980): 155. 1055. Linde, Hans-Martin. “Vom ‘cantablen’ Spiel auf der Blockflöte” [On cantabile playing on the recorder]. Zeitschrift SAJM 20, no. 2 (March 1992): 17–21. A thought-provoking article. Cantabile means “in a singing style,” although such a style varies from era to era. The Baroque did not yet know the “endless melody” of the nineteenth century. “Cantabile style” also means a “speaking” performance, and in this the recorder has a rich reserve of means of articulation. Yet the earlier articulation syllables must have changed under the influence of the violin style in the eighteenth century. Does vibrato belong to a singing tone? In the Baroque, the word implied a variety of ornaments of different speeds. Our best teacher of the cantabile is to play early vocal pieces and ponder the meaning of the text, perhaps even to try to set text to instrumental pieces. See also his “Einige Gedanken zum ‘cantablen’ Spiel,” Intrada 1, no. 2 (1995): 5–12. 1056. Ranum, Patricia M. “French Articulation: The Lessons of Thésée.” American Recorder 42, no. 1 (January 2001): 6–13. While coaching a 1998 performance of Lully’s Thésée by Les Arts Florissants, Ranum formulated an approach to French articulation based on language and rhetoric. Advises players to forget about what they have learned from treatises and instead focus on the flow of recited French language: “To sound French, a piece must imitate the rhythms and phrasing of French poetic recitation. In addition, the musician must know how to transform his piece into a miniature oration.” Describes four basic principles of French phrasing: (1) “In French, the lyrics (and therefore the notes) flow across bar lines”; (2) “Word groups (‘poetic feet’) end with a ‘long’ syllable”; (3) “The final long syllable of a word group normally comes to rest on a beat that is variously described as being ‘strong’ or ‘good’”; and (4) “The syllable just before this repose sits, of course, on a ‘weak’ note, a ‘bad’ note, an ‘upbeat.’” Then shows how these four principles can be superimposed

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upon music notation and applied to performance. Identifies three notational categories in French music (explicitly equal, explicitly dotted, and “quick” notes appropriate for inégales treatment) and their respective affects. Emphasizes that notes inégales should be “situated somewhere between explicit equality and explicit inequality.” The degree to which a player introduces inequality should be governed by the “flavor” of the piece, and Ranum provides a “flavor checklist” to help identify it. Finally, she applies her theories to two pieces from Hotteterre’s opus 2 suites. 1057. Ranum, Patricia M. “A Fresh Look at French Wind Articulations.” American Recorder 33, no. 4 (December 1992): 9–16, 39. Supports the hypothesis that French Baroque wind articulations should mimic the phrasing of contemporary French song lyrics. Ranum presents four lessons (covering the pronunciation of tu and ru, phrasing, “harshness” versus “sweetness,” and note inégales) intended to provide an introduction to the practice of articulation based on word-music relationships. Among her theories is one that the tonguing syllables tu and ru convey contrasting emotional messages (tu, bright and assertive; ru, tender and gentle) and that a contemporary French player, keeping this contrast in mind, would have “scrutinized the notation, the harmony, and the melody for clues to the passions being expressed and adapted his tonguing to mimic vocal rhetoric.” Ranum maintains that no two players would necessarily have articulated a passage exactly the same way, but each would have phrased the music according to individual perceptions of vocal conventions of the time. Letters from Bob Marvin (in 34, no. 1 [March 1993]: 30–34) and George Goebel (in 34, no. 2 [June 1993]: 34–39), each with a lengthy reply by Ranum. 1058. Ranum, Patricia M. “Tu-Ru-Tu and Tu-Ru-Tu-Tu: Toward an Understanding of Hotteterre’s Tonguing Syllables.” In item 111, pp. 217–54. An extremely important article. Based on the premise that there are strong correlations between the lyrics of French late-Baroque vocal music and the way that Jacques Hotteterre used the syllables tu and ru. Such vocal music was predictable in phrasing, vocabulary, and order of stating ideas; therefore, singers knew which words to stress (and instrumentalists could imitate this phrasing, even without words to guide them). Certain important pairs of French syllables formed a “relay,” which relayed the sense of the phrase; although the second syllable fell on a strong beat, the first syllable was more important for comprehension. Syllables were emphasized by lengthening them or doubling the initial consonants; Hotteterre’s ru always falls where a singer would have doubled the initial consonant. The relay tends to be set across the barline, and most French ornaments fall on the relays. In mimicking song, Hotteterre’s ru did not always come at the end of a syllable group, creating a feeling of repose. Rather, he placed ru in one of three positions, according to the basic word pattern he was imitating: (1) in a run of note inégales, ru comes at the end of the relay: tu|ru/; (2) in dotted figures and repeated patterns of quarter+two eighths+quarter (or eighth+two sixteenths+eighth), ru becomes the penultimate syllable: tu ru|tu/; (3) to conclude a phrase, ru becomes the antepenultimate syllable of a line: tu ru tu|tu//. Such articulation (“word talk”) is a far cry from the “flute talk” that modern players have been using, based on German or other foreign models. This long article goes way beyond item 1057 and would repay extended study and practice. 1059. Reiss, Scott. “Articulation: The Key to Expressive Playing.” American Recorder

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27, no. 4 (November 1986): 144–49. An excellent summary of the types of articulation syllables found in Renaissance and Baroque wind treatises. Classifies the syllables into single tonguing, gutteral double tonguing, and lateral double tonguing. Also goes beyond those treatises both to recommend the use of historical syllables in places not sanctioned by them (for performing the music of times and places they do not cover) and to invent variations on those syllables (“logical extensions of historic techniques”). Finally, stresses the importance of using articulations to make music. Responses from Bernard Krai-nis, Benjamin S.Dunham, and Bob Marvin, and a reply by Reiss in 28, no. 2 (May 1987): 83– 85. Dunham continues the debate in 28, no. 3 (August 1987): 126. More letters, from Frederic Palmer and Eduardo Vargas, in 28, no. 4 (November 1987): 177–78, with a reply by Reiss. Krainis responds to Palmer and Vargas in 29, no. 2 (May 1988): 74–76. Palmer responds in 29, no. 3 (August 1988): 128. 1060. Rowland-Jones, Anthony. “Quantz dediddled.” Recorder Magazine 20, no. 2 (summer 2000): 54–55. Concerns the quote “Then to our recorder with toodle loodle poope” from the midsixteenth-century play Ralph Roister Doister by Nicholas Udall. Rowland-Jones sees similarities between “toodle loodle poope” and Ganassi’s tonguing syllables. Ganassi, however, never mentions “dl” as a tonguing syllable, and it has been assumed that the first reference to “dl” appeared in Quantz’s Versuch of 1752, which some researchers see applying only to the transverse flûte. Rowland-Jones believes the Udall quote is evidence that “Quantz was not the ‘inventor’ of ‘dl’ articulation, and secondly that this articulation does apply to the recorder.” 1061. Rowland-Jones, Anthony. “Recorder Slurring.” American Recorder 34, no. 2 (June 1993): 9–15; 34, no. 4 (November 1993): 6–11; 35, no. 1 (January 1994): 7–12. Part 1: Renaissance and Early Baroque. A survey of articulation practices during the Renaissance and early Baroque as described in historical treatises. Begins by distinguishing between “non-slur slur signs” and true slurs, which Rowland-Jones sees as falling into four categories: real slur, articulated (or pulsed) slur, simulated (or faked) slur, and portamento slur. Although Rowland-Jones cites examples from relevant repertory, the focus of the article is more on the theoretical than on the practical. The general reader might be overwhelmed by the numerous references to historical methods and treatises and tend to overlook the author’s practice of presenting issues in black and white that are better suited to shades of gray. David Lasocki, in 34, no. 3 (September 1993): 27–29, questions whether methods and treatises can tell us much about how music was performed in its day and asserts that we should exercise the freedom to play early music “any way we please” because historical authenticity is an impossible goal (see item 1062 for more on this topic). Part 2: The Later Baroque. Reviews the scanty treatment of slurring in Baroque tutors and attempts to fill in the gaps by drawing conclusions on slurring practices from the markings in English methods. Then briefly discusses the slurring practices of French and English Baroque composers as well as Handel, Bach, and a few miscellaneous composers. Although a handful of composers (Couperin, Bach, Telemann) are fairly specific in their marking of slurs, most composers—including such major ones as Handel and Purcell—marked few slurs. Rowland-Jones best summarizes the situation in the

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section on Handel: “Handel, like nearly all other Baroque composers, leaves slurring, along with ornamentation, to the good taste and imagination of the performer…. Ultimately, each player should strive to reach the stage of understanding where he can confidently make up his own mind, as Handel would have expected.” Letter from Marianne Mezger in 35, no. 1 (January 1994): 24. Part 3: The Technique of Slurring. Discusses the “three main impediments to perfection of legato slurring…1) register breaks, 2) complex finger movements, and 3) ‘fingering noise.’” Explains how players can overcome these slurring challenges, using the aria “Sheep May Safely Graze” from Bach’s Cantata 208 and Martinů’s Divertimento for Two Recorders as examples. Techniques include alternative fingerings, variations in tonguing, and adjustments to breath pressure. Concludes with exercises and a suggestion of suitable practice repertory. * Rowland-Jones, Anthony. “A Slur on Slurring? A Problem in Recorder Playing.” NEMA Journal, no. 9 (July 1988): 1–6. Cited below as item 1146. Authenticity 1062. Lasocki, David. “The Great Authenticity Debate.” Recorder: Journal of the Victorian Recorder Guild, no. 14 (December 1991): 1–8. Expanded version as: “Historical Recorder Methods and ‘Authentic’ Performance.” Recorder Education Journal 1 (1994): 47–53. Presents a new view of “authentic” performance of early music that has developed during the last decade, thanks largely to the American musicologist Richard Taruskin. Covers: the impossibility of a philosophical definition of an authentic performance; the limits to our knowledge of the past; the modernity of “authentic” performances; the politics of authenticity; and some conclusions about research, creativity, and adventure, drawing on some jazz and recorder performances. Anthony Rowland-Jones’s response, “In Defense of ‘Should,’” and Lasocki’s reply appear in Recorder Education Journal 2 (1995): 98–100. For Lasocki’s pre-Taruskin ideas, see his “‘Authenticity’ in Performances of Early Music,” Recorder & Music 5, no. 12 (December 1977): 384–87. For Taruskin’s collected essays, see his Text and Act (cited in the introduction to this chapter). 1063. Montagu, Jeremy. “The Sound of Music.” Consort, no. 36 (1980): 355–60. An eloquent plea to perform early music on the instruments for which it was written. Points out the differences in the sound and tuning of recorders of the Middle Ages, early Renaissance, and late Renaissance. 1064. Tenta, Philipp. “‘From Me To You With Love’: Philipp Tenta nimmt eine Blockflötenlektion mit John & Paul” [“From Me To You With Love”: Philipp Tenta takes a recorder lesson with John Lennon and Paul McCartney]. Windkanal 3/2001:10– 11. Suggests that we can use the official Beatles Songbook and its “100% authentic” realization on CD as a model for performance of Baroque sonatas. Lennon and McCartney depart from the written text—of course, the recording came before its transcription for publication, but never mind—sing various kinds of ornaments, perform not quite in unison, and sometimes add a second, unnotated line.

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1065. Thorn, Benjamin. “Will the Real Recorder Please Stand Up?” Recorder-Journal of the Victorian Recorder Guild, no. 13 (July 1991): 1–2. In fact a short essay on authenticity in both early and modern musical performance, particularly by the recorder. Cadenzas 1066. Lasocki, David, and Betty Bang Mather. The Classical Woodwind Cadenza: A Workbook. New York: McGinnis & Marx, 1978. ix, 60 p. OCLC #7628502. Aims to teach the reader to improvise cadenzas for pieces from the Classical period (made over a tonic six-four chord toward the end of a concerto or sonata movement). Based on eighteenth-century theory and practice (as reflected in the surviving written-out cadenzas), discussed in Lasocki’s The Eighteenth-Century Woodwind Cadenza (M.A. thesis, University of Iowa, 1972). Also briefly deals with the cadenza-like ornamentations at a final half cadence, as a lead-in to a new section, at the end of the first ritornello, and on the dominant chord at a full cadence—all situations found in Baroque recorder music, some examples from which are cited. Continue Realization and Accompaniment 1067. Blaker, Frances. “Continue Viewed from Above.” American Recorder 34, no. 2 (June 1993): 19–20. Observes that basso continue accompaniment is often overlooked by both soloists and audiences. Encourages recorder players to learn as much as they can about basso continuo and to listen carefully to what is going on beneath them. Emphasizes that basso continuo realization follows certain rules but also allows ample room for creativity and expression. Concludes with remarks on what Blaker likes to hear in basso continuo playing, including her opinion that basso continuo instruments should be heard more prominently than they are in most modern performances. “[N]ot every single note of a top line needs to be heard as clearly as possible. Some notes are best masked.” 1068. Boxall, Maria. “Realizing the Realization.” Recorder and Music Magazine 4, no. 2 (June 1972): 53–54. Advice to keyboardists on the realization of basso continuo accompaniments for recorder works. 1069. Goebels, Franzpeter. “Mit-Teilungen: Erfahrungen und Anregungen eines Klavierspielers” [Communications: experiences and suggestions of a keyboard player]. Tibia 13, no. 1 (1988): 14–18. For recorder players, good accompanists—real musical partners—are hard to find, as C.P.E.Bach already remarked 250 years ago. Suggests it would be a helpful exercise to make transcriptions of keyboard pieces for recorder and keyboard, and gives a number of examples (the Fitzwilliam Virginal Book, Rameau, Bartók’s Mikrokosmos, Couperin, Domenico Scarlatti, J.S.Bach, Mozart, Yoram Paporisz’s Begegnungen am Klavier, Schumann, Chopin). 1070. Holman, Peter, and Richard Maunder. “The Accompaniment of Concertos in 18thcentury England.” Early Music 28, no. 4 (November 2000): 637–50. Uses examples—including the recorder concertos of Babell, Baston, and Woodcock—

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to show that in England, at least in the first half of the eighteenth century, the accompaniments of concertos were generally played one to a part (including ripieno parts). In the solo sections, the accompaniment could be reduced to single violin parts, even in such later works as the Sammartini recorder concerto (1740s?). Divisions and Improvisation 1071. Erig, Richard, with Veronika Gutmann, eds. Italienische Diminutionen: Die zwischen 1553 und 1638 mehrmals bearbeiteten Sätze=Italian Diminutions: The Pieces with More Than One Diminution from 1553 to 1638. (Prattica musicale, 1.) Zürich: Amadeus Verlag, Bernhard Päuler, 1979. OCLC #13793256. MT 80 .I8 1979. The introduction to this extremely useful edition includes an excellent overview of contemporaneous articulation for wind instruments (pp. 30–44). The editors recognize that when those conventions are followed, “the diminutions seem no longer as uniform, or as just expressions of great virtuosity, as they may appear at first glance.” 1072. Habert, Andreas. “Wege durch die Division Flute: Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17. Jahrhunderts” [Ways through The Division Flute: on variation practice in English art and folk music of the seventeenth century]. Easier Jahrbuch für historische Musikpraxis 11 (1987): 89–138. Uses The Division Flute, the well-known set of divisions for the recorder published by John Walsh in 1706–8, as the starting point for a wide-ranging look at the role of divisions in the English music of the seventeenth century. Noteworthy for Habert’s classification schemes. Divides the divisions in The Division Flute into four stylistic types: (1) similar to those found in Christopher Simpson’s The Division Viol (1659), or in other words, old-fashioned; (2) similar to those of the violin virtuosos represented in The Division Violin (1684, etc.); (3) influenced by French music; and (4) influenced by folk music. Further classifies the variation technique employed in the divisions as (a) harmonically oriented, (b) melodically oriented, and (c) a mixture of the two. Finally, distinguishes among three compositional plans for a set of divisions. Habert also argues that the divisions based on folk music are as primitive as the work of the country fiddlers of the day and should therefore not be interpreted as figured basses: an appropriate performance of these divisions would be with no realization of the bass—perhaps even without bass—and alternating or combining the melody instruments of a folk ensemble (violin, shawm, recorder). 1073. Hullfish, William R. “The Division Flute: An Introduction to Playing Upon a Ground.” NACWPI Journal 27, no. 2 (winter 1978–79): 4–23. Consists of: table of contents of The Division Flute, brief biographies of its composers, the origins of some of the basses, quotations from Christopher Simpson’s Division-Violist (1659) on improvising divisions to a ground, all the basses, and a six-step method for improvising such divisions based on Simpson’s and the author’s own ideas. 1074. Hullfish, William. “Improvising Divisions upon a Ground.” American Recorder 21, no. 2 (August 1980): 73–78. Summarizes the instructions for division found in Christopher Simpson’s Division Violist (1659) and demonstrates how the technique is employed in “Faronell’s Ground” in The Division Flute. Offers his own eight-step guide to improvising divisions and includes

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a transcription from lute tablature of “Divisions on Browning” (pp. 76–78). Portions of the article first appeared in his “Divisions: The Art of Improvising Your Own,” Divisions 1 (September 1978): 4–13. 1075. Lasocki, David. “Divisions on a Ground for the Recorder: A Bibliographic Essay.” Recorder Education Journal 7 (2001): 10–19. After defining the terms, briefly discusses all the extant English divisions on grounds from the Baroque period as well as a few European examples of chaconnes, passacaglias, and folias (anonymous, Bellinzani, Corelli, Freillon-Poncein, Benedetto Marcello, and Schickhardt). Concludes with a comprehensive bibliography of sources with modern editions and facsimiles. 1076. Maute, Matthias. “Improvisation über einen Ground” [Improvisation on a ground]. Tibia 23, no. 2 (1998): v-viii (Die gelbe Seite). The Division Flute was a collection of divisions over a ground bass written by composers resident in England in the late seventeenth century and published by John Walsh in London in 1706–1708. Maute encourages us not only to play these divisions, but to take them as models for improvising our own divisions on the same and other grounds. His advice on learning such improvisation is couched in five “guiding principles”: to bear in mind the harmonic scheme, to begin with long notes in a slow tempo, to gradually experiment with various rhythmic patterns, to use the chord tones as melodic markers, and finally to allow our fantasy free reign (intervals, mixed rhythms, register change, implied polyphony, interspersed dissonances, contrasts of character, etc.). 1077. Tyson, John. “Making Your Own Music.” Recorder Education Journal 4 (1998): 2–3. A brief introduction to improvisation. Fingering and Fingerings 1078. Bloodworth, Denis. “The Baroque-Fingered Recorder.” Recorder and Music Magazine 8, no. 5 (March 1985): 151–53. Briefly examines the differences between Baroque fingering and modern English fingering. 1079. Bouterse, Jan. “Alternative Fingerings for Long-foot Baroque Recorders.” FoMRHI Quarterly, no. 90 (January 1998): 26–29. Bouterse has long been puzzled about why, on some surviving Dutch Baroque recorders, three notes in the high register (eb3, e3, and f3 on altos) are easy to play with Hotteterre fingerings but sound much too flat. He now realizes that the instruments in question have long foot joints (107 mm or more). On standard instruments (short foot joints, up to 105 mm), the Hotteterre fingerings can be used well. By experiment, he has discovered that the long-foot instruments can often be made to play in tune on the high notes with alternative fingerings, notably by leaving the right-hand little finger down. He suggests that work with further long-foot recorders could reveal that the makers intended previously undocumented patterns of alternative fingering, such as leaving the little finger down for all the notes of the high register. 1080. Bowman, Peter. “Fingerings and Finger Movements.” Recorder Magazine 14, no.

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3 (September 1994): 81–84. Advice on improving fingering technique. Includes several exercises that explore finger independence and left-thumb technique. 1081. Bowman, Peter. “The Use of Non-Standard or Alternative Fingerings.” Recorder Magazine 15, no. 3 (September 1995): 84–86. An introduction to the application of alternative fingerings. Emphasizes that they have a purpose beyond facilitating trills and fast passagework and should be used by players at all skill levels. Shows how alternative fingerings can be used to reinforce contrasts in dynamics and timbre. Advocates adjusting tuning through fingering rather than breath pressure. Finally, briefly describes the use of alternative fingerings to facilitate the performance of trills and awkward passages. 1082. Carse, Adam. “Fingering the Recorder.” Music Review 1, no. 2 (1940): 96–104. An important early article on historical fingerings. Opens with a chronological listing of twenty-five historical methods. Among them are most of the known sources on fingering the recorder. Describes the various ways that fingering charts are presented in the methods. Discusses the heavy plagiarism among the methods and the high frequency of error, particularly in the charts. Then proceeds with an analysis of the fingerings suggested for each note on the alto, from f1 to g3. Identifies German and English-French systems of fingering in the charts and distinguishes between the two. 1083. Davis, Alan. “Playing Baroque Recorders with Original Fingering.” Recorder Magazine 12, no. 2 (June 1992): 47–50. In German as: “Das Spiel auf Barockblockflöten mit Originalgriffen.” Tibia 21, no. 3 (1996): 195–98. Explains the history of modern “English” fingering, how it differs from authentic Baroque fingering, and the advantages that authentic fingering holds for the Baroque repertory. The main sources for authentic fingerings are historical fingering charts and the instruments themselves. One of the most authoritative charts is the one included in Hotteterre’s Principes (1707). The subtle distinctions between enharmonics are easier to accomplish with authentic fingering. The two “problem” notes on historical recorders are b2 and c#3, but “[t]hese two notes apart, Hotteterre’s fingerings used on an appropriate recorder produce excellent results, and make it much easier to work with a keyboard tuned in some form of unequal temperament.” Anthony Rowland-Jones, in a letter in 12, no. 3 (September 1992): 87, proposes solutions to the tuning problems associated with c#3. In the letter that follows, Edgar Gordon offers similar advice for bb2 and b1. 1084. Manning, Ilona. “Die dritte Oktave der Altblockflöte—altes Neuland” [The third octave of the alto recorder: old new territory]. Windkanal 3/1998:6–9. Goes over the use made of the extreme high register of the recorder in the eighteenth century, seeing this “old new territory” as evidence that Baroque composers were seeking to enlarge the expressive power and dynamic range of the instrument by this means. The small amount of historical evidence she cites is mostly well known: fingering charts by Hotteterre and Stanesby up to g3 or its equivalent; Majer’s fingering chart up to b3; Telemann’s F-major recorder concerto (g#3, a3, and b3) and F-major recorder sonata from Der getreue Musikmeister (one c4). Apparently previously unpublished is a manuscript Dutch fingering chart, “Schaale voor Bekfluit,” from the second half of the eighteenth century (the Hague, Gemeentemuseum), reproduced in its entirety (up to b3). She could have mentioned several other fingering charts and the frequent forays into the high

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register made by J.S.Bach. In order to prove her thesis, however, we would have to find more surviving repertory besides Telemann’s containing the extreme high notes. Letter from Helge M.Stiegler in 1/1999, 20–21. 1085. Higbee, Dale. “Third-Octave Fingerings in Eighteenth-Century Recorder Charts.” Galpin Society Journal 15 (1962): 97–99. Written to dispute the claim in item 1082 that a fingering for f#3 is not given in early charts. Higbee presents examples from Thomas Stanesby Jr., Pablo Minguet é Irol, Joos Verschuere Reynvaan, and Joseph Friedrich Bernhard Casper Majer. 1086. Lasocki, David. “17th and 18th Century Fingering Charts for the Recorder.” American Recorder 11, no. 4 (fall 1970): 128–37. A concordance of thirty-three historical charts for F recorders, keyed to Warner’s bibliography of instruction books (item 862). Five charts for recorders in C are listed separately. 1087. Newman, Joel [Flauto Piccolo, pseud.]. “Stützfingering Un-buttressed.” American Recorder 4, no. 2 (May 1963): 14–15. The impetus for the article was a series of letters written to refute Newman’s claim (in item 1009) that buttress fingering had played an insignificant role in the history of the recorder. Newman admits his mistake and reports on historical references to the fingering. Begins by citing the passage from the Method for the Recorder in F (Edition Schott 4469) by F.J.Giesbert that resurrected the technique in the twentieth century. Reports Edgar Hunt’s observation that the earliest evidence of buttress fingering might be the reference in Jambe de Fer’s Epitome musicale (1556; items 903–4). Hunt also notes that “[i]t is also in Hudgebut and others before Hotteterre.” Newman reports the results of a poll of fourteen performers, most of whom oppose the use and teaching of the technique. Ornamentation Renaissance 1088. Baratz, Lewis Reece. “Improvising on the Spagna Tune.” American Recorder 29, no. 4 (November 1988): 141–46. The first of two important articles by Baratz on extemporization in fifteenth-century music. Shows how to analyze a tenor and make two parts against it, drawing on the writings of Tinctoris and Gaffurius. 1089. Baratz, Lewis Reece. “Fifteenth-Century Improvisation, Take Two: Building a Vocabulary of Embellishments.” American Recorder 31, no. 2 (June 1990): 7–11. Works backward from the method described in item 1088, reducing the superius part of two fifteenth-century works to a skeletal outline and observing the underlying counterpoint. Then analyzes the intervals involved, identifies the embellishments used in those intervals, and organizes them into tables for practical use. Finally, uses the tables to create an improvisation on a popular song. Recommended. 1090. Bixler, Martha. “An Introduction to Renaissance Ornamentation.” American Recorder 8, no. 4 (fall 1967): 107–9; 9, no. 4 (fall 1968): 108–12. Begins by explaining the differences between Renaissance and Baroque melodic

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embellishment. Summarizes the rules of Renaissance ornamentation, citing treatises by Silvestro Ganassi, Diego Ortiz, Hermann Finck, and Ludovico Zacconi. In the second part of the article, Bixler applies ornamental formulas recommended by Ganassi and Ortiz to a villançico by Juan del Enciña. Includes a bibliography of primary and secondary sources. 1091. Seibert, Peter. “Ornamentation for Consort Players: First Steps.” American Recorder 25, no. 4 (November 1984): 136–38. Offers basic formulas for simple Renaissance ornamentation. Includes a bibliography of sources for further study. 1092. Waldo, Andrew. “So You Want to Blow the Audience Away? Sixteenth-Century Ornamentation: A Perspective on Goals and Techniques.” American Recorder 27, no. 2 (May 1986): 48–59. Some of the best advice in print on learning to ornament in sixteenth-century style using historical sources and modern practice techniques. Includes a selected bibliography of sources for madrigal diminutions, ornamentation manuals without diminution pieces, and modern books and articles on the subject. A valuable appendix indexes by title virtually all of the diminution pieces in ornamentation sources, 1535–1638. Baroque 1093. Betz, Marianne. “Verzierungspraxis im italienischen Stil am Beispiel der Sonate op. 5/9 von A.Corelli” [Ornamentation in the Italian style as exemplified in Arcangelo Corelli’s Sonata, op. 5, no. 9]. Tibia 8, no. 2 (1983): 343–50. Corelli’s sonatas for violin and basso continuo, opus 5 (first published in 1700), were performed by recorder players in the eighteenth century and still are today. Betz looks in detail at one of the sonatas in sonata da camera style as ornamented by Corelli’s student Francesco Geminiani, Geminiani’s Irish student Matthew Dubourg, and the modern recorder players Frans Brüggen and Hans-Martin Linde. “In contrast to the luxuriant, virtu-oso, performer-centered ornamentation style of Geminiani, and even more of Dubourg, the present-day style of ornamentation, here represented by Brüggen and Linde, shows a stronger inclusion of rational aspects which are combined to a greater or lesser extent with virtuoso elements.” A revealing analysis. 1094. Conrad, Ferdinand. “Embellishments in Baroque Music: An Approach to a Practical Method.” Recorder & Music Magazine 3, no. 2 (June 1969): 51–57. Reprinted from Recorder News, no. 26 (October 1959) and no. 27 (December 1959). In German as: “Die Verzierung in der Barockmusik: Versuch einer methodischpraktischen Anleitung für Melodieinstrumente.” Hausmusik 20 (1956): 157–69. Describes the execution of the agréments, placing an emphasis on sensitivity to the Affekt of the music. Also covers ornamentation “in the Italian style” (that is, divisions). Well done for its time, but by today’s standards Conrad places too great an emphasis on “rules.” 1095. Hunt, Edgar. “An Introduction to Baroque Ornamentation.” Recorder and Music Magazine 9, no. 9 (March 1989): 246–49; 9, no. 10 (June 1989): 281–82. Part 1 describes the execution of the appoggiatura, trill, mordent, slide, and port de voix. Hunt shows how they might be applied to the slow movement of Handel’s C-major

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recorder sonata. Part 2 offers guidelines, based on musical taste and sensibility, for introducing ornamentation into performances of Baroque music and shows how the practice may be applied to the minuet from Barsanti’s F-major recorder sonata. Begins with a warning against adopting long legato phrasing for the music of the Baroque. Argues that in the Renaissance, all notes—even ornaments—were articulated, and “[b]y the time of Purcell the ornamentation which came in with the French and Italian styles was slurred even though the music generally was clearly articulated.” 1096. Lasocki, David. “Late Baroque Ornamentation: Philosophy and Guidelines.” American Recorder 29, no. 1 (February 1988): 7–10. Slightly revised version as: “The Philosophy of Baroque Ornamentation: Editorial.” Recorder Education Journal 5 (1999): 2–5. Practical advice, following up on item 1097. “[E]xplores the philosophy of late Baroque ornamentation and offers guidelines to performers on learning to improvise stylishly.” Compares the purposes of ornamentation in the late Baroque and today, and draws parallels between Baroque ornamen-tation and jazz improvisation. Encourages players to become familiar with music of the period (particularly vocal music) and the style of the composer being studied. Urges players to adopt whatever views of the past that suit their own modern purposes. Supports Quantz’s advice that ornamentation should be introduced only when necessary. Finally, suggests that performances should be “fresh, vivacious, spontaneous, and adventurous.” Letter from Scott Reiss in 29, no. 3 (August 1988): 128. 1097. Mather, Betty Bang. “Developing Baroque Ornamentation Skills.” American Recorder 29, no. 1 (February 1988): 4–6. Reprinted in Recorder Education Journal 5 (1999): 6–9. Adapted from Flutist Quarterly 12, no. 1 (winter 1987): 22–26. Recommends that students of ornamentation “begin by practicing one ornament at a time—passing tone, trill, turn, etc.—wherever possible within a phrase.” Demonstrates the application of this method by taking the first three phrases of the Larghetto from Handel’s C-major sonata and ornamenting them in thirteen ways using thirteen categories of ornamentation. Also shows how Phrygian cadences might be ornamented, citing examples from Telemann and Quantz. Letter from Scott Reiss in 29, no. 3 (August 1988): 128. 1098. Mather, Betty Bang. “Making Up Your Own Baroque Ornamentation.” American Recorder 22, no. 3 (August 1981): 55–59. Reprinted from Woodwind World—Brass & Percussion 19, no. 2 (March/April 1980): 12–16. For the player who already has a basic understanding of ornamentation, Mather offers simple, practical advice firmly grounded in scholarship. Rather than directing readers to historical treatises and tutors, she encourages study of the music of the period. Since many composers occasionally wrote out explicit melodic embellishments and ornaments, players can improve their own ornamentation by analyzing and memorizing these patterns. “An excellent way to learn authentic ornamentation practices is to play through ornamented music.” Describes the differences between set and free ornamentation. Offers guidelines on when and how to ornament and lists seven precautions taken from Quantz. Makes valuable suggestions on how to practice ornamentation techniques. 1099. Mather, Betty Bang, and David Lasocki. Free Ornamentation for Woodwind Instruments, 1700–1775: An Anthology with Introduction. New York: McGinnis &

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Marx, 1976. 158 p. OCLC #2530444. MT 80 .M35 F7. Consists mainly of an anthology of examples of written-out ornamentation, from Corelli, Babell, Vivaldi, Bach, Telemann, Quantz, Nardini, Carlo Besozzi, La Barre, Hotteterre, Jean-Baptiste Loeillet, Montéclair, Mr. R[ippert], Boismortier, and Blavet. Shows both simple and ornamented melody lines (in some cases, by de-ornamenting complex melodies, such as Bach’s). A good many of the examples are written or suitable for the recorder. The introduction discusses the sources, the differences between Frenchand Italian-style ornamentation, the notation of ornamentation, “rules” for Bach and Telemann (extracted by Putnam Aldrich and William Pepper), rules by Quantz and Lorenzoni, the performance of the ornamentations, trio-sonata ornamentation, contemporaneous reports of “excesses,” and ways for the modern performer to learn how to ornament. One of the appendixes lists other eighteenth-century woodwind ornamentations in modern publications. Reviewed by M.B. [Maria Boxall?] in Recorder & Music 5, no. 9 (March 1977): 307, and Anthony Baines in Galpin Society Journal 31 (1978): 176. 1100. McGrady, Richard. “Corelli’s Violin Sonatas and the Ornamentation of Handel’s Recorder Sonatas.” Recorder & Music Magazine 3, no. 10 (June 1971): 357–59. Shows how ornamentation used in the slow movements of Corelli’s opus 5 sonatas for violin and basso continue can be applied to the Handel sonatas. Based on an early edition of the Corelli that includes elaborate, written-out ornamentation by the composer. Specific techniques include filling in melodic gaps with a series of turns and embellishing final Phrygian cadential figures. 1101. Segerman, Ephraim. “Contrasts between String and Woodwind Gracing in Purcell’s Time.” FoMRHI Quarterly, no. 78 (January 1995): 18–19 (Communication no. 1316). Takes Marianne Mezger’s work on ornaments a little further by examining string practice in England in the seventeenth century. An ornament table attributed to Charles Coleman and published in John Playford’s An Introduction to the Skill of Musick makes it clear that the term “to shake” meant an oscillation between two notes “where each is played more than once.” The flageolet and recorder sources, in contrast, fail to make the number of oscillations clear. Shaking with the upper auxiliary was dominant in string sources; shaking with the lower auxiliary, in woodwind sources—the beginning note apparently being a matter of taste in each case. Segerman concludes that “the specifics of the graces used were less important than [their location and duration], and whatever falls comfortably under the fingers will often do.” 1102. Stansfield, Norman. “Ornamentation in 18th Century French and Japanese Flute Music.” Continuo 7, no. 3 (December 1983): 8–11. Expands ideas introduced in a letter to the journal (see item 494). Finds parallels between the two styles of ornaments. 1103. Wollitz, Kenneth. “An Introduction to Baroque Ornamentation.” American Recorder 7, no. 1 (winter 1966): 4–10. History of the agréments and instructions for their execution. Much of the material is reprinted in chapter 3 of item 30.

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Pitch and Tuning See also chapter 12, “Construction and Design,” under the subheading “Pitch and Tuning” (pp. 205–8). 1104. Craven, John. “Harpsichord Tuning, Pure and Simple: A Guide to Playing with Recorders.” Recorder and Music Magazine 4, no. 5 (March 1973): 169–71. Concerns a description of modified meantone tuning. One paragraph addresses the topic of playing with recorders. 1105. Haynes, Bruce. “Beyond Temperament: Non-Keyboard Intonation in the 17th and 18th Centuries.” Early Music 19, no. 3 (August 1991): 357–81. Modern recorder players sometimes assume that historical recorders were built in some kind of temperament, such as meantone. Haynes makes it clear that for such instruments, “temperament” is not even possible. He writes that “[w]ithout a fixed tuning, intonation is influenced by technical situations, subjective perceptions, even differences in dynamics.” He discusses just intonation as well as various historical temperaments that were used for keyboard instruments. Woodwind fingering charts sometimes distinguish between enharmonic pairs, such as D# and Eb, the latter being higher by a comma. The concept of major and minor semitones “logically leads to intonation models that resemble various [meantone] temperaments.” Eighteenth-century sources suggest different solutions to the problem of how melody instruments and keyboard instruments should play together. 1106. Haynes, Bruce. Pitch Standards in the Baroque and Classical Periods. 2 vols. Ph.D. diss., Université de Montréal, 1995. xxxiv, 644 p. OCLC #36861149. The most comprehensive study of the subject to date, based on: descriptions of the relationship of pitch standards to one another, music notation, reports of acoustic research, records of traveling musicians, and musical instruments of the time. The recorder features prominently among the instruments considered, since it has a relatively stable pitch (as Johann Mattheson is quoted as saying in 1721). A bonus is appendix 5, an inventory of no fewer than 250 surviving Baroque recorders with their pitch levels: 12 Italian, 36 French, 138 German, and 64 English. Essential reading. See also his article “Pitch. I. Western Pitch Standards” in The New Grove Dictionary of Music and Musicians, 2d ed. which summarizes and updates the dissertation and also uses a more user-friendly designation for pitch levels. 1107. Machuca, Alonso Salas. “Consideraciones sobre la aportación de la flauta dulce al establecimiento de la justa entonación” [Considerations of the contribution of the recorder to the establishment of just intonation]. Revista de flauta de pico, no. 13 (1999): 22–31. How aware of intonation were recorder players of the past? A treatise by the Spanish organist Pablo Nasarre, Escuela de música según la práctica moderna (Zaragoza, 1723– 24), includes a short chapter on wind instruments “such as dulcians, shawms, and recorders,” in which he derives all of the intervals as proportions of the sounding length of the instrument. He goes on to explain that, in addition to having a well-tuned instrument, the musician must learn how to adjust notes up or down one or two commas, so that they are in tune with the organ. Machuca, introducing the work of Nasarre, gives a history of the concept of just intonation in treatises of the sixteenth and seventeenth

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centuries. He ends with some archival quotations showing how important the recorder was to Spanish minstrels of the sixteenth century. 1108. Wyatt, Theo. “A Question of Temperament.” Recorder and Music Magazine 4, no. 6 (June 1973): 192–93. Describes just intonation, meantone tuning, and equal temperament. Wyatt’s purpose is to explain “why E# is not the same as F” and why this difference requires a player “to add or subtract fingers at a moment’s notice to trim his chords to the demands of intonation.” Preluding 1109. Lasocki, David. “Preluding on the Recorder in England in the Early 18th Century.” Recorder & Music 6, no. 7 (September 1979): 194–97. During the eighteenth and early nineteenth centuries, instrumentalists engaged in a practice known as “preluding” or “flourishing”—the improvisation of a passage to introduce a composed piece of music. Lasocki reviews the history of the practice as documented in historical sources and describes surviving examples of composed preludes. “They consist mainly of chord notes and basically stepwise passagework without time signature or regular metre, and of course they stay within the home key.” Contemporary writers mentioned the value of preludes in preparing the ear of the audience for the key of the piece to follow, but Lasocki speculates that preludes must have also served the purpose of preparing the performer by providing an opportunity “to warm and tune the instrument, to exercise the fingers, to test the acoustics of the room, and again, to accustom themselves to the key and its particular difficulties on their instrument.” 1110. Mather, Betty Bang, and David Lasocki. The Art of Preluding, 1700–1830, for Flutists, Oboists, Clarinettists and Other Performers. New York: McGinnis & Marx, 1984. 78 p. ISBN 0941084086. MT 68 .M37 1984. Begins with an introduction defining the prelude and setting it in its historical context (based on item 1109). Briefly defines musical style in both formal music and preludes between the late seventeenth century and the early nineteenth century. Then surveys the published collections of preludes for that period, beginning with Freillon-Poncein and Hotteterre, quoting a few examples from each and giving performance advice. A final section sets out a method for learning to improvise preludes, based partly on Hotteterre’s L’art de préluder (1719) and citing a few recorder preludes from a recorder method, The New Flute Master (1729), as examples. Indexes of preludes by composer, instrument, and key. Rhetoric and the Affections 1111. Coomber, David. “Rhetoric and Affect in Baroque Music.” Recorder: Journal of the Victorian Recorder Guild, no. 3 (November 1985): 23–27. In the belief that “a knowledge of the rhetorical language employed in the Baroque period is needed in order to play [music of that period] well,” explains some basic rhetorical terms, then uses them to discuss the structure of the first movement of Telemann’s D-minor sonata (TWV 41:d4).

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1112. Heyens, Gudrun. “Über das ausdrucksvolle Spiel” [About expressive playing]. In Internationales Blockflöten-Symposion: Vorträge und Dokumentation. Staatliche Hochschule für Musik Karlsruhe Schloß Gottesaue, 30. August bis 6. September 1992, 56–71. Reprinted with French summary in SAJM Zeitschrift 22, no. 6 (November 1994): 3–15. Begins with a discussion of three quotations about the expressivity of the recorder (including a mistranslation of Stephen Gosson [1574], who said it was “piping” not “flute-playing” that led ultimately to the devil). Then skips to quotations about the doctrines of affections and figures. Concludes with the implications of these quotations for recorder playing, a series of exercises for developing expressivity, and an “appendix” of examples of rhetorical figures mostly from the recorder repertory. 1113. Maute, Matthias. “Rhetorik in der Musik des Barock” [Rhetoric in Baroque music]. Windkanal 1/2000:6–11. An introduction to the principles of rhetoric, followed by a rhetorical analysis of the second movement of Telemann’s E-minor Methodical Sonata (TWV 41:e2), “which can be played well on a tenor or soprano recorder.” 1114. Wells, Peter G.R. “Affect and the Recorder: A Rhetorical Question?” Recorder Magazine 19, no. 3 (autumn 1999): 83–85. Apparently unaware of Wolfgang Rüdiger’s article on the opening Triste from Georg Philipp Telemann’s F-minor sonata for bassoon or recorder and basso continuo (item 1933), which discussed the rhetorical use of figures in the movement, Wells uses the same movement to illustrate rhetorical ideas in late-Baroque music. Because he goes into more detail than Rüdiger, Wells’s article is complementary and provides useful insights. Strikingly, he shows that “there is virtually no figure or event in a movement such as this which cannot be accounted for in rhetorical terms…. [S]ome understanding of the use of these structures and figures can greatly increase the ease with which we can…understand, and therefore…better interpret this repertoire.” Rhythm 1115. Babitz, Sol. “On the Need for Restoring Baroque Inequality.” American Recorder 9, no. 1 (winter 1968): 7–8. Supports the use of inequality as a means of playing “quantitative accents” on instruments incapable of producing an accent by means of dynamics (for example, the recorder). * Houle, George. “Tongueing and Rhythmic Patterns in Early Music.” Cited above as item 1051. * Ranum, Patricia M. “French Articulation: The Lessons of Thésée.” Cited above as item 1056. Vibrato 1116. Brüggen, Daniel. “Ruling the Waves: Using Vibrato on the Recorder.” American Recorder 38, no. 1 (January 1997): 6–12. Originally in German as: “Das Vibrato beim Blockflötenspiel.” Tibia 21, no. 1 (1996): 23–27; 21, no. 2 (1996): 116–23. Defines vibrato as occurring “[w]hen the pitch, volume, or tone-color of a note is in a

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state of rapid fluctuation.” There are two principal methods of producing vibrato: aeration (changing the air pressure or air speed) and manipulation (using the hands). Aeration techniques include breath vibrato and lip vibrato; manipulation techniques include finger vibrato and labium vibrato. These techniques can be combined in ways that enhance the vibrato. For example, a breath vibrato naturally affects the pitch and volume of a note, but a finger vibrato can be applied simultaneously to counteract the change in pitch, resulting in a volume vibrato with constant pitch. The most surprising feature of his article, but ultimately perhaps the most useful, is Brüggen’s discussion, with music examples, of the uses of vibrato in unaccompanied, accompanied, and consort music. Letter from Hartmut Strebel in Tibia 21, no. 3 (1996): 236. 1117. Carter, Stewart. “The String Tremolo in the 17th Century.” Early Music 19, no. 1 (February 1991): 43–59. Citing a wide array of evidence, shows that the seventeenth-century string tremolo has been frequently misinterpreted. Originally intended as an imitation of the organ tremulant, it was performed by repeating several (usually four) notes of the same pitch in the same bow stroke, lightly articulated with a gentle pressure of the finger on the bow or bow hair, perhaps accompanied by left-hand vibrato. He suggests that wind players might emulate the organ tremulant by means of finger vibrato or breath vibrato, or even by shaking the instrument. To our knowledge, the term “tremolo” occurs only once in the published recorder literature: in the “Canzona con il tremolo ‘La Grimaneta’” for “flautin & fagotto” from Giovanni Battista Riccio’s Il terzo libro delle divine lodi musicali (Venice, 1620). 1118. Dickey, Bruce. “Untersuchungen zur historischen Auffassung des Vibratos auf Blasinstrumenten” [Investigations into the historical use of vibrato on wind instruments]. Basler Jahrbuch für historische Musikpraxis 2 (1978): 77–142. An overview of the subject, shorter than one would expect from the number of pages because of the inclusion of many music examples and tables. Divided into: questions of terminology, finger vibrato (including Ganassi, Cardan, Blankenburg, Hotteterre, and The Modern Musick Master), and breath vibrato (including Agricola). The ornament instructions in Salter and Carr are also discussed, because of the variability of the intervals they encompass (similar to Ganassi’s tremoli) and because the tablature sometimes seems to indicate a vibrato rather than a trill or mordent. Of particular interest is the analysis of the use of the flattement in a duo suite by Pierre Philidor (1718), which is reproduced in facsimile. Includes fingering charts from Ganassi, Blankenburg, Hotteterre, and The Modern Musick-Master. 1119. Feldon, Frances. “Vibrato in the French Baroque.” American Recorder 38, no. 1 (January 1997): 12–13. Hottteterre (1707/1715; see items 987–93) advised that the flattement, a fingered vibrato, should be used on all long notes. Modern performers of French Baroque music generally ignore this advice—and perhaps with good reason. Feldon shows that at least one French composer of Hotteterre’s day, Pierre Philidor, used the flattement more sparingly and to articulate rhetorical elements in a musical structure. Analyzing Philidor’s copiously notated ornaments in his flute duets and suites, Feldon concludes that the composer used the flattement for emphasis on a strong beat (first or second beat of the measure), at a modulation, or at the end of an important section. Excerpted and adapted

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from “The Rational Ear: Musica Poetica and Vibrato in France, 1675– 1725” (D.M.document, Indiana University, 1996). See also item 1894. 1120. Haynes, Bruce. “Das Fingervibrato (Flattement) auf Holzblasinstrumenten im 17., 18. und 19. Jahrhundert” [The woodwind finger vibrato (flattement) in the seventeenth, eighteenth, and nineteenth centuries]. Tibia 22, no. 2 (1997): 401–7; 22, no. 3 (1997): 481–87. We tend to associate the flattement (fingered vibrato) with the French woodwind school around 1700. Haynes, however, demonstrates that this ornament was used in other countries and well into the nineteenth century. According to his researches, the flattement was much more flexible than the modern vibrato (which in any case tends to be used continuously), better suited to the “speaking” line of the late Baroque as well as the constant changes of dynamics depicted by Quantz (1752). Despite what some modern writers have surmised, it probably did not involve an intentional variation of pitch. 1121. Moens-Haenen, Greta. Das Vibrato in der Musik des Barock [Vibrato in the music of the Baroque]. Graz: Akademische Druck- u. Verlagsanstalt, 1988. ML 430.5 .M63 1988. Chapter 5 (“Das Vibrato auf Holzblasinstrumenten” [Vibrato on woodwind instruments], pp. 83–101) includes a long discussion on the finger vibrato for the recorder as described by authors of the seventeenth and eighteenth centuries, based partly on the work of Dickey (item 1118). Deals with Blankenburg, Hudgebut, Salter, Carr, The Compleat Flute-Master, Bismantova, Loulié, and Hotteterre. 1122. Sterne, Colin C. “Quavering, Quivering, and J.J.Quantz.” American Recorder 18, no. 3 (November 1977): 71–72. Presents historical evidence in support of the diaphragm vibrato. 23. Zimmermann, Manfredo. “Messa di voce on the Recorder—a Mere Wish?” E.R.T.A. Newsletter no. 6 (December 1994): 1–5. Originally in German as: “Messa di voce auf der Blockflöte—nur ein Wunschtraum?” In Internationales Blockflöten-Symposion: Vorträge und Dokumentation, 12–18. Karlsruhe: ERTA, 1992. Zimmermann writes with insight on the messa di voce—a long note played with a crescendo then a diminuendo. How can one achieve this dynamic inflection on the recorder without disturbing the pitch too much? Like Quantz, Zimmermann recommends incorporating the flattement, or fingered vibrato, which he rightly points out was not restricted to France, as many players today seem to believe, and he cautions us not to play it too rapidly. He also recommends the trillo soave, first mentioned by Ganassi in 1535— a kind of fingered vibrato in which the change of pitch is made upward. Miscellaneous 1124. Rowland-Jones, Anthony. “Putting the Clock Back.” Recorder: Australia’s Journal of Recorder and Early Music, no. 17 (September 1993). 12. Points out and translates a short passage in Marin Mersenne’s Harmonie universelle (Paris, 1636) to the effect that “it is possible to sound a tune or a song on the recorder and at the same time to sing the bass line…in such a way that a person can play a duet on his own.”

19 Technique and Performance (Modern) This chapter discusses books and articles about recorder technique and modern performance practice. To save space, modern recorder methods and exercise books have been excluded (although it is not always possible to draw the line, item 1125 being an obvious borderline case). General sources are followed by those on specific topics: articulation, breathing, dynamics, fingering and fingerings, intonation and tone, practicing, sight-reading, and vibrato. Note that “extended” or avant-garde techniques are treated separately in chapter 20, and matters connected with recorder ensembles are found in chapter 21. BOOKS 1125. Hauwe, Walter van. The Modern Recorder Player. 3 vols. London: Schott, 1984– 92. ISBN 0901938963 (vol. 1; Schott ED 12150); ISBN 0946535043 (vol. 2; Schott ED 12270); ISBN 0946535191 (vol. 3; Schott ED 12361). German translation of vol. 1 by Matthias Weilenmann as Moderne Blockflötentechnik. Mainz: Schott, 1987. MT 350 .H38 1984. French translation as Technique moderne de la flûte à bec. Issy-lesMoulineaux: Editions EAP, 1987–. ISBN 2864910500. A work of enormous importance: a detailed account of recorder technique in the twentieth century written by a player and teacher of international standing. For the first time in history we can feel that professional secrets are being given away to the layperson. If only Ganassi and Hotteterre had told us as much as this. Contents: Vol. 1: How to hold the recorder; How to move the fingers; About breathing; About articulation. Vol. 2: About scales and arpeggios; About trills; About vibrato; More about articulation. Vol. 3: The fingers; More about breathing; Humming; Articulation; Appendixes (Wind noise, Some more dynamics, Some tricks and gimmicks). Vol. 1 reviewed by John Tyson and Louise Austin in American Recorder 27, no. 2 (May 1986): 78–79 and Ross Winters in Recorder and Music Magazine 8, no. 3 (September 1984): 89–90. Vol. 2 reviewed by John Tyson in American Recorder 29, no. 3 (August 1988): 123 and P[aul] C[lark] in Recorder and Music Magazine 9, no. 5 (March 1988): 134. Vol. 3 reviewed by Robert Ehrlich in Recorder Magazine 12, no. 2 (June 1992): 51–52. 1126. Rowland-Jones, Anthony. Recorder Technique: Intermediate to Advanced. 2d ed. Oxford and New York: Oxford University Press, 1986. 170 p. ISBN 0193223422. Earlier edition, with title Recorder Technique. London: Oxford University Press, 1959. 151 p. OCLC #2087490. MT 351 .R72 1986. The first edition was based on a series of articles that first appeared in the Recorder News and were later reprinted in the American Recorder Society Newsletter and the American Recorder (see items 1139–40). The advice on technical matters was intelligent

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and the capsule descriptions of the repertory stimulating. The second edition, the subtitle of which makes manifest what was only implicit before, was thoroughly revised in the light of technical improvements to instruments and by players as well as research into recorder history and performance practice. Covers: knowing your instrument, breathing, tonguing, intonation, alternative fingerings, high notes, dynamics, tone, ornamentation, practice, and performance. Appendix 1 presents “a personal selection of music which an amateur player approaching the advanced stage will wish to explore (now more listings than commentary), and appendix 2 is a selected annotated bibliography. An essential book for amateurs. Reviewed by Martha Bixler in American Recorder 29, no. 2 (May 1988): 65. Also reviewed [by Edgar Hunt] in Recorder and Music Magazine 9, no. 1 (March 1987): 15. First edition reviewed by Walter Bergmann in Galpin Society Journal 13 (1960): 106. 1127. Waitzman, Daniel. The Art of Playing the Recorder. New York: AMS Press, 1978. xviii, 106 p. ISBN 0404160107. MT 340 .W25. As the author observes in his preface, this book is “not a ‘method,’ in the conventional sense.” Like item 1126, the book consists primarily of text, contains few music examples, and describes the physical details of holding and playing the instrument without the assistance of photographs or illustrations. As supplementary reading for the serious recorder student, the book has much to offer, and Waitzman’s approach is thought provoking if not sometimes controversial. His spirited advocacy of the bell-keyed recorder (see item 618 and others above) is continued here, but it does not dominate the book. The table at the end of chapter 7 includes alto fingerings up to bb4, although Waitzman notes that those above f4 “are of theoretical interest only.” Contents: Chapter 1: The qualities required of a good concert recorder [including coverage and advocacy of the bell-keyed recorder]. Chapter 2: Holding the recorder (supporting the instrument; the position of the hands). Chapter 3: Tonguing. Chapter 4: Tone (embouchure; breathing and breath control; some precautions for public performance; vibrato; some remarks on intonation). Chapter 5: The operation of the speakervents and the control of intonation (pinching and half-holing; the use of additional holes, and of duplicate fingerings, for intonational control). Chapter 6: Summary of factors governing register selection and tone quality; some additional remarks on tone. Chapter 7: Fingering. Reviewed by Edgar Hunt in Galpin Society Journal 33 (1980): 143 and Recorder & Music 6, no. 4 (December 1978): 122 and by John Turner in Early Music 7, no. 1 (January 1979): 123–25. In the Recorder & Music review, Hunt chides Waitzman for his preoccupation with the bell key. Waitzman defends himself in 6, no. 6 (June 1979): 183: “Indeed, the failure of the recorder community to adopt and develop the bell-keyed recorder suggests that the recorder lacks a viable class of true professionals—which is, in fact, exactly the case.” See also Karl Ventzke, “Grundlagentechnik künstlerischen Blockflötenspiels: Gedanken zu Daniel Waitzman’s ‘The Art of Playing the Recorder,’” Das Musikinstrument 28, no. 3 (March 1979): 678.

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ARTICLES 1128. Blaker, Frances. “Opening Measures.” American Recorder 37, no. 1 (January 1996): 29–30; 37, no. 2 (March 1996): 22–23; 37, no. 3 (May 1996): 30–31; 37, no. 4 (September 1996): 34–35; 37, no. 5 (November 1996): 30–31; 38, no. 1 (January 1997): 28–29; 38, no. 3 (May 1997): 34–35; 38, no. 5 (November 1997): 25; 39, no. 2 (March 1998): 25–26; 39, no. 3 (May 1998): 33–34; 39, no. 4 (September 1998): 28–29; 40, no. 1 (January 1999): 31–33; 40, no. 2 (March 1999): 38–39; 40, no. 3 (May 1999): 38–39; 40, no. 5 (November 1999): 34–35; 41, no. 1 (January 2000): 34–35; 41, no. 3 (May 2000): 31–32; 41, no. 4 (September 2000): 31–32; 41, no. 5 (November 2000): 35; 42, no. 1 (January 2001): 15–16; 42, no. 2 (March 2001): 43–44; 42, no. 5 (November 2001): 33– 34. A column “devoted to the problems and questions of less-experienced players—as well as players, no matter how experienced, who believe that there is always more to learn” (January 1996). JANUARY 1996: recommendations on how to practice. MARCH 1996: exercises to; improve thumb technique. MAY 1996: reducing the frequency of mistakes, stretching exercises. SEPTEMBER 1996: articulation. NOVEMBER 1996: practicing with a partner. JANUARY 1997: selecting a recorder. MAY 1997: breathing. NOVEMBER 1997: blowing. MARCH 1998: learning to play the bass recorder. MAY AND SEPTEMBER 1998: trills (see also a letter in 39, no. 5 [November 1998]: 23). JANUARY 1999: making efficient use of practice time. MARCH 1999: counting. MAY 1999: intonation. NOVEMBER 1999: playing the tenor and bass. JANUARY and MAY 2000: increasing the speed and accuracy of fingering. SEPTEMBER 2000: breathing and breath control. NOVEMBER 2000: dealing with performance anxiety. JANUARY 2001: learning from listening. MARCH and NOVEMBER 2001: counting. 1129. Bowman, Peter. “Body and Hand Positions When Playing the Recorder.” Recorder Magazine 14, no. 2 (June 1994): 43–45. Emphasizes the importance of reaching “a state of complete physical ease with one’s instrument” and describes an exercise to improve relaxation in holding and supporting the recorder. Advocates the use of the right-hand little finger as a support point for the instrument but doesn’t mention the practical option of using a thumbrest instead. 1130. Clark, Paul. “Not for You?” Recorder & Music Magazine 2, no. 11 (December 1968): 370–72. Advice for the intermediate player. Suggests learning trills, practicing scales and simple tunes in all keys, playing by ear, improvising, and learning new clefs and transpositions. 1131. Clark, Paul. “Recorder Player’s ABC.” Recorder & Music Magazine 3, no. 2 (June 1969): 61–62. Covers, under alphabetic rubrics, topics relating to tonguing and articulation: the disputed value of adjusting mouth size and shape with shifts in register, tonguing syllables, standards of articulation, double tonguing, and vibrato. 1132. Dolmetsch, Carl F. “On Playing the Recorder.” Consort, no. 7 (July 1950): 18–21. An introduction to recorder technique. 33. Hauwe, Walter van. “Fundamental Recorder Techniques.” Recorder: Journal of the

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Victorian Recorder Guild, no. 4 (May 1986): 18–23; no. 5 (November 1986): 7–11; no. 6 (June 1987): 20–25. Adapted from item 1125. Hunt, Edgar. “Playing the Bass Recorder.” Cited above as item 231. 34. Kneihs, Hans Maria. “Musical Structure and Interpretation with Reference to Marcello’s Sonata in D Minor.” Recorder: Journal of the Victorian Recorder Guild, no. 3 (November 1985): 15–19. Analyzes the first movement of Benedetto Marcello’s sonata from a simple Schenkerian standpoint. Also discusses the importance of analysis to performers. Summarizes the three principal means of interpretation on the recorder: dynamics, rhythmical alteration, and articulation. Finally, discusses using these means to interpret the Marcello movement in the light of the analysis. 1135. Michatz, Hans-Dieter. “Facing the Music, or: Reflections on Why the Brain Often Hurts Before You Even Play.” Cinnamon Sticks 2, no. 2 (November 2001): 6–9. A philosophical essay on performing the recorder in early and modern music. 36. Michatz, Hans-Dieter. “You Must Have a Story to Tell.” Recorder: Journal of the Victorian Recorder Guild, no. 7 (December 1987): 17–18. A brief plea for recorder players to experiment with approaches to performance in order to appeal to a wider audience. 1137. Mundhenke, Heike. “Blockflöte und Klavier—Möglichkeiten und Schwierigkeiten des Zusammenspiels” [Recorder and piano—possibilities and difficulties of playing together]. Tibia 16, no. 3 (1991): 501–8. The repertory for recorder and piano includes both traditional and avant-garde works of the twentieth century. The playing of these instruments together brings up problems of intonation as well as balance (because of their different sound quality and dynamic range). Recorder players should, in particular, do everything they can to increase, or imply the increase of, their dynamic range. Goes on to discuss the problems in two sample pieces from the repertory: Gordon Jacob’s Suite and John Casken’s Thymehaze. 1138. Reichenthal, Eugene. “Teaching Tips.” American Recorder 35, no. 4 (September 1994): 27–29; 36, no. 4 (September 1995): 21; 38, no. 3 (May 1997): 19–20; 38, no. 4 (September 1997): 25–26; 40, no. 1 (January 1999): 22–23; 41, no. 1 (January 2000): 33. An occasional column covering various topics. SEPTEMBER 1994: thoughts on why high school students abandon the recorder. SEPTEMBER 1995: making the transition from soprano to alto. MAY 1997: the importance of sightreading. SEPTEMBER 1997: French and American counting syllables. JANUARY 1999: alternative fingerings for d2, g3, and b3. JANUARY 2000: alternative trills. 1139. Rowland-Jones, A. “Technique.” American Recorder 1, no. 1 (winter 1960): 3–4, 6, 18. Concerns practice. Specific topics include breathing and tonguing, fingering, thumbing, and sightreading. “Eleventh in the series of articles by Mr. [Rowland-]Jones which have been reprinted, with permission from the Recorder News of England, in the American Recorder Society Newsletter” 1140. Rowland-Jones, A. “Technique.” American Recorder 1, no. 2 (spring 1960): 3–6. Concerns preparation for performance. Specific topics include style, speed, phrasing,

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dynamics, ornamentation, and direction. Twelfth and final installment in the series. 1141. “Wie entsteht ein Blockflötenton?” [How does the recorder produce a tone?]. Das Musikinstrument 18, no. 9 (September 1969): 1150–52. Brief accounts of “What does the breath-pressure produce?” “What is a good tuning?” and “What is a beautiful recorder tone?” 1142. “Why Don’t Recorder Players Take Their Instrument Seriously?” American Recorder 29, no. 2 (May 1988): 57–58. Includes contributions by Richard McChesney, and Kenneth Wollitz and Nina Stern (adapted from “Some Thoughts on Workshops,” Historical Performance 1, no. 1 [1988]: 42–44). Both essays support a fundamental belief: the better one plays, the more one enjoys playing. McChesney wonders why the level of playing remains so low among amateurs and why so few make any attempt to improve their playing. Stern and Wollitz raise the same questions and observe that many amateurs are strongly resistant to technical exercises and practice. Responses from readers appear in: 29, no. 4 (November 1988): 167–69; 30, no. 1 (February 1989): 38–39; and 30, no. 3 (August 1989): 122. 1143. Wyatt, Theo. “On Being Your Own Teacher.” (The Recorder in School.) Recorder and Music Magazine 1, no. 5 (May 1964): 133–34. Brief article on recorder technique written for school teachers who are not professional musicians but who are required to teach recorder. The treatment of the topic is concise and to the point, and any beginning player would find Wyatt’s advice helpful— particularly his discussion of fingering, the thumb, breathing, and articulation. SPECIFIC TOPICS Articulation 1144. Bowman, Peter. “Tonguing on the Recorder.” Recorder Magazine 14, no. 4 (December 1994): 119–21. Offers advice on legato and staccato tonguing, how to end notes, coordinating the tongue and the breath, and double and triple tonguing. 1145. Davis, Alan. “Articulation on the Recorder.” Recorder & Music 5, no. 1 (March 1975): 5–6. Questions and answers. Covers: the meaning of “articulation”; the proper way to tongue; variety in tonguing (long/short and hard/soft); articulation as an expressive device; and double and triple tonguing. * Reiss, Scott. “Articulation: The Key to Expressive Playing.” Cited above as item 1059. 1146. Rowland-Jones, Anthony. “A Slur on Slurring? A Problem in Recorder Playing.” NEMA Journal, no. 9 (July 1988): 1–6. The problem in question is slurring across the recorder’s register breaks (alto: g2-a2, 3 d -e3, f3-g3)—difficult to do without causing “at the least, a tiny articulation transient” (click). Prefers to use light tonguing (what he calls “y tonguing”). Rejects Scott Reiss’s view (see item 1059) that recorder players should never use true slurs, which he believes existed even in the Baroque era, although he concedes that lightly tongued slurs are “firmer, more distinct, and project better.” 1147. Tattersall, Malcolm. “When Is a Slur Not a Slur?” Recorder: Journal of the

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Victorian Recorder Guild, no. 11 (June 1990): 13–16. The basic answer to Tattersall’s pertinent question is, of course, when it’s a tie or a phrasing mark. He gives guidance on how to tell a true slur from a phrasing mark, as well as which slurs can be ignored. Breathing 1148. Bowman, Peter. “The Art of Breathing.” Recorder Magazine 15, no. 2 (June 1995): 51–53. Begins with several exhalation and inhalation exercises for use in teaching young players. Describes the breathing apparatus and explains how breathing for musical performance requires the player to work against the patterns of natural breathing. Emphasizes the importance of breathing with the diaphragm and suggests exercises to strengthen it and produce a controlled release of air. 1149. Bowman, Peter. “Producing a Sound on the Recorder.” Recorder Magazine 14, no. 1 (March 1994): 8–9. A few beginning exercises that explore the various types of streams of air used in playing the recorder. 1150. Clark, Paul. “Yodelling for the Recorder Player.” Recorder & Music 6, no. 9 (March 1980): 264–65. Exercises to develop proper breath support for the various registers of the instrument. Involves oscillating between notes in different registers—a technique Clark likens to yodelling. 1151. Edler-Busch, Elli. “‘Blasdruck’ oder ‘druckschwacher Ansatz’?” [‘Breathpressure’ or ‘weak-pressure blowing’?]. Tibia 6, no. 2 (1981): 319–27. A long article on what the author has dubbed the “weak-pressure blowing technique.” Because it is thought to be “quite self-evident,” this had never been thoroughly described. Applies the technique to the flûte and recorder. 1152. Fischer, Johannes. “Vom Traum der Unendlichkeit, oder Versuch einer Anleitung zur Zirkuläratmung für Blockflötisten” [Of the dream of endlessness; or, Essay of an introduction to circular breathing for recorder players]. Tibia 18, no. 1 (1993): 346–51. Describes how the author became familiar with circular breathing, discusses recorder pieces that require or are facilitated by this technique, then gives a detailed description of how to learn it. Concludes with a short bibliography. See also the companion article by Wladimir Katchmartchik, “Zur Entwicklungsgeschichte der Permanentatmung” [On the developmental history of breathing with permanent exhalation]. Tibia 18, no. 1 (1993): 341–46. 1153. Gray, Arlen. “Air for the Recorder.” American Recorder 6, no. 1 (winter 1965): 6– 8. Instructions and exercises for developing proper breathing techniques. 54. Hajncl, Jeanette. “Don’t Panic! Or, Why Recorder Players Do Not Need to ‘Take a Breath.’” Recorder Magazine 18, no. 1 (March 1998): 10–11. “Most of us are taught, as beginner recorder players, to take a Big Breath before we start to play. If we are not told specifically to breathe in, we see our teachers and other recorder players whom we respect starting with a sudden big gasp, just before playing the

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first note, and so learn that this is the way to play. This gasp is not usually audible, although it can sometimes be heard even with very good players.” So begins a stimulating article by Hajncl, a teacher of the Alexander Technique, who details the deleterious effects of such a breath and of course goes on to tell us a better way. Begin playing when the lungs have filled of their own accord. If you stay relaxed in body and mind, after some practice the air will continue to come in automatically when you open your mouth to take a breath. More properly, the breath “takes itself.” Letter from Paul Coward in 18, no. 2 (June 1998): 73, with a reply from Hajncl in 18, no. 4 (winter 1998): 155. 1155. Wyatt, Theo. “The Unnatural Descant.” Recorder Magazine 21 [marked 21a], no. 4 (winter 2001): 146–47. Through Wyatt’s work as a conductor of recorder ensembles, he has noticed that the sopranos (in Great Britain, “descants”) are consistently too loud. This happens because “playing the descant is a thoroughly unnatural activity.” It requires exhalation at a very low pressure and at a rate substantially lower than the rate of natural breathing. The precise, prolonged tension between the abdominal muscles and the diaphragm in combination with the reduced exhalation of air naturally results in physical discomfort. “Those who do manage to subdue the demands of the flesh in favour of the demands of the music are indeed musical martyrs, guaranteed a special place in Paradise.” Dynamics 1156. Bergmann, Walter. “Recorder Dynamics.” Recorder & Music 4, no. 9 (March 1974): 316–17. Argues that dynamic contrast is possible on the recorder. The pitch of the lowest notes is affected only marginally by a change in breath pressure. High notes can be corrected by adjusting the size of the thumbhole aperture. For the middle octave, pitch can be corrected by using alternative fingerings. Mentions several mechanical devices for counteracting unwanted pitch changes. The perception of a shift in dynamics can also be enhanced by varying articulation. 1157. Bowman, Peter. “Test Pad: Dynamics, an Unrealistic Expectation or…?” Recorder Magazine 16, no. 4 (December 1996): 133–34; 17, no. 1 (March 1997): 9–11. Because of the physical limits on the dynamic range of the recorder, players must use other musical effects to create the illusion of dynamics. Suggests experimenting with “timing” (playing ahead of or behind the beat) and articulation to enhance dynamic contrast in performance. Letter from Daphne Medley in 17, no. 2 (June 1997): 71. 1158. Fischer, Johannes. Die dynamische Blockflöte [The dynamic recorder]. Celle: Moeck, 1990. 44 p. ISBN 387549041X. Edition Moeck Nr. 4048. A slim but still valuable book—a combination of textbook and method—on an important subject. Chapter 1 lists the basic dynamic properties of the recorder. Chapter 2 outlines the methods of achieving dynamics (decrescendo and crescendo; dynamic gradation of single notes or groups and within the course of a melody). Chapter 3 discusses and illustrates technical problems in breathing and fingering. Chapter 4, on application, outlines the criteria of a good instrument, then dynamic variation in solo, duet, and ensemble playing as well as in the music of various eras. Chapter 5, “practical

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realization,” introduces (1) a system of symbols for fingerholes and fingerings, (2) a series of exercises for independence of fingers, breath pressure, and finger technique, (3) notes on fingering combinations, and (4) examples from the repertory. Chapter 6 consists of fingering tables at intervals of a quarter-tone. The final chapter is a short bibliography. Reviewed by Pete Rose in American Recorder 32, no. 2 (June 1991): 22–23. 1159. Robinson, Andrew. “Quiet High Notes: An Extraordinary Discovery.” Recorder Magazine 17, no. 4 (December 1997): 139. Describes a method discovered by the Dutch recorder player Walter van Hauwe of playing high notes softly (as well as making crescendos and decrescendos on them), by “leaking” the first fingerhole to a lesser or greater extent. But this is hardly a discovery; in 1535, Ganassi wrote: “Mark that you can make every note softer by means of uncovering the hole a little and giving less breath accordingly.” 1160. Sokoll, Christa. “Dynamik des Blockflötenspiels” [Dynamics in recorder playing]. Musica 40, no. 1 (January-February 1986): 31–37. Describes the use of alternative fingerings to produce real dynamic contrasts on the recorder. Gives many examples from twentieth-century works plus two of the Baroque echo effect. She brings the article up to date in a letter to the editor in Tibia 18, no. 1 (1993): 417. Fingering and Fingerings 1161. Anastasio, Angelo. “Let’s Get Those Fingers Limbered Up!” American Recorder 35, no. 3 (May 1994): 7–9. A brief treatment of some of the problems related to fingering. Covers: the muscles involved in moving the fingers; tips for effective recorder fingering; working through trouble spots; avoiding intermediate pitches; mastering cross-fingering patterns; shading and half-holing; and thumbing. Concludes with a cross-fingering exercise, transposed for both C and F fingerings. 1162. Clark, Paul. “Digitalism.” Recorder & Music 6, no. 7 (September 1979): 197–98. An essay emphasizing that there is more to recorder playing than simply putting the correct fingers in the correct places and blowing. We should “know first the sounds we want to make, then we should know the instrument we mean to use. Instruments and their fingerings are Means. The Ends are the sounds we strive for.” 1163. Clark, Paul. “Goldenfingers—1: A Guide to Recorder Technique.” Recorder & Music 4, no. 7 (September 1973): 234–36. An excellent essay review of methods and exercise books that concern finger technique. 1164. Clark, Paul. “Inflectious Cases.” Recorder and Music Magazine 8, no. 1 (March 1984): 17–18. Concerns the basic principles of adjusting recorder fingering: “covering holes below the ‘speaking’ hole will flatten the pitch; the further the added finger is from the speaking hole, the less effect it will have; the more fingers are added, the greater the flattening will be.” These rules can be applied to adjust intonation and to increase the dynamic range of the instrument. 1165. Davenport, LaNoue, and Erich Katz. “Controversy: I. Alternate Fingerings.”

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American Recorder 5, no. 4 (November 1964): 11–13. Reprinted from ARS Newsletter, no. 20. Davenport argues that alternative fingerings should almost never be used. Followed by a reply from Erich Katz, who denounces a dogmatic opposition to their use. 1166. Davis, Alan. “Fingering the Recorder.” Recorder & Music 4, no. 12 (December 1974): 439–40. Questions and answers about fingering technique. Recommends practicing exercises and scales to improve technique rather than relying on traditional repertory. Explains how to dissect difficult passages. Describes proper finger and thumb positioning. Explains the purpose and use of alternative fingerings. 1167. Fischer, Johannes. “Grifftechnik und Klangtransformation: Ein Diskussionsbeitrag zur Reformation der Grifftechnik im Blockflötenspiel” [Fingering technique and sound transformation: a discussion lecture on the reform of fingering technique in recorder playing]. In 4. Internationales Blockflöten Symposium Kassel, ERTA Kongress 6–9. Juni 1996, Vorträge und Dokumentation, 45–61. Reprinted in SAJM Zeitschrift 25, no. 5 (September 1997): 2–18. As the title implies, an important article on recorder fingerings by the pioneer of special fingerings for dynamics. Makes a start at the important task of looking systematically at movements of single fingers, several fingers, and the hand. See also Gerhard Braun and Johannes Fischer, Grifftabellen für Blockflöte (Milan: Ricordi, 1997). * Halfpenny, Eric. “Fingering.” Cited above as item 276. 1168. Höffer-von Winterfeld, Linde. “Griffkombinationen und Klangfarben auf der Blockflöte” [Fingering combinations and tone color on the recorder], Tibia 1, no. 2 (1976): 77–80. Höffer-von Winterfeld has followed up on Michael Vetter’s Il flauto dolce ed acerbo by developing his ideas about fingerings systematically in Der neue Weg (Hamburg: Hans Sikorski, 1965) and practically in 21 Lektionen (Hamburg: Sikorski, 1967) and Diarium für Jeannette (Zürich: Pelikan, 1971). Stresses that the fingers must not hold the recorder tight but balance it among the lower lip, the right thumb, and one of three fingers of the left hand (first, second, or third). Then outlines her fingering system, emphasizing alternative fingerings that permit nuance and variety in timbre. Finally, mentions, but does not elaborate on, the problem of playing in tune with alternative fingerings. 1169. Massy, Jim. “The Taped Recorder, or, ‘How Low Can You Get.’” Recorder & Music 7, no. 6 (June 1982): 142. Instructions for using scotch tape on the lowest fingerholes to demonstrate the effects of leaks caused by faulty finger placement. 1170. Reichenthal, Eugene. “Effective Use of Exceptional Fingerings.” American Recorder 32, no. 4 (December 1991): 16–17. A collection of miscellaneous alternative fingerings that address problems of dynamic contrast (particularly in the Affettuoso movement of Telemann’s D-minor sonata [TWV 41:d4] and the production of certain high notes (c#3, e3, c4). Most of the alternative fingerings involve shading or leaking. Letter from Anthony Rowland-Jones in 33, no. 2 (June 1992): 35. 1171. Rose, Pete. “In Living Color!” American Recorder 37, no. 2 (March 1996): 12–15. Explains the use of alternative fingerings to modify the timbre of individual notes. By

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using these fingerings (“color fingerings”), a player can enhance the dynamic range of the instrument and “give a clearer definition to the musical phrase.” Avant-garde works of the 1960s introduced many color fingerings, which soon were applied as expressive devices to older repertory. To demonstrate the application of color fingerings, Rose includes an annotated score to Longing (1995) by Olga Gorelli, a work originally for flute. 1172. Wells, Peter G.R. “Giving the Fingers II: Fingering for Expressive Purposes in the Music of the Baroque.” Recorder Magazine 21 [marked 21a], no. 1 (spring 2001): 8– 11. Continues item 1240. Emphasizes that fingerings must be tailored to conform to the peculiarities of individual instruments and that there is no “correct” fingering for a particular note. Fingerings may be varied for the purpose of changing tone color, affect, or tuning. Although players most often use alternative trill fingerings to facilitate execution, they are also an important tool to enhance the “key color” and mood of a work. Offers examples of how alternative fingerings can be used to change the color of a note, improve the tuning of unisons, and make adjustments for enharmonic equivalents. Shows how alternative fingerings can be constructed by substituting forked fingerings, by adding fingers below the lowest fingered hole, and by using the harmonics of other notes. Letter from Ross Winters in 21, no. 2 (summer 2001): 78. High notes (including f#3) See also chapter 18, “Performance Practices (Historical),” under the subheading “Fingering and fingerings” (pp. 342–45). 1173. Blaker, Frances. “Are High Notes Your Nightmare?” American Recorder 36, no. 5 (November 1995): 19–20. Advice on playing high notes “cleanly, in tune, [and] with pleasant tone.” Covers voicing, breath pressure, and thumb technique. 1174. Dolmetsch, Carl. “High F Sharp.” Recorder & Music Magazine 8, no. 9 (March 1986): 275. Claims discovery (1929) of the “knee technique” for playing f#3 on the alto recorder and of the method for slurring up to the note from the E or F below (published 1954, discovered earlier), as well as the invention and patenting of the bell key. Also gives a fingering for the note. 1175. Hunt, Edgar. “Recorder Fingerings.” Galpin Society Journal 14 (1961): 75–76. Discusses the use of a key to produce f#3 on the alto recorder. 76. Hunt, Edgar. “Fingering the High Notes on the Recorder.” Galpin Society Journal 11 (1958): 90–91. Fingerings for f#3 c4. 77. Juritz, J.W.F. “Recorder Fingerings.” Galpin Society Journal 13 (1960): 91–92. Mentions his discovery of a satisfactory fingering for f#3 on the alto recorder by stopping the bore at the bottom of the foot joint, and his subsequent invention of a bell key. Gives alternative fingerings for some high notes that it facilitates. Also mentions several fingerings, of which –1–3 –567 is typical, which sound at two close frequencies, depending on breath pressure. Claims that these “are of interest as showing how far

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current acoustical theory is from accounting for the behaviour of the recorder.” (It is in fact possible to calculate the resonances associated with fingerings such as these. In item 680, Martin analyses a related fingering.) 1178. Robinson, Andrew. “Leg Technique.” Recorder Magazine 15, no. 1 (March 1995): 10. Instructions for playing high notes by covering the bell hole with the leg. Includes a table of fingerings for f#3–eb4 as well as several trill fingerings. Letter from Norman Luff in 15, no. 2 (June 1995): 41, sets off a flurry of correspondence concerning the bell key: letters from Andrew Robinson in 15, no. 3 (September 1995): 105 and Denis Bloodworth in 15, no. 4 (November 1995): 154, with a reply by Carl Dolmetsch in 16, no. 1 (March 1996): 28. Alec Loretto rises to the defense of the Dolmetsch bell key in 16, no. 3 (September 1996): 112, Gene Reichenthal replies in 17, no. 1 (March 1997): 33, and Loretto responds to the reply in 17, no. 4 (December 1997): 155. Norman Luff offers a bell-key fingering chart in 17, no. 1 (March 1997): 31. Thumb technique 1179. “Forum.” American Recorder 31, no. 1 (March 1990): 33. Bernard Krainis, Scott Reiss, and Philip Levin offer their thoughts on thumb technique—in particular, the advantages and disadvantages of using the thumbnail on the thumbhole. 1180. Glassgold, Cook. “The Amateur’s Wandering Thumb.” American Recorder 4, no. 2 (May 1963): 15. Advises affixing a piece of wood or plastic above the thumbhole to prevent the thumb from “slipping away from home base.” 1181. Hedeboe, Julie Pi. “Über den Daumen gepeilt…Beobachtungen zu Michala Petris Daumentechnik” [Get your bearings on the thumb…. Observations on Michala Petri’s thumb technique]. Windkanal 2/2001:20–21. Hedeboe, a former student of Michael Petri’s, gives away one of the secrets of her remarkable technique: opening the thumbhole on the underside. 1182. Robinson, Andrew. “Risky Top A: A Straight-Forward Solution.” Recorder Magazine 15, no. 3 (September 1995): 92. Advice on improving the production of a2 on the soprano (d3 on the alto) by making fine adjustments to the position of the thumb. Trills 1183. Rowland-Jones, A. “Three Blind Mice and Baroque Trills.” Recorder and Music Magazine 8, no. 1 (March 1984): 14–16. An exercise to develop trilling techniques, based on the well-known tune. 1184. Rowland-Jones, A. “Some Trill Fingerings in the Three Blind Mice (TBM) Exercise.” Recorder and Music Magazine 8, no. 2 (June 1984): 47–48. Sequel to item 1183, covering the application of the exercise to keys other than C major and the necessary alternative fingerings. Letter from Edgar Gordon in 8, no. 3 (September 1984): 79.

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Intonation and Tone See also chapter 16, “Maintenance, Improvement, and Restoration,” under the subheadings “Tone quality” and “Voicing and tuning” (pp. 274–77). 1185. Bergmann, Walter. “Teaching Intonation.” (The Recorder in School.) Recorder and Music Magazine 1, no. 10 (August 1965): 294–96. Advice on teaching children to hear and correct intonation problems. Emphasizes the importance of training the ear to recognize and diagnose the problem; by comparison, adjusting the pitch is a simple matter. 1186. Carlson, Marilyn, and Richard Jacoby. “Intonation.” American Recorder 13, no. 2 (May 1972): 43–45. Suggests several techniques and exercises to improve intonation. Emphasizes the importance of developing ear training and sightsinging abilities. Describes how an instrument should be warmed up, tuned, and adjusted. Shows how alternative fingerings and shading can be used to correct problems with individual pitches. Gives instructions for adjusting the size of tone holes. * Kottick, Edward Leon. Tone and Intonation on the Recorder. Cited above as item 845. 1187. Praetorius, Martin. “Elektronische Stimmgeräte—für Blockflöten zu empfehlen?” [Electronic tuners—to be recommended for recorders?]. Tibia 12, no. 2 (1987): 453–54. Gives advice on how to use the electronic tuners made by two manufacturers with recorders. * Read, Robin. “Recorder Tone.” Cited above as item 557. 1188. “Recorder Tone.” Recorder & Music Magazine 3, no. 4 (December 1969): 128–30. Reprinted from a pamphlet prepared by the House of Schreiber. Describes how a recorder generates sound and the effect that breath pressure has on tone, dynamics, and pitch. The quality that affects tone most significantly is the presence of upper partials, which contributes to the richness of the tone. Includes several charts. 1189. Reichenthal, Eugene. “Partial Venting.” Recorder & Music 5, no. 6 (June 1976): 193–95. Describes several alternative fingerings that involve the partial venting of certain holes. Shows how the fingerings might be employed to improve tone, flexibility, and intonation. 1190. Reiss, Scott. “Pitch Control: Shading and Leaking.” American Recorder 28, no. 4 (November 1987): 136–39. Discusses the controlling of pitch on the recorder by means of shading (“the partial obstruction of an open hole, resulting in the lowering of the pitch”) and leaking (“the partial uncovering of a closed hole, resulting in the raising of the pitch”). Letters from Gene Reichenthal and Anthony Rowland-Jones in 29, no. 2 (May 1988): 73–74. Reichenthal picks up on Rowland-Jones’s discussion of the c3 and d3 in Telemann’s Dminor sonata (TWV 41:d4) in 29, no. 3 (August 1988): 128. 1191. Rowland-Jones, Anthony. “A Short History of Partial Venting.” Recorder Magazine 15, no. 2 (June 1995): 48–50. The term “partial venting,” introduced by Eugene Reichenthal in 1976 (see item 1189), refers to partial covering or uncovering of holes to achieve accurate intonation and give variety of timbre. Rowland-Jones traces the history of the practice back to a fourteenth-

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century Italian fresco of a musician playing two pipes at once, on one of which he is halfholing. Then briefly surveys accounts of the practice in the writings of Ganassi (1535), Cardan (ca. 1546), Zacconi (1592 and 1622), Bottrigari (1594), Mersenne (1636), Blankenburg (1654), Salter (1683), North (ca. 1695), Freillon-Poncein (1700), Hotteterre (1707), and on into the twentieth century (compositions by Casken, Lechner, and Linde). Rowland-Jones follows up with a letter in 15, no. 4 (November 1995): 153–54, and a postscript in 17, no. 2 (June 1997): 73. 1192. Zimmermann, Manfredo. “Differenzierte, nicht temperierte Intonation, oder: Was klingt falscher als zwei (Block)Flöten?” [Differentiated, not tempered, intonation; or, What sounds more out of tune than two flutes/recorders?]. Tibia 18, no. 4 (1993): xxxvii-xl (Die gelbe Seite). In flute and recorder playing, difference tones are quite audible. (The phenomenon was even remarked upon by Georg Andreas Sorge as long ago as 1745.) Gives some examples, then describes how players can use difference tones to practice playing better in tune (seven sample exercises). Concludes with a short bibliography. Practicing 1193. Andresen, Ken. “Don’t Waste Your Time Practicing!” American Recorder 32, no. 4 (December 1991): 7–10. Really means in practicing…. Suggestions for focusing practice time and making practice more efficient. Includes specific routines for warming up and preparing repertory. 1194. Carduelis, Susan. “Use Your Head—Play from Your Heart.” American Recorder 33, no. 2 (June 1992): 20–22. Describes how practice techniques can be improved through an awareness of how the brain works. Repetitive actions are controlled by the lateral cerebellum, which processes small patterns of motion more effectively and reliably than large ones. Difficult passages should therefore be broken down into small parts, which can be isolated and repeated until each becomes automatic. Also reviews the functions of the left and right hemispheres of the brain and suggests that practice sessions progress from mechanical exercises (left hemisphere) to the most expressive (right hemisphere). 1195. Cline, Gilbert D. The Cornetto: A Guide toward Performance, within Historical Context, Indicating the Use of the Recorder as a Companion Instrument. D.M.A. essay, University of Oregon, 1990. 295 p. OCLC #25142669 or #26078427. Largely a study of cornetto playing based on historical practice (the meaning of the first part of the awkwardly expressed subtitle). Advises would-be cornetto players, especially those without woodwind experience, to play the recorder concurrently, in order to develop finger facility while resting the embouchure. 1196. Dinn, Freda. “The Art of Practising.” Recorder & Music Magazine 2, no. 11 (December 1968): 355–57. Covers: posture, technique, practicing, interpretation, keyboard accompaniment, and sight-reading. 1197. Leber, Eric. “An Approach to Practicing.” American Recorder 3, no. 2 (May 1962): 3–6; 3, no. 3 (August 1962): 6–8.

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Covers: stance, breathing, tone, tonguing, dynamics, fingering, exercises, ear training, rhythm, “eye training,” and “the practice regime.” 1198. Prior, Susan. “Enjoy Your Practicing and Improve Your Playing.” American Recorder 26, no. 3 (August 1985): 113–15. Advice on practicing the following: breath control, playing by ear, sight-reading, intonation, scales and arpeggios, and difficult passages. 1199. Prior, Susan. “Warming Up on the Recorder.” American Recorder 25, no. 1 (February 1984): 12–13. Begins by describing the purpose of warming up. Emphasizes the importance of mental preparation. Recommends that one quarter of a practice session be devoted to warming up. Suggests specific exercises to improve breathing, tone production, finger control, and tonguing. 1200. Roth, Ruth C. “Ten or More Ways to Improve One’s Playing without Touching the Recorder.” American Recorder 12, no. 3 (August 1971): 82–86. Describes areas of development to work on away from the recorder: posture, diaphragmatic and abdominal breathing, long breaths, rhythm, finger exercises, tonguing, ear training, listening to professional performers, reading, and using a tape recorder. 1201. Wollitz, Kenneth. “Some Random Thoughts on Practicing.” (Der Getreue Musikmeister.) American Recorder 15, no. 3 (August 1974): 81–85. Well-written, sensible advice. Emphasizes the importance of self-awareness and the benefits of daily practice—regardless of how short the session might be. Describes exercises for improving tone control and gaining facility with high notes. Encourages productive use of the metronome. Suggests fragmentation and repetition for working out difficult passages. Chapter 2 of item 30 is a considerably expanded version of this article. Sight-reading 1202. Ferguson, Suzanne. “Sight-Reading.” American Recorder 26, no. 2 (May 1985): 66–68. Advice for consort players. Since most sight-reading problems involve rhythm, the suggestions concern counting, keeping one’s place, and working through difficult rhythmic passages. 1203. Hunt, Edgar. “Some Thoughts on the Notation of Music for Recorders.” Recorder Magazine 13, no. 2 (September 1993): 37–38. A brief historical survey of the various clefs that have been used to notate the pitch of recorders since the sixteenth century. 1204. [Koch, John]. “Editor’s Notes: On Reading Alto Clef, with Special Thanks to Kenneth Wollitz.” American Recorder 11, no. 1 (winter 1970): 33. A brief introduction, offering no specific advice other than to “do it and do it often.” Wollitz suggests three Hortus Musicus editions (134, 136, and 137) as a suitable course of study. 1205. Krainis, Bernard, and Erich Katz. “Controversy: II. The Bass Recorder’s Clef.” American Recorder 5, no. 4 (November 1964): 13–14. Reprinted from ARS Newsletter, no. 24. Krainis argues that experienced bass-recorder players expect parts to be notated in bass

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clef. Katz, in defense of an edition of his with the bass part notated in treble clef, explains that the treble clef should pose no difficulty, since most bass players first learned a higher-pitched instrument. Krainis agrees, but maintains that the practice is confusing and should be used only when unavoidable. See also the exchange between Lionel H.James and Walter Bergmann in Recorder and Music Magazine 4, no. 1 (March 1972): 12. 1206. [Newman, Joel]. “Score versus Parts.” (Flauto Piccolo’s Corner.) American Recorder 1, no. 3 (summer 1960): 5. An argument in favor of performing from scores. Letter from Roy Miller in 2, no. 1 (winter 1961): 26. 1207. Wollitz, Kenneth. “Learning to Read the Staff in New Ways.” American Recorder 26, no. 1 (February 1985): 13–15. Covers four skills that increase a player’s versatility in an ensemble: learning both F and C fingering, reading up an octave on the alto, reading bass clef, and reading alto clef. Suggests methods, exercises, and repertory. Vibrato 1208. Davis, Alan. “Vibrato on the Recorder.” Recorder & Music 4, no. 10 (June 1974): 350–51. A good, short introduction to the technique and application of vibrato.

20 New Techniques in Contemporary Recorder Music Several book-length studies deal with the topic of “extended” or avant-garde recorder techniques in the twentieth and twenty-first centuries. These three are the most important: 1209. O’Kelly, Eve Elizabeth. The Recorder in Twentieth-Century Music. M.Phil, thesis, Goldsmith’s College, University of London, 1985. Vol. 1: The Recorder, Its Music and Technique in the Twentieth Century. Vol. 2: A Catalogue of Twentieth-Century Recorder Music. The first volume considers the instrument, gives a history of its revival, surveys the modern recorder repertory (serious rather than educational; conservative and avantgarde), then discusses avant-garde techniques. The catalog is arranged by medium (pieces for one recorder, then those for two recorders, etc.). Each entry gives the (O’Kelly) catalog number of the work, composer’s name and dates, title and publication date, publisher, commercial recordings (if any), and exact instrumentation. There is a composer index and a list of publishers (address given as city and country only). 1210. O’Kelly, Eve. The Recorder Today. Cambridge: Cambridge University Press, 1990. xiv, 179 p. ISBN 0521366607. ML 990 .R4 O5 1990. In book form, O’Kelly’s study of the recorder in the twentieth century (item 1209) has been improved by making the order of some of the sections more logical, bringing the writing up to date in the light of new research and compositions, and borrowing Herman Rechberger’s tables of nonstandard fingerings for the alto recorder (see item 1217). Unfortunately, the catalog has also been cut down considerably, so that instead of “comprising as full a listing as possible of modem recorder compositions,” it now “contains some 400 works out of about 800 known to me,” the selection having been made on the basis of suitability for professional or semiprofessional performance, current availability, and “sufficient musical merit.” It still represents one of the best books ever written about the recorder. Reviewed by Pete Rose in American Recorder 31, no. 4 (December 1990): 31–32 and P[aul] C[lark] in Recorder Magazine 10, no. 4 (December 1990): 113. 1211. Vetter, Michael. Il flauto dolce ed acerbo [The flute, sweet and sour]. Part 1: Anweisungen und Übungen für Spieler neuer Blockflötenmusik= Instructions and Exercises for Players of New Recorder Music. Celle: Moeck, 1969. Edition Moeck Nr. 4009. 87 p. OCLC #7684727. Parallel text in German and English. The long-awaited magnum opus by one of the two main pioneers of avant-garde recorder music. (A note states laconically that the five-year delay in publishing occurred for “many reasons…for which neither the publisher not least the aut[h]or can be blamed.” Whether the reader could really “be sure that Michael Vetter’s method is today as actual [up to date] as at the time of its beginning” is another matter.) As these quotations suggest, the English translation is quaint enough to be humorous but still accurate enough

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to be understood. The title of Vetter’s book celebrates the transformation of the recorder, by means of new techniques, into “a new instrument which combines and mixes the characteristics of the flauto dolce with that of a ‘flauto acerbo’ in a natural way.” Nearly half of the book consists of fingering charts—for regular notes, flageolet tones, and multiphonics in the open, closed, and covered registers. The remainder consists of discussions of embouchure, articulation, breathing, vibrato, and dynamics, illustrated with music examples from the literature of the avantgarde (or, in some cases, Baroque or modern derrière-garde). Fifteen pages of exercises at the end explore these special techniques. Daniel Waitzman, in his review (American Recorder 11, no. 1 [winter 1970]: 16–19), notes that no attempt is made to identify the relative importance of individual fingerings in the list. He also questions the need for special “white noise” fingerings, since such sounds can be produced “with virtually every fingering, through variations in embouchure.” Vetter does not mention covering or shading the window, or humming or whistling into the instrument. Another objection that might be made, incidentally, is that all recorder fingerings, and particularly the special ones, are very much dependent upon the individual instrument (Vetter used to play a Moeck); therefore, tables have limited value. Waitzman concludes—and we concur: “Despite its limitations, this is a book that must be studied by all serious students of the recorder, whether or not they are interested in playing twentieth-century music.” Also reviewed by David Lasocki in Recorder & Music Magazine 3, no. 4 (December 1969): 146. Instead of working on part 2 of the book, which was to have been about electrifying the recorder, Vetter wrote four pieces of music (including Rezitative and Figurationen), which “together are more or less a compendium of what I had to say about the electrified recorder” (fax to David Lasocki, June 24, 1998). OTHER GENERAL WRITINGS 1212. Baur, Jürg. “Revolution der Blockflöte” [Recorder revolution]. InstrumentenbauZeitschrift 17, no. 2 (1963): 363–64. Begins by noting the erstwhile place of the recorder as an instrument for children, “Hausmusik,” and folk music, with restricted compass and means of expression. Goes on to relate how Baur met Michael Vetter and learned about his development of new techniques. Briefly describes Baur’s Mutazioni and Incontri, which make use of some of these techniques. Finally, encourages other recorder players to take them up and looks forward to new developments in recorder-making. 1213. Braun, Gerhard. Neue Klangwelt auf der Blockflöte [New sound world on the recorder]. (Musikpädagogische Bibliothek, Bd. 16.) Wilhelmshaven: Heinrichshofen, 1978. 100 p. ISBN 3795901766. ML 990 .R4 B7. A short overview of avant-garde recorder technique and notation, profusely illustrated with music examples. A short consideration of pedagogical aspects, including group improvisation with recorders, is followed by the heart of the book: discussions (including useful analyses) of works by Karkoschka (mit/gegen sich selbst), Lechner (Varianti), Heider (Musik im Diskant), Schönbach (Canzona da sonar III), Braun (minimal music II, Monologe I, Nachtstücke), and Berio (Gesti). Followed by the briefest of looks forward, and a short bibliography of writings and works. Chapter 2 also published separately (item

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1964); an expanded version of the discussion of mit/gegen sich selbst published as item 2043. 1214. Clemencic, René. “Neue Klang- und Ausdrucksmöglichkeiten der Blockflöte” [New possibilities for sound and expression on the recorder]. Oesterreichische Musikzeitschrift 26, no. 4 (April 1971): 222–30. An excellent overview of new recorder techniques, beginning with the little-asked question, Why? (Clemencic sees the interest in new sound possibilities of traditional instruments as part of the reaction against serial composition and the exploration of electronic sounds.) Divides the techniques into “normal instrument” (blowing, singing, speaking and laughing, piping, hitting), “prepared instrument” (covered, closed, covering the lip, narrowing the windway; playing without footpiece, without mouthpiece, mouthpiece only), and combinations thereof. Illustrated with examples from the repertory. Concludes with a short list of pieces (including several of his own unpublished ones). 1215. Gannon, Lee. “Studies for the Beginner in 20th Century Performance.” American Recorder 31, no. 4 (December 1990): 20–22. A description of Gannon’s six concert etudes for alto recorder, which explore a number of modern performance techniques. Includes a reproduction of Etude no. 1, with accompanying notes for performance. 1216. Rechberger, Herman. “Anwendung der Blockflöte in der zeitgenössischen Musik” [The use of the recorder in contemporary music]. Unpublished typescript, 1977, rev. 1982. 40, [xii] p. Formerly available through the Finnish Music Information Centre, Helsinki, Finland. Consists largely of special fingerings for variations in tone color, trills, dynamics, microintervals, closed and covered registers, flageolet tones, multiphonics, multiphonic trills, and whistle tones. Notes on notation for manipulating parts of the instrument, producing vibrato and oscillations, singing into the instrument, and so forth, with examples from Berio, Braun, Busotti/Vetter, Dolci, Gümbel, Hashagen, Linde, Rechberger, Rihm, and Serocki. Estimates that the number of fingering combinations on the recorder is around 19,500. 1217. Rechberger, Herman. Die Blockflöte in der zeitgenössischen Musik [The recorder in contemporary music]. 1987. 78 p. Can be ordered from the author, Laajavuorenkuja 5 B 11, 01620 Vantaa 62, Finland, or the Finnish Music Information Centre, Runeberginkatu 15 A 1, 00100 Helsinki, Finland. A complete revision of item 1216, thanks to computer technology. Notes on articulation, vibrato, glissandos, and tremolos. Then fingering tables for basic notes; trills; alternative fingerings; closed, open, and half-closed notes; tone-color fingerings; dynamics; microintervals; closed and covered registers; flageolet tones and multiphonics in all registers; and whistle tones. Followed by notes on notation in works by Berio, Braun, Busotti/Vetter, Heider, Linde, Rechberger, Rihm, and Serocki. Indexes of fingerings by basic note (alto recorder, soprano recorder) and a “statistical index” of single notes on the alto recorder (a total of 2,519 fingerings). 1218. Thorn, Benjamin. “Don’t Be Afraid of Modern Sounds—They’re Fun!” Cinnamon Sticks 2, no. 1 (May 2001): 6–12. Begins with a historical look at reasons for the modern thirst for experimentation in

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musical language and technique. Then briefly describes, with examples from the literature, the following techniques: timbral alteration (angle-blowing, harmonics, flutter tonguing, a variety of articulations and types of vibrato), multiphonics (singing into the instrument, playing two recorders at once), imprecise notation (moving trills and burbles, glissandos, etc.), and other effects (percussive effects, dismembering the instrument). Concludes, naively, that sometimes such effects “can be grating and distressing but usually for a specific expressive purpose.” 1219. Thorn, Benjamin. “‘New’ Sounds from Old Pipes.” Recorder: Journal of the Victorian Recorder Guild , no. 10 (December 1989): 5–9. A thoughtful and intelligent discussion of some modern recorder techniques by a recorder-playing composer who makes use of them. Covers ways of creating the illusion of dynamic range (rhythmic shifting, tonguing, timbral alterations) and “brave new sounds” (flutter tonguing, glissandos and portamentos, burbles, percussion effects, multiphonics, and singing). 1220. Troman, Robin. “Technique contemporaine de la flûte à bec” [Contemporary recorder technique]. Flûte à bec & instruments anciens, no. 11 (June 1984): 12. The inaugural article in a series, announcing no fewer than twenty-four further articles covering the subjects: acoustics, lip (of the recorder), body alone, desynchronization, discography, fingerings, fingers, dynamics, flageolet tones, flutter tonguing, glissando, microintervals, multiphonics, repertory, circular breathing, breath, solfège, sputato, ultrahigh notes, head alone, trills, vibrato, voice, and whistle tones. Unfortunately, the series was never completed. 1221. Troman, Robin. “Souffle” [Breath]. Flûte à bec & instruments anciens, no. 13/14 (December 1984/March 1985): 15. Summarizes with music examples (by DuBois, Berio, Botero, Hirose, and D.Tosi) several means of producing an “impure” tone on the recorder through the passage of air (flutter tonguing with air, sputato with air, double tonguing with air, white noise, and covering the window). 1222. Troman, Robin. “Flûte à bec contemporaine” [Avant-garde recorder]. Flûte à bec & instruments anciens, no. 15 (June 1985): 6–8; no. 16 (October 1985): 2; no. 19 (September 1986): 3–4. Part 1: discusses with music examples the use of the body of the recorder alone; desynchronization of fingers, tongue, and voice; and voice plus instrumental sounds. Part 2: describes a method for learning circular breathing. Part 3: briefly discusses the fundamental produced by covering the end of the recorder and the result of manipulating it, notably a series of partials similar to the “whistle tones” of the flute. 1223. Vetter, Michael. “The Challenge of New Music.” Recorder and Music Magazine 2, no. 5 (May 1967): 133. In German as: “Die Chance der Blockflöte in der neuen Musik” [The prospect for the recorder in new music]. Kontakte 3/1966:107–8. Introduces the recorder as an instrument for truly modern music, including a listing of its potential: quarter tones, alternative fingerings with different tone colors, extended range, glissandos, multiphonics, singing into the instrument, loose lips, wood or paper in the wind canal, moving the block, manipulation of the lip, as well as various kinds of vibrato and articulation. The English version is an abridgement of the German.

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COMPOSERS’ GUIDES 1224. Bousted, Donald. “The Recorder: A Vehicle for Thoughts about Life, the Universe, etc.” Recorder Magazine 21 [marked 21a], no. 3 (autumn 2001): 100–2. The first in a series of six articles about composing for the recorder. Suggests questions that composers should be asking recorder players before beginning to write for them and emphasizes the importance of exciting, fresh ideas. “Etc.” should, of course, be “and everything.” 1225. Bousted, Donald. “An Instrument for the 21st Century?” Recorder Magazine 21 [marked 21a], no. 4 (winter 2001): 141–45. The second in Bousted’s series of six articles. Begins with a “mission statement” for the recorder that intends to “provide a convincing testimony to the idea that the recorder is a relevant, powerful and vital instrument in the 21st century.” The remainder of the article describes alternative methods for pitch organization that he has found to be of value in his own work. 1226. Enfield, Patrick. “Writing for the Recorder and Piano.” Recorder and Music Magazine 4, no. 5 (March 1973): 169. Advice from a published composer. Letter from A.D.Jackson in 4, no. 6 (June 1973): 205, offers more suggestions. Reply by Enfield follows. 1227. Glassgold, Cook. “Why Compose for the Recorder?” American Recorder 3, no. 1 (February 1962): 3–4. The thoughts of composer Seymour Barab. 28. Margolis, Bob. “A Composer’s Guide to the Recorder.” American Recorder 16, no. 4 (February 1976): 113–22. Includes charts of instrument registers, underblown harmonics, quarter tones, multiphonics, and closed-bell tones. The bibliography lists representative recorder music and books that may be of use to the composer who is unfamiliar with the instrument. Corrections and additions by Stephen A.Malinowski in 17, no. 1 (May 1976): 6. 1229. Silbiger, Lex, and Alexander Breed. “Notes on Composing for the Recorder.” American Recorder 6, no. 4 (fall 1965): 5–6. A cursory explanation of range, fingering, dynamics, articulation, vibrato, and notation—what one would expect to find in a good orchestration textbook. Daniel Waitzman, in 7, no. 1 (winter 1966): 30, takes issue with some of the advice, and questions why special effects were not mentioned in the article. 1230. Turner, John. “Writing for the Recorder.” (Performer’s Platform.) Composer, no. 92 (winter 1987): 17–21. As a recorder player giving advice to composers on writing for the instrument, Turner posits that in the Baroque repertory the two main uses of the recorder were for virtuoso decoration and ornamentation on the one hand and programmatic connections (rusticity, love, the supernatural, birds, and death) on the other. Recommends that composers ponder these historical uses, since they “can to some extent…[compensate] for the lack of strength and flexibility in the tone” of the recorder. Briefly discusses recent works by British composers that in his opinion successfully use variation and decoration or programmatic associations. Concludes with “some wholly practical notes on what to do

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and what not to do when writing for the instrument.” 1231. Vetter, Michael. “Apropos Blockflöte.” Melos: Zeitschrift für neue Musik 35, no. 12 (December 1968): 461–68. An overview of avant-garde techniques for the recorder, apparently aimed at composers. Briefly surveys: alternative fingerings, range, tone color, dynamics, vibrato, percussive effects, ring modulator effect, and multiphonics. 1232. Ward, Stuart. “Composing for the Advanced Recorder Player.” Recorder & Music 5, no. 4 (December 1975): 118–20. Covers: the various sizes of recorders and effective ways of combining them with other instruments; range (with a chart showing fingerings for f#3-c4 on the alto); dynamics; style; and avant-garde techniques. Letter from A.Scott in 5, no. 6 (June 1976): 216, concerns Ward’s comments on the guitar as an accompanying instrument. 1233. Worrall, David. “Composing for a Large Recorder Ensemble.” Recorder: Journal of the Victorian Recorder Guild, no. 3 (November 1985): 8–12. Discusses the characteristics of recorders in large ensembles, and particularly the problems of performances by amateurs. Also describes his Silhouettes (1984) for recorder ensemble and tape, written to exploit these characteristics and overcome these problems. MICROTONALITY 1234. Bowman, Peter. “The Quarter-Tone Recorder Manual: Ein Vortrag” [The QuarterTone Recorder Manual: a lecture]. SAJM Zeitschrift 27, no. 4 (July 1999): 24–31. A discussion of The Quarter-Tone Recorder Manual by Kathryn ßennetts, Donald Bousted, and Peter Bowman (Celle: Moeck, 1998), divided into: background, the aesthetic impulse for the project, microtonality, the recorder’s role, from idea to book, methodical steps, grading for difficulty, the development of quarter-tone fingerings, studies and examples, and intonation. MULTIPHONICS 1235. Barata, Antonio. “Sources of Information on Woodwind Multiphonics: An Annotated Bibliography.” Perspectives of New Music 26, no. 1 (winter 1988): 246–56. An excellent way of gaining perspective on the use of multiphonics in recorder playing. The only recorder sources discussed are Alan Davis’s Treble Recorder Technique (London: Novello, 1983) and items 1211, 1228, and 1231. 1236. Clark, Paul. “The Rechorder.” Recorder & Music Magazine 3, no. 7 (September 1970): 235–36. Written in reaction to item 1238. Raises the following questions: Why did McCauley choose to use the sopranino rather than the alto for his multiphonic experiments? Is sustained practice of multiphonics safe for the instrument? Are the chords “balanced,” or are certain pitches stronger than others? Clark also challenges the accuracy of McCauley’s notation and questions the aesthetic value of some of the multiphonic “chords.” 1237. Kientzy, Martine. Les sons multiples aux flûtes à bec [Multiphonics on recorders].

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Paris: Editions Salabert, 1982. Not seen. According to the review by Claude Letteron in Flûte à bec, no. 5 (December 1982): 38, it “Reviews all the special fingerings that enable multiphonics to be obtained…as well as quarter tones above and below a given note on all sizes of recorder. Still, the work specifies that it includes only a ‘selection of 1,191 fingerings from the 2,170 indexed during the course of preliminary research.’” 1238. McCauley, Denis. “Playing ‘Chords’ on the Recorder.” Recorder & Music Magazine 3, no. 4 (December 1969): 124–25. A brief introduction to multiphonics on the recorder, accompanied by a chart showing eighteen fingerings and the resulting “chords.” Item 1236 is a response to this article. NOTATION 1239. Schmidt, Ursula. Notation der neuen Blockflötenmusik: Ein Überblick [Notation of new recorder music: an overview]. Celle: Moeck, 1981. 60 p. ISBN 3875490134. MT 350 .S35 1981. Surveys the various forms of notation used by composers of avantgarde recorder music, under the following headings: exact notation, free notation, fingering indications, vibrato, blowing and articulation techniques, notation of actions, and graphic scores. No fewer than 271 short music examples taken from only thirty-five sources. Composers would do well to take note of the inconsistencies in notation that Schmidt unearths. Includes a short bibliography and a list of the musical sources. Originated as an Examensarbeit, Staatliche Hochschule für Musik Köln, 1979. 1240. Wells, Peter. “‘Giving the Fingers’: Conventions in the Notation of Contemporary Recorder Music.” Recorder Magazine 20, no. 2 (summer 2000): 59–62. This sophomoric title (perhaps more understandable in the United States than in Britain, where the article was published) belies a useful article, which laments the lack of standardization in the notation of fingering in contemporary recorder music. Reviews the three major formats (diagrammatic, numeric from 1 to 8, and numeric from 0 to 7) and offers a table showing how eight composers would notate the same fingering. Wells comes out in favor of numeric notation because of its facility in specifying individual fingers for complex glissandos, trills, and tremolos. He also sees more logic in assigning 0 (rather than 1) to the left thumb and 1 (rather than 2) to the left first finger.

21 Ensembles This chapter covers matters of history, technique, practice, performance, and organization connected with recorder ensembles, large and small. 1241. Bamforth, Dennis A. “The Recorder Orchestra.” Recorder Magazine 13, no. 2 (September 1993): 50–51; 14, no. 2 (June 1994): 41–42. Part 1, “The History,” offers brief notes on the various recorder orchestras that have existed in England since the 1960s. Part 2, “The Music,” describes the optimum distribution of parts in a recorder orchestra, then surveys the original works written for the orchestra by British composers from the 1970s to the present. 1242. Barthel, Rudolf. “Consigli per un complesso di flauto dolce” [Advice for a recorder ensemble]. Il flauto dolce, no. 1 (January/June 1971): 3–8. Said to be a revised translation of “Aus der Arbeit eines Blockflötenchores” [From the work of a recorder orchestra] (1956). Discusses large recorder ensembles. Practical advice on instrumentation, tuning, intonation, articulation, seating, rehearsing, orchestration (including instrumental characteristics), and dynamics. * Bergmann, Walter. “Golden Rules for Ensemble Playing.” Cited above as item 273. 1243. Braun, Gerhard. “Das Blockflötenensemble: Einige historische und unhistorische Betrachtungen” [The recorder ensemble: some historical and unhistorical considerations]. In 3. Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation [6 p.]. Draws historical information from item 1251, then “arrives at somewhat different conclusions.” Arrangements for modern recorder orchestra can easily become the “ghetto of bad taste.” Some recent compositions for recorder ensemble (Serocki, Heider) require matched virtuosity (“the recorder ensemble can therefore not serve as a beginning stop for bad individual players”). The repertory of Renaissance, early Baroque, and modern works for recorder ensemble is interesting and stylistically varied, and new works could be even more so if they incorporate the advances in dynamics and tone color already made in solo compositions. 1244. Clark, Paul. “Consorting with Teenagers.” Recorder & Music Magazine 3, no. 6 (June 1970): 199–200. This un-PC title by PC hides suggestions of three- to six-part compositions suitable for recorder ensembles. 1245. Eastman, Richard. “The Neutral Tune.” American Recorder 32, no. 4 (December 1991): 11–14. Describes an exercise developed by Eastman to help consorts recognize and reinforce the musical style of a piece of music. 1246. Hopkins, Bernard J. “Polychoralism, Anyone?” American Recorder 18, no. 2 (August 1977): 40–43. Advocates adapting antiphonal music, both choral and instrumental, for recorder

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ensemble. The bibliography lists nine publications that include suitable music, mostly dating from the sixteenth century (composed by Handl, Gabrieli, and Palestrina, among others). 1247. Lasocki, David. “A Short History of the Recorder Ensemble.” In The Finishing Touch of Ensemble Playing, by Bart Spanhove, 53–62. (A Flanders Recorder Quartet Guide for Recorder Players and Teachers.) Peer, Belgium: Alamire, 2000. ISBN 9068531441. In German as: “Zur Geschichte des Blockflöten-Ensembles: Ein historischer Abriss.” In Das Einmaleins des Ensemblespiels: Ein Leitfaden des Flanders Recorder Quartet für Blockflötenspieler und -lehrer, mit einem historischen Kapitel von David Lasocki, 53–62. Celle: Moeck Music, 2002. “Before the 20th century, the history of the recorder ensemble has to be pieced together from several kinds of evidence: paintings that seem to depict realistic ensembles, treatises on instruments, documents about professional musicians, inventories of instrument collections, stage directions in plays, and a relatively small number of compositions. The evidence that has survived is surely the tip of the proverbial iceberg. Nevertheless, it strongly suggests that recorders were played in ensembles practically from the invention of the instrument in the 14th century right through to the end of the 18th century, continuing in the 19th century with at least duets of that keyed recorder known as the csakan. The 20th-century revival of the earlier types of recorder has seen an unprecedented flourishing of recorder ensembles, largely among amateurs, with the foundation of some significant professional groups towards the end of the century, and a vast enrichment of the recorder ensemble literature” (introduction). See also Spanhove’s summary article, “‘The Finishing Touch of Ensemble Playing’: Ein Buch von Bart Spanhove,” Tibia 26, no. 3 (2001): 575–78. 1248. Maarbjerg, Mary. “The Care and Feeding of a Recorder Consort.” American Recorder 31, no. 3 (September 1990): 7–10. Describes the formation of her own amateur consort and offers ten rules to help insure successful collaboration among a diverse group of players. 1249. Mett, Silke. “Intonation im Ensemblespiel—Theorie und Praxis” [Intonation in ensemble playing: theory and practice]. Tibia 14, no. 4 (1989): 573–80. A useful overview of the important but neglected subject of tuning and recorders. Covers: the problem of a recorder out of tune with itself; combination tones and their consequences for the intonation of a recorder ensemble; practical exercises on various intervals (two players); intonation problems in the course of a melody; and exercises for three and four players. 1250. Middleton, James. “The Concert Encore and the Recorder Player.” Recorder & Music 4, no. 11 (September 1974): 399–400. Concerns the encore repertory for recorder consorts. Suggests that performers pursue arrangements, since the original repertory suitable for encore performance is limited. 1251. Moeck, Hermann. “Con flauti dolci: Zur Historie des Blockflötenzusammenspiels” [With recorders: on the history of recorder ensembles]. Tibia 19, no. 3 (1994): 179–85. Runs through the history of the recorder consort, beginning with well-known references or depictions in the Renaissance and early-Baroque publications of Virdung, Agricola, Ganassi, Jacques Moderne, Praetorius, and Mersenne, then mentioning the late-

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seventeenth-century Bohemian works of Bertali, Biber, and Schmelzer. Moeck ignores such late-Baroque pieces as Alessandro Marcello’s Concerto di flauti and J.C.Faber’s Parties sur les fleut dous à 3, skipping on to the twentieth century, where the consort has had a field day, mostly with amateurs but also the odd professional group. (An interesting appendix by Manfred Ruëtz, written in 1939, notes with pride how his consort, the Berlin Recorder Quartet, rehearsed for nine months before going public.) Rudolf Barthel did pioneering work with his Berlin Recorder Orchestra (up to sixty players) in the 1950s. Although, since the “professionalizing” of the recorder in the early 1960s, solo playing has been emphasized, certain consorts have played an important role, and none more so, of course, than the Amsterdam Loeki Stardust Quartet, “which seems to me because of its unorthodox originality to have shown the way for the expansion of ensemble playing.” Letter from Uta Henning in 20, no. 3 (1995): 574. 1252. Phillips, Michael H. “A Singular Consort.” Recorder & Music 5, no. 5 (March 1976): 160. Describes the use of overdubs to create a one-player “consort” on recorded tape. Primus, Constance M. “The Bass Recorder in Consort.” Cited above as item 235. 53. Prior, Susan. Improve Your Consort Skills. (American Recorder Society Chapter Information Packet, no. 4.) Littleton, Colo.: ARS Education Committee, 1990. [30] leaves. OCLC #34563252. Covers four areas: unison playing, tone blending, phrasing, and leading versus accompanying. For each, Prior offers a page of directions, four music examples, and suggested repertory for further practice. 1254. Rosenberg, Marvin. “The Efficient Consort Rehearsal.” American Recorder 24, no. 2 (May 1983): 66. Ten suggestions “that will make rehearsals more productive.” 55. Rothe, Gisela. “Intonation im Blockflöten-Ensemble” [Intonation in the recorder consort]. Windkanal 2/2001:24–29; 3/2001:22–28. Part 1 presents the acoustical background. Part 2 presents four “groundrules” of intonation, including the concept of “chameleon tones” (which change in pitch according to which chord they are in), and outlines some intonation exercises. A fuller version of the text is published by Mollenhauer (Fulda, Germany) as number 3 in the series Arbeitsblätter für den Blockflötenunterricht. * Seibert, Peter. “Ornamentation for Consort Players: First Steps.” Cited above as item 1091. 1256. Seviour, Madeline. “The Real Thing?” Recorder Magazine 21 [marked 21a], no. 2 (summer 2001): 59–61. A sketchy survey of music originally composed for recorder ensemble (or a generic consort of like instruments). Letter from David Lasocki in 22, no. 1 (spring 2002): 32. 1257. Simpson, Adrienne. “Variety in Consort Playing.” Recorder and Music Magazine 2, no. 5 (May 1967): 139–40. Describes two methods: by varying the recorder texture and by adding instruments (for example, plucked and bowed string instruments, percussion). 1258. Skins, H.R. “First Steps in Consort Playing.” (Where Do I Start?, 3.) Recorder and Music Magazine 1, no. 6 (August 1964): 181–83. An introduction to consort playing as a valuable learning experience for beginning

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players. Outlines the “problems and techniques” of consort playing, including how to select a leader, matching instruments, and improving intonation. The second half of the article discusses repertory for recorder duet and trio, with an emphasis on arrangements. * Thieme, Ulrich. “Was Bilder erzählen—zur Ikonographie des BlockflötenEnsemblespiels.” Cited above as item 270. 1259. Weineck, Isolde Maria. “Blockflötenchöre und Kantoreipraxis” [Recorder choirs and choir practice]. Tibia 8, no. 3 (1983): 443–46. Discusses an interesting German phenomenon. In recent years, the evangelische (Lutheran) church has been adding recorder choirs to its traditional vocal choirs and trombone choirs. The structure and organization of such a recorder choir have been developed in particular by the Kirchenkreis Tecklenburg. The musical means available to the recorder choir, alone and in combination with other instruments, are quite varied. 1260. White, Beverly. “Consensus Musicus and the Small Ensemble.” American Recorder 13, no. 4 (November 1972): 122–23. Essay in support of shared leadership and teamwork in small ensembles. 61. Winters, Leslie. “The Making of a Recorder Consort.” Recorder and Music Magazine 4, no. 5 (March 1973): 165–67; 4, no. 6 (June 1973): 196–98. Good advice concerning matters of technique in ensemble playing. Covers: breathing and breath control; intonation; ensemble; how to approach a new piece; articulation and phrasing; and dynamics and accents. 1262. Wollitz, Kenneth. “Ensemble Playing.” American Recorder 22, no. 4 (November 1981): 103–11. Reprinted from chapter 6 of item 30. A thorough and insightful treatment of the special problems encountered when recorder players play together. Begins by describing the concept of teamwork in a musical group and the social dynamics of playing with other musicians, noting that compromises and adjustments tend to make group playing a civilizing experience. Wollitz then moves to specific problems: where to play (indoors in a relatively live room); how to pace the rehearsal; deciding who, if anyone, should lead; tuning (including an extensive discussion of beats and difference tones); playing in time; dynamics; instrumentation; and preparing a program (covers selection and order of the pieces, “potpourri” versus “thematic” programs, and handling stage fright). Letter from Hazel Mosely in 24, no. 1 (February 1983): 43. 1263. Wyatt, Theo. “Am I Too Loud?” Recorder & Music 5, no. 5 (March 1976): 161. Wyatt (not Gerald Moore) explains why consort performers need to play more softly than solo performers. 1264. Wyatt, Theo. “Chamber Music v Massed Playing.” Recorder & Music Magazine 3, no. 8 (December 1970): 273–74. Concerns the phenomenon of massed playing, in which chamber music is performed with multiple players—sometimes more than twenty—assigned to each part. Wyatt wonders why such performances are common among amateur recorder players and concludes that the reason is a “generally low standard of competence. We don’t play one to a part because we can’t.” He argues that massed playing is fine if it provides a means for players to perform music they otherwise could not, but chamber performance should remain a goal for all players. Responses from Alan G. Bartlett, Brian Crispin, and Edgar Gordon in 3, no. 9 (March 1971): 323–25.

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1265. Wyatt, Theo. “On Tuning Up.” Recorder & Music 7, no. 2 (June 1981): 34–35. Emphasizes two points: consorts should not tune to A, since tuning by fifths and fourths on C (for F instruments) and G (for C instruments) with all players using the same fingering is more reliable; and consorts should not need to tune their instruments prior to performance, because physical adjustments made to the instruments during rehearsal should be matched precisely for the performance. 1266. Wyatt, Theo. “The Techniques of Consort Playing.” Recorder & Music 6, no. 10 (June 1980): 288–92. Reprinted in American Recorder 24, no. 1 (February 1983): 3–6. Wyatt sees chamber music as “primarily a social activity” in which each player’s chief responsibility is not to spoil the music for the others. By listening and adjusting to the other members of the consort, individual players can improve both the music and the group experience. Specific advice includes: learn to read ahead, listen for barlines and cadences, learn to recognize when something is wrong, use visual contact and physical motion to ensure accuracy in ensemble, and learn how to take a chord apart and tune it. Letter from Judith I. Whaley in 24, no. 3 (August 1983): 127, describes how a blind player can participate in a consort, contrary to Wyatt’s comment that a “blind player is doomed, sadly but inevitably, to being a soloist.” 1267. Wyatt, Theo. “The Well-Tempered Consort.” Recorder & Music 4, no. 12 (December 1974): 431–32; 5, no. 2 (June 1975): 51–52. Advice on organizing and managing an amateur consort. The first part suggests ways to identify appropriate players for the group. The second part covers leadership, assignment of parts, repertory, public performance, and the value of having an experienced mentor available to coach the group during the first few rehearsals.

22 Pedagogy and Study This chapter is a mixed bag of sources, some on the education of both professional recorder players and amateurs, others on recorder methods and their assessment. Recorder methods themselves are excluded, as are sources about “music education” (that is, primary- and secondary-school recorder teaching). 1268. “The American Recorder Society Education Program.” Levels IA and IB: American Recorder 22, no. 1/2 (May 1981): 19–20; Levels II and III: 21, no. 3 (November 1980): 120–28. Also issued to ARS members as a separate publication; revised versions were published in 1984 and 1987. These publications define the ARS Education Program, set the goals for each level, and include helpful study guides, which “provide the player with a structured program in technique, theory, ear training, sight-reading, and performance practice. They also suggest a repertoire.” Includes bibliographies of performing editions, books, and periodicals. * Bergmann, Walter. “Teaching Intonation.” Cited above as item 1185. 1269. Braun, Gerhard. “Die Blockflöte als idealer Klangschnuller? Zehn Thesen zum Blockflötenunterricht und Blockflötenspiel” [The recorder as ideal sound-pacifier? Ten theses on recorder instruction and playing]. Zeitschrift SAJM 17, no. 4 (December 1989): 3–10. Proposes and offers commentary on the following “theses”: (1) the recorder is a real musical instrument, (2) it needs to be taught as a real wind instrument from the beginning, (3) it is a many-sided instrument because of the different historical and modern types, (4) students should be taught to “hear,” (5) recorder music for children should not “short-change” them, (6) recorder instruction should be methodical, (7) although the recorder has a repertory stretching back over five centuries, there are few pieces of great artistic value, (8) the emphasis in recorder teaching should be on expression, (9) recorder teachers should introduce their students to the new sound world of modern recorder music, and (10) recorder teaching should develop the student’s musical perception. 1270. Feldman, Anna. “The Adult Intermediate Recorder Student.” Continuo 4, no. 10 (summer 1981): 13–17; 5, no. 1 (October 1981): 15–20. Advice on teaching such a student. Discusses breathing exercises, relaxation, finger exercises, articulation, rhythm, and pitch. Includes a list of nine recommended sets of etudes. 1271. Heymann, Ulrike. “Blockflötenschulen—Kriterien für ihre Beurteilung” [Recorder methods—criteria for their evaluation]. Tibia 6, no. 1 (1981): 257–61. Describes the evaluation of recorder methods of the previous ten years on their treatment of: the preface, elementary musicianship, posture and holding of the instrument, breathing, articulation, fingering technique, practice material, repertory, and

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appearance. 1272. Thomas, Jean W., comp. “A Practical Guide to Recorder Method Books and Related Material: An Annotated Bibliography.” American Recorder 20, no. 3 (November 1979): 111–17. “[A] guide to instruction books, methods, and handbooks that are now generally available.” The bibliography is divided into three categories: beginning methods for C and F recorders (fifty-nine entries), methods for bass recorder (four entries), and recorder handbooks (six entries). Informative, evaluative annotations. 1273. Thorn, Chris. “Getting the Most Out of the Red Book.” Recorder & Music 7, no. 6 (June 1982): 143. A guide to The Recorder Book by Steve Rosenberg (Schott 11380). Includes a few corrections. 1274. Ventzke, Karl. “Blockflöten-Schulwerke der 30er Jahre” [Recorder methods of the 1930s]. Tibia 16, no. 1 (1991): 378. A list of twenty-nine methods published in Germany between 1930 and 1940, giving only cities of publication, not publishers. Ventzke notes that neither Peter (item 31) nor Alker (item 1) gives the publication dates of these methods. 1275. Waechter, Wolfram. “Kommerz, Kind oder Kunst? Motivationen und Zielsetzungen für Blockflötenunterricht heute” [Commerce, child, or art? Motivations and objectives for recorder teaching today]. Tibia 2, no. 3 (1977): 355–59. Astonishingly, 28.5 percent of students in German music schools study the recorder. Unfortunately, most of them learn the soprano recorder from unqualified teachers. Outlines some of the misconceptions behind such teaching. Goes on to list the necessary contents of the “artistic aspect” of recorder playing (general musicianship, musical style, practicing, breathing and vibrato, etc.), which could be taken for granted for any other serious instrument. Comes up with two obvious but neglected suggestions for improving teaching: (1) “The student must, after receiving instruction, be able to play the recorder better than before,” and (2) an “[only] moderately good musician can scarcely be a good teacher.” Concludes with a plea for a synthesis of musicianship and pedagogy. 1276. Weilenmann, Matthias. “Voraussetzungen und Ziele des Blockflötenunterrichts” [Assumptions and goals of recorder instruction]. Quartalszeitschrift SAJM 16, no. 2 (June 1988): 3–8. Proposes and discusses three theses: (1) The recorder is not a starting instrument, (2) the recorder is not an instrument for mass playing, and (3) the recorder is basically not an instrument for the primary school. Ends with comments on the tone and repertory of the instrument. 1277. “Where Do I Start?” Recorder and Music Magazine 1, no. 4 (February 1964): 112– 13. Advice for the beginner. Advocates the recorder as a first instrument because it is inexpensive and easy to learn. Recommends starting on the soprano. The alto is second choice—seemingly because of its greater expense. Suggests a number of instruction books and emphasizes the importance of a good teacher.

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UNIVERSITIES, COLLEGES, AND CONSERVATORIES 1278. O’Sullivan, Patricia. “The Recorder in the Universities.” Recorder Magazine 11, no. 3 (September 1991): 88–89. A table showing the extent of recorder studies at thirty-two universities in Great Britain. Includes information on: degrees offered, whether the recorder is taught, whether lessons are funded, and whether early-music ensembles and early-music coursework are available. Additions and corrections appear in 11, no. 4 (December 1991): 116. An expanded and updated table appears in 12, no. 3 (September 1992): 67–68. 1279. “The Recorder Goes to College.” (The Recorder in Education.) American Recorder 31, no. 2 (June 1990): 18–19. A directory of twenty colleges and universities that offer degree programs in recorder. Each entry includes the name of the recorder instructor and an address and telephone number for inquiries. Separate sidebars describe in greater detail the program at the Oberlin Conservatory and the precollege program at Indiana University. Letter from Susan G.Sandman regarding Wells College in 31, no. 4 (December 1990): 26. 1280. Seiler, Jean W., comp. “Degree Programs in Early Music in the United States and Canada.” American Recorder 24, no. 1 (February 1983): 15–19. Describes twenty-five “undergraduate and graduate degree programs in recorder, other early instruments, or early music, as well as programs accepting these instruments in fulfillment of the applied music requirement.” Listings include degrees offered, ensembles and their performing opportunities, faculty, and application procedures. Examinations 1281. Hunt, Edgar. “The Trinity College of Music Recorder Examinations.” Recorder & Music 6, no. 12 (December 1980): 350–51; 7, no. 1 (March 1981): 8–9; 7, no. 2 (June 1981): 35–37. Describes the examination process and expectations for: the lower grades (part 1), the higher grades (part 2), and the Licentiate and Fellowship diplomas (part 3). 1282. O’Sullivan, Patricia. “The 1991–1994 Trinity College Examination Syllabus.” Recorder Magazine 10, no. 4 (December 1990): 115–16; 11, no. 1 (March 1991): 20– 21; 11, no. 2 (June 1991): 52–53. A survey of the repertory for soprano and alto recorder covered in grades 1–5 of the program. Examines the selections with a critical eye and offers many suggestions for interpreting individual pieces. 1283. Sherman, Elna. “Trinity College Recorder Examinations.” American Recorder 5, no. 3 (August 1964): 6–7. General description of the examinations, accompanied by a few sample theory questions.

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GEOGRAPHICAL FOCUS France 1284. “L’enseignement de la flûte à bec en France” [The teaching of the recorder in France]. Flûte à bec, no. 1 (June 1981): 36–41. An attempt at a complete listing of French music schools and conservatories that teach the recorder, arranged by province. 1285. Tellier, Michèle. “L’enseignement de la flûte à bec en France” [The teaching of the recorder in France]. Flûte à bec, no. 6 (March 1983): 384–6. A list of the names, addresses, and phone numbers of French recorder teachers, arranged by province. Germany 1286. Martin, Anne. “The Recorder in Education in West Germany.” Recorder & Music 7, no. 11 (September 1983): 299–301. Examines the role of the recorder in primary education in Germany, particularly in comparison with the role of the instrument in English schools. In West Germany, the recorder is used as a melodic instrument to reinforce singing activities and as a tool to develop the ear: “[T]he strength of the recorder is in its ‘pop[u]lar’ use, its pre-eminence in Orff work and in professional playing. Here in Britain it plays a much stronger ‘instrumental’ role both in school and among adult amateurs, as well as being played by professional players.” The Netherlands 1287. Michon, Claire. “Petit guide pratique de ‘L’école hollandaise’” [Brief practical guide to the “Dutch School”]. Flûte à bec, no. 5 (December 1982): 25–27. A directory of Dutch conservatories with comments on their recorder teachers and teaching. For a long-outdated view by the player who improved the Dutch situation out of all recognition, see Frans Brüggen, “The Recorder in Holland,” American Recorder 2, no. 4 (fall 1961): 6. Taiwan 1288. Tenta, Philipp. “‘Binder Jacob’ auf Chinesisch? Philipp Tenta über Blockflötenspiel in Taiwan” [“Frère Jacques” in Chinese? Philipp Tenta on recorder playing in Taiwan]. Windkanal 1/2000:20–21. Mostly about the recorder in music education in Taiwan, but asks good questions about the presence of Western music in the East, the decline of Chinese folk music, and whether the recorder can be an “inter-cultural” instrument.

23 Biographies: Historical This chapter is concerned with purely or largely biographical sources about historical recorder players and significant composers for the instrument as well as other related figures. For biographical material on recorder makers, see chapter 9. Further material on composers will be found in sources about their works (see chapters 27 and 28). Entries are arranged chronologically under each heading. * Ashbee, Andrew, and David Lasocki, comps., assisted by Peter Holman and Fiona Kisby. A Biographical Dictionary of English Court Musicians, 1485–1714. Cited above as item 123. 1289. “Composers of Recorder Music, Recorder Players and Recorder Makers.” Recorder & Music 7, no. 11 (September 1983): 291–92; 8, no. 1 (March 1984): 24–25; 8, no. 5 (March 1985): 155–56; 8, no. 9 (March 1986): 268–69. A biographical dictionary. Ends mysteriously, after completing the letter G. 90. Haynes, Bruce. “Telemann’s Kleine Cammer-Music and the Four Oboists to Whom It Was Dedicated.” Musick 7, no. 4 (March 1986): 30–35. Reprinted in Journal of the International Double Reed Society 15 (1987): 27–32. A revised version of the preface to the facsimile edition of the Telemann collection published by Musica Musica, Basel, 1983. Discusses the collection, pointing out that although the composer said that it could be played by many instruments (including the recorder), it was primarily intended for the oboe. Biographical sketches of the dedicatees: François La Riche, Johann Christian Richter, Johann Michael Boehm, and Peter Glösch, all of whom were oboists and at least one of whom (Boehm) was also a recorder player. 1291. Lasocki, David. “Amateur Recorder Players in Renaissance and Baroque England.” American Recorder 40, no. 1 (January 1999): 15–19. Originally published in German as: “Die Blockflöte als Liebhaber-Instrument vor dem 20. Jahrhundert.” ERTA Österreich News 4, no. 3 (October 1998): 1–5; 4, no. 4 (December 1998): 1–2, 5–6. Lasocki follows up on his research on professional recorder players (items 126–29) with a study of amateurs during the same period. Begins by considering which groups of people would have been exposed to the recorder and would likely have taken it up as amateurs. Considers the recorder’s rise and fall in popularity among amateurs based on the publication patterns of recorder tutors and recorder music. Reviews what we know of amateur players and playing through the contemporary accounts of Henry VIII, Samuel Pepys, Dudley Ryder (based on item 1306), and Claver Morris. Describes the series of concerts organized by Thomas Britton, a coalman by trade, and the music-meetings at the home of John Loeillet, in which both gentleman amateurs and professionals performed. Offers a brief biography of Robert Woodcock (based on item 1316). Concludes with a description of two publications of recorder music composed by amateurs and an account of a 1718 concert in which amateurs performed on stage wearing masks to hide their identities.

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* Lasocki, David Ronald Graham. Professional Recorder Players in England, 1540– 1740. Cited above as item 126. BARSANTI, FRANCESCO (CA. 1690–1775) * Bergmann, Walter. “Francesco Barsanti.” Cited below as item 1816. 1292. Sharman, Ian G. “Francesco Barsanti: A Fuller Biography and a Discussion of His Concerti Grossi (Op 3).” Brio 26, no. 1 (spring/summer 1989): 4–10. Adds to the biographical account in item 1816 with new details of Barsanti’s life in Scotland (ca. 1735-ca. 1743) and back in London, coming up with solid evidence for the first time of his likely death date (around 1 May 1775). Followed by comments on the form and style of the Concerti Grossi. Complemented by item 1818. 1293. Lasocki, David. “More on the Life of Francesco Barsanti.” Brio 27, no. 2 (autumn/winter 1990): 78–79. Comments on some statements in item 1292 about Barsanti’s arrival and early years in England as well as his visit to Dublin in 1740. 1294. Selfridge-Field, Eleanor. “Vivaldi and the Accademia Filarmonica.” Informazioni e studi vivaldiani 13 (1992): 39–49. Turns up evidence that Barsanti became a member of the Accademia Filarmonica, Bologna, in June 1719, and “[t]o be considered for one of the performing ranks, an individual was to have participated on a trial basis for at least six months in the Thursday conferenze.” Clearly, Barsanti was still in Italy in 1719 and would have gone to England later. BASSANO FAMILY See chapter 9, “Instrument Makers and Instruments: Historical,” under the subheading “Bassano Family” (pp. 120–24 above) as well as item 126 above. BOBBIN, TIM (1708–1786) 1295. Kenworthy, C. “Graver and Fluter.” Recorder and Music Magazine 1, no. 8 (February 1965): 250. A biography of Tim Bobbin, eighteenth-century author, teacher, artist, and amateur recorder player. DEMOIVRE, DANIEL (FL. 1687–1731) 1296. Lasocki, David. “The Life of Daniel De Moivre (fl. 1687–1731).” Consort, no. 45 (1989): 15–17. In response to Michael Stratford’s remark about the lack of information on Demoivre’s life (see item 1825), Lasocki compiles and expands on biographical information he gathered while conducting research for item 126.

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GRAND, JOHN (CA. 1692-CA. 1748) 1297. Ginger, John, ed. Handel’s Trumpeter: The Diary of John Grano. (Bucina, The Historic Brass Society Series, no. 3.) Stuyvesant, N.Y.: Pendragon Press, 1998. xvi, 377 p. ISBN 0945193963. ML 419 .G72 A3. In 1728, the London trumpeter and flautist John Grano was imprisoned for debt in the Marshalsea prison. During the next eighteen months, Grano and his family had enough money to allow him to benefit from the more comfortable accommodation on the Master’s side of the prison (the Common side was squalid) and the curious arrangement whereby prisoners could purchase passes that would allow them to range around the town during the day, although they were expected to be back at night. He kept a diary of this sojourn, detailing his adventures, musical and otherwise, as he struggled to earn enough money doing freelance work to get him released. Although he failed in that struggle, he was fortunate that parliament passed a general amnesty for debtors. His failure had nothing to do with his musicianship, which seems to have been excellent—unlike his English prose, which begins at wretched and improves to only tolerable. He had earlier been the regular trumpeter in Handel’s opera orchestra, and a book of his flute sonatas was published by John Walsh in 1728. Grano played the recorder too, as a handful of tantalizing comments reveal. The son of a local coal merchant “made me a present of a very good sixth flute of Young Stanesby’s making.” One day Grano gave Thomas Benfield, a local blacksmith, “a lesson on the common flute.” An otherwise unknown musician called Jacob promised to play “the little flute” for one of Grano’s benefit concerts. One afternoon he visited the governor of the prison and “put a little flute into his pocket, which he pulled out and gave to his son” aged four; the child blew on it with alternating “pleasure and surprise” while Grano fingered. One night at a tavern Grano “entertained the company with a solo on the German flute, another on the little flute, a song and several airs on the trumpet.” In another tavern “in came Mr John Baston, belonging to the Old House” (presumably a reference to the Drury Lane Theatre, where Baston was a member of the band); and three days later, Grano wrote a letter “to Jack Baston the first flute [that is, finest recorder player] in England.” HOTTETERRE, JACQUES (1674–1763) For articles on Hotteterre as an instrument maker, see items 367–69. 1298. House, Delpha LeAnn. Jacques Hotteterre “le Romain”: A Study of His Life and Compositional Style. Ph.D. diss., University of North Carolina at Chapel Hill, 1991. vii, 309 leaves. OCLC #25560593. UMI order no. 92–16727. Studies Hotteterre’s compositions in depth, concluding that he made a satisfying synthesis of the French and Italian styles, thus justifying his nickname “le Romain,” whether or not he ever made a trip to Rome. In addition, presents the most detailed biography of Hotteterre to date, although because the family reused first names a great deal, the genealogy of the family is confusing, and new information turns up all the time

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(see item 368). Reports the discovery of a fascinating letter from Hotteterre to Wilhelm von Uffenbach (1723) about books and scores he had been commissioned to buy for Uffenbach, as well as advice on adjusting musette reeds. LALLEMENT, MATHIEU (D. CA. 1661–62) 1299. Cohen, Albert. “The King’s Musicians: A Postscriptum.” Notes 49, no. 4 (June 1993): 1390–94. This list of French Court musicians from the period 1649–1657 mentions Mathieu Lallement, “joueur de flûte” (that is, recorder player) in the Chambre du Roy. (The Chambre also included players of the lute [two], harpsichord, and viol.) Further details of the life of Lallement can be gleaned from Catherine Massip’s book on the Parisian musicians of the day, La vie des musiciens de Paris au temps de Mazarin (Paris: A. & J. Picard, 1976). LOEILLET FAMILY 1300. Priestman, Brian. “An Introduction to the Loeillets.” Consort, no. 11 (July 1954): 18–26. An important early article, reporting his researches on the Loeillet family, distinguishing among John, Jean-Baptiste, and Jacques, and correcting errors of earlier researchers. Insightful stylistic analysis of the music of all three composers. 1301. Thomson, J.M. “An Introduction to the Loeillets and Particularly John.” (Musical Biography.) Recorder and Music Magazine 1, no. 6 (August 1964): 183. A brief biography of John Loeillet, with only passing mention of Jean-Baptiste and Jacques. Edgar Hunt, in 1, no. 7 (November 1964): 215, gives information on John’s London address, which John Thorne corrects in 1, no. 9 (May 1965): 277–78. Morag Deane makes further corrections in item 1302. 1302. Deane, Morag. “John Loeillet of London.” Recorder & Music 6, no. 8 (December 1979): 226–29. A biography based for the most part on eighteenth-century documents (rate books, announcements, advertisements, etc.), unfortunately containing many errors of transcription and misunderstandings. Also addresses the question of Loeillet’s place of residence in London, which had first been raised by Edgar Hunt and John Thorne (see item 1301). Includes a facsimile of the entry for Loeillet in Sir John Hawkins’s History and a transcription of Loeillet’s will. Superseded by item 1305. 1303. Deane, Morag. “Jacob [i.e., Jacques] Loeillet and Jean Baptiste Loeillet de Gand.” Recorder & Music 6, no. 10 (June 1980): 286–88. Offers biographies of the two musicians (in the case of Loeillet de Gand, the information is necessarily scant). Includes a diagram of the Loeillet family tree (corrected in Recorder & Music 6, no. 11 [September 1980]: 323). Also introduces the notion that Loeillet de Gand died earlier than had been suspected; in the records of deaths in Lyon, Deane discovered an 11 November 1715 entry for one Luillet. 1304. Janzen, Rose-Marie. “The Loeillet Enigma.” Consort, no. 39 (1983): 502–6. In

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French as: “L’énigme des Loeillets” [The enigma of the Loeillets]. Flûte à bec, no. 5 (December 1982): 6–9. In German as: “Die Identität von Jean-Baptiste Loeillet” [The identity of Jean-Baptiste Loeillet]. Tibia 7, no. 1 (1982): 1–6. Reviews the known facts of the lives and publications of John, Jean-Baptiste, and Jacques Loeillet. Points out that, although there is enough evidence to distinguish JeanBaptiste from John, we know nothing firm about Jean-Baptiste’s life other than his birthdate. Janzen suggests sensibly that he could be researched in the archives of Lyons and other French noble houses. 1305. Lasocki, David. “A New Look at the Life of John Loeillet (1680–1730).” Recorder and Music Magazine 8, no. 2 (June 1984): 42–46. Also in Concerning the Flute: Ten Articles Dedicated to Frans Vester…, 65–73. Amsterdam: Broekmans en Van Poppel, 1984. OCLC #12363269. ML 55 .V39 1984. An expanded version of a section of a chapter in item 126. “[R]e-examines John Loeillet’s life on the basis of all the available evidence, some of which has not previously been cited in the literature on the family.” Offers extensive information on Loeillet’s activity as a theater musician. A slightly different version includes new findings on the extent of his estate. RYDER, DUDLEY (1691–1756) 1306. Lasocki, David. “Dudley Ryder, an Amateur Musician and Dancer in England (1715–16).” American Recorder 28, no. 1 (February 1987): 4–13. Discusses the references to music and dance in the diary that Sir Dudley Ryder kept while he was a law student in London, 1715–1716. “Ryder played the viola da gamba and recorder, sang a little, listened to singing more, attended the odd concert and church performance, and danced a great deal.” He reports playing the recorder ten times, by himself and with his friends on recorder or gamba, and hearing the professional recorder player Daniel Demoivre. Since we know next to nothing about the recorder playing of individual amateurs at that time, Ryder’s diary entries on the instrument are valuable, slim though they may be. SCHICKHARDT, JOHANN CHRISTIAN (CA. 1682–1762) 1307. Lasocki, David. “Johann Christian Schickhardt (ca. 1682–1762): Woodwind Composer, Performer and Teacher.” Recorder & Music 5, no. 8 (December 1976): 254– 57; 5, no. 9 (March 1977): 287–90. A popular biography based on item 1309. 1308. Lasocki, David. “Johann Christian Schickhardt.” Tibia 2, no. 3 (1977): 337–43. A slightly expanded version of item 1307. Includes facsimiles of a manuscript dedication (with signature) and of a page from the recorder method. 1309. Lasocki, David. “Johann Christian Schickhardt (ca. 1682–1762): A Contribution to His Biography and a Catalogue of His Works.” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 27, no. 1 (1977): 28–55. The most thorough biography and catalog of works available. Briefly assesses his

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contributions as a composer. Also presents evidence that the portrait reproduced on the cover of Recorder and Music Magazine 2, no. 2 (July 1966) is not of Schickhardt as once thought. 1310. Lasocki, David. “Schickhardt in London.” Recorder & Music 6, no. 7 (September 1979): 203–5. Reports on two concert announcements found in The London Stage 1600–1800 (Carbondale, Ill.: Southern Illinois Press, 1960–68) that place Schickhardt in London in 1732. Lasocki speculates on the circumstances surrounding the publication of the twentyfour sonatas in all keys (op. 30) in light of this new evidence. Also includes a bibliography of editions of Schickhardt’s music that had appeared since the publication of item 1307. 1311. Hübner-Hinderling, Renate. “Johann Christian Schickhardt in Hamburg.” Tibia 17, no. 3 (1992): 197–98. New biographical material taken from Hamburg archives. TALBOT, JAMES (1664–1708) 1312. Unwin, Robert. “‘An English Writer about Music’: James Talbot 1664–1708.” Galpin Society Journal 40 (1987): 53–72. Traces Talbot’s life in detail. Suggests that his unfinished treatise on musical instruments represents his contribution to a broader treatise on music in collaboration with Henry Purcell. Cites an archival document which suggests that Talbot taught the recorder to the eleven-year-old son of his patron, Charles Seymour, Duke of Somerset. Also quotes the text of an ode Talbot wrote on Purcell’s death (1695), set to music by Gottfried Finger, that includes a section for recorder (“the melancholy flûte”) and theorbo. VALENTINE, ROBERT (1674?-1747) 1313. Medforth, Martin. “The Valentines of Leicester: A Reappraisal of an 18th-Century Musical Family.” Musical Times, no. 1666=122, no. 12 (December 1981): 812–18. A biographical overview of the Valentine family, who were musicians in Leicester from around 1670 into the nineteenth century. Because of the uniqueness of the name, it seems probable that the family included Robert Valentine who emigrated to Italy, where he worked as an oboist and published much recorder and other woodwind music. Summarizes what is known of his life and comments briefly on his compositional style. 1314. Lopriore, Cecilia. “Robert Valentine: Nuovi documenti biografici” [Robert Valentine: new biographical documents]. Nuova rivista musicale italiana 30, no. 1 (January-June 1996): 193–208. Previous researches on the life of Valentine, musician and one of the most prolific recorder composers of all time, had established a baptism for him in Leicester, England (16 January 1674), but failed to turn up many details of his career in Italy or his date of death, instead indulging in speculation about his possible return to England. Lopriore, using a handful of documents from Rome, adds considerably to our knowledge of

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Valentine’s Roman years, including his death there on 26 May 1747. He had strong connections with the foreign community in Rome, but there is no documentary evidence that he ever left the city. A versatile musician, he played the recorder, oboe (and presumably flute), violin, and cello. VINACCESI, FORTUNATO (1631–1713) 1315. Talbot, Michael. Benedetto Vinaccesi: A Musician in Brescia and Venice in the Age of Corelli. Oxford: Clarendon Press, 1994. xii, 356 p. ISBN 0198163789. ML 410 .V774 T34. This book on the Brescian composer Benedetto Vinaccesi (1666–1719) mentions his cousin Fortunato, a “universal savant” who mastered languages and many other branches of knowledge, particularly mathematics, geography, and cartography, and was a keen art collector and bibliophile. Fortunato’s contemporaneous biographer Giulio Averoldi reported that he played the “leuto alla francese” (the lute tuned, in the French manner, to the nouveau ton), the guitar, and the recorder marvelously (“sonava a meraviglia di flauto”). Talbot suggests that Fortunato probably learned to play the recorder in Holland or some other northern country on his “Grand Tour” at the age of twenty-six. WOODCOCK, ROBERT (1690–1728) 1316. Lasocki, David, and Helen Neate. “The Life and Works of Robert Woodcock, 1690–1728.” American Recorder 29, no. 3 (August 1988): 92–104. “The purposes of our article are: first, to demonstrate that there was only one Robert Woodcock, a marine painter, amateur woodwind player, and composer; second, to present new biographical information about him; and finally, to discuss the concertos in the light of this information as well as musical evidence, concluding that the sole Robert Woodcock probably did compose the concertos published under his name.” Quotes in full the biographical accounts written in the late 1720s by George Vertue, which are verified and supplemented through an examination of parish registers and wills. The remainder (and major part) of the article concerns the music, particularly the question of authorship. Summarizes past arguments and identifies their strengths and weaknesses. Through an extensive stylistic analysis, concludes that Woodcock wrote either most or all of the twelve concertos attributed to him. Ends with a bibliography of modern editions and a discography. Edgar Hunt, in Recorder and Music Magazine 9, no. 8 (December 1988): 220–21, reviews the history of the Woodcock controversy in an announcement noting the publication of this article.

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ZELLBELL, FERDINAND (1698–1765) 1317. Holm, Anna Lena. “Ferdinand Zellbell d.ä.:s inkomster år 1722” [Ferdinand Zellbell Sr.’s income for the year 1722]. Svensk Tidskrift för Musikforskning 73 (1991): 85–96. Includes short English summary. A fascinating datebook recently acquired by the Kungliga Musikaliska Akademiens Bibliotek in Sweden contains the financial accounts of the Stockholm organist and composer Ferdinand Zellbell Sr. (1698–1765) for the year 1722. It reveals that he played at various events; taught the harpsichord, recorder, lute, and violin; sold music (including recorder music) and instruments; made and repaired harpsichords and lutes; acted as a censor; and rented out rooms.

24 Biographies and Interviews: Modern This chapter looks at twentieth- and twenty-first-century performers and other persons associated with the recorder (teachers, editors, writers, publishers, composers). For recorder makers, see chapter 11; for composers of recorder music, see also chapter 29. 1318. Bixler, Martha. “Berkeley Panel: Recorder Professionals and Their Amazing Careers in Music.” American Recorder 42, no. 2 (March 2001): 5–6, 34. A summary of the comments made by a panel of professional recorder players at the 2000 Berkeley Festival. The five panelists (David Barnett, Frances Feldon, Matthias Maute, Cléa Galhano, and Judith Linsenberg) and Bixler (serving as moderator) discuss how they came to the recorder, their training, and the challenges they have faced while making a career of playing and teaching the recorder. * “Composers of Recorder Music, Recorder Players and Recorder Makers.” Cited above as item 1289. 1319. Lasocki, David. “The Art of Becoming a Recorder Player: Four European Professionals in Conversation with David Lasocki.” American Recorder 32, no. 3 (September 1991): 9–13. An interview with Robert Ehrlich, Walter van Hauwe, Conrad Steinmann, and Ulrike Volkhardt. Covers: their own training; how they teach; what attracts them about the recorder; what it means to be a “professional”; the balance of technique and musicianship; extending the recorder’s repertory; and how the new generation of professionals is going to make a living. 1320. O’Kelly, Eve. “Professional Recorder Players (and Their Instruments) II: The Twentieth Century.” In item 33, pp. 175–83. Rather than being a history as one might have expected, O’Kelly’s chapter contains short sections on Robert Ehrlich, “the soloist”; Daniel Brüggen, “the ensemble player”; Tim Cranmore, “the recorder-maker”; and Peter Rose, “the twentieth-century specialist.” As a result, the Companion gives short shrift to the greatest player of the century, Frans Brüggen, although without his influence we would surely never have had such a book. 1321. Thomson, John M. Recorder Profiles. London: Schott, 1972. 77 p. ISBN 0901938092. ML 399 .T5. Sketches of fourteen people associated with the recorder, based on a series of articles first published in Recorder and Music Magazine between 1963 and 1971: Walter Bergmann (item 1351), Frans Brüggen (item 1391), René Clemencic (item 1406), Ferdinand Conrad (item 1413), LaNoue Davenport (item 1420), Carl Dolmetsch (item 1443), Edgar Hunt (item 1492), Bernard Krainis (item 1511), Hans-Martin Linde (item 1542), David Munrow (item 1561), Kees Otten (item 1578), Gustav Scheck (based on item 1605), Christopher Taylor (item 1620), and Michael Vetter (item 1643). Reviewed by Theo Wyatt in Recorder and Music Magazine 4, no. 5 (March 1973): 173–74. 1322. Veilhan, Jean-Claude, and Hugo Reyne. “Les flûtistes à bec au XXe siècle:

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Pionniers et sillons” [The recorder players of the twentieth century: pioneers and followers]. Diapason-Harmonic, no. 335 (February 1988): 54–55. Briefly surveys these players, dividing them into national schools of England, Germany, Switzerland, the Netherlands, Belgium, Austria, and of course France, but not the United States. ABREU, ALDO 1323. [Dunham, Benjamin S.?] “AR Interviews Aldo Abreu—a Conversation about Competitions.” (Tidings.) American Recorder 33, no. 4 (December 1992): 4–5. Abreu was the winner of the 1991 Concert Artists Guild Award (the first recorder player to win since 1971). Covers: advice on preparing for a competition; how to cope with losing; his concert itinerary; and his hope that contemporary recorder music will remain accessible to audiences. 1324. Rose, Pete. “‘The Kid.’” (On the Cutting Edge.) American Recorder 34, no. 1 (March 1993): 27–28. Profile of Aldo Abreu (the title is a reference to The Kid from Venezuela—a composition that Rose dedicated to him). Covers: his study with Ricardo Kanji and Michael Barker at the Royal Conservatory in the Hague; his interpretation of Andriessen’s Sweet; and his work promoting music from Latin America. ADAMS, PIERS 1325. Homfray, Tim. “Beyond the Ash Grove.” Music Teacher 70, no. 7 (July 1991): 12– 13. Based on an interview with Piers Adams. Mostly concerned with his views on the recorder in schools but also contains biographical material. 1326. Mayes, Andrew. “Interview: Piers Adams.” Recorder Magazine 14, no. 4 (December 1994): 116–18. Covers: his musical training and early influences; the untapped potential of nineteenthcentury csakan repertory; the inauthenticity of “authenticity”; his recording of twentiethcentury music for recorder and piano; recent trends in composition for the recorder (including the trend away from avant-garde techniques); his use of a keyless recorder in Ab for csakan repertory and his belief that the keyed csakan would not be accepted by audiences; his plans to record an album of transcriptions and showpieces, to commission recorder concertos, and to record more csakan repertory; and advice for young players seeking to make a career of the recorder.

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ALTON, EDWIN (D. 1982) 1327. Dolci, Danilo. “Edwin Alton.” Il flauto dolce, no. 4 (July/December 1973): 11–12. A charming portrait of Alton’s success at teaching the recorder to children in Sicily after his retirement from school-teaching in England. Excerpted from Dolci’s Chissà se i pesci piangono: Documentazione di un’ esperienza educativa [Do fish cry? Documentation of an educational experience] (Torino: Giulio Einaudi, 1973), 201–4, in which the recorder is also mentioned. 1328. Y[ates], T[homas]. “Obituary: Edwin Alton.” Recorder & Music 7, no. 9 (March 1983): 243. AMSTERDAM LOEKI STARDUST QUARTET See also under the subheading “Brüggen, Daniel” (p. 424). 1329. “Amsterdam Loeki Stardust Quartet in Milwaukee.” American Recorder 34, no. 2 (June 1993): 6–7. Consists of captioned photographs. 30. Del Valle Martínez Ortega, María, and Manuel Castellano Muñoz. “Entrevista con Amsterdam Loeki Stardust Quartet” [Interview with the Amsterdam Loeki Stardust Quartet]. Revista de flauta de pico, no. 8 (May 1997): 3–8. Covers: their enchantment with Spain (and Seville); their preference for churches for concerts; the number of recorders they use and their main makers; modern recorders as “tutti frutti”; their CD of Spanish music; arranging vocal and organ music; their preferred repertory; the members of the group as composers; playing modern music, including jazz and New Age; the significance of their name; their equal preference for sizes of instruments (except Karel van Steenhoven favors the largest recorders because he has the largest hands); working together; coping with the disparity between the soprano and the other sizes; rehearsing; and changes in knowledge of the recorder in Spain. 1331. Quandt, Reinhold. “Das Amsterdam Loeki Stardust Quartet.” (Das Porträt.) Tibia 14, no. 4 (1989): 587–91. Covers: the origin of the group and its name; their opting for ensemble rather than solo playing; their (generally negative) thoughts on the recorder as solo instrument; the division of labor for their repertory; their decision-making (each has a “veto”); how they practice; tips on ensemble playing; what repertory would not work on the recorder; their stage practice; their “gags”; national differences in recorder students; and the future of the recorder (new music, so that the instrument can continue to live). ANDERSON, NATASHA 1332. Clarke, Zana. “Natasha Anderson.” (Profile.) Recorder: Journal of the Victorian Recorder Guild, no. 13 (July 1991): 3–4. Anderson was the winner of the open solo section of the First Australian Recorder Competition (1990). Covers her training, especially her work at Melbourne University.

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ANTONINI, GIOVANNI 1333. Castellano Muñoz, Manuel, and Juan Ramón Lara García. “Entrevista con… Giovanni Antonini” [Interview with Giovanni Antonini]. Revista de flauta de pico, no. 12 (October 1998): 3–9. Giovanni Antonini, the recorder player and director of Il Giardino Armonico, was interviewed during the first early-music course in Gijón in July 1998. Covers: the value of courses; playing and teaching; his training and influences; the group and its repertory; whether Vivaldi’s concertos are intended for recorder or flûte; the Baroque boom worldwide; performing Vivaldi; making CDs; playing the chalumeau; the “error” of specializing in the recorder; the absurdity of playing the recorder before large audiences; the future of the recorder; his favorite recordings and books; and his preferred name for the recorder (flauto). ARCANA ENSEMBLE 1334. Young, Gayle. “Arcana Ensemble: An Interview with Allison Cameron.” Musicworks, no. 63 (fall 1995): 28–31. With French summary. Arcana was an ensemble based in Toronto specializing in contemporary music for the unusual instrumentation of accordion, tuba, piano, guitar, recorder (played by John Abram), and percussion. Covers: their name; their instrumentation and why they chose it; other similar Canadian ensembles; and some of the music written for the ensemble. ARNO, MICHAEL (1937–1988) 1335. Lambe, Joan. “Obituary: Michael Arno.” Recorder and Music Magazine 9, no. 9 (March 1989): 258. Brief obituary of the English recorder player, a former member of the Lydian Consort, a collaborator with Collegium Saggitarii and the Sheridan ensemble, and a frequent recitalist. 1336. T[homson], J.M. “Michael Arno.” (Profile.) Recorder & Music 4, no. 9 (March 1974): 323–24. Covers: his musical education; his recording credits; the influence of Brüggen; the need to institute in England a school of recorder playing similar to that in Holland; his interest in Baroque music and conservative twentieth-century works; his belief that ornamentation can easily be overdone; his preferred instruments; and his contribution to the English early-music scene. BAGHUIS, ELLY 1337. Bergmann, Walter. “Elly Baghuis Talks to Walter Bergmann.” Recorder and Music Magazine 2, no. 5 (May 1967): 142.

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Covers: her study with Frans Brüggen; her teaching at the Hague Conservatory; the examinations administered at the conservatory; the standard of playing in Holland; her Wigmore Hall concert; and her musical tastes. BALL, CHRISTOPHER (B. 1936) 1338. Miles, Marijke. “Interview: Christopher Ball.” Recorder Magazine 16, no. 2 (June 1996): 58–59. Covers: his early career, first as a clarinetist and then as a conductor; his founding of the Praetorius Consort and the London Baroque Trio; the genesis of his recorder concerto; folk elements in the concerto; how he accommodates the recorder’s limited dynamic range; and Paul Arden Taylor’s 1994 premiere of the concerto and his plans for recording it. 1339. T[homson], J.M. “Christopher Ball & the Praetorius Consort.” Recorder & Music 4, no. 9 (March 1974): 339–40. Covers: the influence of Frans Brüggen and Sebastian Kelber on his self-taught style of playing; his use of vibrato and rubato as expressive devices; origins of the Praetorius Consort; performances and recording projects; his work as an orchestral conductor and photographer; and his earlier career as a clarinetist. BARAB, SEYMOUR (B. 1921) * Glassgold, Cook. “Why Compose for the Recorder?” Cited above as item 1227. BARTHEL, RUDOLF 1340. Bergmann, Walter. “Rudolf Barthel.” Recorder & Music 6, no. 6 (June 1979): 185. Obituary. BELLUGI, DAVID 1341. Horn, Nick. “‘We Are What We Listen To’: An Interview with David Bellugi.” Recorder and Early Music [Australia], no. 22 (1998): 3–6. Conducted by e-mail. Begins with a biography and a description of his CD Landscapes. Then covers: his studies by Antoine Geoffroy-Dechaume; live versus studio recording; making Landscapes; the recorder as a chameleon in repertory; exploring ethnic music, its influence on his own performance, and the “two-way street” with Western art music; and the cross-cultural interchanges in teaching foreign students. 1342. Lasocki, David. “New Landscapes for the Recorder: An Internet Conversation with David Bellugi.” American Recorder 38, no. 1 (January 1997): 16–17. An interview with the American recorder player resident in Italy, conducted by e-mail. Covers: his early years and youth in the United States; the teaching position he has held at the Florence Conservatory since 1979; his CD recordings; Paisaje cubano con rumba,

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the minimalist piece by Leo Brouwer on his Landscapes CD; Concerto di Anacrò by Riccardo Luciani; how listening to virtuoso panpipe players influenced his performance of the Vivaldi flautino concerto, RV 443; the overdubbing process he used to record Landscapes; and his plans to continue teaching, performing, recording, and publishing. BENNETTS, KATHRYN * Mayes, Andrew. “Interview: Peter Bowman & Kathryn Bennetts.” Cited below as item 1366. BENSE, ROTRAUD 1343. Bergmann, Walter. “Recorders in the D.D.R.” Recorder & Music Magazine 2, no. 8 (February 1968): 239. A review of performances heard in Magdeburg in June 1967 and profiles of two of the players: Thekla Waldbaur and Rotraud Bense. BERGMANN, WALTER (1902–1988) 1344. Hersom, Herbert. “Walter Bergmann.” Recorder and Music Magazine 9, no. 6 (June 1988): 169–71. An obituary focusing on Bergmann’s work with children. 1345. Hunt, Edgar. “Walter Bergmann: An Eightieth Birthday Tribute.” Recorder & Music 7, no. 7 (September 1982): 166–67. A biography focusing on his early years in England following his emigration from Germany. 1346. Hunt, Edgar. “Obituary: Walter G.Bergmann.” Recorder and Music Magazine 9, no. 5 (March 1988): 125. 1347. Lasocki, David. “Walter Bergmann (1902–1988) as Editor, Author, and Mentor.” Continuo 15, no. 5 (October 1991): 2–6. Emphasizes Bergmann’s contributions not mentioned in his obituaries (which covered his recorder classes and his involvement with amateur recorder players as teacher, conductor, arranger, and accompanist). Discusses his editing and his development of the recorder catalog for Schott’s in London; his articles on Barsanti, Purcell, and Telemann; and his role as a mentor, enabling European professional recorder players to perform in England, and Lasocki to learn about editing and research. Select bibliography of Bergmann’s own articles and editions as well as profiles and obituaries of him. 1348. Martin, Anne. Musician for a While: A Biography of Walter Bergmann. Mytholmroyd, Hebden Bridge, West Yorkshire: Peacock Press, 2002. [iv], 198 p. ISBN 0907908837. Bergmann played a vital role in the recorder movement in England as teacher, conductor, accompanist, composer, and editor. A readable book, based primarily on Bergmann’s diaries, letters, and programs, plus interviews with family members, friends, and colleagues. Takes a sympathetic view of Bergmann’s foibles as well as his struggles

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to establish himself as a serious musician and scholar in England after being forced to leave his law practice in his native Germany just prior to World War II. Ends with a list of his compositions as well as editions (composers’ names only) and short biographies of the main people featured in the book. A few drawbacks: the author rarely seems familiar with the music mentioned; curiously, Bergmann is referred to throughout by his full name; and the book contains many typos and inconsistencies that a good final editing would have removed. 1349. Moeck, Hermann. “Walter Bergmann 24.9.1902–13.1.1988.” Tibia 13, no. 3 (1988): 203. Brief obituary. 50. Parkinson, Janice M. “Dr. Walter Bergmann: Musician, Hobby: Music.” American Recorder 13, no. 2 (May 1972): 40–41. Portrait consisting of quotations from Bergmann and others. Covers: his musical training; his emigration from Germany to England; his association with Schott’s, London; his classes in recorder; his support of arrangements as a means of offering players “access to the complete world of music”; and his current projects. 1351. [Thomson, J.M.] “Walter Bergmann.” (Profile.) Recorder and Music Magazine 1, no. 5 (May 1964): 156–58. Reprinted in item 1321. Covers: his amateur musicmaking while studying and practicing law; his imprisonment by the Nazis and eventual immigration to England in March 1939; his association with Michael Tippett; and his work as a teacher, adjudicator, editor, author, and composer. 1352. “Walter Bergmann.” Early Music 16, no. 2 (May 1988): 318–19. Brief obituaries by J.M.Thomson and Michael Tippett. 1353. “Walter Bergmann, 1902–1988.” Recorder Magazine 16, no. 1 (March 1996): 37. A brief biography based on items 1345–46. 54. Wyatt, Theo. “Obituary: Walter Bergmann.” American Recorder 29, no. 2 (May 1988): 66. BERLIN-NEUKÖLLN BLOCKFLÖTENORCHESTER 1355. Moeck, Hermann. “50 Jahre Blockflötenorchester Berlin Neukölln: Ein markantes Jubiläum der Blockflötengeschichte” [Fifty years of the Berlin-Neukölln recorder orchestra: a striking jubilee for recorder history]. Tibia 22, no. 4 (1997): 595. A footnote to “Blockflötenorchester” in the title explains: “Originally—in my opinion, correctly—recorder choir [Blockflötenchor].” As an addendum to his history of recorder ensemble playing (item 1251), Moeck celebrates the jubilee of the recorder orchestra founded by Rudolf Bartel and now directed by Michael Kubik. Through hard work, and intonation rehearsals before the main rehearsal, the orchestra disproved the common notion that recorders could not be played in tune. Over the years the orchestra has attracted more than four hundred foreign teachers and students. Originally featuring more than fifty members, the orchestra is now down to about twenty plus plucked instruments, a development that Moeck attributes to the rise of recorder solo playing.

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BIXLER, MARTHA (B. 1927) 1356. [Hunt, Edgar]. “Martha Bixler: An Interview.” Recorder & Music 4, no. 12 (December 1974): 430–31. Covers: her introduction to the recorder as a child and the beginning of her serious study several years later with LaNoue Davenport; the American Recorder Society’s teachers’ examination; her teaching; her study of articulation; her work with Trio Il Flauto Dolce and the New York Pro Musica Renaissance Band; and her impressions of England. 1357. Weber, Rhoda. “Martha Bixler: A Profile.” American Recorder 11, no. 3 (summer 1970): 79–82. Covers: her schooling at Smith and Yale; her move to New York; her introduction to the work of LaNoue Davenport while working as a secretary for Alfred Knopf Jr.; her teaching in New York City; the Manhattan Consort; Trio Il Flauto Dolce; producing a good recorder tone; contemporary recorder music; and her plans. BLAKER, FRANCES 1358. Rose, Pete. “And Disciple.” (On the Cutting Edge.) American Recorder 33, no. 4 (December 1992): 26–27. Profile of Frances Blaker. Covers: her study with Eva Legêne, Marion Verbruggen, and Michael Barker; her current modern repertory and the compositions she is planning to add to it; her move from Cleveland to Atlanta; her work on a recorder practice handbook. BLOCH, SUZANNE (B. 1907) 1359. Bixler, Martha, and Ken Wollitz. “An Interview with Suzanne Bloch.” American Recorder 29, no. 4 (November 1988): 136–40. Covers: her trip to England in 1933 to study with Arnold Dolmetsch; her eventual purchase of a restored lute from Dolmetsch and her return to Haslemere; her introduction to the recorder through Carl Dolmetsch; concerts with Carl Dolmetsch in New York City; her role in the founding of the American Recorder Society; Margaret Bradford and Irmgard Lehrer; and the early days of the society. Letter from Frances Dwight in 30, no. 1 (February 1989): 37.

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BLOCKFLÖTENCHOR BIEL 1360. Fankhauser, Ingo. “Musizieren auf 22 Blockflöten.” Tibia 19, no. 3 (1994): 218– 19. A brief history of the Blockflötenchor Biel (Biel Recorder Orchestra) on its twentysecond anniversary, written by its director. Includes comments on the orchestra’s instrumentation and repertory (with a complete list of Fankhauser’s own arrangements and compositions). BOECKMAN, VICKI (B. 1955) 1361. “A Recording in the Making.” American Recorder 32, no. 2 (June 1991): 27–28. Vicki Boeckman describes the process of recording her Early Italian Baroque CD (KontraPunkt 32059). BOEKE, KEES (B. 1950) 1362. Epstein, Jan, and Ursula Grawe. “Conversation with Kees Boeke and Walter van Hauwe.” Recorder: Journal of the Victorian Recorder Guild, no. 3 (November 1985): 1– 7. Covers: impressions of the recorder scene in Australia; early-music audiences; the recorder scene in the Netherlands; their musical education; the limitations of the recorder; and encouraging new music. BONET, PEDRO 1363. Rosado, Francisco. “Entrevista con…Pedro Bonet” [Interview with Pedro Bonet]. Revista de flauta de pico, no. 15 (2000): 3–8. Conducted after a performance of his group La Folía in May 1999. After a brief biography and assessment, covers: the group’s concerts in Portugal, their focus on music from the seventeenth and eighteenth centuries, the recorders they play, ornamenting seventeenth-century music, the folia, the role of the recorder in seventeenth-century music, choosing repertory, and their CDs. BONSOR, BRIAN (B. 1926) 1364. Praetz, Barbara. “Conversation with Brian Bonsor.” Recorder: Journal of the Victorian Recorder Guild, no. 2 (March 1985): 2–7. Covers: his background; his arrangements and compositions; teaching amateurs; the need for professionals to support the Society of Recorder Players; the recorder scene in Britain; his experiences in Australia; and the need for non-avant-garde compositions.

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BORNEFELD, HELMUT (1906–1990) 1365. Thalheimer, Peter. “Abschied von Helmut Bornefeld” [Farewell to Helmut Bornefeld]. Tibia 15, no. 2 (1990): 136. Brief obituary. BOWMAN, PETER 1366. Mayes, Andrew. “Interview: Peter Bowman & Kathryn Bennetts.” Recorder Magazine 15, no. 2 (June 1995): 42–45. An interview with Bowman, the founder of the United Kingdom branch of the European Recorder Teacher’s Association (ERTA), and ßennetts, his wife, who also plays and teaches recorder. Covers: their introduction to the recorder; the challenges of playing French Baroque music; authenticity; Bowman’s goals in establishing ERTA in the U.K. and his plans for its future; Bennetts’s thoughts on teaching modern techniques to young players; their commissioning of recorder music; national styles of playing; Bowman’s activity in Australia before his move to England; what can be done to improve the status of the recorder; the importance of playing music from all historical periods; the advantages and disadvantages of musicmaking as a married couple; their decision to isolate themselves from possible influences following their formal study of the recorder; and their plans. BRADBURY, LOUISE 1367. Mayes, Andrew. “Interview with Annabel Knight and Louise Bradbury of Passacaglia.” Recorder Magazine 18, no. 1 (March 1998): 18–20. An interview with the recorder players of Passacaglia, a period-instrument quartet specializing in Baroque music. At the time of the interview, Bradbury was new to the group. Covers: adjusting to new personnel; the repertory for two recorders and basso continuo; their programming strategies; their guarded approach to contemporary music; their approach to teaching; their influences; and their plans. BRAUER, EMIL (1891–1976) 1368. Hunt, Edgar. “Obituary: Emil Brauer, 1891–1976.” Recorder & Music 5, no. 7 (September 1976): 239. BRAUN, GERHARD (B. 1932) 1369. Feider, Denise. “‘…und es ist noch viel zu tun’: Ein Interview mit Gerhard Braun” [“…and there’s still a lot to do”: an interview with Gerhard Braun]. SAJM Zeitschrift 22, no. 5 (September 1994): 3–8. Begins with his brief résumé of his training and professional life. Then covers: how he

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came to the recorder after the flute, the position of the recorder in Germany today, and his thoughts on first prizes not being awarded in recorder competitions in Kassel and Munich. 1370. Fischer, Johannes. “Happy Birthday! Gerhard Braun zum 65. Geburtstag” [Happy Birthday! Gerhard Braun on his sixty-fifth birthday]. Windkanal 3/1997:19. A tribute to Braun, a man of action rather than words, briefly covering his work as a teacher, editor, composer, performer, juror, and the first president of ERTA. 1371. Thieme, Ulrich. “Capriccio und Ständchen: Gerhard Braun zum Sechzigsten” [Capricco and serenade: Gerhard Braun on his sixtieth]. Tibia 17, no. 2 (1992): 133. Musings on Braun’s career as “composing flutist/recorderist and fluting/recordering composer,” teacher at and initiator of flute/recorder festivals (“specialty: symposiums— unlike in ancient Greece, alcohol-free”), and editor. Illustrated tongue-in-cheek with the title page of the flute sonatas, op. 1, by the eighteenth-century “Mr. Braun.” BROWN, HOWARD MAYER (1930–1993) 1372. Grawe, Ursula, and Jan Epstein. “A Conversation with Howard Mayer Brown.” Recorder: Journal of the Victorian Recorder Guild, no. 1 (1984): 2–7. Covers: performance practice and performers (the “fundamental tension between scholarship and performance”); early music and recorder performance in the U.S. (“the recorder is to some extent passing out of fashion”); the future of the recorder; and advice for the Australians. 1373. “Howard Mayer Brown: ARS Past President, 1930–1993.” American Recorder 34, no. 2 (June 1993): 5. Obituary. Letter from Richard Sacksteder in 34, no. 3 (September 1993): 29, clarifies the history of the University of Chicago’s Collegium Musicum. BRÜGGEN, DANIEL See also under the subheading “Amsterdam Loeki Stardust Quartet” (p. 414). 1374. Bowman, Peter. “An Interview with Daniel Brüggen.” Recorder Magazine 19, no. 2 (summer 1999): 74–76; 19, no. 4 (winter 1999): 161–63. An interview conducted during the 1998 European Recorder Teacher’s Association Conference in Cambridge, England. Covers: why he chose the recorder; his preference for quartet playing over solo playing during his conservatory days; music at home during his youth; the story behind the 1981 early-music competition in Bruges, which brought the Amsterdam Loeki Stardust Quartet into the public eye; the quartet’s early practice routine and how it has changed over the years; the quartet’s experiences as a professional ensemble and their place among touring ensembles; their work on a recording of Bach’s Art of Fugue; the importance of arrangements to their repertory; the challenges of projecting one’s own personality through an instrument; his focus on sound quality when selecting an instrument; neglected repertory; and why the recorder is not the best instrument to be teaching in schools.

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1375. O’Kelly, Eve. “Daniel Brüggen.” Recorder Magazine 11, no. 4 (December 1991): 107–11. Covers: reflections on the Amsterdam Loeki Stardust Quartet and the interaction of its members; the difficulties of putting together good programs; the instruments owned by members of the group; the types of instruments used on tour; the effect of the acoustics of halls on performances and the need to select repertory on short notice to fit the characteristics of a particular hall; his views on authenticity in instrument-making; tuning practices of makers; his dislike of plastic instruments because they, unlike wood instruments, fail to embody the vicissitudes of life; his thoughts on teaching; his plans; and the future of the quartet. * O’Kelly, Eve. “Professional Recorder Players (and Their Instruments) II: The Twentieth Century.” Cited above as item 1320. BRÜGGEN, FRANS (B. 1934) 1376. Brelsford, Edmund, and Gerhart Niemeyer. “Conversation at Saratoga.” American Recorder 7, no. 2 (spring 1966): 7–11; 7, no. 3 (summer 1966): 9–11. Conversation among Frans Brüggen, Hans-Martin Linde, and Hans Ulrich Staeps at the 1965 International Recorder School at Skidmore College, Saratoga Springs, N.Y. Covers: Part 1: the ARS recorder school; the role of educators and professional players in the recorder movement; why the recorder often is not taken seriously; the effects of the fast pace of American life on musical development; what players need to know about the music they play; the need for standardization in music terminology; and the importance of promoting the development of a modern repertory for recorder. Part 2: the scope of “technique”; how the recorder seems more generally suited for women than for men and for introverts rather than for extroverts; the historical appropriateness of playing soft; the need to resist making compromises for twentieth-century ears; how Brüggen plays in public only for the money and the applause; the limits of attempts at authenticity; the practical reasons that force professional players to play modern recorders rather than historical ones; and how interest in the recorder wanes beyond childhood. 1377. Cohen, Joel. Reprise: The Extraordinary Revival of Early Music. Boston: Little, Brown, 1985. xvi, 227 p. ISBN 0316150371. ML 394 .C63 1985. Includes a characteristically opinionated, perhaps overcute, but always insightful chapter on Frans Brüggen. 1378. Drillon, Jacques. “Frans Brüggen et la rhétorique” [Frans Brüggen and rhetoric]. Flûte à bec, no. 3 (June 1982): 3–10. Introductory note: “Here is the fourth chapter of a book which, according to the author, was ‘realized’—not written—in 1977 by Jacques Drillon about Frans Brüggen. Constructed as a radio broadcast—i.e., ‘montaged’ and built from various interviews—it attempts to encircle the personality of the great Dutch recorder player, but also to define the phenomenon that has crystallized around his personality. It therefore makes appeal equally to completely involuntary witnesses. The remainder of the book is and will remain unpublished.” Consists of short quotations by Brüggen himself (provocative, as always), other modern musicians from his circle, and such “witnesses” as Céline, Diderot, Jean-Luc Godard, Pascal, and Wittgenstein.

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1379. Ehrlich, Robert. “Frans Brüggen, oder: Die Vermarktung eines StarMusikers” [Frans Brüggen, or: the marketing of a star musician]. Tibia 18, no. 2 (1993): 449–53. Entertainingly discusses how Brüggen’s natural talents as a performer and teacher were augmented in the 1960s—first, by Telefunken’s marketing techniques, to make him into a “star” on a par with popular soloists on the violin, piano, or cello, and second, by the Dutch government’s lavish provision for education and the arts to make a “Dutch school” from his students and their students, and so forth. Another fine article based on one of Ehrlich’s master’s theses (Cambridge University, 1989). Concludes that the “product” was so remarkable that Brüggen was “not only successfully sold as a solo recorder player but also became a legend, a cult figure—a name that is inseparable from the idea of recorder, just like Xerox and photocopying, Ford and the car, or Hoover and the vacuum cleaner.” Letters to the editor from Bruce Haynes, with reply by Ehrlich, in 18, no. 4 (1993): 669, and Jeremias Schwarzer in 19, no. 1 (1994): 83. 1380. Epstein, Jan. “An Interview with Frans Brüggen.” Recorder: Journal of the Victorian Recorder Guild, no. 8 (July 1988): 8–10. Reprinted from the Melbourne Report, April 1988. Covers: his students; his training; the reasons for the strength of the recorder movement in the Netherlands; the importance of Fred Morgan’s recorder-making; and his Orchestra of the 18th Century. 1381. Hauwe, Walter van. “Frans Brüggen, 60 Jahre” [Frans Brüggen, 60 years]. Tibia 19, no. 4 (1994): 302–4. A tribute by a famous former student, based on the premise that little has previously appeared in print about Brüggen’s “enormous influence on recorder teaching,” and remedying that lack by describing his own studies with the master. 1382. Hedlund, H.Jean. “An Untenable Esthetic Posture.” American Recorder 14, no. 1 (February 1973): 12–14. Reports on Brüggen’s contributions to the First International Recorder Festival in Bruges in summer 1972. Questions the intentions of the aural and physical mannerisms apparent in his playing. The first part of the argument criticizes the aesthetics of three compositions performed at the festival: Berio’s Gesti, Kees Boeke’s Tombeau d’Hotteterre, and the Netherlands Recorder Trio’s Sourcream, 1971. The remainder attempts to discredit Brüggen’s playing aesthetic on the grounds that he was unable to articulate his position convincingly to the audience at Bruges when challenged by his critics. Letter from J.Hill in 14, no. 3 (August 1973): 110. 1383. Horner, Keith. “Frans Brueggen on the Baroque Recorder.” Early Music 2, no. 2 (April 1974): 101–3. Edited version of an interview broadcast on BBC Radio 3 in October 1973. Brüggen discusses the following topics, among others: the advantages of playing authentic instruments, the difficulty of achieving a proper balance between the recorder and other instruments, historical recorder virtuosos, the use of vibrato in Baroque instrumental music, the modern ear’s attachment to playing in tune, and notes inégales. Letter from James Middleton in Recorder & Music 4, no. 12 (December 1974): 442. 1384. Kenyon, Nicholas. “An Interview with Frans Brüggen.” American Recorder 24, no. 4 (November 1983): 150–53.

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“[A] condensation of an interview broadcast in 1982 over WNYC, New York.” Covers: recorder playing in Holland during his youth; his introduction to the recorder by his older brother; his thoughts on the popularity of the recorder; his shift to historical instruments in the 1950s; the qualities he looks for in modern copies; using variation in pitch as an expressive device; the transverse flute; the early-music movement; and the Orchestra of the 18th Century. 1385. Moeck, Hermann. “Frans Brüggen 50.” Tibia 9, no. 3 (1984): 191–93. A tribute. First a short biography, emphasizing his recent activities as conductor of the Orchestra of the 18th Century. (“Finally freed from the recorder! Coming to terms with true masterpieces!”) Then an evaluation of his importance to the recorder, manner of playing and his mannerisms, preferences in repertory (not mediocre recorder literature), always making “contemporary” music, and dealings with avant-garde recorder music. 1386. Moreno, Emilio. “Una pequeña conversacion con Frans Brüggen, director de orquesta” [A brief conversation with Frans Brüggen, orchestra conductor]. Musica antiqua: revista illustrada de música histórica, no. 7 (February 1987): 6–10. Almost all on conducting. But, asked the capping question: “recorder or conducting?” Brüggen replies: “The recorder for me gives body to a physical, corporeal love, and the orchestra makes corporeal a spiritual love. And love is composed of these two aspects. I am in love with both.” 1387. Nastasi, Mirjam. “Frans Brüggen im Gespräch mit Mirjam Nastasi” [Frans Brüggen in conversation with Mirjam Nastasi]. (Das Porträt.) Tibia 7, no. 3 (1982): 193–96. Covers: beginning the recorder to stop being “bored to death” during World War II; his graduation (a program of Handel, Walter Leigh, and Franz Reizenstein, “a ludicrously simple [one] compared with today”); his musical influences (Fischer-Dieskau, Heifetz, Leonhardt, Bijlsma); his fascination for an “amateur instrument with a limited repertory”; the recorder’s modest role in the early-music movement; “authentic” performance versus exorcism; his preference for seventeenth-century music over that of the eighteenth century; the recorder today in Holland; his relationship to the audience; Brüggen clones; the potential of the modern repertory, especially electronics; his orchestra; and his continuing playing of the recorder “with heart and soul.” 1388. Nuchelmans, Jan. “‘Muziek blijft toch een soort schaakspel’” [Music is like a kind of chess game]. Tijdschrift voor oude muziek 1, no. 1 (15 February 1986): 5–7. Interview with Frans Brüggen. Short responses addressing a variety of subjects, including: his recorder collection, authenticity, conducting, and the young generation of recorder players. 1389. Péteri, Judit. “A Conversation with Frans Brüggen in Budapest.” Hungarian Music Quarterly 1, no. 2 (1989): 13–18. Brüggen begins by saying that “The literature of the Baroque recorder and even that of the transverse flute is so poor that after a while you start longing for a larger repertoire.” But he confesses, “I still give 70 concerts a year on average as a recorder player. Perhaps it is just the programs that have changed a little. For example, I don’t play Handel sonatas any more; before I used to play them very often.” 1390. [Shapiro, Daniel R.] “An Interview with Frans Brueggen.” American Recorder 15, no. 3 (August 1974): 71–76. Reprinted in Recorder & Music 5, no. 1 (March 1975): 7–

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11. Covers: how modern performers of early music should try to assume the state of mind of musicians of the past; the need to study “formulas and instrumental ideas” rather than pieces; the importance of knowing the conventions of classical oratory; the influence of Gustav Leonhardt on his playing; his preference of original instruments to copies; how the “engines” of modern copies are too big and overpower-ing; and how players should exploit the flexibility in pitch that is possible on melody instruments. 1391. [Thomson, J.M.] “Frans Brüggen.” (Profile.) Recorder and Music Magazine 1, no. 6 (August 1964): 165. A slightly expanded version appears in item 1321. Covers: his musical education; his decision to pursue a career as a performer rather than as a scholar; the reasons he chose the recorder; his preference for sitting while playing; his acknowledged limitations as a flutist; his current projects; Berio’s Gesti (in item 1321 only); and the importance of commissioning new works. 1392. Thomson, J.M., and Theo Wyatt. “Frans Brueggen and the New Mannerism: A Symposium.” Drawings by Linda Kitson. Recorder & Music Magazine 3, no. 11 (September 1971): 399–403. When speaking to the Music Club of London on 25 May 1971, Brüggen provoked a spirited dialogue with audience members—Theo Wyatt in particular—by playing his recording of a Hotteterre suite for two recorders, in which long notes are enveloped in a crescendo and diminuendo with a corresponding fluctuation in pitch. Thomson transcribes the exchange. Brüggen says that he sacrifices intonation in favor of flexibility, and Wyatt replies that the effect becomes monotonous. The transcription of the dialogue is followed by two short essays by Wyatt and Thomson. Wyatt stresses the importance of intonation and says that Brüggen is wrong to subordinate intonation to expressiveness. Thomson defends Brüggen, calling him “the pioneer of a new Mannerism that necessarily expresses the late twentieth century feeling of disintegrating structures.” Letter from M.B.Robinson in 3, no. 12 (December 1971): 455–57, with a response from Thomson. 1393. Vitz, Carol. “Frans Brueggen: A Personal Profile of the Dutch Recorder Virtuoso.” American Recorder 10, no. 1 (winter 1969): 12–14. A highly subjective and romanticized portrait of Brüggen, based on an interview with the author. Covers his childhood, education, musical training, lifestyle, and plans. The author is quite enamored of Brüggen, which might explain the fanzine character of the article. 1394. White, Beverly. “Frans Brueggen’s Visit to Oberlin, 1973: A Recollection.” American Recorder 14, no. 3 (August 1973): 87–89. Report of a lecture by Brüggen on Jacob van Eyck. Discusses performance practice, drawing on Ganassi, Ortiz, Jambe de Fer, and Simpson, among others. (The article also includes a review of the Sour Cream concert that followed the lecture.) 1395. Winters, Ross. “Frans Brüggen.” Music and Musicians 37, no. 7 (March 1989): 29–32. Covers: his early days as a student of Kees Otten; his collaboration with Gustav Leonhardt in the 1960s; his thoughts on the performances and compositions heard recently at an avant-garde recorder week in Amsterdam; the move by younger players away from solo playing; his decision to slow the pace of his solo career because “I do not have the energy any longer”; his early experiences as a conductor of Telemann’s

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Tafelmusik for a recording project late in the 1960s; his dissatisfaction with the literature for recorder; the genesis of the Orchestra of the 18th Century; its focus on live performance; the evolution of the orchestral repertory; the differences between modern orchestras and orchestras of authentic instruments; why the modern orchestra’s repertory lies between Brahms and Stravinsky; and his immediate plans for the orchestra. BURAKOFF, GERALD (1932–1998) 1396. “In Remembrance of Gerald Burakoff, 1932–1998.” American Recorder 39, no. 2 (March 1998): 20–23. Consists of contributions by thirteen friends and colleagues. Burakoff was a recorder clinician, educator, composer, and arranger, and the cofounder (with his wife Sonya) of Sweet Pipes, a firm specializing in the publication and sale of recorder music and methods. BURGESS, CHRIS 1397. Ferris, Jill, and Janet Norman. “Chris Burgess.” (Profile.) Recorder: Journal of the Victorian Recorder Guild, no. 1 (1984): 17–18. Covers his background, emphasizing the difficulties an Australian has had in studying to be a professional recorder player. BUTT, VALERIE 1398. “Valerie Butt” (Recorder Personalities.) Recorder & Music 4, no. 11 (September 1974): 428. Brief profile. CAMERON, ALLISON * Young, Gayle. “Arcana Ensemble: An Interview with Allison Cameron.” Cited above as item 1334. CASTELLANI, MARCELLO 1399. Delius, Nikolaus. “A la gloire de ma flûte: Marcello Castellani” [To the glory of my flute: Marcello Castellani]. Tibia 14, no. 3 (1989): 512–18. Although Castellani was teaching recorder as well as traverse at the Verona conservatory, this interview is exclusively concerned with his background, his attitude to early music as a Florentine, the Italian flute literature, early music in Italy, and his work for SPES (Studio per Edizioni Scelte).

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CIESZKI, KARA 1400. Power, Amy. “Kara Cieszki.” Cinnamon Sticks 1, no. 1 (November 2000): 24. A brief portrait of the winner of the Third National Recorder Competition in Australia. CLARK, PAUL (B. 1927) 1401. Loretto, Alec, and Adrienne Simpson. “‘Progress Will Be Made’: Paul Clark on Amateur Recorder Playing.” Early Music New Zealand 2, no. 4 (December 1986): 10–16. Interview. Covers: learning the recorder; attitudes toward the instrument; the standards of amateur performance; technique; the role of virtuosi; consort music; the soprano recorder as the modern standard; his playing; and the future of the recorder. 1402. Loretto, Alec, and Adrienne Simpson. “Conversation with Paul Clark.” Recorder: Journal of the Victorian Recorder Guild, no. 6 (June 1987): 15–18. An interview, almost completely different from item 1401. Covers: how he became involved with the recorder; his and others’ arrangements for the recorder, including his philosophy of arranging; the failure of English recorder music to travel abroad; the problems of the soprano recorder having become the modern standard; his plans; and his wishes for the future of recorder music. CLARKE, ZANA 1403. Kennedy, Julian. “Modern Travellers: Medieval Journeys.” Australia’s Journal of Recorder and Early Music, no. 19 (August 1995): 23. A brief profile of the Australian group Cantigas, which features recorder player Zana Clarke. CLASSIC BUSKERS 1404. Tarasov, Nikolaj. “The Classic Buskers—mit der Musik gespielt” [The Classic Buskers—playing with the music]. Windkanal 2/1999:16–17. Busker is the British term for a street musician. The Classic Buskers (Michael Copley, flutes, recorders, etc., and Ian Moore, accordion) began as the Cambridge Buskers in the high-class streets of that famous university city, and they still live there despite their change of name. The article covers their: beginnings as students; quick progress to stages, large and small; “elan, British humor, and mugging”; generally Romantic repertory, having something in common with what instruments of the recorder family actually played in the nineteenth century; and love of musical quotations. CLEMENCIC, RENÉ (B. 1928) 1405. Kubitschek, Ernst. “René Clemencic im Gespräch mit unserem Mitarbeiter Ernst

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Kubitschek” [René Clemencic in conversation with our collaborator Ernst Kubitschek]. (Das Porträt.) Tibia 5, no. 2 (1980): 114–16. Covers: his training on the recorder (Staeps, Collette, Höffer-von Winterfeld, Schmitz, Nitschke); the founding of his ensemble (Musica Antiqua, later the Clemencic Consort); his study of philosophy and its bearing on his musicmaking; his directorship of his ensemble; his recorder playing; his composing (not electronic!); his teaching (only summer courses); and his hobbies. 1406. Thomson, J.M. “René Clemencic.” Recorder & Music Magazine 2, no. 10 (September 1968): 320–21. Reprinted with slight revisions in item 1321. Covers: his musical education, first playing the piano, then switching to recorder; his introduction to his first teacher, Hans Ulrich Staeps; his founding of the Musica Antiqua of Vienna; his plans to produce seventeenth-century opera; his work with contemporary music as a composer and performer; and his plans. CLINGAN, JUDITH (B. 1945) 1407. Dixon, Kay. “Judith Clingan, Composer.” Recorder: Journal of the Victorian Recorder Guild, no. 12 (December 1990): 23–25. Covers: her upbringing, her (largely self-) training as a composer, and her interest in the recorder. COEN, BART 1408. Sela, Bárbara. “Entrevista con…Bart Coen.” [Interview with Bart Coen]. Revista de flauta de pico, no. 9 (October 1997): 3–7. Covers: the situation of the recorder in Belgium, including its role in medieval and Renaissance music; the repertory of the recorder, Baroque and contemporary; the importance of recorder quartets; other instruments he plays; what modern recorder players can hope for; programming Baroque music; and Michala Petri’s role in introducing the recorder into the mainstream of classical music. CONRAD, FERDINAND (1912–1992) 1409. “Ferdinand Conrad.” (Recorder Personalities.) Recorder & Music 7, no. 5 (March 1982): 133. Brief biography. 1410. Köneke, Hans W. “Ferdinand Conrad zum 65. Geburtstag” [Ferdinand Conrad on his 65th birthday]. (Das Porträt.) Tibia 2, no. 1 (1977): 223–26. Begins with a quote from Conrad about the importance of “soul” in musicmaking. Then covers: his training, particularly with Gustav Scheck; his early performing career; his work with the early-music group that he founded, Kammermusikkreis Ferdinand Conrad, which included a recorder quartet; his affinity for singers; and his teaching in Hannover and in summer courses, including his aptitude for it. Ends with a select discography.

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1411. Lützen, Ludolf. “Ferdinand Conrad† (23.1.1912–24.2.1992).” Tibia 17, no. 2 (1992): 131–32. Obituary, concentrating on his last years. Followed by a short tribute, “Für Ferdinand,” by Ulrich Thieme (for the Tibia editorial staff). 1412. Mascher, Ekkehardt. “Zum 75. Geburtstag von Ferdinand Conrad” [On Ferdinand Conrad’s 75th birthday]. Tibia 12, no. 1 (1987): 354. An outline of his life and a listing of the music performed at a celebration of his birthday in January 1987. 1413. [Thomson, J.M.] “Ferdinand Conrad.” (Profile.) Recorder and Music Magazine 1, no. 11 (November 1965): 343. Reprinted in item 1321. Covers: his musical training—including study with Gustav Scheck, who introduced him to the recorder; his involvement with Kammermusikkreis Scheck-Wenzinger, and a 1936 performance of the Brandenburg Concerto no. 4 with Scheck in Paris; his move to Hanover and the founding of Kammermusikkreis Ferdinand Conrad; the shortage of good instruments in Germany; his preference of the flute for modem music; his musical tastes; and his plans. COOLEN, SASKIA 1414. Helsloot, Loes. “RECORDERS: Een eigentijdse bewerking van middeleeuwse muziek” [RECORDERS: a modern arrangement of medieval music]. Jijdschrift voor oude muziek 1, no. 5 (1986): 126. An interview with Erik Beijer and Saskia Coolen, two of the performers of RECORDERS, a piece of experimental music theater for tape, recorder, and lighting, premiered in Amsterdam on 16 November 1986. COOMBER, DAVID 1415. Simpson, Adrienne. “David Coomber in Conversation.” Early Music New Zealand 1, no. 1 (March 1985): 3–7. Interview. Covers: his background; living in New Zealand; the instruments he plays; his repertory; his recorder-making; and his plans. COTTE, ROGER 1416. Reyne, Hugo. “Interview de Roger Cotte” [Interview with Roger Cotte]. Flûte à bec & instruments anciens, no. 9 (December 1983): 3–5. Covers: the beginnings of his career; the repertory of his students; his interest in the flageolet; his recordings and films; why he left France for Brazil; the early-music scene in Brazil; and his current and future projects.

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CRAMER-CHEMIN-PETIT, JEANNETTE 1417. Höffer, Linde. “Abschied von Jeannette Cramer-Chemin-Petit” [Farewell to Jeannette Cramer-Chemin-Petit]. Tibia 13, no. 1 (1988): 29. Obituary. Covers: her training with Höffer and Aurèle Nicolet; her early performing; the works her father, Hans Chemin-Petit, wrote for her; her involvement with new playing techniques; and her teaching. DAVENPORT, LANOUE (1922–1999) 1418. Davenport, Mark. “American Recorder Pioneer LaNoue Davenport Dies at Age 77.” Recorder Magazine 20, no. 2 (summer 2000): 47–49. An obituary by Davenport’s son Mark. Covers his: years playing jazz trumpet in bands and Broadway shows; study under Erich Katz, who introduced him to early music; introduction to the recorder; application of the improvisatory skills learned as a jazz musician; work with the American Recorder Society; years with the Manhattan Recorder Consort and the New York Pro Musica; interest in contemporary music and cross-genre collaborations; performances on a one-handed recorder following a 1989 stroke; and recent work with the author on the preparation of editions of recorder music. 1419. “LaNoue Davenport (1922–1999): A Son’s Recollections…and Those of Others.” American Recorder 41, no. 1 (January 2000): 12–15, 32. Remembrances by Mark Davenport and eight friends and colleagues. 20. [Thomson, J.M.] “LaNoue Davenport.” (Profile.) Recorder and Music Magazine 1, no. 4 (February 1964): 111. Reprinted with slight revisions in item 1321. Covers: his beginnings as a jazz trumpet player in Texas; his introduction to the recorder in a music history class in New York City; the Manhattan Consort; the New York Pro Musica; his fondness for the crumhorn; his extramusical interests; and his observations on the early-music movement. 1421. Wollitz, Kenneth. “An Interview with LaNoue Davenport.” American Recorder 10, no. 4 (fall 1969): 107–9, 130. Covers: his musical education; his introduction to the recorder; his work with the New York Pro Musica; instrumentation, authenticity, performance practice, and improvisation; the need to learn as many other instruments as possible; and his family. 1422. Wollitz, Ken, and Marcia Blue. “An Interview with LaNoue Davenport.” American Recorder 30, no. 1 (February 1989): 4–7. Covers: his origins as a jazz player in Texas; his composition study with Erich Katz in New York; his quick introduction to the recorder one month before his public debut; his role in the revival of the American Recorder Society (ARS) after World War II; the history and character of the early ARS; his teaching career; early workshops and regional chapters; the ARS editions; the role of the ARS in promoting early music in the United States; and the importance of amateurs to the ARS. Letter from Margaret Duncan Greene in 30, no. 2 (May 1989): 81–82.

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DEERENBERG, BALDRICK 1423. [Hunt, Edgar]. “Baldrick Deerenberg.” (Recorder Personality.) Recorder & Music 5, no. 2 (June 1975): 73. A brief profile of the Dutch player. Covers: his academic posts; his introduction to the recorder as a university student in Amsterdam; his study with Brüggen at the Royal Conservatory; and his concertizing, broadcasting, and recording. DELIUS, NIKOLAUS (B. 1926) 1424. Gerhold, Hartmut. “Nikolaus Delius zum 65. Geburtstag: Brief eines Kollegen und ehemaligen Schülers” [Nikolaus Delius on his 65th birthday: letter from a colleague and former student]. Tibia 16, no. 3 (1991): 542–44. Covers: his teaching; his radio performances and recordings; his editing of about fifty editions; his articles; his membership of the editorial team of Tibia; his curiosity; his “romantic” playing; and a plea for him to write a flute method. DICKEY, BRUCE 1425. Köhler, Wolfgang. “Bruce Dickey.” (Das Porträt.) Tibia 19, no. 1 (1994): 27–31. A long interview with the celebrated American cornetto player resident in Italy. Mentions that he played the recorder for two years at the Schola Cantorum Basiliensis after his early trumpet studies and before he took up the cornetto. DINN, FREDA (1910–1990) 1426. Hunt, Edgar. “Freda Dinn, GRCM, ARCM, ATCL.” Recorder Magazine 10, no. 3 (September 1990): 71–72. Obituary. See also 10, no. 2 (June 1990): 57, and Herbert Hersom’s letter in 10, no. 4 (December 1990): 112. 1427. [Thomson, J.M.] “Freda Dinn.” (Profile.) Recorder and Music Magazine 1, no. 7 (November 1964): 211–12. Covers: her musical education; introduction to the recorder as a teacher at the Royal College; work with music pedagogy at the Froebel Institute at Roehampton; research and writing projects; and interests. DOLCI, AMICO (B. 1957) 1428. “Amico Dolci.” (Recorder Personality.) Recorder & Music 5, no. 1 (March 1975): 40. 1429. Bergmann, Walter. “Amico Dolci: An Interview.” Recorder & Music 5, no. 12 (December 1977): 382–83.

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Covers: his required two years of civil service in Italy, to begin in a few days on his twentieth birthday; the work of his father on social reform in Sicily; his introduction to the recorder and eventual study at the Conservatorium in Palermo; the composition of Ricercari; his favorite repertory and composers; and his plans. Letter from Inga Kristina Fraccaro in 6, no. 1 (March 1978): 27. DOLCI, DANILO (B. 1924) 1430. Alton, Edwin H. “Danilo Dolci and il flauto dolce” Recorder & Music Magazine 3, no. 8 (December 1970): 294–95. Describes Alton’s work in Sicily with Danilo Dolci, the Italian social reformer. One of Dolci’s goals was to introduce the recorder into Sicilian primary and secondary school curricula, and Alton was called in to encourage and instruct those interested in learning the instrument—particularly school teachers. All of Dolci’s children played the recorder, and thirteen-year-old Amico Dolci was already “a most skillful and promising performer.” DOLMETSCH, ARNOLD (1858–1940) 1431. Campbell, Margaret. Dolmetsch: The Man and His Work. London: Hamish Hamilton, 1975. xv, 318 p. ISBN 0241891760. ML 424 .D65 C3. A well-balanced account of the life and work of Arnold Dolmetsch, the man who reintroduced the recorder to the world in the early twentieth cen-tury. The famous events for the recorder are of course mentioned: Dolmetsch buying a Bressan recorder at Sotheby’s in 1905, acquiring a copy of The Compleat Flute-Master soon afterward, losing the Bressan at Waterloo Station in 1919, and successfully making a copy of it later that year. And the family’s recorder playing is mentioned in passing thereafter. Yet the recorder was only a small part of Dolmetsch’s work in performance, instrument-making, and scholarship, as the book engagingly relates. Reviewed by Edgar Hunt in Galpin Society Journal 29 (1976): 132–34. DOLMETSCH, CARL (1911–1997) 1432. Bennett, Rodney M. “Carl Dolmetsch and Joseph Saxby’s Fifty-Year Partnership.” American Recorder 24, no. 1 (February 1983): 24–25. Begins by describing Saxby’s background and how the two first met in the early 1930s. Although Dolmetsch assumed responsibility for both the family firm and the Haslemere Festival after the death of his father in 1940, the duo continued to perform, and as of 1982 had completed forty-four tours. Includes a brief account of the demise of Arnold Dolmetsch Ltd. in the late 1970s and the incorporation of J. & M.Dolmetsch and Haslemere Musical Instruments in the early 1980s. 1433. “††† Carl Dolmetsch †††.” Revista de flauta de pico, no. 9 (October 1997): 21–22. Translated from the Dolmetsch Web site, www.dolmetsch.com/Cfdobit.htm. 34. “Carl Dolmetsch, Recorder, and Joseph Saxby, Harpsichord, Carried Dolmetsch

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Legacy.” American Recorder 38, no. 4 (September 1997): 8. An obituary, focusing on Dolmetsch. 35. Dolmetsch, Carl. “In at the Start.” Recorder & Music 4, no. 9 (March 1974): 325. Reminiscences complementing Miles Tomalin’s in item 1632. 36. Harras, Manfred H. “Im memoriam Carl Dolmetsch.” SAJM Zeitschrift 25, no. 5 (September 1997): 19. A brief laudatory obituary. 37. Hedrick, Peter. “An Interview with Carl Dolmetsch and Joseph Saxby.” American Recorder 15, no. 2 (May 1974): 43–47. Covers: the story of Dolmetsch losing his father’s Bressan recorder at Waterloo Station; the work of his father with performance practice; his distaste for charlatanism in performers; instrument-making; the history of the Dolmetsch-Saxby collaboration; authenticity; and the Dolmetsch Foundation. 1438. Hunt, Edgar. “Obituary: Carl Frédéric Dolmetsch…1911–1997.” Recorder Magazine 17, no. 4 (December 1997): 130–32. In German as: “Carl Frédéric Dolmetsch, 1911–1997.” Tibia 23, no. 1 (1998): 51–53. A biography of Dolmetsch. On succeeding pages are reminiscences by Piers Adams, Michael Short, and Alec V.Loretto. 1439. Mayes, Andrew. “Carl Dolmetsch and the Recorder Repertoire of the Twentieth Century.” Cinnamon Sticks 2, no. 2 (November 2001): 10–15. Presumably a foretaste of the book that Mayes is writing on the recorder works commissioned by Dolmetsch for his annual concerts at the Wigmore Hall, London, or dedicated to him. An introduction to this repertory, and Dolmetsch’s performances of it, enlivened by quotations from correspondence in the Dolmetsch archives. 1440. Mayes, Andrew. “Carl Dolmetsch and the Recorder Repertory in the 20th Century.” Consort 56 (summer 2000): 52–55. Covers similar ground to item 1439 but gives more details about his visits to the Dolmetsch Library and the discoveries he made there of the repertory dedicated to Carl— which, Mayes estimates, consists of more than ninety works in a wide variety of forms and instrumentation. 1441. “Mr Recorder—Carl Dolmetsch zum 80. Geburtstag” [Mr. Recorder—Carl Dolmetsch on his 80th birthday]. Tibia 16, no. 4 (1991): 632–33. A short biography and tribute. 42. O’Kelly, Eve. “Mr Recorder.” Recorder Magazine 11, no. 2 (June 1991): 48–51. A profile of Carl Dolmetsch on the occasion of his eightieth birthday. Covers: his early musical education; his assumption of responsibility for the family workshops after 1940; his career as a performer and his many commissions; his children and their musical activities; his views on modern technical virtuosity, the practice of transcription, and avant-garde composition; and his study with his father. 1443. [Thomson, J.M.] “Carl Dolmetsch.” (Profile.) Recorder and Music Magazine 1, no. 1 (May 1963): 21–22. Revised and expanded version appears in item 1321. Covers: the move to Haslemere during World War I; his musical education; the early days of the Haslemere Festival; his assumption of responsibility for the festival and for the Dolmetsch workshops in 1940; life during World War II; his ideas for new instruments; his dislike of the trend toward making modern instruments based on

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historical models; why the recorder has not been accepted as a serious instrument; his desire to modernize the recorder; and his extramusical interests. (The version in item 1321 includes an account of the loss of his father’s Bressan alto at Waterloo Station.) 1444. Valleau, Douglas. “An Interview with Carl Dolmetsch.” Continuo 4, no. 5 (February 1981): 6–13; 4, no. 6 (May 1981): 6–12; 4, no. 7 (April 1981): 3–11. Based on a tape recording made in 1974. Covers: his reminiscences, recorder tone, and playing early music. 1445. Winters, Ross. “The Dolmetsch Legacy: The Recorder Music Composed for Carl Dolmetsch, 1939–1989.” Recorder Education Journal 3 (1996): 30–37. An introduction to the subject that was later researched by Andrew Mayes (see items 1439–40). Concentrates on the music by Edmund Rubbra, Gordon Jacob, Lennox Berkeley, and Arnold Cooke. Concludes with a list of the first performances that Dolmetsch and his associates gave at the Wigmore Hall, London, 1939–1989, and a list of “additional works written for Carl Dolmetsch and family.” EHRHARDT, SUSANNE 1446. Zetzmann, Liz. “An Interview with Susanne Ehrhardt.” Recorder: Journal of the Victorian Recorder Guild, no. 14 (December 1991): 9–10. Covers: her training on the clarinet and recorder in the former East Germany, then in Western Europe; attitudes toward the recorder in East Germany; what she enjoys playing; the character of Hirose’s Meditation; her interest in modern music; her teaching; and her playing (over one hundred concerts per year!). EHRLICH, ROBERT (B. 1965) 1447. Collis, Andrew. “Robert Ehrlich: Our Man in Leipzig.” Recorder Magazine 18, no. 2 (June 1998): 55. A brief biography of Ehrlich, a former member of the Cambridge Musick who, since 1993, has been based in Germany, where he is professor of recorder at the Mendelssohn Conservatory in Leipzig. Covers: the early-music department at the conservatory; the state of the recorder in East Germany; his recent CDs of Handel and Telemann sonatas; his performances in Germany; and his plans. * Lasocki, David. “The Art of Becoming a Recorder Player: Four European Professionals in Conversation with David Lasocki.” Cited above as item 1319. * O’Kelly, Eve. “Professional Recorder Players (and Their Instruments) II: The Twentieth Century.” Cited above as item 1320. ECCLES, LANCE 1448. Tattersall, Malcolm. “Profile: Lance Eccles.” Recorder: Journal of the Victorian Recorder Guild, no. 8 (July 1988): 26–28. Based on an interview. Covers: his training, his work with the Reluctant Consort, and his composing and arranging (with comments by Tattersall).

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ENSEMBLE DREIKLANG BERLIN 1449. Rothe, Gisela. “Portrait: Ensemble Dreiklang Berlin.” Windkanal 1/2000: 12–15. The aptly named recorder trio (translates as “Triad Ensemble”) consists of Irmhild Beutler, Marion Kokott, and Sylvia C.Rosin, who studied together in Berlin. Covers: their beginning; their eclectic repertory; their three criteria for arrangements (must sound good on the recorder, be fun for them to play, and be fun for the public to hear); their sense of being pioneers of the recorder trio; their multimedia programs; their published editions; working with a dancer and an actor; who in their group is the “root,” the “third,” and the “fifth”; how they get along; and their plans. ESCALAS, ROMÀ (B. 1945) 1450. Casals, Miquel. “Entrevista con Romà Escalas” [Interview with Romà Escalas]. Revista de flauta de pico, no. 5 (May 1996): 5–8. Covers: his training, including with Kees Otten in Amsterdam; his impressions of Frans Brüggen; his lack of belief in national “schools”; his early experiences of early music in Barcelona; his directorship of BLOC; how he began teaching; his presidency of the Societal Catalana de Musicologia; his directorship of the Museo de la Música in Barcelona; and his interest in contemporary music and recorders. FARR, GARETH 1451. Downer, Caroline. “Gareth Farr.” Cinnamon Sticks 2, no. 1 (May 2001): 26–27. Briefly describes the career and approach of this young New Zealand composer, with a paragraph on his recorder trio (1992). FERGUSON, SUZANNE 1452. Ritchie, Jacqueline. “Entretien avec Susan [sic] Ferguson: une fondation à la mémoire du Dr Erich Katz aux États Enis [sic]” [Interview with Suzanne Ferguson: a foundation to the memory of Dr. Erich Katz in the United States]. Flûte à bec & instruments anciens, no. 26 (November 1988): 24–25. Covers: the Erich Katz Foundation; the Katz recorder composition prize; recorder playing in the United States; recorder works for children; and American recorder works. FISCHER, JOHANNES 1453. Gehrke, Kathrin. “Kathrin Gehrke im Gespräch mit dem Blockflötisten Johannes Fischer” [Kathrin Gehrke in conversation with the recorder player Johannes Fischer]. (Das Porträt.) Tibia 22, no. 4 (1997): 569–74. Describes in detail his training on the recorder as well as flute, violin, and piano,

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including how he learned dynamic fingerings and how intensively he practiced; how he chose the recorder “because there is always something new to look for or to find”; his influences (Brüggen, Brahms as composer and man, his piano teacher Kottermaier, his recorder teacher Gerhard Braun, and the philosopher Karl Popper); music as a means to express what cannot be said in words and music as something always contemporary; his work as an inventor of such things as the “recorderized didgeridoo”; still, his enjoyment of extending the musical possibilities of the traditional recorder; the recorder as instrument for beginners; and his plans as the new president of ERTA. 1454. Meynaud, Michel, and Johannes Fischer, with Patrick Blanc and Jean Sebastien Catalan (moderators). “Ein ‘Cross-Interview’” [A cross-interview]. Windkanal 3/1997:6–8 (followed by Rolf Witteler, “Porträt: Michel Meynaud” [Portait: Michel Meynaud], 9); 1/1998:6–9 (followed by Tobias Schneid, “Porträt: Johannes Fischer” [Portrait: Johannes Fischer], 10–11). The French composer Michel Meynaud and the German recorder player Johannes Fischer interview each other, interspersed with “portraits” of them by others. Part 1: Fischer interviews Meynaud, who loves the recorder and treats it as a “normal,” not “ghetto,” instrument at the disposal of the modern composer. He is especially impressed with the Helder recorder, its plasticity of tone and its compass. If some recorder players do not think it has a “correct” recorder tone, that is just a sign of their ghetto mentality. He loved writing a piece for recorder and cello because they are the two instruments, in his opinion, that can “sing” the best. Fischer points out that of course these instruments have different properties from the voice, then asks why Meynaud wrote for a recorder rather than a flute, and the composer equivocates. Fischer believes that the strength of avant-garde recorder music is that it could not be played on another instrument. Meynaud dislikes the music of the 1960s and 1970s that proclaimed “everything I can do on my instrument.” Part 2: Meynaud interviews Fischer, beginning by asking him about the influence of the narrow recorder public on him. Fischer acknowledges the specialized audience but counters by describing how he teaches students to play all types of music; no one can make a living by playing modern recorder music. Meynaud comments on the “phenomenon” of early musicians ending a conceit with badly played pseudo-jazz. Fischer discusses his own imperative to play the music of his time, even though the language is too new to have allowed time for “debate” between performer and composer. Nevertheless, performers and composers can “experiment” together (examples from his own life: Mathias Spahlinger, Tobias Schneid, and Frank Schweizer). FOKY-GRUBER, GYULA * Tarasov, Nikolaj. “Gyula Foky-Gruber: Nik Tarasov traf den ungarischen Komponisten, Flötenbauer und -spieler.” Cited above as item 454. FOR FOUR RECORDER QUARTET 1455. “Meeting Up with the For Four Recorder Quartet.” American Recorder 31, no. 3 (September 1990): 16.

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A brief profile of the Boston-based group and its members: Roxanne Layton, Linda Lunbeck, James Ryder, and Roy Sansom. FORM, MICHAEL 1456. Forsythe, Neville. “Michael Form.” Cinnamon Sticks 2, no. 2 (November 2001): 22–23. A brief interview with the German recorder player. FRIDESWIDE CONSORT 1457. Mayes, Andrew. “The Frideswide Consort.” Recorder Magazine 18, no. 4 (winter 1998): 135–37. An interview with Christine Garratt, Jane Downer, Caroline Kershaw, and Jean McCreery conducted on 6 September 1998 following a recital in London. Covers: the genesis of the group as an ad hoc consort assembled to play on a CD recording by the Cardinall’s Musick; their focus on Renaissance repertory; the coincidence of their being an all-female ensemble; the story behind St. Frideswide, the patron saint of Oxford; why they limit themselves to music of the Renaissance and Baroque, and their contrasting approaches to the two repertories; and their plans. GALPIN, FRANCIS W. (1858–1945) 1458. Higbee, Dale. “Francis W.Galpin: Recorder Player.” American Recorder 5, no. 4 (November 1964): 9–11. Revision of an article in ARS Newsletter, no. 35. Begins with a brief biography. Describes Galpin’s activities as a member of a recorder consort during the first quarter of the twentieth century and identifies the instruments used by the group. Lists seven recorders from Galpin’s collection that are now in the Museum of Fine Arts, Boston. GARRIDO, GABRIEL 1459. Lacornerie, Agnès, and Patricia Lavail. “Interview de Gabriel Garrido” [Interview with Gabriel Garrido]. Flûte à bec & instruments anciens, no. 11 (June 1984) : 7–8. Covers: his studies at the Schola Cantorum Basiliensis; his liking for Ganassi and the music of the sixteenth century; the repertory of his recorder quartet (Pro Arte); and his teaching at the Conservatoire de Musique Ancienne in Geneva and in Italy. GIANNINI, WALTER 1460. Albrecht, Christian. “Ich bin auf der Welt, um mich lernend zu verwandeln: Zum 80. Geburtstag von Walter Giannini” [I am on the earth to change myself through learning: for the eightieth birthday of Walter Giannini]. SAJM Zeitschrift 22, no. 2

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(March 1994): 15–20. A brief tribute to the former officer of SAJM, largely biographical. GIESBERT, FRANZ JULIUS (1896–1972) 1461. Huene, Friedrich von. “A Visit with Franz Julius Giesbert.” American Recorder 24, no. 3 (August 1983): 107–8. In summer 1969, von Huene visited Neuwied, West Germany, to examine Giesbert’s collection of historical recorders. He also took the opportunity to conduct a brief interview with Giesbert. Covers: his activity as one of the early proponents of the recorder in Germany, his work as an editor of recorder music, and his encounters with Hans Conrad Fehr and Peter Harlan. Opens with a brief biography. 1462. H[unt], E[dgar]. “Obituary: Julius Giesbert.” Recorder and Music Magazine 4, no. 3 (September 1972): 99. GLANVILLE-HICKS, PEGGY (1912–1990) 1463. Tattersall, Malcolm. “Peggy Glanville-Hicks.” Recorder: Journal of the Victorian Recorder Guild, no. 12 (December 1990): 5. Obituary. GLASSGOLD, A.C. (COOK) (1899–1985) 1464. Taylor, Ralph. “Cook Glassgold, 1899–1985: A Reminiscence.” American Recorder 26, no. 3 (August 1985): 116–17. Includes an account of Glassgold’s role in the initial design of the American Recorder. See also the obituary in the New York Times, 15 February 1985. Letter from Frank Plachte in 26, no. 4 (November 1985): 183. GOODYEAR, STEPHEN (1915–1983) 1465. “Obituary: Stephen Goodyear.” Recorder & Music Magazine 7, no. 12 (December 1983): 325. GRAYSON, ARNOLD 1466. Wollitz, Kenneth. “An Interview with Arnold Grayson.” American Recorder 19, no. 3 (November 1978): 100–3. Covers: his early musical training and introduction to the recorder; teaching; running of his music shop; and plans to work with Richard Taruskin on editions of partbooks in original notation (Ogni Sorte Editions, published first in Miami, then in Coconut Grove, Florida).

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GÜMBEL, MARTIN (1923–1986) 1467. Braun, Gerhard. “Abschied von Martin Gümbel” [Farewell to Martin Gümbel]. Tibia 12, no. 1 (1987): 353–54. A tribute by one of the students of the German flautist and composer, who wrote several avant-garde works for recorder. HALFPENNY, ERIC (1906–1979) 1468. Byrne, Maurice. “Eric Halfpenny, 1906–79: An Obituary.” Galpin Society Journal 33 (1980): 1–7. Includes a list of his publications. A brief initial notice appears in 32 (1979): 130. 1469. “Eric Halfpenny.” Recorder & Music 6, no. 6 (June 1979): 185. Brief obituary. HARLAN, PETER (1898–1966) 1470. “Peter Harlan.” (Tributes.) Recorder and Music Magazine 2, no. 3 (November 1966): 94. Obituary. HARRAS,MANFRED 1471. Feider, Denise. “Musiker sein heisst, einen Mehrspartenberuf auszuüben” [To be a musician means to practice a many-branched profession]. SAJM Zeitschrift 28, no. 6 (November 2000): 10–17. An interview with Manfred Harras on his fiftieth birthday. Covers: looking back at fifty; his training; the desirability for recorder players to learn other instruments or to sing, in order to learn a broader repertory; the development of his professional life, including editing music (over seventy editions), making recordings, and writing articles; playing the viola da gamba; the ensembles in which he plays; his relationship to teaching and playing contemporary recorder music; his collection of recorders; his role as president of SAJM; and his wishes for his birthday. Ends with a selected discography. HART, DAVID 1472. “Tributes to David Hart.” American Recorder 29, no. 3 (August 1988): 111–12. Reminiscences by Jack Ashworth, Lucy Cross, R.J.Alcala, Mary Springfels, Wendy Gillespie, and Martha Bixler. Two additional tributes in 29, no. 4 (November 1988): 171.

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HARVEY, RICHARD 1473. Mayes, Andrew. “An Interview with Richard Harvey.” Recorder Magazine 20 [marked 21], no. 3 (autumn 2000): 91–92. An interview with the former leader of Gryphon, a 1970s progressive rock band that included early instruments. Harvey’s work now centers on composing. Covers: his introduction to the recorder; the years with Gryphon; his premiere of Stephen Dodgson’s Shine and Shade; his thoughts on contemporary music; his work as a composer for film and television as well as for the concert hall; his use of the recorder in his own music; CD releases of his recorder performances; and how the lack of repertory by great composers has prevented the recorder from achieving anything more than a peripheral role in the world of music. HAUWE, WALTER VAN (B. 1948) 1474. Boragno, Pierre. “Une interview exclusive de Walter van Hauwe” [An exclusive interview with Walter van Hauwe]. Flûte à bec & instruments anciens, no. 7 (June 1983): 9–10. Covers: the recent emergence of the recorder as “a true professional instrument”; Frans Brüggen’s teaching methods; developing a professional recorder technique; the “practicality” of the Dutch school; his book; not thinking too much when performing; and staying fresh. 1475. Bousted, Donald. “Walter van Hauwe in Conversation with Donald Bousted.” Recorder Magazine 19, no. 1 (spring 1999): 16–17. An interview conducted during the Second International Recorder and Electronics Festival in Amsterdam. Covers: his thoughts on the festival; the present state of the recorder; the tape pieces performed at the festival; why the sound of the recorder is attractive to contemporary composers; promising recent developments in recorder design, particularly those by Paetzold and Helder; the amazing prowess of the new generation of recorder players; and his hopes for the future of the recorder. * Epstein, Jan, and Ursula Grawe. “Conversation with Kees Boeke and Walter van Hauwe.” Cited above as item 1362. * Lasocki, David. “The Art of Becoming a Recorder Player: Four European Professionals in Conversation with David Lasocki.” Cited above as item 1319. 1476. Latin, Lorraine. “Interview: Walter van Hauwe.” Recorder Magazine 14, no. 1 (March 1994): 4–5. An interview conducted by Latin following a recital of contemporary recorder music in Amsterdam on 23 September 1993. Covers: how he inspires composers to write for the recorder; current composers’ dislike of extended techniques; the advantages and disadvantages of programming all-contemporary recitals; why the absence of a strong body of historical repertory makes it essential that we commission contemporary works; the importance of recording to the livelihood of contemporary music; his work with makers on developing a modern recorder; and advice on programming contemporary

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music. 1477. Weilenmann, Matthias. “Walter van Hauwe.” (Das Porträt.) Tibia 11, no. 1 (1986): 33–37. Begins with a short biography. Then covers: his attitude of “the new in the old,” which affects his approach to historical sources; his love of the vast technical possibilities in new music; the basis of music as “‘peep,’ emphasis, and noise”; the increasing conservatism in early-music performance over the last twenty to thirty years; his own need to push boundaries; the “crisis” of both the recorder and the arts in general today, partly a consequence of composers not playing their own works and players not composing their own works, and improvisation as a way forward; his approach to teaching (helping students to find their own path); and his playing of the traverse and shakuhachi. HAYNES, BRUCE (B. 1942) * McRae, Lee. “Bruce Haynes: Performer, Instrument Maker, and Teacher.” Cited above as item 457. HEIDER, WERNER (B. 1930) 1478. Clausing, Susette. “Werner Heider.” (Das Porträt.) Tibia 10, no. 3 (1985): 421–24. A brief summary of the life, philosophy, and woodwind works of this avant-garde German composer. * Feider, Denise, and Marianne Mezger. “Die aktuellen Interviews: Mit Hans Martin Linde, Werner Heider und Gerhard Braun.” Cited below as item 2002. HENZLER, RICHARD AND ELAINE 1479. Reiter, Andrea. “The World according to Richie.” American Recorder 34, no. 4 (November 1993): 12–14, 23. Interview with Richard Henzler, proprietor of Courtly Music Unlimited in New York City. Covers: his wife’s and his promotion of the recorder through Courtly Music Unlimited’s “American Performers on Recorder” series; the conditions that restrict the acceptance of the recorder as a serious instrument in the United States; why he is in the business of early music; the buying habits of recorder players; recommendations for selecting a recorder; the broadening of musical interests among recorder players; his musical training; and his practice habits. 1480. Rose, Pete. [Profile of Richard and Elaine Henzler]. (On the Cutting Edge.) American Recorder 34, no. 4 (November 1993): 27–28. Covers: their performances, repertory, plans, and thoughts on the future of the recorder.

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HÖFFER-VON WINTERFELD, LINDE (1919–1993) 1481. Behrmann, Karsten. “Linde Höffer-von Winterfeld, 5. September 1919–24. Mai 1993.” Tibia 19, no. 1 (1994): 53–54. Obituary of the pioneering German recorder pedagogue. Concludes with a list of her published methods, studies, and editions. 1482. Höffer-von Winterfeld, Linde. “Aus dem Leben einer Blockflötenspielerin” [From the life of a recorder player]. Tibia 10, no. 1 (1985): 274–77. Autobiographical sketch, including the background to her various methods and studies. Asides on the importance for the recorder of Michael Vetter and Frans Brüggen. HÖLLER, GÜNTHER (B. 1937) 1483. Stockmeier, Wolfgang. “Günther Höller.” (Das Porträt.) Tibia 9, no. 3 (1984): 189–90. Covers: the role of the recorder in new music; his partnerships with modern recorder composers; the need to avoid fanaticism in interpreting early music; playing with non“historically informed” musicians; historical versus modern instruments; his training; and his teaching. Unfortunately, Höller is laconic and the interviewer allows himself to speak as much as the interviewee. HOLST, IMOGEN (1907–1984) 1484. “Obituary: Imogen Holst, CBE.” Recorder and Music Magazine 8, no. 2 (June 1984): 69. Brief account of her accomplishments as a composer and editor of recorder music. HOLTSLAG, PETER (B. 1957) 1485. Del Valle Martínez, María. “Entrevista con…Peter Holtslag” [Interview with Peter Holtslag]. Revista de flauta de pico, no. 3 (September 1995): 3–5, 17. Covers: the motivation for starting the early-music course in Lisbon for which he was teaching; the different ways of playing by students from different countries; playing versus teaching; why he plays the recorder and the traverse; the limitations of the recorder; the contemporary recorder repertory; the qualities of recorder and traverso he prefers; the repertory he prefers; recorder players and other musicians he admires; performing; his current projects; and his advice to recorder students. 1486. Nallen, Evelyn. “Peter Holtslag in Conversation with Evelyn Nallen.” Recorder & Music Magazine 9, no. 1 (March 1987): 6–7. Covers: the British recorder world, the future of the recorder, and his plans.

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HOPKINS, BERNARD J. (1915–1986) 1487. “Bernard J.Hopkins, C.Ss.R., 1915–1986.” American Recorder 28, no. 1 (February 1987): 19–21. A collection of short remembrances with an introductory tribute by Suzanne Ferguson. Contributors: Dennis W.Hopkins, George Kriehn, Martha Bixler, Frances Dwight, Winifred Jaeger, Mary K.Whittington, Richard Conn, Ellen Alexander, and Lee McRae. HUFEISEN, HANS-JÜRGEN 1488. Rothe, Gisela. “Im Portrait: Hans-Jürgen Hufeisen” [In the portrait: Hans-Jürgen Hufeisen]. Windkanal 2/1999:12–14. Covers: his training on the recorder, including his early interest in combining dance, theater, visual art, music, and “encounter”; his connections with the Lutheran church and the spirituality of performance; the extent of his concertizing in Europe and the Middle East; his enormous CD sales and the reasons for his success; the sources of his compositions, such as those in his “Angel Conceit”; his new path to a recorder career; and his love of instruments that “can fill great cathedrals” and have a large dynamic range. HUNT, EDGAR (B. 1909) 1489. Dolmetsch, Carl. “A Birthday Tribute to Our Chairman, Edgar Hunt.” Recorder & Music Magazine 3, no. 2 (June 1969): 74–75. Reminiscences on the occasion of Hunt’s sixtieth birthday. Covers: his first performance at the Haslemere Festival in 1931; his support of English fingering; the founding of the Society of Recorder Players; his work as a teacher; his publications and editions; and Anglo-French classes at Roehampton. 1490. Ehrlich, Robert. “Edgar Hunt.” (Das Porträt.) Tibia 18, no. 3 (1993): 532–36. Hunt’s book The Recorder and Its Music (item 28) has never been translated into German. For this reason, the aim of the interview is to present information generally familiar to English-speaking readers (not to mention French- and Japanese-) but not German-. Covers the octogenarian Hunt’s involvement with the recorder from his student days to the present. Concludes with some new thoughts on modern recorder music, the recorder in jazz, and the recorder’s place in the musical spectrum. 1491. Ferguson, Suzanne. “An Interview with Edgar Hunt.” American Recorder 23, no. 1 (February 1982): 11–16. Covers: his introduction to early music; the compilation of his recorder method and its unfavorable reception by the Dolmetsches; a performance of Bach’s Peasant Cantata at Haslemere in 1931; the school recorder movement; his favorite twentieth-century recorder music; the bell key; recorder examinations in England; the Society of Recorder Players and its local chapters; the Galpin Society; his work with the viola da gamba; the English Harpsichord Magazine; and recent developments in performance practice. Letter

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from Gene Reichenthal in 27, no. 1 (February 1986): 38, states that Hunt’s first trip to the United States was in 1971 rather than 1981. 1492. [Thomson, J.M.] “Edgar Hunt.” (Profile.) Recorder and Music Magazine 1, no. 2 (August 1963): 53. Reprinted with slight revisions in item 1321. Covers: his musical education as a flutist and his introduction to the recorder; his work in the 1930s importing recorders with English fingering; the founding of the Society of Recorder Players; and his teaching at Trinity College. 1493. “A Tribute to Edgar Hunt.” Recorder Magazine 11, no. 1 (March 1991): 15–18. On the occasion of Hunt’s retirement from the editorship of the Recorder Magazine. Contributors: Enid Hunt, Philip Thorby, Paul Clark, Frans Brüggen, Mary CavalierSmith, Eileen Hadidian, Chris Eyre, Dorothy Kenyon, Brian Bonsor, Herbert Hersom, Carl Dolmetsch, Guido M.Klemisch, Maureen McAllister, Theo Wyatt, Roy Murray, Graham Danbury, and Kees Otten. HÜNTELER, KONRAD 1494. Struck, Annette. “Konrad Hünteler.” (Das Porträt.) Tibia 12, no. 3 (1987): 499– 504. Covers: his background; whether one player can play flute, Baroque flûte, and recorder successfully; the potential of the Baroque flûte in modern music; “every music its correct flute”; differences in tone between early flutes and modern copies; helping students play both stylishly and with individuality; his contribution to a new recorder method; male and female flutists; his ensemble experience; and his hobbies. IZQUIERDO LLOPIS, JOAN (B. 1966) 1495. Castellano Muñoz, Manuel. “Entrevista con…Joan Izquierdo” [Interview with Joan Izquierdo]. Revista de flauta de pico, no. 11 (May 1998): 3–10. Covers: his studies; the recorder scene in Barcelona; the differences between the recorder cultures of Spain and the Netherlands; the audience for recordings of recorders; his love of the Ars Subtilior; recorder courses; the uses of historical and modern types of recorder; the role of the recorder in contemporary music; and BLOC and its bulletin. JACOBS, MANUEL 1496. “Manuel Jacobs.” Recorder Magazine 15, no. 2 (June 1995): 39. Reprinted from the Stornoway Gazette, 27 January 1994. Obituary. Jacobs commissioned a number of recorder compositions for publication by Schott during the late 1930s, and through this work he played an important role in the development of the twentieth-century recorder repertory. Much of his later life was spent in reclusion in western Scotland, where he composed. (Among his works is a recorder trio.)

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KANJI, RICARDO 1497. T[homson], J.M. “Ricardo Kanji—Recorder, Baroque Flute and Cornett.” Recorder and Music Magazine 4, no. 5 (March 1973): 158–59. Profile. Covers: his youth in Brazil; his study of flute at the Peabody Conservatory in Baltimore; his study of recorder and Baroque flute with Brüggen in the Hague; early music at the Hague Conservatory; the experience of winning one of the two third prizes in the 1972 Bruges International Competition; his work with the cornetto; and his thoughts on Brüggen as a teacher. KATZ, ERICH (1900–1973) 1498. Atwater, Betty Ransom, ed. “Erich Katz: Teacher-Composer, 1900–1973.” American Recorder 14, no. 4 (November 1973): 115–35. A collection of photographs, historical documents, and reminiscences of friends and colleagues. Includes a bibliography of Katz’s books, articles, compositions, and arrangements for recorders (a more complete listing than the one found in 12, no. 3 [August 1971]: 106). 1499. Davenport, LaNoue. “Erich Katz: A Profile.” American Recorder 11, no. 2 (spring 1970): 43–45. Covers: his teaching style; his years in Germany; his emigration and establishment in New York City; his role in the revitalization of the ARS after World War II; and his move to California. * Katz, Erich. “In the Beginning.” Cited above as item 174. 1500. Plachte, Frank. “Tribute to Erich Katz 1900–73.” Recorder & Music 4, no. 9 (March 1974): 330. Obituary. Includes a summary of his literary and musical publications. 01. Primus, Constance. “Erich Katz: The Pied Piper Comes to America.” American Music Research Center Journal 1 (1991): 1–19. An extensive profile, falling into several sections, each devoted to a particular facet of his career: teacher; director and performer; music director of the American Recorder Society; editor, arranger, and composer. Primus did her research in the Erich Katz archives in the American Music Center at the University of Colorado. As a biography, the article is sketchy and offers little beyond what is already available in other published sources. 1502. Seibert, Peter, and Martha Bixler. “Remembrances of Erich Katz: Interviews with Winifred Jaeger and Hannah Katz.” American Recorder 30, no. 2 (May 1989): 52–55. Two separate interviews: Seibert with Jaeger, and Bixler and Marcia Blue with Katz. Jaeger interview covers: her introduction to Katz, Katz’s youth, his immigration to England and his eventual move to the United States, his early teaching appointments, the early days of the American Recorder Society, the incorporation of the ARS, its annual concerts, and the growth of the society’s membership. Katz interview covers: his studies in Germany, his work as a music copyist, his early days in New York City, and his early

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involvement in the ARS. Includes excerpts from Hannah Katz’s “Reminiscences of Erich Katz,” written in 1983. KELBER, SEBASTIAN (1934?-1977) 1503. Braun, Gerhard. “Sebastian Kelber†” Tibia 3, no. 1 (1978): 32–33. Obituary. KENWORTHY, KEN 1504. Wyatt, Theo. “Ken Kenworthy.” Recorder Magazine 20, no. 2 (summer 2000): 49. Obituary. KLEMISCH, GUIDO * “Guido Klemisch.” Cited above as item 477. KLUNDER, MARINA * Feider, Denise. “Begegnung in Amsterdam: Interview.” Cited below as item 1574. KNEIHS, HANS MARIA (B. 1943) 1505. Epstein, Jan, and Ursula Grawe. “Hans Maria Kneihs.” (Profile.) Recorder: Journal of the Victorian Recorder Guild, no. 2 (March 1985): 12–15. Covers: his background; the beginnings of an Australian “school” of recorder playing; European “schools”; the connection between professionals and school teaching; and the challenge of the recorder. 1506. “From Cello to Recorder.” Recorder & Music Magazine 3, no. 11 (September 1971): 408. Brief profile of Hans Maria Kneihs, written on the occasion of his first performance in London. Kneihs studied cello and piano at the Vienna Music Academy because the recorder was not offered as a major instrument. After becoming a cellist in the orchestra of the Austrian Broadcasting Association, he returned to the recorder in 1961 and became active as a soloist. In 1964, he was appointed professor of recorder at the Vienna Music Academy. 1507. Thieme, Ulrich. “Hans Maria Kneihs.” (Das Porträt.) Tibia 21, no. 4 (1996): 263– 71. A long interview with Kneihs, best known for his directorship of the Wiener Blockflötenensemble (1972–85) but also active as a recorder soloist and music educator. Covers: looking back on the ensemble, their “interactive programs,” their lack of real successors (in Renaissance music), and their longevity; the “permanent stomachache” he had from playing avant-garde music in a radio orchestra as a cellist; his transition from

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cellist to recorder player; learning to teach; his influences (Brüggen, Leonhardt, Anton Heiller, the pianists and violinists of the turn of the century, Oswald Jonas); the role of the recorder today; how recorder players are no longer among the avant-garde of the early-music movement; creating educated musicians; his work as an administrator and the value of institutions; and teaching students to express emotion in their playing. KNIGHT, ANNABEL * Mayes, Andrew. “Interview with Annabel Knight and Louise Bradbury of Passacaglia.” Cited above as item 1367. KOSCHITZKI, DANIEL 1508. Rose, Pete. [Daniel Koschitzki]. (On the Cutting Edge.) American Recorder 42, no. 5 (November 2001): 31–32. In 2001, German recorder player Daniel Koschitzki replaced Paul Leenhauts in the Amsterdam Loeki Stardust Quartet. Rose offers a brief profile and interview. Covers: his work with the group Sadastan in the 1990s; his performances at Amherst of Spectra by Eduardo Alemann and Sprouting by Philip Corner; his training; how he thinks the general public views the recorder; how the perception of the recorder as a starting instrument can work to the professional’s advantage; his work with the electro-acoustical recorder; and his favorite contemporary works. KRAINIS, BERNARD (1924–2000) 1509. Bixler, Martha. “Obituary: Bernard Krainis.” Recorder Magazine 20 [marked 21], no. 4 (winter 2000): 135. An obituary reprinted from the Early Music Newsletter: A Publication of the New York Recorder Guild. 1510. Nagle, Sigrid, with Marcia Blue. “An Interview with Bernard Krainis.” American Recorder 30, no. 3 (August 1989): 97–101. Covers: his introduction to the recorder at the age of twenty-one; his decision to abandon anthropology and economics to become a music major at New York University; his introduction to the American Recorder Society (ARS) through Erich Katz; his founding, with Noah Greenberg, of the New York Pro Musica; the lack of concern for historical performance practice in the Pro Musica; his exposure to the writings of Quantz in the mid-1960s; his thoughts on tonguing; Suzanne Bloch; Alfred Mann; his years with the ARS; the International Recorder School at Saratoga; his attempts to make the ARS a teaching organization; his plans; and why most recorder players are not more serious about their instrument. Letter from Gary Greenhut in 30, no. 4 (November 1989): 164. 1511. [Thomson, J.M.] “Bernard Krainis.” (Profile.) Recorder and Music Magazine 1, no. 10 (August 1965): 304–5. Reprinted with slight revisions in item 1321. Covers: his introduction to the recorder at the age of twenty-one; his early recordings for Esoteric; his work with the New York Pro Musica; his performances with his trio; the

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American Recorder Society; the hazards of early music; ornamentation; his repertory; and recent concert appearances in Great Britain. 1512. “Remembering Bernard Krainis, 1924–2000.” American Recorder 41, no. 5 (November 2000): 14–17. Remembrances by Martha Bixler, Friedrich von Huene, Scott-Martin Kosofsky, and Amanda Pond. KUIJKEN, BARTHOLD 1513. Dikmans, Greg. “Self-made Musician and Handmade Mirror: A Conversation with Barthold Kuijken.” Recorder and Early Music [Australia], no. 23 (1999): 6–10, 23; no. 24 (2000): 11–15. Begins with a brief biography, then covers: his early musical training, including teaching himself to play the recorder at age six; reading Quantz in the original German at age thirteen or fourteen; still playing the recorder “with lots of pleasure,” but professionally only in Brandenburg Concertos or Telemann; a reiteration of his strict attitude toward recorder arrangements (see item 1716); performing as a kind of tightrope between composer and audience; the performer as a handmade mirror, reflecting the music back with “little defects and deformations and colors”; the ultimate “goal of every instrumentalist, to make the instrument disappear” in the face of the composition; the importance of self-education; in teaching, the difference between a recipe and an answer; what he learned from Alfred Deller and Gustav Leonhardt; and the benefits of group lessons. Includes a select discography. KVAPIL, JAN 1514. Davies, Alan. “Interview with Jan Kvapil.” Recorder Magazine 17, no. 4 (December 1997): 142–44. Based on a conversation held in conjunction with the 1997 Early Music Summer School in Bechyně, Czech Republic. Covers: his introduction to the recorder; the background of his teacher, Jiří Stivín, who began teaching him in 1977 in Bechyně; the state of recorder study in the Czech Republic; resistance to teaching the recorder (and early instruments in general) at the Conservatoire and Academy in Prague; the plans of his ensemble Trio Paradies (soprano voice, recorder, and harpsichord); his thoughts on contemporary music; the difficulty of acquiring good instruments in the Czech Republic; and the history of the Early Music Summer School, performances during the festival, and plans for the upcoming year.

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LACEY, GENEVIEVE 1515. Cruise, Bernadette. “Genevieve Lacey.” Cinnamon Sticks 1, no. 1 (November 2000): 20–21. Reprinted from Classical Canberra: Music Mosaic (2000). A brief description of Lacey’s career and her then-forthcoming CDs Vivaldi, Il flauto dolce (2001), and Piracy (2002). 1516. Dikmans, Greg. “A Dialogue with Genevieve Lacey.” Recorder and Early Music [Australia], no. 21 (1997/98): 3–6. An interview, beginning with a brief biography of the young Australian star. Covers: her graduate studies in Switzerland and Denmark; performing in “performance events”; studying with Dan Laurin; her recent performances; the process of self-discovery caused by her culture shock in Europe; “the power of music to change the soul”; and her plans. LANDER, NICHOLAS 1517. Mayes, Andrew. “An Interview with Nicholas Lander.” Recorder Magazine 20, no. 2 (summer 2000): 50–53. In German as: “Die Recorder Home Page.” Windkanal 3/2000:14–19. An interview with the creator of the Recorder Home Page. Covers: his introduction to the recorder in primary school; how playing the trombone saved him from a life of crime; his career as a plant taxonomist and the role of recorder playing in his life as a means of relaxation; the recorder in Perth, Australia, where Lander lives; his work with students at the University of Western Australia; the origins of the Recorder Home Page; use statistics for the Web site; his interest in iconography; sections of the Web site that are of particular importance; areas for future research on the recorder; the need for digitization of past issues of recorder journals; and his plans for the Web site.

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LASOCKI, DAVID (B. 1947) 1518. Haase-Moeck, Sabine, and Ulrich Thieme. “David Lasocki—Forscher in Sachen Holzblasinstrumente” [David Lasocki: woodwind researcher]. Tibia 26, no. 3 (2001): 541–47. Although Lasocki was well known to Tibia readers for his annual reviews of recorder research and a handful of German articles, most readers would have been unaware of the extent of his own woodwind research published in English and his editions of eighteenthcentury woodwind music. The interview, conducted by e-mail, was intended to introduce his range of activities. Covers: what has fascinated him about woodwind instruments; why he has concentrated on the recorder in recent years (or rather, why it has concentrated on him); the motivation for his annual reviews; how he puts together the reviews; his plans to write books on the recorder; gaps in our knowledge of the recorder’s history; why he stopped publishing editions but is about to begin again; his reactions to the wealth of types of recorders available these days; non-recorder music that he loves (he is a big jazz fan); and his main interest outside music (a healing ministry). 1519. Lasocki, David. “Recorder Players and I.” Early Music New Zealand 1, no. 4 (December 1985): 3–10. A lighthearted account of the writing of his dissertation (item 126). 20. Mathiesen, Penelope. “Woodwinds and Research: An Interview with David Lasocki.” Continuo 15, no. 3 (June 1991): 8–12. Covers: his training as a performer and development of interest in editing and research; the advantages for research of being employed as a music librarian; his writings, past and present; and new views on “authenticity” in early-music performance (see also item 1062). 1521. Mezger, Marianne. “Blockflötisten dürfen tun, was sie wollen: Ein Interview mit Dr. David Lasocki, Musikhistoriker und Bibliotekar der Musikabteilung an der Indiana University, Bloomington, USA” [Recorder players may do whatever they like: an interview with Dr. David Lasocki, music historian and music librarian at Indiana University, Bloomington, USA]. SAJM Zeitschrift 23, no. 4 (July 1995): 10–17. Covers: what first interested him about the recorder and traverso; his studies; what led to his great interest in performance practice; his editing of early woodwind music; how a commission from Frans Brüggen led to the subject of his dissertation (item 126); how he came to music librarianship; his early interest in avant-garde recorder music and improvisation; the genesis of the first edition of the present book; “the great authenticity debate”; differences between the American and European recorder scenes; the role of the recorder in today’s society, including elementary schools; always having “a red pen in his hand” and his love of debate (for example, about the Ganassi recorder, arrangements); his publication plans; and his wishes for the new generation of recorder players (that it should be smaller, not restricted to recorder playing) and for himself (to follow his passion). The title of the interview was his response to a question about “ten deadly sins” for recorder players. 1522. Tattersall, Malcolm. “Profile: David Lasocki.” Recorder: Journal of the Victorian Recorder Guild, no. 12 (December 1990): 7–12.

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Covers his: training as a performer and researcher; editing of early woodwind music, especially the Handel sonatas; dissertation; work as a music librarian; and research plans. LAURIN, DAN (B. 1960) 1523. [Dunham, Benjamin]. “Dan Laurin: From the Heart.” American Recorder 37, no. 2 (March 1996): 7–10. An interview given by the Swedish virtuoso at the Von Huene Workshop, soon after his arrival in the United States in October 1995 for the debut tour of his Drottningholm Trio. Covers: his introduction to the recorder at the age of seven through a recording by Frans Brüggen; his musical training in Sweden; his conservatory study, first in Odense, Denmark, and then in Copenhagen, under Eva Legêne; his work with Clas Pehrsson; his initial performances with his trio and his early CD recordings; Hirose’s Meditation; the recorder and the avant-garde; his approach to performing with traditional orchestras; the importance of historical tonguings; the conflict between playing to please oneself and playing to please others; his teaching in Odense; differences between the early-music movements in Europe and the United States; and authenticity. 1524. Mayes, Andrew. “Interview: Dan Laurin.” Recorder Magazine 14, no. 3 (September 1994): 89–90. Conducted in London during the twenty-first anniversary celebration of the Swedish company BIS, for whom Laurin records. Covers: early influences; the role of improvisation and musical rhetoric in his performances of Baroque music; his upcoming recording of recent Scandinavian concertos; the need for contemporary music to be meaningful; the technical challenges of the Vivaldi concertos; the inappropriateness of the recorder as an educational instrument; Fred Morgan’s work on creating a louder instrument; his plans to record all of van Eyck’s Der fluyten lust-hof; and advice for young players planning to become professionals. 1525. Ose, Karsten Erik. “Karsten Erik Ose im Gespräch mit Dan Laurin” [Karsten Erik Ose in conversation with Dan Laurin]. Tibia 25, no. 1 (2000): 9–15. Begins with a brief biography. Then covers: how he came to the recorder; how he played Frans Brüggen’s record of the Vivaldi C-minor concerto over and over; what impressed him about both Brüggen and Hans Martin Linde; his teachers (Ulla Wijk, Paul Nauta); his love of Renaissance and Baroque culture; the influence on him of Quantz’s Versuch; why he plays early music; his attitude toward performing early music; how he approaches performing a new piece, his love of basically tonal modern music; his limitless love for the recorder; whether the recorder is a “female” instrument, his advice to young would-be professionals; his ideas on modern recorders; his attitude toward tone; the influence of jazz on his playing style; and his plans. 1526. Ose, Karsten Erik. “Ornamentik als Ausdruck der Persönlichkeit: Der Blockflötist Dan Laurin” [Ornamentation as expression of the personality: the recorder player Dan Laurin]. Concerto: Das Magazin für Alte Musik, no. 142 (April 1999): 11–12. A narrative, not an interview, but covers some of the same material as item 1525: his Brüggen-like style and creativity; his training; his love for Brüggen’s playing; his studies with two of Brüggen’s students; his equal love of old and new (but not avant-garde) music; “life and death, love, faith, and hope” as the true sources of authenticity; his

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teaching style in a workshop; Baroque performance as rhetoric; “ornamentation…as an expression of personality and also the opportunity finally to get a word in the conversation”; taking risks on recordings; and his plans. 1527. Rivers, Lynton. “Dan Laurin in Conversation.” Recorder and Early Music [Australia], no. 20 (1996): 3–7. Covers: his training; his own attitude toward teaching; today’s playing as merely a technically more advanced version of the players from the 1960s; genuinely “Baroque” Baroque playing; getting out of the early-music ghetto; encouraging new recorder works by the likes of Xenakis, Birtwistle, or Sculthorpe; how Robert von Bahr, the owner of BIS, influenced his recordings; and his plans. Ends with a discography (through The French King’s Flautists). LEENHOUTS, PAUL 1528. Wollitz, Kenneth, and Martha Bixler. “An Interview with Paul Leenhouts and Han Tol.” American Recorder 28, no. 2 (May 1987): 52–54. Covers: their backgrounds; the Brüggen school of recorder playing; breathing techniques; being forever “new”; the current lack of interest in the Baroque period; their ensembles; seven ways of producing dynamics on the recorder; their instruments; Renaissance versus Baroque sounds; thumbrests; the impatience of American students; and subsidies and recorder students in the Netherlands. LEGÊNE, EVA (B. 1945) 1529. Bixler, Martha, and Kenneth Wollitz. “An Interview with Eva Legêne.” American Recorder 27, no. 3 (August 1986): 96–101. Covers: her background; her experience teaching in America and Denmark; the problems of finding a career for recorder players; the instruments she plays; the (lack of) difficulty of modern recorder music; audiences; the expressive power of the recorder; playing in tune; and the Rosenborg recorders. 1530. Epstein, Jan. “Conversation with Eva Legêne.” Recorder: Journal of the Victorian Recorder Guild, no. 7 (December 1987): 1–4. Covers: her background and training; her teaching; modern music for recorder; her attitude toward early performance; the Rosenborg recorders; and the recorder in works of art. 1531. Rose, Pete. “Mentor.” (On the Cutting Edge.) American Recorder 33, no. 4 (December 1992): 26. Describes several modern compositions performed by Legêne at the 1992 Berkeley Festival and discusses her efforts to promote contemporary music.

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LEHRER, IRMGARD * Pringle, Rosa. “Revival of the Ancient Recorder: An Interview with Irmgard Lehrer.” Cited above as item 182. LEISS, VOLKER 1532. Rothe, Gisela. “Portrait: Volker Leiss.” Windkanal 3/1999:10–13. Covers: his training, especially with Konrad Hünteler; his involvement in the group Düwelskermes; his compositions, a mixture of Baroque, pop, folk, Latin jazz, and New Age; his favorite musical projects and partners; making his recordings; and his two careers as musician (for fun) and medical doctor. LINDE, HANS-MARTIN (B. 1930) 1533. Braun, Gerhard. “Es ist wie mit einem Fernrohr…. Gespräch mit Hans-Martin Linde” [It’s like with a telescope…. Conversation with Hans-Martin Linde]. (Das Porträt.) Tibia 3, no. 2 (1978): 101–5. Covers: his studies with Gustav Scheck, concentrating on the modern flute and the development of a “modern” musicianship; his dislike of historical specialization; the ease with which musicians can switch pitches and learn performance practice these days; tuning and temperament; his move away from the modern flute to the recorder and historical flutes, because of the difficulty of doing all three adequately; the need for modern flutists to know something of historical practice; his approach to composition (“I simply compose for my instrument”); the connection of present and past for him (like “an old-fashioned telescope, made in two pieces that slide inside one another”); and his performances today. List of his compositions. * Brelsford, Edmund, and Gerhart Niemeyer. “Conversation at Saratoga.” Cited above as item 1376. 1534. Busch, Siegfried. “Vom Kuhstall zur Blockflöte—und zu Hans-Martin Linde….” [From the cowshed to the recorder—and to Hans-Martin Linde]. Windkanal 4/2000:22–23. How the author came to study with Linde, and later to organize a recorder festival for his seventieth birthday. 1535. Drobig, Bernhard. “Mit Bedacht zum Erfolg. Im Gespräch: Hans-Martin Linde” [With care to success. In conversation: Hans-Martin Linde]. Concerto: Das Magazin für Alte Musik, no. 154 (June 2000): 34–38. Reprinted with expanded discography and added bibliography as: “Mit Bedacht zum Erfolg: Bernhard Drobig in Gespräch mit Hans-Martin Linde.” Tibia 25, no. 4 (2000): 279–86; conclusion of discography and bibliography in 26, no. 1 (2001): 380–81. “This conversation with the 70-year-old opens up little-known facets of his personality and artistic work, which are not restricted to an occupation with early music.” Begins with a useful short biography, then covers his: early flute training with Gustav Scheck;

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first experiences with the traverso and recorder; association with WDR (West German radio), including choir directing and singing; temptation to become a professional singer; work in Basel; recordings with the Linde-Consort for Elektrola; directorship of the Cappella Coloniensis; attitude toward tempo; conducting of modern symphony orchestras in early repertory; use of the baton or a substitute; recorder compositions; conception of himself as a “musician, who plays and composes”; (prose) writing; and favorite performances. * Feider, Denise, and Marianne Mezger. “Die aktuellen Interviews: Mit Hans Martin Linde, Werner Heider und Gerhard Braun.” Cited below as item 2002. 1536. Harras, Manfred. “Wir gratulieren Hans-Martin Linde zum siebzigsten Geburtstag” [We congratulate Hans-Martin Linde on his seventieth birthday]. SAJM Zeitschrift 28, no. 6 (November 2000): 20–21. A short biography and assessment, followed by a list of his compositions for recorder. 37. Höller, Günther. “Hans-Martin Linde wird siebzig” [Hans-Martin Linde turns seventy]. Tibia 25, no. 2 (2000): 128–29. Not a detailed biography but “reminiscences of a Linde student from the 1950s.” On the recorder side, praises his pedagogical works and his cantabile playing. 1538. Katz, Helen. “Hans-Martin Linde, a Profile” American Recorder 10, no. 2 (spring 1969): 43–44. Covers: his musical training; problems of playing both modern and early instruments; his teaching at the Schola Cantorum in Basel; and other professional commitments. 1539. Lasocki, David. “Hans-Martin Linde Talks to David Lasocki.” Recorder and Music Magazine 2, no. 5 (May 1967): 141–42. Covers: his playing of the Baroque flute; modern versus old pitch; his use of Fehr instruments; his favorite recorder works and composers; Basel; his experiences touring, recording, and conducting; his performances with Brüggen in 1965; the Vivaldi flautino controversy; and his children. 1540. Thiede, Christiane, and Wolfgang Lempfrid. “Ich fühle mich als singender Mensch” [I consider myself a singing human]. Concerto: Das Magazin für Alte Musik, no. 45 (July/August 1989): 9–13. An interview with Hans-Martin Linde. Why has Linde transformed himself largely from a woodwind player into a conductor these days? “I was lucky, in the middle of my life, to be able to begin somewhat anew, instead of teaching Handel sonatas on the recorder or, in the best cases, Mozart concertos on the traverse, for the next 25 years.” 1541. Thieme, Ulrich. “Hans-Martin Linde wird 60” [Hans-Martin Linde turns 60]. Tibia 15, no. 3 (1990): 199. A short tribute, expressing astonishment that, on the one hand, the energetic and youthful Linde has already reached sixty and, on the other hand, the celebrated pioneer of the 1950s and 1960s had not reached sixty sooner. 1542. Thomson, J.M. “Hans-Martin Linde.” (Profile.) Recorder and Music Magazine 2, no. 1 (March 1966): 10. Reprinted in item 1321. Covers: his introduction to early music through Gustav Scheck; his friendship with August Wenzinger and his association in 1957 with the Schola Cantorum at Basel; the appeal of the Baroque flute; his favorite Baroque compositions and composers; his own compositions and editions; the importance of articulation and vibrato; the instruments he

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plays; his work with Frans Brüggen; and his interests. LYNN, MICHAEL 1543. Mathiesen, Penelope. “An Interview with Michael Lynn.” (Winds of Yore: What’s New with Old Woodwinds?) Continuo 14, no. 3 (June 1990): 9–11. Covers: his start on the recorder at the age of five; his childhood in Bloomington, Indiana; his studies at Oakland University in Rochester, Michigan; his self-instruction on Baroque flute; the types of flutes and recorders he plays; his teaching at Oberlin; makers of good Baroque flutes; the shift from Baroque to Classical repertory in many originalinstrument orchestras; his work preparing modern editions and facsimiles; and the Master of Music in Performance on Early Instruments degree at Oberlin. MALLE SYMEN QUARTET 1544. Bousted, Donald. “The Malle Symen Quartet.” Recorder Magazine 18, no. 4 (winter 1998): 138–39. An interview with Katja Blischke, Susanne Borsch, Raphaela Danksagmüller, and Cathelijne Hensing, conducted in Amsterdam following their recital at the Second International Recorder Festival. Covers: the formation of the group while the members were all students of Walter van Hauwe at the Sweelinck Conservatorium; their choice of the name “Malle Symen” (“crazy Simon”); Martijn Padding’s In Pairs; their focus on Renaissance and contemporary music; their interest in new commissions; and their plans. MARÍAS, ÁLVARO 1545. Peñalver, Guillermo. “Entrevista con…Álvaro Marías” [Interview with Álvaro Marías]. Revista de flauta de pico, no. 13 (1999): 3–16; no. 14 (1999): 3–16. An unusually long interview, in which Marías speaks his mind and displays a broad understanding of music. After a biographical introduction, covers: his current repertory for recorder and traverse, especially the violin sonatas of Corelli (this leads to a long discussion of recorder arrangements, in which the interviewer invokes the LasockiKuijken debate); the strengths and weaknesses of the recorder; the wealth of modern recorder professionals (still, Frans Brüggen’s disappearance from the recorder scene is called “a small tragedy”); his training (and the overriding influence of Brüggen); his teaching; his recent performances; the role of early music in music schools; the contemporary recorder music he likes; his group Zarabanda; the Baroque recorder music he likes; his interest in medieval music; the orchestral conductors he likes; vibrato and other aspects of recorder technique; emotionality in Baroque performance; his recordings; playing both flute and recorder; and his advice to young recorder players.

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MARTÍN, MARIANO 1546. Peñalver, Guillermo. “Entrevista con…Mariano Martín” [Interview with Mariano Martin]. Revista de flauta de pico, no. 4 (January 1996): 3–11. Covers: his early experiences with the recorder, including hearing Frans Brüggen; being self-taught; his group Lema; his first recorders; teaching at the Madrid Conservatory; his group La Stravaganza; the detrimental effect of players imitating Brüggen (a false emphasis on virtuosity); the “antipedagogical” nature of the recorder; his composing; the Spanish Baroque repertory for recorder; and his concertizing. MARX, KARL (1897–1985) 1547. Braun, Gerhard. “Abschied von Karl Marx” [Farewell to Karl Marx]. Tibia 10, no. 3 (1985): 427. A tribute to the German composer, “one of the pioneers of contemporary recorder music.” 1548. Braun, Gerhard. “Karl Marx.” (Das Porträt.) Tibia 3, no. 1 (1978): 29–30. A tribute to Marx on his eightieth birthday. Covers: his training, career as a teacher, and changing compositional style. Includes a facsimile of the holograph of the first of his Drei Etüden für Blockflöte (allein) (1958). 1549. Marx, Karl. “Begegnungen mit der Blockflöte” [Encounters with the recorder]. Tibia 3, no. 1 (1978): 30–32. Describes his pre-World War II experiences in writing for the recorder, from his encounter with the Bogenhausen Kunstkapelle in the early 1920s, through learning the instrument with Konrad Lechner in the 1930s, to his first compositions (for the Berlin Recorder Quartet that included Manfred Ruëtz and Gustav Scheck), and several other works for Ruëtz. Ends with a complete list of his woodwind compositions as well as a recording of three of them.

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MAUTE, MATTHIAS 1550. Bixler, Martha. “A Visit with Matthias Maute.” American Recorder 36, no. 1 (January 1995): 4–5. A profile written while the German recorder player was on a North American tour with his group, Trio Passaggio. Covers his: musical training, study at the Utrecht Conservatory, teaching, first prize in the 1990 Bruges Competition, approach to recorder playing, and work as a composer. Concludes with Bixler’s reviews of Trio Passaggio’s New York recital and Maute’s CD Les barricades. 1551. Braun, Gerhard. “‘Um die Blockflöte muß man sich keine Sorgen machen’: Der Blockflötist und Komponist Matthias Maute im Gespräch mit Gerhard Braun” [“No one has to worry about the recorder”: recorder player and composer Matthias Maute in conversation with Gerhard Braun]. Tibia 23, no. 4 (1998): 262–67. Covers: his flexible, stringlike tone production; his relationship to historical performance practice (“making living music”); playing familiar early pieces in unfamiliar ways, based on historical research (for example, drawing on Vivaldi’s own methods of giving violinistic figuration to wind instruments), “craft, then fantasy and more fantasy”; creativity in the music of the future; the quality of the recorder repertory; how young recorder players should train (learn creativity and improvisation); recorder-education music as “a new ghetto of bad taste?” [Braun]; his intentions as a composer (“always a learner”); his move to Canada to live, work, and study composition; and what he really said instead of the title quote: “about an area of music culture with as many sides as the recorder presents, one doesn’t need to worry.” MAYES, ANDREW 1552. Knight, Annabel, and Louise Bradbury. “An Interview with Andrew Mayes.” Recorder Magazine 18, no. 2 (June 1998): 56–57. An interview with the editor of Recorder Magazine, conducted following Mayes’s own interview of Knight and Bradbury (item 1367). Covers: his early work for an organ builder, which led to a career as an architectural technician; his reacquaintance with the recorder through his children; his favorite players; Essercizii Musici, the periodinstrument ensemble for which he plays recorder and baroque oboe; his work as editor of the Recorder Magazine (his approach to selecting articles, the rewarding aspects of the job, his plans for the magazine); his research on the music composed for first performance by Carl Dolmetsch; and his thoughts on the future of the recorder.

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MELLOR, ROBYN 1553. Tattersall, Malcolm. “Traveller’s Tales.” Recorder: Journal of the Victorian Recorder Guild, no. 10 (December 1989): 2–4. An interview with Robyn Mellor. Covers: her studies in the Hague with Michael Barker, and her work back in Australia. MELVILLE, ALISON 1554. “Alison Melville.” (Recorder Personality.) Recorder & Music 6, no. 10 (June 1980): 305. Brief biography. MICHATZ, HANS-DIETER 1555. Grawe, Ursula. “Profile: Hans-Dieter Michatz.” Recorder: Journal of the Victorian Recorder Guild, no. 3 (November 1985): 20–22. Covers his: background, reasons for settling in Australia, attitude to performing Baroque music, and career plans. MICHEL, WINFRIED 1556. Thieme, Ulrich. “Winfried Michel: Blockflötist, Lehrer und Komponist” [Winfried Michel: recorder player, teacher, and composer]. Tibia 26, no. 2 (2001): 455–59. “Because I rarely travel and am an extremely contented person, a description of my factorum vitae would be rather monotonous for the as always gentle reader.” So begins this most unusual of interviews, which immediately switches to Michel composing a canon at the fourteenth in contrary motion. The canon, of course, turns out to be a metaphor for Michel’s professional life, details of which emerge as the composition progresses. “And your private life?” “That would need a further canon…[and] a greater contrapuntalist than you and me.”

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MIESSEN, MARIJKE 1557. Rivers, Lynton, and Jan Epstein. “Conversations with Marijke Miessen.” Recorder: Journal of the Victorian Recorder Guild, no. 5 (November 1986): 16–20. Covers: her background; the obligation to teach; teaching; European “schools”; repertory (ancient and modern); early-music audiences; analysis; and keeping performances fresh. MILES, REBECCA 1558. “Rebecca Miles.” (Recorder Personality.) Recorder and Music Magazine 9, no. 3 (September 1987): 74. Brief biography. MIX, THEODORE 1559. Whitney, Maurice C. “The Magnamusic Story.” American Recorder 13, no. 3 (August 1972): 73–74. Profile of Theodore Mix and Magnamusic, the retail music shop he founded that specializes in early music. MUNROW, DAVID (1942–1976) 1560. Hunt, Edgar. “David Munrow.” Recorder & Music 5, no. 7 (September 1976): 222. Obituary. 1561. Thomson, J.M. “David Munrow.” Recorder & Music Magazine 2, no. 9 (May 1968): 278–80. Reprinted with slight revisions in item 1321. Covers: his study of the recorder and bassoon; his exposure to folk music while teaching in South America; his belief that early-music performing traditions might be found in folk origins; his three years at Cambridge; his tenure with the Royal Shakespeare Theatre Wind Band; the origins of the Early Music Consort of London; the need for good modern recorder music; and his favorite composers. 1562. Thomson, J.M. “Erudition and Entertainment: Three London Instrument Exhibitions.” American Recorder 28, no. 2 (May 1987): 65–67. The first report, about an exhibition of the late David Munrow’s own instrument collection, includes biographical material on him. 1563. “Tributes to David Munrow.” Early Music 4, no. 3 (July 1976): 376–80. Reminiscences by Anthony Lewis, Nigel Fortune, James Bowman, Oliver Brookes, John Turner, James Tyler, Andreas Holschneider, Arthur Johnson, Jasper Parrott, John Willan, John Currie, Christopher Monk, Meirion Bowen, Robert Donington, Jeremy Noble, and Anthony Mulgan. 1564. Turner, John. “Pills to Purge Melancholy: A Personal Memoir of David Munrow.”

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Recorder Magazine 16, no. 2 (June 1996): 52–54. A charming profile, offering personal insights that are missing from other biographical accounts. Turner and Munrow became acquainted during their college years and performed together until Munrow’s death at the age of thirty-four. Covers his: exposure to folk music in South America; years at Cambridge and his decision to abandon the bassoon in favor of the recorder; early performances, film scores, and radio work; performances with Turner; collaborations with composer Peter Dickinson; and recorders. MURRAY, DOM GREGORY (1905–1992) 1565. Dewey, Monica. “Obituary: The Rev. Dom Gregory Murray, O.S.B.” Recorder Magazine 12, no. 3 (September 1992): 92. Brief reminiscences. NALLEN, EVELYN 1566. “Interview with Evelyn Nallen.” Recorder and Music Magazine 8, no. 9 (March 1986): 266–67. Briefly covers her: recorders, studies, Australian tour, and marriage. 1567. Rodgers, Gwen. “Evelyn Nallen.” Recorder: Journal of the Victorian Recorder Guild, no. 3 (November 1985): 28–30. Profile. Covers: living with a recorder player (husband Michael Copley), 1984 recorder festivals in England and Australia, and her career plans. NEWMAN, HAROLD 1568. Wollitz, Kenneth. “An Interview with Harold Newman, Music Publisher.” American Recorder 13, no. 1 (February 1972): 3–5. Interview with the founder of Hargail Music. Covers: his informal musical education; his introduction to the recorder through Shakespeare’s Hamlet; his early work with the American Recorder Society; the founding of Hargail Music; his work as a soundrecording producer; and the expansion of his business into instrument sales.

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NEW YORK PRO MUSICA 1569. Culbertson, D.C. “Men, Women, and Early Winds: The Recorders and Double Reeds of the New York Pro Musica.” American Recorder 37, no. 5 (November 1996): 7– 9. A history of the New York Pro Musica, a groundbreaking early-music ensemble directed by Noah Greenberg that included recorder players LaNoue Davenport, Bernard Krainis, Shelley Gruskin, and Martha Bixler. Offers a description of the recorders and double-reed instruments used by the group, based on the recollections of Krainis, Bixler, and Davenport. Letter from Bernard Krainis in 38, no. 1 (January 1997): 21. NIETHAMMER, MARIANNE LÜTHI 1570. [Jud, Siegfried?]. “Intrada im Gespräch mit Marianne Lüthi Niethammer” [Intrada in conversation with Marianne Lüthi Niethammer]. Intrada 2, no. 3 (1996): 45–48. Covers: her training as pianist, cellist, singer, and eventually recorder player; her early concerts and radio broadcasts; being hired early by the Schola Cantorum Basiliensis, where she studied; changes over the years at the SCB; collaborating with recorder makers; her Ensemble Galliarda (a Renaissance recorder ensemble); her five-volume recorder method; her teaching activities outside the SCB; and her hobbies. NITKA, ARTHUR 1571. “Tributes to Arthur Nitka.” American Recorder 23, no. 1 (February 1982): 20–21. The reminiscences of twelve friends and associates.

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OBERLINGER, DOROTHEE (B. 1969) 1572. Braun, Gerhard. “Gerhard Braun im Gespräch mit Dorothee Oberlinger” [Gerhard Braun in conversation with Dorothee Oberlinger]. Tibia 26, no. 4 (2001): 623–28. The opening biography describes the broad training of the young recorder player and the many professional successes she has already achieved. The interview covers: how she has achieved such successes (the right place [Cologne] and the right teachers); the effect of winning prizes; her training and artistic interests; the importance of chamber music for her; her expectations of modern recorder music and its audiences; playing with electronics as well as with harp and cello; the liberal attitude of ornamente 99, an ensemble she performs in, to ornamenting Baroque music; the “new” Vivaldi flautino concerto, RV 312, which she has since recorded; her forthcoming CD of the complete Handel sonatas; her performances of medieval music; the pros and cons of recorder teaching in German music schools; her own teaching; and the necessary preparation for early-music performance (both musicology and musicality). O’KELLY, EVE 1573. “Eve O’Kelly.” (Recorder Personality.) Recorder and Music Magazine 9, no. 1 (March 1987): 29. A two-paragraph biography.

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OTTEN, KEES (B. 1924) 1574. Feider, Denise. “Begegnung in Amsterdam: Interview” [Meeting in Amsterdam: interview]. SAJM Zeitschrift 26, no. 5 (September 1998): 9–13. An interview with Kees Otten and his wife, Marina Klunder. Otten: how he came to the recorder (his uncle, a music teacher, picked it up from Hindemith, learned to play, and commissioned works from French composers); his early interest in jazz and the clarinet; becoming a recorder teacher; and founding his early music group. Klunder: how she came to the recorder. Both: the development of modern recorder music and its alienation of “normal listeners and players”; the greater success of a composer like Tosiya Suzuki; compositions written for Otten (everything in the Donemus catalogue, 1948–60); and Dada. 1575. “Kees Otten.” (Recorder Personality.) Recorder & Music 6, no. 4 (December 1978): 124. A brief profile of “the father of recorder playing in Holland.” 76. Loretto, Alec V. “Kees Otten, born November 28, 1924: A Dutch Recorder Pioneer.” Recorder Magazine 21 [marked 21a], no. 1 (spring 2001): 3–5. A biography, followed by a list of music dedicated to Otten. 77. Tarasov, Nikolaj. “Portrait: Kees Otten, Blockflötenpionier” [Portrait: Kees Otten, recorder pioneer]. Windkanal 4/2001:6–9. An interview with Otten about the early days of the recorder revival. Covers: his training with Willem van Warmelo, including in modern music; playing arrangements of gypsy and klezmer music on recorders with German fingering (good for the glissandos); learning to play jazz with Coleman Hawkins, the famous tenor saxophone player, who worked briefly in Amsterdam in the late 1930s (“heaven on earth”); studying the clarinet but playing the recorder in concerts as “protest music”; playing medieval and Renaissance music on recorders and gambas, finding it “not the only truth,” then one day improvising on a thirteenth-century melody in a jazz-like manner and “waking the hall up”; developing a special technique to play late-Romantic music on the recorder; the nonavant-garde twentieth-century repertory; making arrangments; and playing the recorder with piano. 1578. [Thomson, J.M.] “Kees Otten.” (Profile.) Recorder and Music Magazine 1, no. 3 (November 1963): 71. Reprinted with slight revisions in item 1321. Covers: his musical education playing clarinet, saxophone, and recorder; his decision against a career in jazz in favor of one in conventional art music; his teaching at the Amsterdam Muzieklyceum; playing with the Amsterdam Recorder Ensemble, Muziekkring Obrecht, and Syntagma Musicum; audiences; and his changing attitude toward virtuosity.

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PEHRSSON, CLAS (B. 1942) 1579. Braun, Gerhard. “Clas Pehrsson.” (Das Porträt.) Tibia 9, no. 2 (1984): 115–18. Covers: how he came to the recorder; the rarity of recorder makers in Scandinavia; the (relatively undeveloped) situation of the recorder in Scandinavia; Scandinavian recorder composers; the question of whether to specialize in early or modern music; the recorder in modern music and the lack of development of a true modern recorder; playing recorder music on the appropriate instruments; the isolation of the recorder in the world of music; what the recorder is good and bad at and how to end the questions about its status. 1580. Epstein, Jan. “Conversation with Clas Pehrsson.” Recorder: Journal of the Victorian Recorder Guild, no. 9 (February 1989): 4–8. Covers: his background and training; Musica Dolce; his teaching and other recorder teaching in Sweden; on not trying to make the recorder equal to other instruments; the difficulty of achieving a high standard of performance on the recorder; playing from memory; and the future of the recorder. PETRI, MICHALA (B. 1958) 1581. Bergmann, Walter. “Michala Petri.” Recorder & Music 5, no. 7 (September 1976): 225. Interview. Covers: her concert at the SRP Festival; amateur recorder playing in Denmark; her studies with Ferdinand Conrad at the Hochschule in Hanover; her practice routine; her concertizing and recording; her impressions of London; her favorite composers; and her plans. 1582. “Michala Petri.” (Recorder Personality.) Recorder & Music 5, no. 3 (September 1975): 110. Brief profile written when Petri was seventeen years old and just emerging as a prominent player. 1583. Pudewell, Dorothée, and Nikolaj Tarasov. “Zu Besuch bei Michala Petri” [Visiting Michala Petri]. Windkanal 1/2001:6–9. An interview to celebrate the new keyed recorder she started to play in concerts in 2000. Covers: her training, including learning to play in all the keys; her early broad repertory; her preference for modern recorders; her desire for louder instruments; working with Fred Morgan toward the end of his life to develop a new Baroque copy with a louder tone and to investigate csakans; her delight at discovering the new modern recorder developed by Joachim Paetzold and being manufactured by Mollenhauer; learning to play the new instrument; differences from Baroque recorders; having to rethink how to play all her repertory; and, paradoxically, finding through the modern instrument an interest in playing Baroque recorders for the first time. 1584. Quandt, Reinhold. “Michala Petri.” (Das Porträt.) Tibia 14, no. 1 (1989): 341–45. Covers: her transformation from “Wunderkind” to “the Paganini of the recorder”; her feeling for recorder versus flute; her studies with Ferdinand Conrad; her ensemble playing with Heinz Holliger, Pinchas Zukerman, and James Galway; the frontiers of

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expression on the recorder; the demise of the Petri family trio; virtuosity on the recorder; the suitability of music for the recorder; her attitude toward modern music; the German public for recorder concerts; and the early-nineteenth-century csakan repertory. 1585. Wollitz, Kenneth, and Martha Bixler. “An Interview with Michala Petri.” American Recorder 27, no. 1 (February 1986): 4–8. Covers: her background, practicing, tonguing, playing from memory, sizes of recorder, finger technique, repertory, concertizing, and teaching. PICKETT, PHILIP (B. 1952) 1586. “Philip Pickett.” (Recorder Personality.) Recorder & Music 5, no. 9 (March 1977): 295. Covers: his study at the Guildhall School and his eventual appointment as a professor there in 1972; the New London Consort; and his performances and recordings with other artists. PIGUET, MICHEL 1587. [Jud, Siegfried?]. “Intrada im Gespräch mit Michel Piguet” [Intrada in conversation with Michel Piguet]. Intrada 3, no. 3 (1997): 32–39. A charming interview with the witty and outspoken Piguet, who had just retired from teaching at the Schola Cantorum Basiliensis. Covers: whether he was retiring “with joy”; taking up the Baroque oboe and recorder; how he began at the SCB; how he, a Frenchman by birth, had become “a real Swiss”; his dislike of certain tendencies in the early-music movement (the claim to like only what is alleged to be “historical”; the love of speed for its own sake); the history of historical performance in the twentieth century; the lack of need for a conductor in Baroque music; his love of Renaissance music; his involvement in recorder-making; and his retirement plans (writing, playing).

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PITFIELD, THOMAS 1588. Turner, John. “Thomas Pitfield—an Appreciation.” Recorder Magazine 20, no. 1 (spring 2000): 3–4. A charming appreciation of the composer, who died in 2000 aged ninety-six. Pitfield was a “character,” as they say in the north of England—a pacifist and vegetarian, a painter and graphic artist of distinction, a writer of limericks and nonsense verse, as well as a self-taught composer who wrote recorder works for Turner, Carl Dolmetsch, and others. PRIOR, SUSAN 1589. Goodman, Jan. “An Hour with Susan Prior.” Continuo 1, no. 8 (May 1978): 3–7; 1, no. 9 (June 1978): 4–9; 1, no. 10 (July/August 1978): 2–5. Part 1 is largely on the Baroque flute. Part 2, on the recorder, features comments on what constitutes idiomatic repertory for the instrument, including transcriptions. Part 3 continues those comments as well as some on instrumental combinations and ensembles. RAISIN-DADRE, DENIS 1590. Castellano, Manuel. “Entrevista con…Denis Raisin-Dadre” [Interview with Denis Raisin-Dadre]. Revista de flauta de pico, no. 16 (2000): 3–10. Begins with a brief biography and assessment of his career, without any raison d’être. Then covers: teaching improvisation; the teaching of the recorder in France; the new “French school” of recorder playing; finding recorder repertory, the recorders he plays; playing sixteenth-century music on the recorder; his focus on Renaissance music in the group Doulce Mémoire; and his plans.

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RECONDO, EZEQUIEL M. 1591. Thomson, J.M. “Il flauto dolce at Pamparato.” Recorder & Music 4, no. 11 (September 1974): 415–16. Concerns the 7th Festival dei Saraceni, its music courses, and particularly an Argentinian pupil of Frans Brüggen’s, Ezequiel M.Recondo, who was responsible for the recorder teaching. REES, HELEN 1592. Rees, Helen. “The China Syndrome.” Recorder Magazine 11, no. 1 (March 1991): 3–4. An autobiographical account of Rees’s training on the recorder and her study of Chinese music in Shanghai and ethnomusicology in Pittsburgh. Also briefly discusses her current recorder repertory. 1593. Rose, Pete. [Profile of Helen Rees]. (On the Cutting Edge.) American Recorder 32, no. 4 (December 1991): 33. Based on an interview conducted in Pittsburgh, where Rees was occupied with postgraduate studies in ethnomusicology during 1990–91. Describes her study of Chinese music and discusses specific twentieth-century compositions in her recorder repertory.

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REISS, SCOTT (B. 1951) 1594. Lasocki, David. “Crossover and Blues on the Recorder: Scott Reiss.” American Recorder 37, no. 4 (September 1996): 15–16. Originally in German as: “Die Blockflöte und Crossover-Musik: Scott Reiss im Gespräch mit David Lasocki.” Tibia 20, no. 4 (1995): 595–98. An interview with recorder player Scott Reiss. Covers: his initial attraction to folk music as a means of creating a style for the performance of medieval music; his view of the recorder as part of a family of open-holed flutes throughout the world; ethnic influences on his recent performances; his initial performance of the blues, which led to crossover performances of the repertory by Hesperus, a trio consisting of keyboard, bowed string instruments, and recorder; Seven Out of Ten by Mark Kuss; the collaborative aspects of the blues; and performances of early jazz by Hesperus. 1595. Lasocki, David. “Scott Reiss and Baroque Recorder Concertos: The Making of a CD.” Continuo 14, no. 4 (August 1990): 2–4. Covers: his start as a clarinetist; his study at Antioch College; his participation in the Antioch Consort, the Folger Consort, and the Hesperus Baroque Ensemble; his selection of concertos by English (Babell), French (Naudot), German (Telemann and Graupner), and Italian (Vivaldi) composers for his first commercial recording; the recording sessions in the Folger Shakespeare Library; problems encountered finding a commercial producer and distributor; and his assessment of the results. ROBBINS, SHIRLEY 1596. Plachte, Frank L. “Profile: Shirley Robbins.” American Recorder 20, no. 3 (November 1979): 107. Covers: her musical training; her work as a faculty member and director at Idyllwild, a campus of the University of Southern California; her recorded performances; and her plans.

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RODGERS, GWEN 1597. Norman, Janet. “I Just Wanted Someone to Play With.” Recorder: Journal of the Victorian Recorder Guild, no. 14 (December 1991): 21–24. An interview with Gwen Rodgers, founding president of the Victorian Recorder Guild. The title, of course, is the reason she did the founding. An account of her involvement in the guild, more personal than item 2086. ROSE, PETE * O’Kelly, Eve. “Professional Recorder Players (and Their Instruments) II: The Twentieth Century.” Cited above as item 1320. ROSENBERG, STEVE 1598. Nagle, Sigrid. “An Interview with Steve Rosenberg.” American Recorder 21, no. 3 (November 1980): 116–18. Covers: his introduction to early music through performances of the New York Pro Musica; his studies and performances in France; Les Ménestriers; his move to New Zealand, where he taught and began performing solo recitals; instrument-making in Australasia; thoughts on Bernard Krainis, Frans Brüggen, David Munrow, and others; and his move to North Carolina to participate in an artist-in-residence program. 1599. Willet, William C. “An Interview with Steve Rosenberg.” American Recorder 26, no. 2 (May 1985): 75. Briefly covers: his recent tour of Australasia, and the acoustics of concert halls.

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ROWLAND-JONES, ANTHONY 1600. Lander, Nicholas. “Let’s Stick to Recorders!: Anthony Rowland-Jones.” Recorder Magazine 21 [marked 21a], no. 2 (summer 2001): 53–57. A profile in honor of Rowland-Jones’s seventy-fifth birthday. Covers: his early years; his work in mines as a Bevin Boy during the war; his career as a university administrator; his introduction to the recorder at the age of eleven; his work in the 1950s with the Society for Recorder Players; his teaching; his role in founding the U.K. branch of the European Recorder Teachers’ Association; his study with Walter Bergmann; his research and publications, including his recent prolific work on iconography; the problems he has observed as a conductor of recorder orchestras—and how they can be solved; his thoughts on modern recorder music; his favorite repertory; and his dislike of efforts to modernize the recorder, yielding the title of the article. Concludes with a bibliography of his writings. SALKELD, ROBERT (B. 1920) 1601. [Thomson, J.M.] “Robert Salkeld.” (Profile.) Recorder and Music Magazine 1, no. 9 (May 1965): 279–81. Covers: his musical education and introduction to the recorder; his teaching at Morley College and eventual professorship at the London College of Music; the Modern Music for Recorders series; his promotion of twentieth-century music for recorder; his editorial work; and the Morley College Recorder Consort.

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SCHECK, GUSTAV (1901–1984) 1602. B[ergmann], W[alter]. “Gustav Scheck.” Recorder and Music Magazine 8, no. 4 (December 1984): 114. Brief obituary. 1603. Delius, Nikolaus. “Gustav Scheck.” (Das Porträt.) Tibia 1, no. 1 (1976): 27–30. The first issue of Tibia began, appropriately, with a “portrait” of the seventy-five-yearold Scheck, a major figure in the German flûte world of the twentieth century, and a pioneer on both the recorder and the traverso. Unlike most other such portraits, not an interview but a long biographical sketch by a distinguished former student. 1604. Gärtner, Jochen. “Abschied von Gustav Scheck” [Farewell to Gustav Scheck]. Tibia 9, no. 2 (1984): 118–19. Long obituary, stressing his contributions to German flûte playing. Includes a list of some of his most important students. 1605. Lasocki, David. “Gustav Scheck.” Recorder & Music Magazine 2, no. 7 (November 1967): 215–17. Covers: his musical education and his decision not to pursue medicine as a career; his introduction to the recorder in 1929; his partnership with August Wenzinger and the formation of Kammermusikkreis Scheck-Wenzinger; his opposition to the Nazis; the founding of the Staatliche Hochschule für Musik in Freiburg; his tours and recordings; his instruments; his decision to concentrate on the flûte; his thoughts on historical ornamentation treatises; and his extramusical interests. 1606. Scheck, Gustav. “A Flautist’s Reminiscences.” Recorder & Music Magazine 2, no. 9 (May 1968): 280. Covers: his start on the modern flute at the age of ten; his introduction to the recorder sometime after he had joined the Hamburg Philharmonic Orchestra as principal flutist; the program of his first recorder recital; and his versatility on a variety of flutes.

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SCHUBERT, NADJA (B. 1971) 1607. Rothe, Gisela. “Portrait: Nadja Schubert.” Windkanal 4/1999:10–13. Covers: whether the term “jazz recorder player” is apt for her; her training, in traditional recorder playing as well as jazz; combining the “two worlds”; the two types of jazz group she performs in (quartet and duo), their repertory, and their publics; the types of recorder she uses for jazz; and introducing jazz into the curriculum. SEGAL, DANYA 1608. Downer, Caroline. “Danya Segal.” Cinnamon Sticks 2, no. 1 (May 2001): 22–23. A brief portrait of the recorder player in the German group Musica Alta Ripa. SHAW, BERNARD (1856–1950) 1609. Thomson, J.M. [Edward Goetz, pseud.]. “Did Shaw Play the Recorder?” Recorder and Music Magazine 1, no. 11 (November 1965): 326–27. The author saw a wooden tenor recorder on display at Shaw’s home, which raised the question posed in the title. During the 1890s, Shaw wrote several favorable reviews of concerts by Arnold Dolmetsch, and the two eventually became friends. Dolmetsch presented Shaw with a clavichord in the 1920s, and Carl Dolmetsch believes that “it’s very likely he also made him a tenor recorder.” Although there is no evidence that Shaw actually played the instrument, the custodian of Shaw’s house thinks that he did, since “[h]e kept the instrument in the garden hut so he could play without disturbing them in the house.” See also Joel Newman, “GBS—Enemy of the Recorder?” American Recorder 2, no. 3 (fall [i.e., summer] 1961): 6, which concerns Shaw’s review of an 1885 “historical concert” at Albert Hall. Shaw writes, “[t]he effect of the flauti dolci music was, on the whole, quaintly execrable,” which is likely to have been an indictment of the performance and not necessarily of the instrument. (A.Rowland-Jones offers excerpts from other accounts of the concert in a letter to the editor in Recorder and Music Magazine 1, no. 7 [November 1964]: 213.) SHERMAN, ELNA 1610. Palme, Natalie. “Elna Sherman.” American Recorder 6, no. 1 (winter 1965): 19. Obituary. SPARR, THEA VON (1915–1988) 1611. “Thea von Sparr.” (Recorder Personality.) Recorder & Music 4, no. 12 (December 1974): 459. 1612. Trantow, Rüdiger. “Thea von Sparr 12.5.1915–23.3.1988.” Tibia 13, no. 3 (1988):

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203–4. A long obituary of Dorothea Gräfin (Countess) von Sparr, a student of Gustav Scheck who made some recordings in the 1950s. She was also active as a keyboard player. Quotes some thoughts of hers on the rewards of recorder playing and the qualities of a good teacher—which Trantow, a student of hers, believes she possessed herself. STAEPS, HANS ULRICH (1909–1988) * Brelsford, Edmund, and Gerhart Niemeyer. “Conversation at Saratoga.” Cited above as item 1376. 1613. H[unt], E[dgar] H. “Prof. Hans-Ulrich Staeps.” Recorder and Music Magazine 9, no. 8 (December 1988): 225. Obituary, including a selected list of compositions. 14. Primus, Constance M. “Memories of Hans Ulrich Staeps, 1909–1988.” American Recorder 29, no. 4 (November 1988): 147. Reminiscences that recapitulate some of the biographical information presented in item 1615. Includes an excerpt from the soprano recorder part of East-West (1988), which apparently was Staeps’s last composition. See also William E.Hettrick’s letter in 30, no. 2 (May 1989): 81. 1615. Reichenthal, Eugene. “A Profile of Hans Ulrich Staeps.” American Recorder 20, no. 4 (February 1980): 144–48. Opens with a few recollections of Staeps’s activity at workshops and in the classroom. In response to Reichenthal’s request for information on his life and career, Staeps sent an autobiographical account, which constitutes the major part of the article. Covers: his early musical education; his introduction to the recorder as a type of occupational therapy following an attack of pleurisy; the principles guiding his work as a composer; the importance of Hindemith to music of the twentieth century; his trips to Taiwan to lecture and organize a recorder teaching program; and his plans. Includes an SAT setting by Staeps of Orlando Gibbons’s “The Silver Swan.” 1616. Vogg, Herbert, and René Clemencic. “Hans Ulrich Staeps.” Windkanal 3/2000:27– 28. Two brief profiles of the man whose personality could be summed up in one word: teacher, although he also described himself as a “pedagogical composer.” Preceded by an interesting article on Staeps’s teaching, especially his volumes of Atritonische Musik: Philipp Tenta, “Hans Ulrich Staeps, oder die Wiederentdeckung eines Blockflötenpioniers” [Hans Ulrich Staeps, or the rediscovery of a recorder pioneer], 22– 26.

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STEGER, MAURICE 1617. Ose, Karsten Erik. “Spiel, Satz und Sieg. Im Gespräch: Maurice Steger” [Game, set, and match. In conversation: Maurice Steger]. Concerto: Das Magazin für Alte Musik, no. 125 (July/August 1997): 20–22. Covers: his choice of repertory for CDs and concerts; his training; the special qualities of his playing (a genuine dolce); what he learned from Pedro Memelsdorff; his having become, in Switzerland, “a bit of the Boris Becker of the recorder” (a simple and direct approach to the listener); historical authenticity; the affect as the basis of Baroque music; working with others, including the harpsichordist Naoki Kitaya; the qualities of English Baroque music; and the role of the recorder in Switzerland. STEINMANN, CONRAD (B. 1951) 1618. Dorwarth, Agnes. “Abseits von Blockflöten-Mainstream…. Agnes Dorwarth im Gespräch mit Conrad Steinmann” [Away from the recorder mainstream…. Agnes Dorwarth in conversation with Conrad Steinmann]. Tibia 26, no. 1 (2001): 363–71. Begins with a useful short biography, then covers: his early fascination with the recorder, especially for its closeness to the human body and the voice; the result of his winning the 1972 Bruges recorder competition (no one phoned); the international gatherings he has organized for recorder players and composers; his interest in monody, especially ancient Greek music; his work with the improvisation ensemble Oscura luminosa, the consort diferencias, and the novelist Peter Bichsel; his love for different types of recorders and the flageolet; his attitude toward arrangements; his desire to explore Vivaldi concertos on an Italian Baroque G recorder; his teaching at the Schola Cantorum Basiliensis, including the role of new music there and the suitability of the recorder as one’s sole instrument; the voice as the “main source” of musicmaking; and combining his professional and family life. Concludes with a discography. 1619. Feider, Denise. “Conrad Steinmann: Ein Porträt” [Conrad Steinmann: a portrait]. SAJM Zeitschrift 29, no. 4 (July 2001): 5–10. Actually an interview, covering: his training; his interest in ancient Greek music; his relationship with (later) early music; interpreting contemporary music; the instruments he plays, including the undertone flûte; his compositions; his renewed interest in playing Baroque music; his CDs; and his favorite instrument (a boxwood Baroque recorder in E by Fred Morgan). * Lasocki, David. “The Art of Becoming a Recorder Player: Four European Professionals in Conversation with David Lasocki.” Cited above as item 1319. STIEGLER, HELGE * Catalan, Jean Sébastien. “Roggenbrot, Schafskäse & Blockflöten.” Cited above as item 532.

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TAYLOR, CHRISTOPHER 1620. Thomson, J.M. [Francis Wood, pseud.]. “Christopher Taylor.” Recorder & Music Magazine 2, no. 8 (February 1968): 250–51. Reprinted in item 1321. Covers: his introduction to the recorder at the age of thirteen; his stint with the Grenadier Guards; his work in a variety of pit orchestras and London-based professional orchestras; the difficulty of switching quickly from recorder to flute; Indo-Jazz Fusions; his extramusical interests; and his playing on film soundtracks. TAYLOR, STANLEY (1902–1972) 1621. Davies, Peter. “Tribute to Stanley Taylor.” Recorder and Music Magazine 4, no. 4 (December 1972): 151. Obituary. TAYLOR CONSORT 1622. [Thomson, J.M.] “The Taylor Consort.” (Profile.) Recorder and Music Magazine 1, no. 8 (February 1965): 246–47. The Taylor Consort was founded by Stanley Taylor and included his daughter Christine and sons Richard and Christopher. Covers: Taylor’s musical education; his lessons with Walter Courvoiser; his conducting experience at the Royal College; his introduction of the recorder to his sons; Britten’s Noye’s Fludde; and Richard’s and Christopher’s playing engagements outside the consort.

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THALHEIMER, PETER 1623. Heidecker, Martin. “Martin Heidecker im Gespräch mit Peter Thalheimer” [Martin Heidecker in conversation with Peter Thalheimer]. Tibia 25, no. 3 (2000): 197–202. Covers: his introduction to members of the flute family; the “synergistic effect” (and the difficulties) of his playing and teaching the recorder, traverse, and modern flute; his involvement with adult education; his teaching of some general woodwind courses; learning pedagogy; avoiding bel canto; whether to allow students to play transposed flute music on the recorder; using original instruments (of which he has a large collection) or copies; the intonation hazards of playing a concert on many different flutes and recorders; the tone quality of his quartet of Renaissance column recorders; and his editions and research. THOMSON, JOHN MANSFIELD (1926–1999) 1624. “John Mansfield Thomson, 1926–1999.” Recorder Magazine 19, no. 4 (winter 1999): 122–23. Obituary. 1625. Lasocki, David. “In Memoriam J.M.Thomson (1926–1999).” American Recorder 40, no. 5 (November 1999): 7. Covers his: publications, research on New Zealand music, awards and honors, mentoring of Lasocki, and interests. 1626. Nagle, Sigrid. “An Interview with J.M.Thomson.” American Recorder 23, no. 2 (May 1982): 55–59. Covers: the reasons for his move from Australasia to England; his work with Composer magazine and his experience as a book editor, which led to his appointment as editor of Recorder & Music Magazine; the genesis of Early Music and the changes the journal has undergone; why he became interested in early music; the Early Music Network and the National Early Music Association; and his work on a history of New Zealand music. Alec V.Loretto makes a few corrections concerning the recorder in New Zealand in 22, no. 1/2 (May 1981): 43.

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THORBY, PHILIP 1627. “Philip Thorby.” (Recorder Personality.) Recorder & Music 5, no. 7 (September 1976): 237. Brief profile. THORN, BENJAMIN 1628. Nightingale, John. “Benjamin Thorn.” Cinnamon Sticks 2, no. 2 (November 2001): 26–27. A portrait of the Australian “eccentric polymath,” who among other things is a recorder player and composer. TIETSCH, INGRID 1629. Moeck, Hermann. “Ingrid Tietsch.” (Das Porträt.) Tibia 19, no. 3 (1994): 202–4. An interview with the conductor of the recorder orchestra of the Berlin-Steglitz music school. Covers: Moeck’s amazement at the high standards of her orchestra; her training under Rudolf Barthel; the increasing tendency (in Germany) to teach the recorder in large groups; her rehearsal techniques; the balance of parts in a recorder orchestra; her unorthodox repertory (including works by Bruckner and Reger); and the benefits of ensemble work.

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TOL, HAN 1630. “Han Tol Joins the Flanders Recorder Quartet as New Member.” American Recorder 40, no. 5 (November 1999): 4. An account of the quartet’s selection of Han Tol as the successor to Fumiharu Yoshimine, who decided in 1998 to return to Japan. (The other members of the quartet are Joris van Goethem, Bart Spanhove, and Paul van Loey.) 1631. Schrader, Stephan. “La Dada Amsterdam: Stephan Schrader im Gespräch mit Han Tol” [La Dada Amsterdam: Stephan Schrader in conversation with Han Tol]. (Das Porträt.) Tibia 20, no. 2 (1995): 439–41. An interview with Tol on the tenth anniversary of La Dada Amsterdam, the trio he founded with David Mings (Baroque bassoon) and Rien Voskuilen (harpsichord, later replaced by Patrick Ayrton). Covers: the trio’s origins in the Bruges Early Music Festival competition; the advantages of bassoon continue; the origins of the trio’s name (a piece by Tarquinio Merula, not dada); rehearsing the “unforeseeable” and reacting to one another; their recordings and concertos; their programming; learning through teaching; and the future of the recorder. * Wollitz, Kenneth, and Martha Bixler. “An Interview with Paul Leenhouts and Han Tol.” Cited above as item 1528. TOMALIN, MILES 1632. Tomalin, Miles. “Early Days.” Recorder & Music 4, no. 8 (December 1973): 271– 74. Reminiscences. Covers: his start on a recorder purchased by his father from Arnold Dolmetsch; subsequent study with Dolmetsch; performances at Haslemere; experiences as a teacher; loss of prized instruments at a picnic on the Sussex Downs; and service in Spain in the Anglo-American International Brigade.

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TRIO BASILIENSIS 1633. Weighill, Margaret. “The Trio Basiliensis: Going for Baroque. Recorder Music in the 21st Century.” Musicteachers.co.uk Online Journal 2, no. 3 (September 2000); http://www.musicteachers.co.uk/journal. A profile of the Trio Basiliensis (Marianne Mezger, recorder, flageolet, and musette; her husband, Paul Simmonds, harpsichord; and Ekkehard Weber, viola da gamba). Covers: their training and the formation of the group; the group’s approach and instruments; their concentration on original recorder repertory using historic performance techniques; their “discovery” (actually Peter Holman’s) of the Sibley recorder manuscript copied by Charles Babell and their performance of works from it on their CD Concerning Babell & Son; and Mezger’s exploration of the flageolet and musette. TRIO TAGARELA 1634. Ball, Christopher. “Interview: Trio Tagarela.” Recorder Magazine 16, no. 3 (September 1996): 96–97. An interview with Lisete da Silva, Katriina Koski, and Louise Tombleson. Covers: how the three players met in 1993 while studying at the Royal Academy of Music; the meaning of tagarela (Portuguese for “talkative”); their increased concert schedule after having been named finalists in both the Early Music International Young Artists Competition and the Croft Sherry Prizes for Early Music; their interest in commissioning new works for recorder trio; their performances as a part of Yehudi Menuhin’s Live Music Now recital series; and why each of them chose to play the recorder.

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TURNER, JOHN (B. 1943) 1635. Beale, Robert. “Turner’s Secret.” Classical Music, 24 July 1999, 24. A portrait of John Turner, covering mostly his recent CDs and his way of “energizing” the composing and publishing of music (“which basically means inspiring other people to get involved with the same enthusiasm as his own”). 1636. Howitt, Basil. “Where There’s a Will There’s a Way.” Early Music Today 1, no. 1 (January-February 1994): 14–15. An idiosyncratic profile of the remarkable John Turner. Describes how he has managed to keep his place as one of Britain’s top recorder players and probably the world’s leading commissioner of recorder compositions (over one hundred by 1994) as well as work as a senior partner in a firm of solicitors (lawyers). This double life has taken enormous energy, enthusiasm, and dedication. The writing style of the article is “over the top” British. VALLÈS, CARLES (B. 1977) 1637. Arredondo, Consuelo. “FRINGE: Nuevos caminos para nuevos intérpretes: Intercambio de opiniones con Carles Vallès” [FRINGE: new ways by new interpreters: exchange of opinions with Carles Vallès]. Revista de flauta de pico, no. 6 (October 1996): 5–14. Begins by describing FRINGE (based on the Fringe of the Edinburgh International Festival), a feature of the Barcelona Early Music Festival offering young performers an entrée into the concert world. Then covers: why the recorder is devalued; his involvement with the series Catalunya Musica; his instruments; his preferred (Baroque) repertory; facsimiles versus editions; his technique; playing Baroque music written for other instruments; his group the Flying Horse; grounds; early articulations; how recorder players can become musicians; his studies with Gonzalo Ferrari and Pedro Memelsorff; his opinion of official recorder teaching; Ganassi and van Eyck recorders; the limitations of the Boehm flute; and teaching.

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VEILHAN, JEAN-CLAUDE 1638. Reyne, Hugo. “Interview de Jean-Claude Veilhan: ‘Autour des Quatre Saisons de Vivaldi’” [Interview with Jean-Claude Veilhan: concerning Vivaldi’s Four Seasons]. Flûte à bec & instruments anciens, no. 8 (September 1983): 3–13. On recorder arrangements of The Four Seasons, principally Veilhan’s own, including technical questions (dynamics, playing alto and soprano recorders at the same time); also covers recordings of recorder music (“most…bore me to death”). VERBRUGGEN, MARION (B. 1950) 1639. Bixler, Martha, and Kenneth Wollitz. “An Interview with Marion Verbruggen.” American Recorder 26, no. 4 (November 1985): 148–53. Covers: her background, modern recorder music, teaching, practicing, making music, repertory, trills, vibrato, breath, sight-reading, and (lack of) finger tension. 1640. Paterson, Scott. “A Visit from Marion Verbruggen.” Continuo 3, no. 10 (summer 1980): 11–15. Covers: relaxed playing, articulation, and other comments on technique and expression.

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VETTER, MICHAEL 1641. Braun, Gerhard. “Dolce ed acerbo: Gerhard Braun im Gespräch mit Michael Vetter” [Sweet and sour: Gerhard Braun in conversation with Michael Vetter]. (Das Porträt.) Tibia 20, no. 1 (1995): 351–56. A highly philosophical interview, demonstrating Vetter’s depth of ideas and idiosyncratic manner of expression. The title refers to Vetter’s avant-garde method book, Il flauto dolce ed acerbo, which in turn reflected his efforts to broaden the “sweet” expression of the recorder. Covers: his early experience of the recorder; the relationship of his pedagogical work to pushing “the frontiers of hearing”; the greater freedom an art teacher has than a music teacher; his spiritual vision of the future of music (“Music is the body language of the spirit reflecting”); the consequences of this philosophy for his recorder playing; his daily solo improvisations; the importance for him of three musical “speech areas”: modal/tonal music through 1750, the twentieth-century avant-garde, and overtone singing; his recordings Zen-Flöte and Wind; his (positive) attitude toward vibrato; experiencing his music as a “divine comedy”; and what he is working on now, as a musician and a “musical painter.” 1642. Rose, Pete. “Where in the World has Michael Vetter Been?” (On the Cutting Edge.) American Recorder 38, no. 3 (May 1997): 33. Covers: his accomplishments as a performer of avant-garde music during the 1960s and the works composed for him; his subsequent association with Karlheinz Stockhausen; his decade spent living as a Buddhist monk in Japan beginning in the mid1970s; his return to Germany in the mid-1980s; and his recent presentations and recordings. 1643. Thomson, J.M. “Michael Vetter.” Recorder & Music Magazine 3, no. 9 (March 1971): 317–19. Reprinted in item 1321. Covers: his background; working with Cooke, Baur, du Bois, and Stockhausen; the suitability of the recorder for modern music—“Only the avant-garde have put life into this century’s recorder music”; the importance of the voice for musicmaking; his composing for the recorder, especially in Aulodien, and for the voice; his dislike of Baroque recorder music; and the big questions of his life: Why do human beings need theology? and What is music?

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VOLKHARDT, ULRIKE * Lasocki, David. “The Art of Becoming a Recorder Player: Four European Professionals in Conversation with David Lasocki.” Cited above as item 1319. WAITZMAN, DANIEL (B. 1943) 1644. Nagle, Sigrid. “Daniel Waitzman: A Profile.” American Recorder 15, no. 2 (May 1974): 48–50. Covers: his study with Bernard Krainis at the age of thirteen and his subsequent work with the Krainis Consort; his study of musicology at Columbia University; his professional engagements with the Clarion Concerts Orchestra, the Bach Aria Group, and the D’Ariel Trio; his 1971 Carnegie Hall debut; his thoughts on the Baroque flute and the Baroque recorder; his campaign in support of the bell-keyed recorder; his preference for a nineteenth-century conical Boehm flute; the poor quality of modern recorders; inferior standards of workmanship and playing in the early-music community; and the wrongheadedness of attempts at authenticity. WAKEFIELD, J.HOMER 1645. Dallin, Lynn. “‘And Sweetly Trilled the Fipple Flute.’” Etude 72, no. 5 (May 1954): 12–13, 61. A profile of J.Homer Wakefield, a musicologist and member of the piano faculty at Brigham Young University. In 1939, Wakefield is said to have “organized the American Society of Recorder Players,” which gave three annual festivals before disbanding. Also describes the collection of one hundred early instruments he assembled at the university.

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WATERMAN, RODNEY 1646. Waterman, Rodney. “With the Recorder in Italy—a Personal Journey.” Recorder: Journal of the Victorian Recorder Guild, no. 4 (May 1986): 29–33. Describes his studies with Kees Boeke in Italy and the Netherlands, and some of his experiences, musical and nonmusical, in both countries and later in Paris and elsewhere. WEILENMANN, MATTHIAS (B. 1956) 1647. Davis, Eric. “An Interview with Matthias Weilenmann.” American Recorder 36, no. 3 (May 1995): 13–15, 28–31. An interview conducted while the Swiss recorder player was in residence at the Early Music Institute of Indiana University. Covers: why he chose to play the recorder; his influences (teachers Walter van Hauwe and Kees Boeke, and conductor Nikolaus Harnoncourt); his work with Harnoncourt as a member of the Monteverdi Orchestra of the Zurich Opera House; his work as a conductor of choruses and wind ensembles; the contrast between eighteenth- and twentieth-century professionals in their view of the recorder (no eighteenth-century musician would devote a career to the recorder; it was usually played by oboists or flutists as a second or third instrument); his thoughts on sound and tone production; the importance of alternative fingerings; his work with composers; his use of twentieth-century music and improvisation in his teaching; the academic requirements of students in the early-music program at Indiana University in contrast with those of his students in Zurich; youth music programs in Switzerland; the quality of professional recorder players in Europe and the United States; career prospects for recorder players; the audience for recorder music; programming contemporary music; and what he has learned about the recorder through his explorations. 1648. Keller-Löwy, Walter. “Ein Interview mit dem Blockflötisten Matthias Weilenmann” [An interview with recorder player Matthias Weilenmann]. (Das Portrait.) Pan Zeitung: Musik in Beruf, Freizeit, Erziehung und Therapie, April 1992, 11, 13. Covers: the place of the recorder today; why he was attracted to the recorder; his attitude to ornamentation; the public for the recorder; new recorder music; his hobbies; his training; his attitude toward music; and his pet likes and dislikes. 1649. Rothe, Gisela. “Portrait: Matthias Weilenmann.” Windkanal 1/1999: 10–13. Covers: “the necessary but always interesting standard question,” how he came to music and especially the recorder; the musical interests of his wife and children; his goals for his students; his teaching methods; changes in the Swiss conservatories and music high schools; ASPECTE seminars; the future of the recorder; and his family activities.

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WELCH, CHRISTOPHER (1832–1915) 1650. Higbee, Dale. “Christopher Welch, Flute and Recorder Historian.” American Recorder 20, no. 2 (August 1979): 64–66. Traces Welch’s activity as a scholar, moving chronologically through his career. Focuses on papers delivered to the Musical Association at the turn of the century (“Literature Relating to the Recorder” and “Hamlet and the Recorder,” both published in item 34). Also includes an account of Joseph Bridge’s presentation of a paper on the Chester recorders (item 90) and Welch’s questions during the discussion that followed. The little biographical information available on Welch is supplemented by a letter written to Higbee by a resident of Lamyatt, Somerset, where Welch spent most of his life. In an addendum to this article in 20, no. 4 (February 1980): 173, Higbee considers the etymology of the word “recorder” and Welch’s theory (now discounted) that the word derived from the verb “to record” in the sense of “to sing like a bird.” WHYBROW, JULIA 1651. Culbertson, D.C. “Julia Whybrow, in U.S. Debut.” American Recorder 37, no. 1 (January 1996): 4. Brief profile. Covers: the program for her recital at the University of Maryland; her interest in new music, which led to several commissions; her musical training, including study with Michael Schneider and Rainer Lembruck in Frankfurt and Walter von Hauwe in Amsterdam; recent awards; and her recent concertizing. WILKINSON, RUTH 1652. Barnes, Julie. “Ruth Wilkinson.” (Profile.) Recorder: Journal of the Victorian Recorder Guild, no. 4 (May 1986): 34–35. Covers: her background, career, teaching, and plans. WINGERDEN, JEANETTE VAN 1653. “Jeanette van Wingerden.” (Recorder Personality.) Recorder & Music 5, no. 5 (March 1976): 188. A one-paragraph biography. 1654. Thomson, J.M. “Jeannette [sic] van Wingerden.” Recorder and Music Magazine 1, no. 10 (August 1965): 311. A brief profile.

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WINTERS, ROSS 1655. Mayes, Andrew. “Interview: Ross Winters.” American Recorder 15, no. 4 (November 1955): 138–40. Covers: his early musical training; his studies in Oxford and Amsterdam; his teaching at the Royal College of Music in London; the pleasure of teaching teenagers; the need to become resigned to the recorder’s position on “the fringe of Western music”; his musical activities beyond playing and teaching the recorder; jazz on the recorder; why he has not yet released a recording; the problems with current recorder instruction for children; contemporary music; and how his religious beliefs are related to his appreciation of Baroque music. 1656. “Ross Winters.” (Recorder Personalities.) Recorder & Music 7, no. 5 (March 1982): 133. A brief profile. ZAHNHAUSEN, MARKUS (B. 1965) 1657. Mayes, Andrew. “Interview: Markus Zahnhausen.” Recorder Magazine 15, no. 1 (March 1995): 3–6. Covers: his introduction to the recorder; his study with Hermann Elsner at the Richard Strauss Konservatorium; why he prefers to write for solo recorder; his admiration of the music of Telemann and Rodion Shchedrin; the problem with overusing extended techniques; his Lux Aeterna: his premiere of Shchedrin’s Echoes on a Cantus Firmus by Orlando di Lasso; compositions he admires by his contemporaries; authenticity; his interest in English music; recent commissions; what is needed to boost the recorder’s image; and his plans. 1658. Saperas, Josep Maria. “Markus Zahnhausen: ‘…soy un apasionado luchador por nuestro instrumento’” [Markus Zahnhausen: “I am a passionate fighter for our instrument”]. Revista de flauta de pico, no. 10 (January 1998): 3–9. Zahnhausen is an articulate German recorder player and composer, campaigning to create approachable modern music for the instrument and take us out of the “recorder ghetto.” This interview establishes his basic philosophy—“a passionate struggle for our instrument” and describes the four series he is editing for Möseler. Contempora consists of original works by modern composers. Antiqua contains scholarly editions and “artistically responsible” arrangements of early music. Facile meets the needs of the recorder in music education. And Jazz plus features compositions by jazz musicians together with jazz-related recorder studies and arrangements of folk materials. The interview is followed by reviews of seven of Zahnhausen’s own compositions. 1659. Schmaus, Brigitte. “Markus Zahnhausen, Blockflötist und Komponist, im Gespräch mit Brigitte Schmaus” [Markus Zahnhausen, recorder player and composer, in conversation with Brigitte Schmaus]. Tibia 23, no. 3 (1998): 177–89. A long interview, covering: the role of the recorder today; the “bad” image of the recorder, even among professionals; the way out of this crisis (learning to play with real

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dynamic contrast, learning from other instruments, absolute professionalism, better communication with the public and colleagues, working closely with composers, convincing composers to incorporate the recorder into new orchestral music); the tendency for performers to play only a fraction of the worthwhile twentieth-century repertory, especially that sanctioned by Frans Brüggen or Walter van Hauwe; the desirability of programming modern repertory that is attractive to audiences and learning how to present good programs; the need for recorder players to become well-rounded musicians; why he composes generally conservative modern music (avant-garde techniques only for musical reasons!) and his feelings about the “intellectual and emotional vacuum” of avant-garde recorder music; his compositional style; the series of which he is general editor (Neue Blockflötenbibliothek from Möseler), including the incorporation into the music of folk, jazz, and pop elements; the necessity (or lack of it) for a modernized recorder with a three-octave range; and the role of ERTA. Ends with a list of his recorder compositions. Letters from Gudrun Köhler and Petra Jaumann-Bader in 23, no. 4 (1998): 341–42 and Joachim Rohmer in 24, no. 1 (1998): 426.

25 Bibliographies and Discographies of Recorder Music This chapter discusses bibliographies of recorder music, both general and about individual genres. Listings of the recorder music of a few countries are also included, and there are some discographies. Sources about recorder music for schools are excluded. * Alker, Hugo. Blockflöten-Bibliographie. Cited above as items 1–3. Alker’s bibliographies of recorder music are arranged by medium. Coverage is provincial, with an emphasis on German imprints. Original works for recorder are listed alongside teaching pieces, arrangements, and music for various other instruments that is playable on the recorder (particularly the tenor, the compiler’s hobbyhorse). Errors, both typographical and bibliographical, are plentiful. By listing editions in the order of the titles found on them, Alker does the reader the disservice of separating related editions. (The “uniform titles” used in library cataloging are designed to overcome this problem.) From the uniformly hostile reviews, Edgar Hunt’s reaction is worth repeating: “We long for a bibliography compiled by someone who knows the music from the inside, who can separate the real music from the arrangements and the ‘school’ music, and can somehow contrive to guide the inquirer. A card-index mind or a computer are not good enough; one would be better off with a handful of publishers’ catalogues” (Recorder & Music 5, no. 6 [June 1976]: 199–200). In defending himself, Alker stated his belief that “in spite of many deficiencies, errors, and omissions,” the publishers and many readers had found the volumes worthwhile (Recorder and Music Magazine 8, no. 11 [September 1986]: 335). Caveat emptor. 1660. Austin, Louise. Playing Music for the Dance. (American Recorder Society Chapter Information Packet, no. 5.) Littleton, Colo.: ARS Education Committee, 1991. [15] leaves. OCLC #34407275. Includes a bibliography of arrangements for recorder consort of music from the Renaissance (sixty-seven citations), Baroque (fifteen), and the eighteenth to twentieth centuries (twenty). 1661. Höffer-von Winterfeld, Linde, and Harald Kunz. Handbuch der BlockflötenLiteratur [Handbook of recorder literature]. Berlin: Bote & Bock, 1959. 139 p. OCLC #360681. ML 128 .R31 W6. Bibliography primarily of music for the recorder, arranged systematically according to instrumental combinations and indexed by author and title. Includes publishers’ numbers as well as prices in 1959 Deutsche Marks. One page of literature on the recorder. Brief section on methods. Walter Bergmann, in Galpin Society Journal 13 (1960): 107–8, strongly criticizes the compilers for omitting all American, Belgian, Dutch, French, and Hungarian publications; omitting important English publications and writings on the recorder; confusing arrangements and original works; confusing types of works; and giving erroneous information. Reviewed by Bernard Krainis (“inaccurate as well as

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incomplete”) in American Recorder 1, no. 4 (fall 1960): 7. 1662. Hosoda, Tsutomu. A Descriptive Catalogue of Recorder Music. Tokyo: Academia Music, 1987. xxix, 263 p. ISBN 4870170361. A bibliography of 2,623 editions of recorder music collected by the Kunitachi College of Music Library prior to January 1984. The catalog is divided into four parts: works by individual composers (pp. 1–186), anonymous works (pp. 187–204), anthologies (pp. 205–28), and studies and methods (pp. 229–42). Concludes with an index arranged by instrumentation. 1663. Lehmann, Jennifer W. Music for Mixed Ensembles. (American Recorder Society Chapter Information Packet, no. 3.) Littleton, Colo.: ARS Education Committee, 1990. [14] leaves. OCLC #34372191. A brief bibliography of published editions of music that can be performed by mixed ensembles of recorders and other instruments. Divided into the following sections, each containing between seven and fifteen citations: Medieval & Early Renaissance Vocal Music, Tenor Lieder & Cantus Firmus Pieces, Renaissance & Baroque Dances, Polychoral Pieces, 20th-century Music, Collections & Miscellaneous, and Historical Anthologies & Reference Books. 1664. Letteron, Claude. Catalogue général: Musique pour flûte à bec 1989= General Katalog: Musik für Blockflöte=General Catalogue: Music for Recorder=Catálogo general: Música para flauta dulce. Paris: Éditions Aug. Zurfluh, 1989. A-H, xxiv, 417 p. ISBN 287750056X. ML 929 .C37. The most comprehensive attempt yet made to compile a catalog of the recorder music (original compositions, arrangements, and editions) published in the twentieth century. The preface, table of contents, headings, and list of abbreviations are in French, German, English, and Spanish. The entries are in the language of publication. Divided into three sections called “volumes”: (1) by instrumentation, (2) by historical period, and (3) by subject (easy pieces, Christmas music, film music, jazz and pop, and folk music). Index of composers and list of publishers (with abbreviations). Seems to have been compiled from publishers’ catalogs, with all of their attendant inaccuracies, ambiguities, and lack of source information. A helpful first step in finding recorder music, but its information should always be verified. Reviewed in Recorder and Music Magazine 9, no. 11 (September 1989): 319–20. 1665. Loonan, Martin A. Guidebook to Published Recorder Music: 13th to 17th Centuries. N.p.: Author, 1962. 18 p. OCLC #21714147. Not available for examination. Reviewed by Erich Katz in American Recorder 4, no. 2 (May 1963): 19–21. 1666. Loonan, Martin A. Guidebook to Published Recorder Music of the Late Baroque. N.p.: Author, 1962. 21 p. OCLC #17847441. ML 128 .R31 L66. The brief bibliography of music (pp. 4–12) is derived from “publisher’s catalogues, music store browsing, concert going and private collections….” Begins with a description (pp. 2–3) of the genres (sonata, suite, divisions, cantatas, chorale preludes and fugues, and other chamber works) used to categorize the music in the bibliography and concludes with short biographies of thirty prominent composers and a two-page “general list of late Baroque composers” (pp. 14–19). 1667. Newman, Joel. “Apt for Recorders.” (Flauto Piccolo’s Corner.) American Recorder

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4, no. 3 (August 1963): 19. A checklist of Renaissance and early-Baroque dance repertory that is suitable for recorders. 1668. Newman, Joel. “A Walsh Catalog of Recorder Music.” (Eighteenth-Century Promenades, 3.) American Recorder 4, no. 3 (August 1963): 6–9; 4, no. 4 (November 1963): 3–4. Reproduces the catalog of recorder music found in William C. Smith’s bibliography of Walsh’s publications (London: Bibliographical Society, 1948, plate 28). Analyzes the contents of the catalog and describes how the selections reflect the musical tastes and practices of the time. Offers separate comments on the publications in each category (music for unaccompanied recorder, for two recorders, for two recorders and basso continuo, and for one recorder and basso continuo). 1669. Newman, Morris. “Contemporary Music for Recorders.” American Recorder 3, no. 3 (August 1962): 9–10. A bibliography of five duets, fifteen trios, seven quartets, and two works for larger ensembles. * O’Kelly, Eve Elizabeth. The Recorder in Twentieth-Century Music. Cited above as item 1209. * O’Kelly, Eve Elizabeth. The Recorder Today. Cited above as item 1210. 1670. Rasmussen, Mary, and Donald Mattran. A Teacher’s Guide to the Literature of Woodwind Instruments. Durham, N.H.: Brass and Woodwind Quarterly, 1966. viii, 226 p. OCLC #318430. ML 128 .W5 R4. Aimed at high school and college teachers (and their students). Principally covers the flute, oboe, clarinet, bassoon, and saxophone. The recorder is the object of scathing humor (sample: “About the only really honest reasons we can think of for taking up the recorder are poverty and lack of time” [p. 181]). At least it shows the attitude of woodwind players to the instrument in the mid-1960s (before the Brüggen revolution). Chapters on “Recorder Solos” (pp. 99–107), “Recorder Ensembles” (pp. 147–55), and “Recorder Methods and Studies” (pp. 181–83); also “Discography: Recorder” (pp. 219– 20; five items!). Each chapter consists of discussions of the value and style of the repertory it covers, followed by a bibliography of the works (with editions and symbols for grade level). Very opinionated, but fun—if you are not a recorder enthusiast. 1671. Stichting Blokfluit. Available on the World Wide Web at http://www.blokfluit.nl. Accessed May 2002. Includes an ongoing comprehensive “Catalogue of Contemporary Blockflute Music,” established in June 1998 by Walter van Hauwe and friends. The catalog is available by paid subscription (guests cannot see all forty fields in the entries). As of May 2002, it included about 3,650 titles and brief data for 1,600 composers. Can be searched by person, title, or keyword.

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UNACCOMPANIED RECORDER 1672. Brock, John Earl. “A Checklist of Music for Unaccompanied Recorder.” American Recorder 23, no. 3 (August 1982): 103–6. A listing of Brock’s collection. Each entry includes the following: composer, title, publisher and publisher’s number, date of publication, difficulty (on a scale of 1 to 7), information on avant-garde techniques, number and size of pages, a subjective evaluation (“+” for good or “o” for bad), and citations to periodical reviews. Excludes “purely mechanical exercises and…music with electronic accompaniment.” 1673. [Newman, Joel]. “The Lonesome Recorder.” (Flauto Piccolo’s Corner.) American Recorder 1, no. 4 (fall 1960): 8. A brief bibliography of published collections of music for solo recorder. 74. Tarasov, Nikolaj. “Tip: ‘Originalmusik des 20. Jahrhunderts für Blockflöte solo’” [Tip: “Original Twentieth-Century Music for Solo Recorder”]. Windkanal 3/1997:18. A short article on a thematic catalog by Holger Schultka available so far only at the library of the Hochschule für Musik und Theater, Leipzig, and the Hochschule für Informationswesen, Stuttgart. The catalog covers seventy-two pieces. ENSEMBLES 1675. Lasocki, David. “A Preliminary Bibliography of Ensemble Pieces for Recorder, 16th-18th Century.” Recorder Education Journal 2 (1995): 79–85. Up to now, the recorder has never had a satisfactory bibliography of its music. As a first step toward one, Lasocki has compiled a bibliography of early recorder ensemble music, defined as for three or more instruments, with or without basso continuo, without strings, orchestra, or voice.

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RECORDER WITH GUITAR 1676. Clark, Paul. “Music for Recorders and Guitar: A Selection.” Recorder & Music 7, no. 7 (September 1982): 179–81. An essay review of a handful of publications—for the most part collections of arrangements. 1677. Letteron, Claude. “Répertoire partitions: Flûte à bec et guitare” [Printed repertory: recorder and guitar]. Flûte à bec, no. 2 (February 1982): 25–32. A listing of printed music for recorder and guitar, classified into anthologies, periods, and folk. RECORDER WITH LUTE 1678. Henriksen, Olav Chris. “Two Centuries of Recorder and Lute.” American Recorder 35, no. 1 (January 1994): 13–16. Lists the few surviving pieces for which the instrumentation specifies both recorder(s) and lute(s), beginning with an arrangement of Jacobus Barbireau’s “Een vrolic wesen” (found in Livre plaisant et tres utile [Antwerp, 1529]), skipping to Monteverdi’s L’Orfeo (1607), Pietro Paolo Melli’s Balletto detto L’Ardito Gracioso (1616), Francesco Usper’s Sinfonia prima à 8 (1619), Massimiliano Neri’s Sonata 10 à 8 (1651), and Ernst Gottlieb Baron’s manuscript duet (1720s), and making another skip to Johann Nepomuk David’s Variationen über ein eigenes Thema (1943). Drawing on Henriksen’s observation that lutes and recorders have been used “as equal duet partners, as soloists in large ensembles, and finally with the lute as supporting basso continue instrument,” suggests other pieces that would work for recorder and lute. Letter from Henriksen in 36, no. 2 (March 1995): 30, reports additional repertory suggested by readers of the article.

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RECORDER WITH PIANO 1679. Skins, H.R. “Recorder and Piano: A First Choice of Music.” (Where Do I Start?, 2.) Recorder and Music Magazine 1, no. 5 (May 1964): 142–43. Recommends repertory for soprano and piano, alto and piano, and two altos and piano—mostly arrangements and anthologies, many now out of print. RECORDER WITH STRINGS 1680. Dinn, Freda. “Exploring the Repertoire I: Recorders and Strings.” Recorder and Music Magazine 4, no. 4 (December 1972): 127–28. Annotated bibliography of music—nearly all published by Schott—for young beginners. The series continues with item 1730. SOLO SONATAS 1681. Loonan, Martin A. “A Listing of Late Baroque Solo Sonatas for Alto Recorder.” American Recorder 12, no. 3 (August 1971): 86–90. Includes 195 works. Table lists key, numbering, and information on modern editions. 1682. McGowan, Richard A. Italian Baroque Solo Sonatas for the Recorder and the Flute. (Detroit Studies in Music Bibliography, 37.) Detroit: Information Coordinators, 1978. 70 p. ISBN 0911772901. ML 128 .F7 M2. Based on item 1767, conflating its chapter 3 with appendix 1, leaving appendixes 2 (lost flute sonatas) and 3 (modern editions) alone—an unhelpful organization that results in the separation of sources and editions based on them. As in his dissertation, McGowan limits himself to sonatas which, according to their titles, are primarily intended for the recorder or flute, excluding works designated principally for the violin and optionally other treble instruments. Nevertheless, this is still a useful list. (A few quibbles: Grano was not Italian but an Englishman of French descent, and beware typos, the most glorious of which is “duplicity” for “duplication.”)

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RECORDER CONCERTOS 1683. Gronefeld, Ingo. Flötenkonzerte bis 1850: Ein thematisches Verzeichnis [Flute concertos to 1850: a thematic catalog]. 4 vols. Tutzing: Hans Schneider, 1992–95. ISBN 3795207118 (v. 1), 3795207533 (v. 2), 379520786X (v. 3), 3795208416 (v. 4). ML 128 .F7 G7. A comprehensive thematic catalog of concertos for “flute” (including recorder) up to 1850. As well as the expected solo concertos, it includes double concertos, group concertos, symphonies concertantes, overture-suites, early forms of concerto, variations, and single movements for both flute and recorder, although only a few chamber concertos. As well as well-known concertos, the catalog draws our attention to a number of “lost” works listed in eighteenth-century catalogs but apparently not extant and some works not yet published in modern editions. Mentions some (but by no means all) modern editions. Volume 4, labeled “Supplement,” consists of extra entries as well as indexes by incipit (based on scale degrees), KatGro number (by which each concerto is uniquely identified), and instrumentation. Unfortunately, Gronefeld, like other modern writers, has been fooled into believing that Giovanni Paolo Simonetti was a Baroque composer, whereas he is the invention of the contemporary composer Winfried Michel. Reviewed by Nikolaus Delius in Tibia 20, no. 1 (1995): 388–89.

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GEOGRAPHICAL FOCUS Australia 1684. Lander, Nicholas S., comp. “Australian Compositions for Recorder.” Available from the Recorder Home Page (item at 68) http://members.iinet.net.au/~nickl/ozcomps.html. Accessed May 2002. An ongoing comprehensive catalog, which draws from and supersedes the printed catalogs (including items 1685–86). See also Lander’s similar but necessarily briefer “New Zealand Music for Recorders,” http://members.iinet.net.au/~nickl/nzcomps.html. 1685. Tattersall, Malcolm. “Australian Music for Recorder.” Recorder: Journal of the Victorian Recorder Guild , no. 1 (1984): 19–22. A bibliography of seventy-five works, arranged by composer. Partly annotated (duration, style, difficulty, recommendation). Excludes arrangements and those pieces written for any instrument or any woodwind instrument that can be played on the recorder. 1686. Tattersall, Malcolm. “Wider Horizons: More Australian Recorder Music.” Recorder: Journal of the Victorian Recorder Guild, no. 6 (June 1987): 5–8. A supplement to item 1685. Discusses general trends in the writing, performing, and distributing of Australian recorder music in the 1980s. The “Not-so-small addendum” adds forty-eight works to the previous list. Latin America 1687. Ariel Juan, Gonzalo. “Catálogo de obras para flauta dulce de compositores argentinos” [Catalogue of recorder works by Argentine composers]. Revista de flauta de pico, no. 11 (May 1998): 15–19. A catalog of twentieth-century Argentinian works, organized by composer. It lists editions and recordings where known, but unfortunately not the whereabouts of the many unpublished works. (The author complains that not all of the composers were helpful in supplying information.) Preceded by a short history of the recorder in Argentina (“La flauta dulce en Argentina,” pp. 11–14). 1688. Dirié, Gerardo. “A Preliminary Listing of Latin American Recorder Music.” Recorder Education Journal 3 (1996): 45–48. Based on the holdings of the Latin American Music Center at Indiana University. Lists scores available from the LAMC as well as other scores listed in composers’ catalogs and other reference sources. United States 1689. Primus, Constance. American Recorder Music. (American Recorder Society Chapter Information Packet, no. 2.) Littleton, Colo.: ARS Education Committee, 1990. [23] leaves. OCLC #34372148. An annotated, graded bibliography divided into four broad sections: Early American Music, Traditional and Popular American Music, Recorder Music by American

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Composers, and Music for the American Recorder Society. The first two sections consist primarily of arrangements—either music arranged specifically for recorders, or vocal and instrumental music that can be adapted to recorders (forty-seven citations). The second section also includes fifteen citations of original works in a popular or folk style. The list of music by American composers is limited to works by “American composers wellknown outside of the recorder world” and comprises only eleven citations. The largest section by far is the last, which contains thirty-three citations of works either published by the ARS or composed “for ARS Events, Commissions, Competitions.” DISCOGRAPHIES 1690. Lander, Nicholas S., and Christopher Short, comps. “Recorded Recorders.” Available from the Recorder Home Page (item 68) on the World Wide Web at http://members.iinet.net.au/~nickl/cds. Accessed May 2002. An ongoing comprehensive discography of CDs devoted to the recorder. As of May 2002, it included the bibliographic details of about 960 CDs. Can be searched by keyword. 1691. Paterson, Scott, and David Lasocki with Dawn Culbertson. A Discography of the Recorder. Vol. 1: Recordings Available in North America, 1989. Vol. 2 (by Scott Paterson): New Recordings Available in North America, 1990–1994. Littleton, Colo.: American Recorder Society, 1992–95. OCLC #36139017. From the preface to vol. 1: “The American Recorder Society Discography Project was initiated to observe the Society’s fiftieth anniversary in 1989. The long-term goal of the project is to catalog and index all recordings involving the recorder, whether available or out of print, from all countries. The present volume is a first step toward that goal. It deals with those [269] recordings that were available in North America in 1989…thereby providing an overview of the recorder on disc and tape at that point in the instrument’s history.” The main listing is alphabetical by recording company, then by catalog number within each company’s listings. Indexes are provided of titles (of the recording), composers and works, recorder players, recorder makers (of instruments used on the recordings), performers other than recorder players, and annotators (writers of liner or program notes). In volume 2, Paterson lists and indexes a further 360 recordings according to the same format as volume 1. Appendix 1 provides more information about five recordings from volume 1. Appendix 2 presents brief information on 233 “unexamined recordings that may contain [the] recorder.” 1692. Seviour, Madeline. A Discography of Recorder Music. Ipswich: Society of Recorder Players, 1993. Not seen. 93. Toffano, Giovanni. “Il flauto dolce in compact disc: Discografia.” [The recorder on CD: discography]. In item 42, pp. 110–14. Restricted to eighty-six examples of recently released (or reissued) recordings of Baroque music in which the recorder plays a solo or concertante role.

26 Repertory: General This chapter deals with writings about general recorder repertory or that of more than one period. It includes discussion of edition practice as well as transcriptions and arrangements. Sources about the music of individual periods are found in chapters 27 (medieval and Renaissance), 28 (Baroque, Classical, and Romantic), and 29 (modern). Questions of performance practice are treated in chapters 18–20. 1694. Cook, S.Ronald, Jr. “The Copyright Law & the Recorder Player.” American Recorder 26, no. 1 (February 1985): 22–23. Answers frequently asked questions, covering the following topics, among others: how to determine whether a piece of music is protected under copyright, making a copy of all or part of a publication, making multiple copies, receiving exemption from royalty payments. See also Gerald Burakoff’s letter in 26, no. 2 (May 1985): 76. 1695. Ganty, Henri. “Le récital de flûte à bec sans basse” [The unaccompanied recorder recital]. Flûte à bec & instruments anciens, no. 8 (September 1983): 14–15. An essay on the problems of playing such a recital, including choice of repertory and instruments, and knowing your audience and venue. 1696. Hunt, Edgar. “Playing from a Facsimile.” Recorder & Music 7, no. 1 (March 1981): 6–7. A survey of selected early editions and treatises available in facsimile. 97. Hunt, Edgar. “The Right Instrument.” Recorder and Music Magazine 9, no. 6 (June 1988): 150–51. Concerns music intended to be playable on a variety of instruments, including the following repertory: sixteenth-century dance and chanson collections, seventeenthcentury French instrumental duets, and flute music and bassoon music that can be played on an alto recorder by substituting the French violin clef. Hunt also explains that composers usually have a particular instrumentation in mind when composing, so alternative instrumentations often prove impractical. 1698. Hunt, Edgar. “Some Recorder Trios.” Recorder & Music 5, no. 5 (March 1976): 154–56. Brief descriptions of the following works, with a generous excerpt from the beginning of each (in most cases the entire first page): Johann Christoph Faber, Parties sur les fleut dous; R.Müller-Hartmann, Suite; Michael Meech, Puppet Show; Timothy Moore, Suite in G; Alexandre Tansman, Suite; Paul Hindemith, recorder trio from Plöner Musiktag. 1699. Schneider, Michael. “Am Beispiel van Eyck: Probleme mit dem Blockflötenrepertoire” [The example of van Eyck: problems with the recorder repertory]. In Internationales Blockflöten-Symposion, Vorträge und Dokumentation, Staatliche Hochschule für Musik Karlsruhe Schloß Gottesaue, 30. August bis 6. September 1992, 49–55. Takes van Eyck’s Der fluyten lust-hof, the Well-Tempered Clavier of the recorder, as

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the epitome of the recorder’s impoverished original repertory. Suggests that van Eyck was not even much of a composer, as he was able only to write variations on the (sometimes garbled) popular tunes of his day. Because nowadays recorder players— professionals and even students—“have become too good for their own repertory,” they must depend heavily on arrangements for recitals. The career of a Frans Brüggen is now unrepeatable. If they do not want to hawk the same Vivaldi flautino concerto around various orchestras fifty times a year, recorder players must find their own way through “recorder and X” (where X=entertainment music, electronics, improvisation, rhetoric, philosophy, jazz, pantomime, etc.), so that the instrument becomes a catalyst for innovation. Of course, Sour Cream already did this in the 1970s. In any case, the recorder will still remain on the periphery. 1700. Simpson, Adrienne. “The Orchestral Recorder.” In item 33, pp. 91–106. Has to admit that the instrument “did not merit a place in the orchestra on its own account, but was a useful extra which some players were able to offer.” Most of the major composers of the late Baroque—Lully, Charpentier, Blow, Purcell, Telemann, Bach, Vivaldi, and Handel—all used the recorder to good effect, if in relatively isolated instances. The only modern examples cited are by Benjamin Britten (A Midsummer Night’s Dream and Noye’s Fludde). 1701. Taylor, Laurence. “Recorder Literature.” (Flute Facts.) Instrumentalist 12, no. 1 (September 1957): 102–3, 110; 12, no. 2 (October 1957): 86–87, 90. Of historical interest only. Explains to flute players that recorder music is also playable on the modern flute. Written at a time when most flutists assumed that Handel wrote seven sonatas for flute, and Telemann’s Suite for Recorder and Strings in A Minor could not “be purchased in a modern edition except for flute solo.” Taylor informs his readers that much of what is considered to be standard Baroque flute literature is actually recorder music, and he encourages them to continue to explore the recorder repertory for suitable flute music. 1702. Thorn, Chris. “What is Right for the Recorder.” Recorder and Music Magazine 8, no. 1 (March 1984): 25–26. A response to an article by Gregory Lewin in 7, no. 12 (December 1983). Concerns the question of identifying an “authentic” repertory for the instrument. Letter from Lewin in 8, no. 2 (June 1984): 61. 1703. Tol, Han. “Letter from Holland.” Recorder: Journal of the Victorian Recorder Guild , no. 6 (June 1987): 29–31. Includes instructions for recorder players on how to locate early printed music for the instrument in Repertoire international des sources musicales [RISM] (unfortunately Tol confuses prints with manuscripts throughout) and order it from libraries that hold it.

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CHRISTMAS REPERTORY 1704. Hopkins, Bernard J. “Celebrating Christmas with Recorders.” American Recorder 15, no. 3 (August 1974): 77–80. Suggests possibilities for both liturgical and nonliturgical use. Recommended music includes a few original compositions for recorders, but most are adaptations of choral music and published arrangements for recorders. EDITIONS 1705. Bartlett, Clifford. “Facsimiles and Editing.” In item 33, pp. 196–209. An essay on the pitfalls of early notation, the use of facsimiles, how to choose when faced with more than one “apparently good” edition, and the value of being informed about original texts: “nothing brings us so close to early composers as reading the music in the way they wrote and read it.” 1706. Hettrick, William E. “What to Look for in Editions of Early Music.” American Recorder 18, no. 4 (February 1978): 98–100. A general guide to what a performer may expect to find in a good performing edition, with a few caveats. Describes incipits and what they can tell the performer about the original staff, clef, key signature, time signature, pitch, and time values. Warns against editorial abuse of barlines and time signatures. States that editorial markings must be clearly marked, particularly the addition of accidentals. Suggests that the editor’s choice of clefs—often not a concern for other performers—can be an important factor when considering an edition for a recorder consort. 1707. Lasocki, David. “What Kind of Editions of 18th-Century Woodwind Music Do We Want?” Recorder & Music 5, no. 7 (September 1976): 223–24. Reprinted from Woodwind World—Brass & Percussion 15, no. 1 (winter 1976): 10–11, 49. Compares the categories of editions that support “authentic” style and “Romantic” style and the types of players who use them. “Authentic” editions are based on an urtext, and additions are either clearly marked in the text or noted in an appendix. “Romantic” editions set forth the editor’s own conception of performance without distinguishing this conception from the composer’s text. Since American publishers during the mid-1970s were continuing to cater to the market for “Romantic” editions, and European “authentic” editions were expensive and difficult to obtain, American players interested in “authentic” style found themselves in the midst of an “edition crisis.” Lasocki sees two solutions: American publishers could publish historically informed “Romantic” editions, or editions could be published with edited parts and an unedited score (or vice versa). “Ultimately, education is the answer.” 1708. Michel, Winfried. “Editionskunde—ein Stückchen Verbraucheraufklärung: Zur Bearbeitungspraxis von Instrumentalmusik des 18. Jahrhunderts” [The theory of making editions—a little consumer explanation: on the practice of arranging eighteenth-century instrumental music]. Tibia 4, no. 2 (1979): 297–301. Many musicians do not know, or do not want to know, about the role of the editor—the

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“middleman” between composer and performer. Seeks to arouse caution about the work of editors and set forth criteria to be used when buying music (citation of sources, fidelity to the text, good setting of the figured bass, readable notation). Uses as examples some modern editions/arrangements for recorder of Corelli violin sonatas that smooth out his characteristic leaps. Editors need to be good musicians. All good advice. Unfortunately, Michel has blotted his copybook by passing off his own compositions in eighteenthcentury style as the work of “Simonetti” and Haydn, fooling many discerning musicians in the process. 1709. Murray, Dom Gregory. “Editions and Arrangements.” Recorder & Music Magazine 3, no. 4 (December 1969): 123–24. Distinguishes between editions (publications of music originally for recorders or for unspecified instruments) and arrangements (adaptations of music not originally for recorders). “PLAY-ALONG” PUBLICATIONS 1710. Groskreutz, Susan. “Play-Along Recorder: An Overview.” American Recorder 42, no. 4 (September 2001): 11–17, 38. A review of four series of publications that offer CDs and printed editions of recorder and Renaissance-band repertory minus one or more parts: DiscContinuo (published by KATastroPHE Records), Dowani 3 Tempi Play Along, Music Minus One, and MusicPartner (published by C.F. Peters). Groskreutz takes a close look at the series, taking note of how each measures up in such areas as: selection of repertory; whether the player is offered tuning notes, lead-in counting, and counting during rests; whether the accompaniment is presented in different tempos; whether the basso continue realization maintains a strict tempo or makes use of rubato; and whether the recording is suitable for public performance. Part 2 (42, no. 5 [November 2001]: 9–15, 35) reviews play-along recordings for students.

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TRANSCRIPTION AND ARRANGEMENT 1711. Bergmann, Walter. “An Editor Explains.” American Recorder 5, no. 4 (November 1964): 26–27. Defends the transcription of music usually considered inappropriate for the instrument (cites pieces by Schumann and Schubert as examples). Bergmann believes they are necessary to stimulate interest and intellectual growth in less experienced players. 1712. Clark, Paul. “Raiding the Larder.” Recorder and Music Magazine 1, no. 8 (February 1965): 237. Gillett, Eric. “We’ve Been Raiding the Larder, too.” Recorder and Music Magazine 1, no. 9 (May 1965): 274. Clark, Paul. “Second Foray.” Recorder and Music Magazine 1, no. 11 (November 1965): 327. Describes Clark’s success at adapting a number of early-twentieth-century compositions—mostly French flûte and oboe music—for performance on the recorder. Gillett describes his adaptation of several pieces by Mozart, Bach, and Beethoven for a group of recorder, strings, and piano. 1713. Dörfe-Kelletat, Renate. “‘Ich transkribiere gern.’ Der Beckmesser: Transkribieren gefährdet ihre Authentizität; 0.25% Verfremdung in Transkribat. Anmerkungen zur Erfahrung bei der Arbeit im Hamburger Blockflöten-Ensemble” [“I love to transcribe.” The carper: transcribing endangers your authenticity; 0.25% alienation in transcription. Remarks on the experience in the work of the Hamburg Recorder Ensemble]. In 5. Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1991, Kongressbericht, Vorträge und Dokumentation, 21–29. Despite the jokey titles and mood, a serious attempt to discuss the role of arrangements and transcriptions in the work of the Hamburg ensemble. Divided into: transcribers in mixed company (transcription based on historical principles and insight into the music); what we transcribe (vocal music, music for the piano, organ, harpsichord, viola da gamba consort); what we would rather not or do not transcribe (string quartets, idiomatic works, music that includes basso continuo, brass music); practical matters (choice of instruments, transposing); where we see the boundaries of transcribing (very famous pieces); transcribing and the consequences (transcribing only for the musical value of the pieces, the danger of addiction). 1714. Fischer, Johannes. “Bearbeitungen für Blockflöte: Ein Weg der Identitätsfindung?” [Arrangements for recorder: a path to finding an identity?]. In item 39, pp. 111–18. “By now, arrangements take a share of the repertoire of recorder players that cannot be assessed. Increasingly we have concerts in which not a single original recorder piece is to be found. In them the innumerable essays at arrangement are not restricted to the Baroque or pre-Baroque; no composer and no period are spared from the efforts of the arrangers. Gregorian chant, sonatas by Cima, Castello, or Fontana, and violin or cello partitas by Bach seem just as suitable as Chopin’s piano etudes, clarinet pieces by Stravinsky, symphonies by Bruckner, Beatles songs, or Andrew Lloyd Webber’s Cats. From whence comes this excessive fury of arrangement? Is this an expression of our age, or is it a

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specifically recorder phe-nomenon? What are the consequences?” So begins Fischer’s article, which sets out to answer these questions, coming to some conservative conclusions, notably that “The recorder needs its own literature and can also only maintain itself through that.” We recommend that he talk to some players of, say, the saxophone, trombone, and tuba about their repertory. Like the recorder, these instruments play both original works and arrangements, and not only for pedagogical purposes, without losing their identity. 1715. Gillett, Eric. “Making Arrangements.” Recorder & Music 5, no. 6 (June 1976): 197–98. Discusses three qualities that an arranger should consider when determining whether a particular piece of music is suitable for transcription: technical feasibility, interest to players, and musical taste. 1716. Kuijken, Barthold. “Lack of Seventeenth-Century Recorder Repertoire: Consequences for the Practical Musician.” In item 111, pp. 197–202. Begins with the premise that the aim of the early-music movement and historical performance practice is to “let the compositions of the past sound as they might have been intended to.” This requires knowledge of past performance beyond the score, then digesting it, “to get the feel of it inside us.” Shifts to the idea that modern recorder players, having tired of the eighteenth-century repertory, have turned to the cornetto and violin repertory of the seventeenth century, heedless that it was not intended for the recorder and really unsuited to it. Kuijken finds this practice irresponsible. To his mind, modern amateurs can play whatever repertory they like, including arrangements, but professionals should leave arrangements alone if they take away some of the important characteristics of the piece. Another solution for repertory-hungry professionals would be to focus on genuine recorder music, but keep the recorder as a secondary instrument (as it was historically for woodwind players). “In this way we might…learn enough about the music to realize which instruments can best do justice to it….” See also his article “‘Auf Originalinstrumenten’…‘historisch getreu’? Bemerkungen zur ‘modernem’ historischen Aufführungspraxis alter Musik.” Tibia 19, no. 4 (1994): 280–83. See also items 1717–18. 1717. Kuijken, Barthold, and David Lasocki. “An Exchange of Correspondence.” In item 111, pp. 211–15. In response to item 1718, Kuijken expresses the hope “that we can let compositions speak for themselves.” He finds the 1702 recorder arrangement of Corelli’s La folia “about as good as possible, but still arguably very much inferior to the violin version. You cannot simply transcribe this ‘catalogue’ of typical violin idioms in recorder language without losses…so I’d rather keep my hands off and not play it!” Finally, he believes that commercial considerations—the marketplace—should play no part in a professional’s responsibility to the music. Lasocki finds it reasonable for Kuijken to state his own preferences but not “to give the rest of us advice about what is or isn’t ‘good’ music making, what is or isn’t ‘professional,’ what music we should or should not play on our recorders.” Compositions cannot “speak for themselves” but must be interpreted, and they will inevitably always be interpreted according to some version of modern taste (of which historically informed performances are one example). As for the quality of arrangements, that partly depends on the skill of the performer (as in Frans Brüggen’s celebrated recordings of La folia). Professionals can, by “artistry, vitality, and

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conviction…try to shape the taste of our audience, in repertoire and playing style.” Kuijken, in conclusion, expresses the hope that the performer will let “the composition shine through him, rather than himself through the composition….” He calls this “a responsible, professional attitude”—an attitude of his own to which Lasocki had already taken exception. 1718. Lasocki, David. “The Recorder’s Role in Seventeenth-Century Music, Then and Now: A Reply to Barthold Kuijken.” In item 111, pp. 203–10. In reply to item 1716, Lasocki argues, first, that the recorder’s role in seventeenthcentury music was wider than Kuijken mentioned: professionals as well as amateurs played music “for all sorts of instruments,” followed the violin in participating in sonatas and concertos, and made a variety of arrangements for their own use in performance. Composers also borrowed vocal, violin, and trumpet idioms for recorder music. Second, following Richard Taruskin, “the test of a performance of early music should never be… how historically accurate it may be, but how effective it is.” This applies to both original compositions and arrangements. In any case, “critics hold recorder players to high standards, and the marketplace will eventually decide whether we continue listening to music by Castello, Cima, and similar composers played on our instrument.” 1719. Mann, Alfred, Bernard Krainis, and Erich Katz. “Controversy: III. The Question of Arrangements.” American Recorder 5, no. 4 (November 1964): 14–19. Reprinted from the ARS Newsletter, nos. 23 and 25. A lengthy and lively exchange, initiated by Mann’s review, “Music for Amateurs,” Notes 12, no. 4 (September 1955): 652–55. Krainis dis-agrees with Mann’s belief that Renaissance viol music should be left only to viol players. Katz explains why he chose to produce practical rather than scholarly editions and how his work constitutes “arrangement,” since it involves much more than simple transcription. Mann explains his position in more detail in a letter that follows. 1720. Meijering, Cord. “Die Problematik des Bearbeitens aus kompositorischer Sicht” [The problematic nature of arranging from the composer’s viewpoint]. In 5. Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1997, Kongressbericht, Vorträge und Dokumentation, 36–51. A long lecture with many music examples. Begins with a meditation on a letter Beethoven wrote to his publisher about “the unnatural fury” to arrange piano works for stringed instruments—the two types of instruments being “so opposed in everything.” Asks why we are so “heedless, unbridled, and without scruples” about making arrangements today. Then considers at length some of the problems of arrangements, particularly differences among instruments in articulation, attack, tone color, sustaining power, dynamic range, tessitura, and polyphonic capabilities. Concludes that it would be better to commission “young, talented composers” to write new music. 1721. Mezger, Marianne. “Bearbeitungen für Flageolet und Blockflöte aus Werken H.Purcells und Zeitgenossen” [Arrangements for flageolet and recorder from the works of Henry Purcell and his contemporaries]. In 5. Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1997, Kongressbericht, Vorträge und Dokumentation, 52– 68. Begins by listing the arrangements of works by Purcell in English flageolet and recorder methods of the seventeenth and eighteenth centuries. Then demonstrates the

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presence of some songs by Purcell in the Charles Babell recorder manuscript (1698; Sibley Music Library). Looks at some recorder settings of the folia. Briefly examines the late-eighteenth-century organ clock arrangement of Handel’s F-major recorder sonata. Concludes with versions of “Engels Nachtigaeltje” (“Nightingale” in English sources) before and after van Eyck. * Murray, Dom Gregory. “Editions and Arrangements.” Cited above as item 1709. 1722. Prior, Susan. “In Search of Recorder Music: Transcriptions.” American Recorder 24, no. 4 (November 1983): 146–49. Suggests dozens of fifteenth- to eighteenth-century pieces and collections that are suitable sources for borrowing. Since all of the examples can be read at sight (assuming a certain prowess with clefs), these “transcriptions” are informal ones. Prior describes techniques that enable players to extend themselves beyond the recorder repertory. Recommends borrowing from the Baroque literature for flute, violin, and—in particular—the bassoon (“the compass, response to articulation, and comfortable keys are similar to those of the alto recorder”). Includes a bibliography of sources mentioned in the text. 1723. Seibert, Peter. “Arranging for Recorder Ensemble.” Recorder Education Journal 4 (1998): 22–28. A good introduction to the subject, treating such issues as four-foot versus eight-foot choir, the audience for the arrangement, sources of arrangeable music, setting a melody, arranging techniques, and presentation. 1724. Thalheimer, Peter. “Traversflöten-, Csakan- und Flageolettmusik als Quellen für das Blockflötenrepertoire (Kongress 1997)” [Flute, csakan, and flageolet music as sources for the recorder repertory (1997 Congress)]. In ERTA Kongressbericht 1998, 68–84. An expanded lecture from the previous year’s congress. A fine discussion, based on historical sources, of the problems involved in arranging recorder music from music written for other “flutes.” Begins by demonstrating that the well-known practice of transposing Baroque flute music up a minor third for the alto recorder applied exclusively to music without basso continuo and pedagogically oriented suites and sonatas (the opposite practice of transposing recorder music down a minor third for the flute is found in single examples by Bach, Handel, and Telemann). In any case, according to Baroque principles, the new key has a different Affekt from the original one—sometimes radically so. Transposing music with basso continuo up a minor third can sometimes make the bass part lie too high. Some Baroque sources in England (Dieupart; the anonymous arrangement of Corelli’s concerti grossi) preferred not to transpose but to choose a different size of recorder than the alto, and of course Stanesby advocated playing flute music at pitch on the tenor recorder. In general, recorder arrangements were made in the Baroque period for pedagogical, commercial, and musical reasons (to allow recorder players to experience famous composers such as Corelli). In making recorder arrangements of “flute” music today, we should bear in mind the differences in the strength of the registers of both instruments, where the “good” and “bad” cross-fingerings lie, and differences in the pitch standard. For the csakan and flageolet repertory, it would be better for recorder players to learn those instruments. For indiscriminate arrangers of today, ends with a warning quotation from Hanslick (1869): “In the first twenty years of

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our century, the number and enthusiasm of flute-playing amateurs was extremely large: no musical piece was safe from them.” 1725. Thieme, Ulrich. “Original und Bearbeitung” [Original and arrangement]. In 5. Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1997, Kongressbericht, Vorträge und Dokumentation, 82–85. The theme of “original and arrangement” is not only a contemporary one but was found in the Baroque era—for example in the creative “recyclings” of a Bach or a Handel. In a sense there is no “original” but only various approaches to the idea of an original. But the term “arrangement” is unproblematic: “the reshaping of a work in an attempt to give the original version a new particular purpose”—whether the arrangement is made by the composer, another composer, a performer, or a publisher. The motivations for making arrangements have been: fitting to performance conditions; modernization; paying homage; learning, teaching, or clarification; fitting to commercially favorable settings; and performers’ own requirements (for example, the inclination of recorder players to arrange medieval music, the enormous repertory of Renaissance vocal music, or the early-seventeenth-century violin music). Concludes with brief thoughts on the quality of arrangements. 1726. Whitney, Maurice C. “Adapting Choral Music for Recorders.” American Recorder 13, no. 1 (February 1972): 9. Describes several types of choral settings that fit well on recorders. Recommends a list of five titles as a suitable starting point. 1727. Wyatt, Theo. “Arranging—a Practical Survey.” Recorder and Music Magazine 4, no. 2 (June 1972): 55–58. Advice for the novice arranger. Recommends madrigals and Bach chorales as good beginning pieces and describes some basic techniques for arranging them (transposing, adjusting octaves, changing pitches when no other solution is available). Suggests general sources of music suitable for arrangement.

27 Repertory: Medieval and Renaissance This chapter covers those few sources that deal with the medieval and Renaissance repertory of the recorder. Questions of performance practice for that repertory are dealt with in chapter 18. 1728. Dikmans, Greg. “Florid Italian Instrumental Music circa 1600: An Introduction.” Recorder: Journal of the Victorian Recorder Guild, no. 4 (May 1986): 5–13. Analyzes the influence of diminution practice on the instrumental forms of the period, concentrating on the works of Girolamo dalla Casa, Giovanni Bassano, and Dario Castello (one of whose sonatas is reproduced in facsimile). 1729. Fox, Charles Warren. “An Early Duet for Recorder & Lute.” Guitar Review 9 (1949): 84–85. Concerns an arrangement of Jacobus Barbireau’s song “Een vrolic wesen” published in Livre plaisant et tres utile pour apprendre a faire & ordonner toutes tabulatures… (Antwerp, 1529). The last part of Livre plaisant is devoted to the recorder, and on the opposite page from a fingering chart for bass, tenor, and discant (g1) recorders is a part to “Een vrolic wesen,” which the author suspects is to be played with the two-part lute accompaniment found earlier in the volume. Fox surmises that this is the oldest known duet for two specified instruments. Includes a transcription of the duet. 1730. Hunt, Edgar. “Exploring the Repertoire 2: Renaissance Music.” Recorder and Music Magazine 4, no. 6 (June 1973): 194–95. Continues item 1680. Describes three collections of importance, “the staple diet for a renaissance group”: the Danserye (1551) of Tielman Susato, the Pariser Tanzbuch (1530) of Pierre Attaingnant, and Liber Fridolini Sichery (ca. 1500). The second half of the article surveys individual works and miscellaneous collections in modern editions. 1731. Margules, Anna. “Ars subtilior con flauta de pico?” [Ars Subtilior on the recorder?]. Revista de flauta de pico, no. 7 (January 1997): 25–26. A short but discursive essay on the Ars Subtilior, concluding that recorder players can “rescue the essence of this music, using our instrument and making good use of its fortunate limitations to suggest, by subtlety of articulation and distinct colors, the character and idiosyncrasy of each of the voices that constitute these marvelous pieces.” * Polk, Keith. German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice. Cited above as item 122. 1732. Rowland-Jones, Anthony. “The Recorder’s Medieval and Renaissance Repertoire: A Commentary.” In item 33, pp. 26–50. Begins by identifying four different categories of repertory: designated (the composer specifies the recorder), probable (the composer, or more likely the publisher, allows the music to be played on any instrument), extended (sounds good on the recorder), and arranged (when “the recorder version, designed primarily for the delectation of recorder players, is manifestly less effective than the composer’s conception of the original”).

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From the Middle Ages, the recorder has only extended and arranged repertory. From the Renaissance, there is a little designated repertory, some probable repertory (which may be deduced from iconographic and literary sources), and of course plenty of extended repertory (of which the author gives some useful suggestions). Supplemented by discussions of the music in two sixteenth-century paintings. 1733. Wright, Laurence. “The Music of the Renaissance.” Recorder and Music Magazine 1, no. 9 (May 1965): 264–66. “[P]resents a few historically-attested cases of music that was played on recorder.” Assembles, from a variety of secondary sources, citations documenting the use of the recorder in both sacred and secular music. Particular emphasis is placed on secular song collections of the sixteenth century. Since Wright wrote, music for the recorder consort at the English court in the sixteenth to seventeenth centuries has been discovered (see item 129). ATTAINGNANT, PIERRE (FL. 1528–1549) 1734. Tremmel, Erich. “Kriterien zur ‘Instrumentation’ im 16. Jahrhundert: Pierre Attaingnants Besetzungsvorschläge für seine ‘Vingt & sept chansons musicales a quatre parties a la fleuste dallement…et a la fleuste a neuf trous’ von 1533” [Criteria for instrumentation in the sixteenth century: Pierre Attaingnant’s proposals for assigning instruments in his Vingt & sept chansons musicales à quatre parties à la fleuste dallement…et à la fleuste à neuf trous of 1533]. Neues musikwissenschaftliches Jahrbuch 2 (1993): 7–38. Attaingnant’s collection of twenty-eight, not twenty-seven, four-part chansons indicated that nine of them were suitable for performance on flutes, two on recorders, and twelve on both. Tremmel examines in great detail what criteria Attaingnant he would have used in making these particular assignments, concluding that the main criterion was the clefs employed. The two “recorder” chansons both feature the low clef combination of C1/C3/C3/F4, as do seven of the “both” chansons, which could therefore be considered more suitable for recorders. The flute chansons, on the other hand, feature a variety of other clef combinations. The “flute” chansons are generally unsuitable for recorders because of the larger ranges of their parts. The article ends with a complete index to the chansons by number, instrumentation, and part-range.

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HOLBORNE, ANTONY (D. 1602) 1735. Mitchell, David. “Antony Holborne and His Five Part Dances.” Recorder & Music 4, no. 9 (March 1974): 313–15; 4, no. 10 (June 1974): 375–79; 5, no. 1 (March 1975): 28–32; 5, no. 2 (June 1975): 53–55; 5, no. 5 (March 1976): 162–64. Begins by offering what little biographical information is available on Holborne. Reprints the complete dedication of the Pavans, Galliards, Almains (1599) and lists surviving copies. Notes that forty-nine of the sixty-five pieces may be performed using SATTB recorders. For the remaining sixteen, the only problem is the range of the bass line. The majority of the article consists of a catalog of the sixty-five works, offering musical analyses, lists of modern editions (and corrections of errors found therein), suggested instrumentation, and caveats for performers. Figures 16–19, which were inadvertently omitted from part 3, appear in an editorial in 5, no. 2 (June 1975): 41. Corrections reported in 4, no. 11 (September 1974): 395 and 5, no. 2 (June 1975): 41. See also Joel Newman, “The Whole of Hol-borne,” American Recorder 5, no. 3 (August 1964): 4–5, which includes a list of the sixty-five pieces with information on modern editions (available in 1964). 1736. Paterson, Scott. “Performing Four Dances by Antony Holborne.” American Recorder 38, no. 3 (May 1997): 12–16. Opens with a brief biography of Holborne and an introduction to the Pavans, Galliards, Almains, and Other Short Aeirs. Then offers suggestions for the performance of four of the dances: “Pavana ploravit,” “Sic semper soleo,” “The Night Watch,” and “The Fairy Round.” Throughout, Paterson includes the observations of David Barton, Rachel Begley, and Frances Feldon, on instrumentation, tempo, and phrasing.

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MORLEY, THOMAS (1557–1603?) The following two items represent early views on the particular grouping of instruments known as the “mixed consort,” as Warwick Edwards has dubbed it. (It was known in the late sixteenth and early seventeenth centuries as “English consort” [Praetorius] or just plain “consort”; the term “broken consort” applied to this grouping is modern.) For more recent research, see item 126, chapter 11, and Peter Holman, Four and Twenty Fiddlers: The Violin at the English Court 1540–1690 (Oxford: Clarendon Press, 1993), 131–39. Both recorder and flute were used as the wind instrument in the consort, depending on the circumstances, along with various bowed and plucked string instruments. 1737. Dart, R.Thurston. “Morley’s Consort Lessons of 1599.” Proceedings of the Royal Musical Association 74 (1947–48): 1–9. Presents the following argument regarding the role of the recorder in the Consort Lessons: “The ‘flute’ part was intended for a bass recorder (once, for a tenor recorder). Some of the flute parts are found in the Cambridge MSS. headed for the recorder. I am aware that in the contemporary painting of the Masque at Sir Henry Union’s wedding, a sextet of musicians is playing on instruments exactly corresponding to those of the Consort Lessons, except that a transverse flute is shown. But (i) the transverse flute was much less a chamber music instrument than the recorder, (ii) several contemporary inventories list ‘a large recorder for the consort’ quite separately from the chest of ensemble recorders, (iii) the ranges of Morley’s and Rosseter’s parts do not suit any of the then standard sizes of flute. Moreover, the solo recorder parts of Morley’s contemporaries Schütz, Schein, Rossi and Riccio have the same C clefs as Morley’s and are undoubtedly for bass recorder.” 1738. Rowland-Jones, A. “Scottish Muses and the ‘Consort Lessons.’” Recorder and Music Magazine 2, no. 2 (July 1966): 34–36. Reprinted in American Recorder 7, no. 4 (fall 1966): 12–13. Although Dart claimed in 1947 that the flute part of the Consort Lessons was intended for the bass recorder (see item 1737), a decade later he changed his mind in favor of the tenor transverse flute in G, placing greater weight on the presence of a flute in the Unton painting, and noting that the lessons were intended for performance by the City Waits, a musical group that frequently played out of doors, thus making performance on recorder improbable. Rowland-Jones offers further support for performance on the transverse flute. A ceiling painting in a Scottish castle depicts the nine muses performing on a group of instruments paralleling Morley’s ensemble, and Euterpe is shown playing a lowpitched transverse flute. Rowland-Jones notes that “the Morley consort may deliberately have been or became associated with the instruments pertaining to the Muses.” Based on the evidence of the painting, “recorder players should withdraw any residual claims to be authentic participants in Morley’s consort.”

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PRAETORIUS, MICHAEL (1571–1621) 1739. Busch, Siegfried. “Original und Bearbeitung bei Praetorius: Hinweise zur Aufführungspraxis” [Original and arrangement in Praetorius: advice on performance practice]. In 5. Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1991, Kongressbericht, Vorträge und Dokumentation, 10–20. Michael Praetorius was one of the great musical figures of his day. Nowadays only a small portion of his compositional output and only part of his encyclopedic Syntagma Musicum are well known. Only one of the twenty volumes of music published during his lifetime contained secular music, that celebrating Terpsichore with French dances. He promised but never published further volumes devoted to German, Italian, and English dances, songs, canzonas, pavans, sinfonias, and so forth “also to be used…for recorders.” Busch gives as an example of his extant works the Liedmotet “Resonet in laudibus” from Eulogodia Sioniae (1611). He lists the possible performing forces that Praetorius mentioned or sanctioned (including recorder consort) and discusses the modern editions and the relevant performance practice. Then he does the same for the Bransle de la Royne, no. 17 from Terpsichore, which the composer arranged from a French dance melody. SUSATO, TIELMAN (FL. 1529–1561) 1740. Sandford, Gordon. “Tielman Susato’s Dances of 1551.” (Basic Repertoire for Recorders.) American Recorder 31, no. 3 (September 1990): 33. Describes and evaluates available editions of Danserye. 1741. Thorn, Chris. “Susato’s ‘Danserye.’” Recorder and Music Magazine 9, no. 1 (March 1987): 2–5. Describes the contents of the collection as published in F.J.Giesbert’s edition (Schott, 1936). Susato’s title page indicates that the dances are suitable for “all instruments,” and Thorn suggests some effective combinations. When played on recorders, the standard sixteenth-century quartet (g1, c1, c1, f) is preferred over the modern SATB quartet. Briefly describes the various dance types and their character. Discusses Giesbert’s edition and its errors, which are summarized and corrected in a two-page table with accompanying music examples.

28 Repertory: Baroque, Classical, and Romantic This chapter is concerned with sources on the Baroque, Classical, and Romantic repertory of the recorder. It begins with general sources, then deals with music for one particular combination of instruments (flute and recorder). Finally, it looks at the music of individual composers, including questions of performance practice related specifically to their music. An especially large section is devoted to the recorder music of J.S.Bach, including items on the identity of the mysterious fiauti d’echo he scored for in his Fourth Brandenburg Concerto. 1742. Hunt, Edgar. “Trio-Sonatas with Recorder.” Recorder & Music 5, no. 9 (March 1977): 293–95; 5, no. 10 (June 1977): 325–27; 5, no. 11 (September 1977): 360–61. A survey of the repertory and available modern editions. Part 1 covers compositions for recorder, oboe, and basso continue, including works by Telemann, John Loeillet, Finger, Vivaldi, Hotteterre, and others. Part 2 similarly treats works for recorder, violin, and basso continuo by Handel, Telemann, and others. The last installment covers works for recorder with various other instruments and basso continuo: viola da gamba (by Antonio Lotti and Telemann), horn (by Telemann), harpsichord (by Telemann), and transverse flute (by Quantz). 1743. Hunt, Edgar. “Trio Sonatas with Two Recorders.” Recorder & Music 6, no. 2 (June 1978): 35–38. A survey of the repertory for two recorders and basso continuo. 44. Hunt, Edgar. “Quartet Sonatas.” Recorder & Music 6, no. 9 (March 1980): 277. A brief discussion of the repertory for three melody instruments (including at least one recorder) and basso continuo. Includes works by Alessandro Scarlatti and Purcell for three altos and basso continuo; a suite for two altos, one tenor, and basso continuo by Christian Friedrich Witt; and a number of works for recorder, two other melody instruments, and basso continuo by Telemann and Johann Friedrich Fasch. A few twentieth-century works are also mentioned. 1745. Jolibert, Bernard. “Les sonates de chambre baroques” [Baroque chamber sonatas]. Flûte à bec et instruments anciens, no. 26 (November 1988): 20–22. History and background on the sonata, with some typical and unusual examples of form in recorder sonatas. 1746. Lasocki, David, and Anthony Rowland-Jones. “The Eighteenth-Century Recorder Concerto.” In item 33, pp. 107–18. Classifies the eighteenth-century recorder concerto into four types: for solo instrument and orchestra; for two or more dominating solo instruments; concerti grossi; and chamber concertos, written for a chamber ensemble without orchestra. Covers concertos by Albinoni, Babell, Bach, Baston, Dieupart, Graupner, Heinichen, Alessandro Marcello, Naudot, Alessandro Scarlatti, Schickhardt, Telemann, Vivaldi, and Woodcock. Concludes that the Baroque concerto is “a highly significant part of the repertoire,

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offering some of its greatest technical challenges and musical rewards.” 1747. Lewis, Edgar Jay, Jr. The Use of Wind Instruments in Seventeenth-Century Instrumental Music. Ph.D. diss., University of Wisconsin, 1964. vii, 526 leaves. OCLC #2133278. UMI order no. 64–03928. Divided by instrument: chapters on the cornetto, trombone, bassoon, and trumpet are followed by one on “The Flute and the Oboe” (pp. 427–92). As one might expect, however, the transverse flute plays a minuscule role in the chapter, which mostly concerns the recorder (although the author’s ignorance of the terminology of the day leads him to conclude that the music could have been performed on either instrument). Discusses and briefly analyzes recorder music by Johann Schmelzer (Sonata a 7 flaut, of which the first page—in tablature!—is reproduced), Nicolaus Adam Strungk, William Topham, William Williams, Godfrey Finger, Raphael Courteville, Daniel Purcell, James Paisible, J.V.Burckart, Alessandro Scarlatti, and Marc Antoine Charpentier, among others. Distinguished largely by the author’s resourcefulness in obtaining music, some of which has still not been published in modern editions. 1748. Rowland-Jones, Anthony. “The Baroque Chamber-Music Repertoire.” In item 33, pp. 75–90. Discusses a varied group of compositions, listing the best and giving brief characterizations. 1749. Rowland-Jones, Anthony. “The Baroque Recorder Sonata.” In item 33, pp. 51–73. Rightly identifies the Baroque recorder sonata as a predominantly north European phenomenon of the years 1690–1740, generally published for an amateur market, not technically demanding but presenting challenging interpretational difficulties. Names the most rewarding sonatas musically as some by Handel and Telemann, followed by Loeillet, pseudo-Vivaldi (Chédeville’s Il pastor fido, no. 6), Albinoni, Finger, Veracini, Benedetto Marcello, Barsanti, and Sammartini, then Daniel Purcell, Paisible, Bononcini, and possibly Pepusch, van Wassenaer, and Roman. It is good to see Finger given his due, and we would exclude only Pepusch, who was far better at writing in several parts. 1750. Ruhland, Konrad. “Blockflöte und geistliche Vokalmusik im 17. Jahrhundert” [The recorder and sacred vocal music in the seventeenth century]. Intrada 2, no. 3 (1996): 12–25. An enthusiastic description of original seventeenth-century sacred vocal music (and some instrumental music) involving the recorder: some well-known (Bertali, Biber, Poglietti, Riccio, Schmelzer), some not (Ahle, Aufschnaiter, more Biber, Esterhazy, Kaiser Ferdinand III, Gletle, Schein, more Schmelzer, Stadlmayr). 1751. Staeps, Hans Ulrich. Problems and Readings of Historical Models: Concerning the Recorder Literature of the Late Baroque. Vienna: Doblinger, 1966. 21 p. OCLC #3371829. ML 63 .S8. In German as: Probleme und Lesarten historischer Modelle zur Blockflötenliteratur des Spätbarock. Vienna: Doblinger, 1966. 22 p. OCLC #16530338. ML 937 .S73. “Lecture held in the U.S.A. on the occasion of the 1st International Recorder School, Skidmore College, Saratoga Springs, NY, Summer 1965.” Although the title might suggest the topic of historical performance practice, Staeps’s subject is a more controversial one: “vitalizing” models for performance—in other words, altering musical texts when one encounters perceived errors, be they great or small. He demonstrates this

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practice with music examples from Telemann, Handel, and Pepusch. Many of the changes constitute subjective aesthetic “improvements” in voice leading, functional harmony, rhythm, and the order of movements, not the correction of obvious errors. Ends with this credo: we should seek out “the correct, the best possible solution: not against the composer of the past, but for him; not against the older tradition, but with the accoutrements of a later tradition, and the guide of our scholarship.” Reviewed by Walter Bergmann in Recorder and Music Magazine 2, no. 4 (February 1967): 117. 1752. Thieme, Ulrich. “Die Blockflöte in Kantate, Oratorium und Oper” [The recorder in cantata, oratorio, and opera]. Tibia 11, no. 2 (1986): 81–88; 11, no. 3 (1986): 161–67; 12, no. 4 (1987): 558–66. Reminds us that the use of the recorder in Baroque vocal music is important but largely uncharted territory. Lists, and sometimes discusses, much of this repertory. Divided according to time and place: Italian and German vocal music, 1600–1665; France; German opera and cantatas after the Thirty Years’ War. The third part, despite its title “The 17th Century,” in fact covers only England during that century. The article is useful in showing the range of works involved. Unfortunately, Thieme’s account is weakened by his unfamiliarity with several important modern English writings on this subject (including items 129, 1757, and 1896). 1753. Thieme, Ulrich. Die Blockflöte in Kantate, Oratorium und Oper des 17. Jahrhunderts [The recorder in cantata, oratorio, and opera of the seventeenth century]. Celle: Moeck, 1989. Ed. Moeck Nr. 4050. 24 p. ISBN 3875490436. An offprint of item 1752. Short, favorable review by Hans-Martin Linde in Tibia 15, no. 2 (1990): 145.

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RECORDER WITH FLUTE 1754. Hunt, Edgar. “Recorder and Flute.” Recorder & Music Magazine 2, no. 8 (February 1968): 244–45. Surveys the repertory for flute and recorder in combination. Begins by describing the use of the instruments in the eighteenth century. Although a wealth of literature exists for paired recorders and paired flutes, only rarely were the instruments combined. Hunt cites the following works: Johann Joachim Quantz, Trio Sonata for Recorder, Flute, and Basso Continuo in C Major (QV 2:2); Johann Friedrich Fasch, Sonata for Flute, Two Recorders, and Basso Continue in G Major; Georg Philipp Telemann, Quartet for Recorder, Two Flutes, and Basso Continue in D Minor from Musique de table (TWV 43:d1); Jacques Loeillet, Sonata for Two Flutes, Two Voice Flutes, and Basso Continuo in B Minor; and Georg Philipp Telemann, Concerto for Recorder and Flute in E Minor. From the twentieth century, there is Hans-Martin Linde’s Trio for Recorder, Flute, and Harpsichord. 1755. Lasocki, David. “Flute and Recorder in Combination: Recent Additions to the Baroque Repertoire.” Recorder & Music 4, no. 11 (September 1974): 391–95. Sequel to item 1756. Since the publication of Linde’s article, additional works for flute and recorder had come to light and been published. Lasocki identifies the pieces, considers a number of problems associated with them, and discusses their treatment of recorder and flute. The works are: Johann Samuel Ender’s Pièces in G major for Two Recorders, Two Rules, Strings, and Basso Continuo; Johann Christoph Pepusch’s Six Concerts. Op. 8, for Two Recorders, Two Flutes (or Oboes or Violins), and Basso Continuo; and Pierre Prowo’s Sonata a 3 in C minor for Alto Recorder, Flute, and Basso Continuo. Also briefly mentions modern works for recorder, flute, and harpsichord: Hans-Martin Linde’s Trio, Piet Ketting’s Fantasia, and Jan van Dijk’s Musique à trois. 1756. Linde, Hans-Martin. “The Simultaneous Use of Recorder and Flute by Baroque Composers.” Recorder & Music Magazine 2, no. 9 (May 1968): 281–82. In German as: “Die Gegenüberstellung von Block- und Querflöte in einigen Werken des Spätbarock.” Musica 22, no. 5 (September/October 1968): 416–17. Describes the qualities of the eighteenth-century flute and recorder and how their differences are exploited (or ignored) in the five works listed in item 1754.

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GEOGRAPHICAL FOCUS England 1757. Bergmann, Walter. “Three Pieces of Music on Henry Purcell’s Death.” Consort, no. 17 (July 1960): 13–19. Discusses John Blow’s Ode on the Death of Mr. Henry Purcell, Henry Hall’s Peace of Musike upon the Death of Mr. H.Purcell, and Jeremiah Clarke’s On Henry Purcell’s Death, all three of which include parts for recorders. Concludes that these composers “rose to the highest degree of their respective creative power, an indication of the deep emotional impression which Purcell’s untimely death made on his contemporary fellow composers.” 1758. Duffin, Ross W. “‘Cornets & Sagbuts’: Some Thoughts on the Early SeventeenthCentury English Repertory for Brass.” In Perspectives in Brass Scholarship: Proceedings of the International Historic Brass Symposium, Amherst, 1995, ed. Stewart Carter, 47–70. (Bucina, no. 2.) Stuyvesant, N.Y.: Pendragon Press, 1997. ISBN 0945193971. ML 933.I48. The famous Fitzwilliam Wind Manuscript (Fitzwilliam Museum, Cambridge, England, MS. 24.E.13–17) contains five part-books of what were originally six, divided into three sections: (1) thirty-two madrigals, motets, and chansons by sixteenth-century Italian composers—presumably intended for instrumental performance—as well as a madrigal and a fantasia by Jeronimo Bassano (a further madrigal by Jeronimo is really found between the first and second sections); (2) twenty-two dances and two more wordless madrigals by members of the court wind consorts or composers of court masques in the early seventeenth century; and (3) “5 part things for the cornetts,” apparently added to the manuscript in the 1660s. The first section has not been studied until recently, researchers perhaps having been put off by Thurston Dart’s comment that the works in question were “gravely contrapuntal in style, austere in harmony…and lacking rhythmic vitality.” Duffin has now made an inventory, identifying the origins of all but one of the works in the first section. Some were popular enough to find their way into the printed collections of Nicholas Yonge, Thomas Watson, and Thomas Morley and into important manuscript collections of the time. Others have no known English concordances. Those that were originally published date from as early as 1546 to as late as 1592. As Duffin points out, we have two important lessons to learn from this section of the Fitzwilliam manuscript. First, that the bulk of the wind repertory—whether for recorders, flutes, or cornettos and sackbuts—may well have been such arrangements of vocal works. Second, that wind players not only transcribed vocal works but also transposed and arranged them to suit the ranges and tessituras of their six-part wind ensembles. 1759. Holman, Peter. “Recorder Music in England c1680–1730.” Early Music Performer, no. 4 (winter 1999–2000): 10–14. A fine evaluative bibliographic essay discussing original sources with modern editions and facsimiles. Divided into: early vocal music, later vocal music, theater music, unaccompanied music, duets, pieces for recorder and basso continuo, trio sonatas, chamber music for more than three parts, and concertos.

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1760. Lasocki, David. “The Detroit Recorder Manuscript (England, c. 1700).” American Recorder 23, no. 3 (August 1982): 95–102. The Detroit Public Library holds a manuscript of English provenance that contains “some of the repertory that Paisible and other professional recorder players presented in the public concerts and theatre entertainments in London in the 1690s.” Included are seventeen sonatas for alto recorder and basso continuo by Gottfried Finger, James Paisible, William Williams, and Edward Finch; two sets of divisions on a ground bass for recorder and basso continuo by Finger; and a recorder duet by Williams. All of the pieces have survived in other sources. Offers a complete listing of the contents (including concordances and modern editions), biographies of the four composers, and essays on the milieu and compositional style of the works. 1761. Lasocki, David. “The London Publisher John Walsh (1665 or 1666–1736) and the Recorder.” In item 39, pp. 343–74. It is well known that the London publisher John Walsh, who was active from the early 1690s to 1731, issued a great deal of recorder music. Lasocki catalogs this music and subjects it to close analysis. Walsh published no fewer than 130 editions of recorder music, far more than any other publisher before the twentieth century. In the heyday of the instrument, 1695–1720, recorder music made up one-sixth of his total output. Walsh published two types of recorder music: first, simple duets, arrangements, or other little pieces especially written for the amusement or education of amateurs; second, music that professionals had written for themselves to play in concerts and theater entertainments. Perhaps surprisingly, the second category was produced in greater quantities. In the beginning, Walsh tended to publish recorder music by composers resident in London (for example, Demoivre, Franck, Finger, and Daniel Purcell). When the Italian opera hit London in 1706, Walsh regularly published recorder arrangements of the arias, and sometimes also the instrumental music, occasionally offering incentive to buy them by throwing in bonuses, such as recorder duets. Around 1710, when resident composers seem to have lost interest in writing for the recorder, Walsh began to compensate by relying more on imported music (Loeillet, Mattheson, Schickhardt). In the 1720s, when the recorder had virtually been superseded by the flute as an instrument for gentlemen, Walsh shrewdly made mixed editions of recorder music and music for other instruments (flute, oboe, violin). His son, John Jr., was following a similar practice in issuing Handel’s recorder sonatas in a collection marked for flute, oboe, and violin around 1732. France 1762. Fiedler, Jörg. “Brunettes ou petits airs tendres: Unterrichts- und Unterhaltungsmusik des französischen Barock” [Brunettes or petits airs tendres: instructional and entertainment music of the French Baroque]. Easier Jahrbuch für historische Musikpraxis 12 (1988): 65–79. An overview of the “brunette” (a French song of the seventeenth and eighteenth centuries, the text of which often mentioned brunettes) and some collections of transcriptions for flute (or recorder, etc.) made by Montéclair and Hotteterre, apparently with pedagogical intent. Includes a discussion of contemporaneous precedents for using a second melody instrument on the bass line.

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1763. Lemaître, Edmond. “L’orchestre dans le Théâtre Lyrique Français chez les continuateurs de Lully 1687–1715” [The orchestra of the Théâtre Lyrique Français under Lully’s successors, 1687–1715]. “Recherches” sur la musique française dassique 26 (1988–90): 83–131. Briefly discusses the recorder in French opera after the death of Lully. The scores mostly use the vague term “flûte” and have parts in the range g1 to c3, which fits both the alto recorder and the transverse flute. Sometimes the terms “flûte d’Allemagne,” “flûte allemande,” or “flûte traversière” distinguish the transverse flute; only rarely is the recorder indicated by the terms “flûte à bec” or “flûte douce.” Lemaître goes on to discuss which sizes of recorder were intended. Like the violin family, recorders carried the vocal designations “dessus,” “haute-contre,” “taille,” “quinte,” and “basse.” He argues that these should be equated with the sopranino, soprano, alto, tenor, and bass (or great bass) recorders, respectively. The sopranino was sometimes also called “petite dessus de flûte” or “petite flûte.” Lemaître whets one’s appetite to see the scores he mentions by Bourgeois, Campra, Charpentier, Colasse, and Destouches. 1764. Portell, Patricio. “Il flauto dolce e la musica champêtre” [The recorder and pastoral music]. In item 42, pp. 44–50. Considers the involvement of the recorder in the pastoral music of France in the lateBaroque period, which was dominated by the musette and the vielle. Keys suitable for the musette and the vielle were also suitable for the recorder, and some composers list the recorder as an alternative instrument (occasionally, as in the third of Montéclair’s Concerts, the primary instrument). Ends with a bibliography, arranged by composer, of about 125 eighteenth-century publications of pastoral music that could presumably be played on the recorder. 1765. Pettier, Laurence. Le répertoire de la flûte à bec en France à l’époque baroque (musique profane) [The repertory of the recorder in France during the Baroque period (secular music)]. Doctoral diss., Université de Lille, 1992. 4vols. 536, 81, 70, 113 p. An important comprehensive overview of a hitherto neglected subject. Volume 1 consists of chapters on: the flute and recorder before the Baroque era, the recorder during the Baroque, Baroque recorder methods in France; Baroque recorder-making in France; the iconography of the Baroque recorder in France; the suite; the sonate; the concerto; the cantata; other pieces (Hotteterre’s preludes, Montéclair’s brunettes); Lully’s ballets and comedies-ballets; ballets by other composers; Lully’s tragedies en musique; tragedies en musique by other composers; and the decline of the recorder in France. Volume 2 contains source documents. Volume 3 is a catalog of the artworks considered. Volume 4 is a bibliography of the music considered. Italy 1766. Balestracci, Sergio. “La sonata solistica per flauto dolce nel Seicento italiano” [The solo sonata for recorder in seventeenth-century Italy]. In item 42, pp. 76–89. An examination of the Italian solo recorder sonata repertory from Salamone Rossi in 1607 to the death of Corelli in 1713. Of course, since there was virtually no such repertory—Balestracci admits that the recorder played a minor role in Italy in comparison with England during this period—he is forced to take a broad view and include works

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written for the violin as well as for a generic “soprano” instrument or “ogni sorte di stromenti” (all types of instrument) that were or are adaptable to the recorder. The most important section of the article is the last: a discussion of how the recorder sonatas in Ms. CF-V-23 of the Biblioteca Palatina in Parma, dating from the period 1700–1720, were adapted from violin sonatas. The appendix lists over three hundred solo sonatas, arranged in chronological order. Each entry includes the composer’s name, his center of activity, the title of the composition, and its instrumentation. 1767. McGowan, Richard Allen. Italian Baroque Solo Sonatas for the Recorder and the Flute. Ph.D. diss., University of Michigan, 1974. 517 leaves. OCLC #4845655. UMI order no. 75–00756. Has a much greater scope than the title suggests. Chapter 1 discusses recorder design and acoustics (Renaissance and Baroque models). Chapter 2 surveys the development of flute playing and literature, not only in Italy but in France, Germany, Austria, and England; it includes a good overview of publishing trends in Europe that could usefully have been included in item 1682. Chapter 3 lists and describes first editions and primary manuscripts of the Italian Baroque recorder sonata repertory. McGowan limits himself, unhelpfully, to sonatas that, according to their titles, are primarily intended for the recorder or flute, excluding works designated principally for the violin and optionally other treble instruments. Chapter 4 analyzes selected sonatas: Marcello, Bellinzani (both extended discussions), Barsanti, Vivaldi, and Sammartini (based on the Parma manuscript only). Chapter 5, on performance practices and idiomatic treatment, includes such neglected topics as the connection of movements and when to repeat a section; some ideas on rhythm and ornaments have been superseded by recent research. Appendixes cover secondary musical sources, three composers whose flute sonatas are believed lost, and a list of modern editions. Overall, this dissertation is one of the high points of the literature about the recorder. 1768. Selfridge-Field, Eleanor. “Instrumentation and Genre in Italian Music, 1600– 1670.” Early Music 19, no. 1 (February 1991): 61–67. Many recorder players have the impression that seventeenth-century Italian instrumental music was intended to be played on “all sorts of instruments.” Eleanor Selfridge-Field shows that this impression is “largely illusory, at least with reference to canzonas, sonatas and ricercars. [Such a designation] is found in only a handful of prints after 1615.” When instruments are named, the recorder is rarely one of them, being found only in collections by Riccio (Venice, 1620), Picchi (Venice, 1625), Marini (Bavaria, 1626), andNeri (Venice, 1651). The Netherlands * Dart, Thurston. “Four Dutch Recorder Books.” Cited above as item 927. 1769. Rasch, Rudi A. “Some Mid-Seventeenth Century Dutch Collections of Instrumental Ensemble Music.” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 22, no. 3 (1972): 160–200. A study of Der gooden fluyt-hemel (1644) and ‘t Uitnement kabinet (1646–49), both of which contain pieces written for C recorder or that could be played on it. Discusses bibliographical information, concordances, the composers, musical form, and

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instrumental usage. Concludes with a detailed table of contents of both collections. 1770. Wind, Thiemo. “‘Je ne puis éviter’: 17de-eeuwse blokfluitvariaties van een Nederlandse ‘groupe des trois’” [“Je ne puis éviter”: seventeenth-century variations for recorder by the Dutch “groupe des trois”]. Musica Antiqua 10, no. 3 (August 1993): 104–11. Wind has been extracting an amazing amount of mileage from questions relating to Jacob van Eyck’s Der fluyten lust-hof (1646 and 1649) and similar contemporary collections. In this article he looks at the tune “Je ne puis eviter” by François de Chancy (original title “En vain je veux celer,” Airs de cour a quatre parties, Paris, 1635) and the set of variations on it for recorder found in ’t Uitnement kabinet I (Amsterdam, 1646). The publisher, Paulus Matthyszoon, claimed that set to be a joint composition by van Eyck, Pieter de Vois, and the latter’s son-in-law, Steven van Eyck (no relation to Jacob). J.van Eyck himself wrote four variations on this melody under its Dutch name, “Philis schoone harderinne” (DFLI), and a duet version (probably by the publisher rather than van Eyck) was included in the second edition of DFL. One of the most useful results of Wind’s article is a great deal of biographical information about de Vois and some about S. van Eyck, both of them little-known figures today. On stylistic and other grounds, Wind concludes that the variations were indeed written by the three composers, and Matthyszoon probably put the variations together from three separate previously existing sets.

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INDIVIDUAL COMPOSERS, BAROQUE AND CLASSICAL (entries are arranged chronologically under each heading) Bach, Carl Philipp Emanuel (1714–1788) 1771. Hofmann, Klaus. “Gesucht: Ein Graunsches Trio mit obligater Bassblockflöte. Ein Ermittlungsbericht—mit Seitenblicken auf ein Trio Carl Philipp Emanuel Bachs” [Sought: a trio by Graun with obbligato basso recorder—a research report, with side-glances at a trio by Carl Philipp Emanuel Bach]. Tibia 17, no. 4 (1992): 253–62. C.P.E.Bach’s celebrated Trio Sonata for Bass Recorder, Viola, and Basso Continuo in F Major (Helm 588) has long been thought to have a unique instrumentation. Hofmann reports that he has now reconstructed the original version of a sister work for the same combination and in the same key by one of the Graun brothers. At the same time, Hofmann shows that the compass of the recorder part in the Bach work, f–c2, was originally intended to be f–d2, the second version having been made partly by the composer and partly by a copyist. That Bach did intend a bass recorder is proved by his own comment on a piece of paper pasted in the manuscript: “The bass recorder goes from f to c2; F major, C major, and G major are the most comfortable keys for it.” Bach, Johann Sebastian (1685–1750) 1772. Ruëtz, Manfred. “Die Blockflöte bei Bach.” Zeitschrift für Hausmusik 4, no. 1 (January-February 1935): 13–19; 4, no. 3 (May-June 1935): 75–82. An important article in its day, setting out for the first time the extent of Bach’s involvement with the recorder in “chamber music works” (i.e., concertos) and cantatas. Notes that Bach and his contemporaries clearly differentiated between the tonal properties of the recorder and the flute. Recognizes the problems in the Bach Gesellschaft edition caused by some instruments being notated in Chorton and others in Cammerton. Briefly analyzes Bach’s use of recorders in his concertos. (For Ruëtz’s comments on Bach’s cantatas, see item 1806.) 1773. Mann, Alfred. “The Use of the Recorder in the Works of Bach and His Contemporaries.” Master’s essay, Columbia University, 1950. 62 p. A journeyman’s piece by the noted musicologist. Written at a point in the revival of the recorder when interest had been centered on Renaissance instruments and repertory. Mann calls for a “turn to the scores of the late Baroque in which its use is specified and fully shown.” Begins by describing the physical and practical characteristics of the Baroque recorder in comparison to both its Renaissance counterpart and the transverse flute. Then surveys national styles in Baroque recorder literature, discussing repertory by English, French, Italian, and German composers. Comparisons are made for the most part on the basis of instrumentation, range, and tessitura. Certain German composers of the eighteenth century, including Bach and Telemann, explored the upper limits of the recorder’s range, where the instrument could hold its own alongside other solo instruments. Progressing chronologically through Bach’s works, Mann sees a constant extension of the range of the recorder. Concludes that “In Telemann’s works we find a

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summation of the entire literature for the instrument…. Nevertheless, Bach’s more economic use of the instrument is more impres-sive. It is precisely the soloistic glory which weakens Telemann’s use of the recorder compared [with] that of Bach.” 1774. Francis, John. “What Bach Wrote for the Flute, and Why.” Music & Letters 31, no. 1 (January 1950): 46–52. Of little more than historical interest. A superficial survey of Bach’s use of the recorder and flute in his vocal and instrumental works. The reasons given for Bach’s choice of one instrument over the other for a particular work are not supported by relevant documentation, and many can be discredited. The arguments also reflect a prejudice against the recorder that was common early in the revival of the instrument: “the recorder presented fewer problems to the player than the traverse”; Bach wrote for the recorder “not for preference, but simply because it was difficult to procure a competent player on the [traverso]”; the flute has “a more robust and personal tone” compared to the “ethereal, rather characterless tone of the recorder.” 1775. Schmidt, Lloyd. “Bach and the Recorder.” American Recorder 5, no. 4 (November 1964) : 30–36. An informative examination of the topic and its related controversies, based exclusively on the studies of other scholars. The catalog of works that employ the recorder includes the following information: BWV number, title, place and date of composition, setting, sections including the recorder, range of recorder parts, location in the Bach Gesellschaft edition, and citations to secondary literature. 1776. Edridge, Tom. “Arranging Keyboard Bach for Recorders.” Recorder and Music Magazine 4, no. 1 (March 1972): 4–5. More helpful than the advice on arranging techniques (which is rather simplistic) are the recommendations of specific works suitable for transcription, including several fugues from The Well-Tempered Clavier and The Art of Fugue, two slow movements from the organ sonatas, and several of the Goldberg variations. Letters by A.Gregory Murray and Theo Wyatt in 4, no. 2 (June 1972): 51–52, 71. 1777. Davis, Alan. “Bach’s Recorder Parts: Some Problems of Transposition.” Recorder and Music Magazine 4, no. 2 (June 1972): 47–50. Concerns a subset of Bach’s works including recorder: those “which, although almost certainly intended for the recorder, do not seem to fit the compass of the standard alto in F.” The instrumental work falling into this category is Brandenburg Concerto no. 4, which Davis believes was intended for an alto in G (flauto I) and an alto in F (flauto II). In his introduction to the vocal works, Davis reviews the problems presented by Cornettton, Chorton, and Kammerton. He then discusses in detail five problematic cantatas: Cantata 161 (“Komm, du süße Todesstunde”), Cantata 103 (“Ihr werdet weinen und heulen”), Cantata 182 (“Himmelskönig, sei willkommen”), Cantata 106 (“Gottes Zeit ist die allerbeste Zeit”), and Cantata 18 (“Gleich wie der Regen und Schnee vom Himmel fällt”). Letters from Barrie Helmer in 4, no. 4 (December 1972): 126 and James Middleton in 4, no. 6 (June 1973): 203–4, both with replies by Davis. K.J.Sayers writes in response to the latter in 4, no. 7 (September 1973): 243. Middleton challenges Davis’s view that the recorder parts of Cantata 161 were intended for two voice flutes fingered as altos. He suggests that, although the second part is indeed for voice flute, the first part is for an alto

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in F.Sawyer’s letter addresses Davis’s comment that he knows of no eighteenth-century source that mentions the “knee stopping” technique for producing f#3. Sawyer offers no such source, but rather supports the Ø13457 fingering suggested by Majer (item 1006). 1778. Letteron, Claude. “Bach et la flûte à bec” [Bach and the recorder]. (Repertoire pour la flûte à bec; série compositeurs.) Flûte à bec, no. 1 (June 1981): 16–30. A complete listing of Bach’s music that includes recorders, both original works and arrangements, with modern editions. 1779. Letteron, Claude. “Des thèmes pour 1985” [On themes for 1985]. Flûte à bec & instruments anciens, no. 13/14 (December 1984/March 1985): 16–23. A thematic index of the recorder works by J.S.Bach and Handel (original and arranged) available in modern editions. Fails to mention the recent research by Best, Lasocki, et al. on the authenticity and classification of Handel’s sonatas. * Haynes, Bruce. “Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective.” Cited above as item 628. 1780. Dolmergue, Sylvie. “Jouer les partitas de Bach à la flûte à bec: Essai autour de l’allemande de la partita no. 2 en re mineur” [Play Bach’s partitas on the recorder: essay about the allemande of Partita no. 2 in D minor]. Crescendo, no. 33 [i.e., 34] (September-October 1990): 24–30. Surprisingly few authors have attempted to discuss the interpretation of recorder compositions in the light of their musical structure. Dolmergue is therefore to be applauded for taking on such a task for a movement from one of J.S.Bach’s solo violin partitas, the allemande from the Partita no. 2 in D Major (BWV 1004), edited by Frans Brüggen, especially as this movement presents the additional difficulty of how the recorder should deal with the transcription of a string original containing some polyphony and a wide melodic range. Briefly, but helpfully, she covers rubato, breathing, form, harmonic structure, how to give the impression of harmony, melodic line, and rhythm. 1781. Baron, Samuel. “J.S.Bach: The Flauto and Traverse.” In Johann Sebastian: A Tercentenary Celebration, ed. Seymour L.Benstock, 11–18. (Contributions to the Study of Music and Dance, no. 19.) Westport, Conn.: Greenwood Press, 1992. ISBN 031327441X. ML 410 .B1 J63 1992. Contrasts the roles of the recorder and flute in Bach’s cantatas. Bach used the recorder for sad and mournful states, the pastoral (and by extension, the Nativity), and funerals. Claims that “the slow movement of the Brandenburg Concerto no. 4 is a Nativity piece, even though it is not designated as such.” The flute, by contrast, “is an athlete, a virtuoso, with a penchant for vivid decoration…more cheerful and forthcoming…in the imperative mode,” and it also depicts “an inspired yet unstable state of trembling ecstasy.” 1782. Boresch, Hans-Werner. Besetzung und Instrumentation: Studien zur kompositorischen Praxis Johann Sebastian Bachs [Scoring and instrumentation: studies on the compositional practices of Johann Sebastian Bach]. (Bochumer Arbeiten zur Musikwissenschaft, 1.) Kassel: Bärenreiter, 1993. ix, 223 p. ISBN 3761810741. An eyewitness, Christoph Ernst Sicul, wrote in 1727 that a Leipzig performance of Bach’s Trauerode, “Laß, Fürstin, laß noch einen Strahl” (BWV 198), featured “Fleutes douces und Fleutes traverses”—or in other words, both recorders and flutes. But the autograph manuscript contains only parts for flutes, not for recorders. So where did the recorders play? Werner Neumann, the editor of the work in the Neue Bach Ausgabe

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(Serie 1, Band 38), suggests that the recorders could have only doubled the flutes in two of the recitatives (nos. 4 and 9). Boresch, however, puts forward the hypothesis (pp. 105– 7) that the recorders doubled the violas da gamba in one of the arias (no. 5, “Wie starb die Heldin so vergnügt”), mostly at the octave, occasionally at the double octave. He points out that there is a precedent in the second (Leipzig) version of the cantata “Gleichwie der Regen und Schnee vom Himmel fällt” (BWV 18), where the recorders double the violas in this manner. He goes on to show that the recorders’ participation in the aria “Wie starb,” the middle piece of the Trauerode, makes structural sense. 1783. Harras, Manfred H. “Die Blockflöte bei Johann Sebastian Bach” [J.S. Bach and the recorder]. Intrada 2, no. 3 (1996): 32–37. Short descriptions of all Bach’s works involving the recorder, including modern editions. 1784. Braun, Gerhard. “Bachsonaten für Blockflöte? Quellen, Analyse, Bearbeitungsmöglichkeiten, Interpretation” [Bach sonatas for the recorder? Sources, analysis, possibilities for arrangements, interpretation]. In 5. Internationales Blockflötensymposion Darmstadt, ERTA-Kongress 1997, Kongressbericht, Vorträge und Dokumentation, 1–9. Unlike Corelli’s violin sonatas, no arrangements of J.S.Bach’s sonatas were made in the Baroque period, although the composer himself made many arrangements of works by himself and other composers. But modern editors have made a number of arrangements of solo and trio sonatas. Braun presents brief analyses of Bach’s flute sonatas (E minor, E major, B minor, A major only). The interpretative material presented in the lecture is unfortunately omitted here. Brandenburg Concertos 1785. Taylor, Stanley. “Balancing the Brandenburgs.” American Recorder 2, no. 3 (fall [i.e., summer] 1961): 3–4. Problems of balance in Brandenburg Concertos nos. 2 and 4. Includes stage diagrams suggesting placement of instruments. Also discusses tempo, ornamentation, and phrasing. Taylor corrects an error in 3, no. 2 (May 1962): 23. 1786. Higbee, Dale. “Alternate Instrumentation in Bach’s Second Brandenburg Concerto.” American Recorder 18, no. 1 (May 1977): 11. Proposes several solutions to the problems of balance between the recorder and trumpet parts. Traditional solutions include muting the trumpet, having the trumpet play down an octave, placing the recorder in an exposed position on the stage, and using a softer instrument for the trumpet part. Suggests possible alternatives to a trumpet, such as a horn, a soprano saxophone, or a modern flute (Higbee’s preference). 1787. Marissen, Michael. Scoring, Structure, and Signification in J.S.Bach’s Brandenburg Concertos. Ph.D. diss., Brandeis University, 1991. vii, 251 leaves. OCLC #25010846. UMI order no. 91–18708. This magisterial dissertation on Johann Sebastian Bach’s Brandenburg Concertos includes a long chapter on the fourth concerto that was quickly updated and published as an article (item 1796). Marissen sets himself the principal task of answering one of the traditional questions asked about the work: “Is this a solo concerto for violin with ripieno

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strings and woodwinds, or is it a concerto grosso for a concertino of violin and woodwinds with ripieno strings?” Before he can do so, he must answer the question “What instruments did Bach mean by the designation ‘fiauti d’echo’?” He brings out a wide range of musicological artillery for Bach—instrumental terminology, range, clefs, technique (especially the appearance or avoidance of f#1 and f#3—to argue that the composer almost certainly intended plain alto recorders. Furthermore, the f and p markings probably did not represent a literal echo but merely an indication of the tutti and solo passages. The most exhaustive discussion of this question to that date. Marissen then returns to the central question, concluding that “the piece would appear essentially to be a triple concerto with tension-filled surface leanings towards the solo concerto.” He sees the “general elevating of the recorder at the more than occasional expense of the violin” as a social allegory, “representing musically the breach between appearance and essence familiar from everyday social and religious experience.” A tour de force. 1788. Marissen, Michael. The Social and Religious Designs of J.S.Bach’s Brandenburg Concertos. Princeton: Princeton University Press, 1995. 150 p. ISBN 0691037396. ML 410 .B13. An abridged (and published) version of item 1787. The section on the Fourth Brandenburg Concerto is particularly shortened (for the longer, published version, see item 1796). Brandenburg Concerto no. 4 and the fiauti d’echo controversy Bach included the designation fiauti d’echo in the Brandenburg Concerto no. 4 (BWV 1049). Many scholars have speculated on the meaning of the term. The instrument is not mentioned in the dictionaries or tutors of the period, nor was it thought at first that it was found in any other eighteenth-century works. The articles are presented in chronological order. 1789. Dart, Thurston. “Bach’s ‘Fiauti d’Echo.’” Music & Letters 41, no. 4 (October 1960): 331–41. Argues that Bach’s fiauti d’echo are bird flageolets in G sounding an octave higher than written. Dart’s reasoning in support of the flageolet is tenuous and many of his conclusions are not convincing. He notes the numerous references in London newspapers between 1713 and 1718 to James Paisible’s performances on an “echo flute.” If performances on the “echo flute” were popular, Dart suggests that we might expect to find contemporary tutors for the instrument, but there are none. Possibly laymen referred to the “echo flute” by another name, just as they called the recorder a “flute” and the chalumeau a “mock trumpet.” If so, Dart sees the French flageolet as the likely candidate for “echo flute” because of its popularity at the time. He then addresses the question of how Bach might have become familiar with the flageolet in Cöthen. Musical and political links existed between London and Berlin at the time. Dart also presents musical reasons for using instruments sounding an octave higher than written: “[T]he inescapable fact remains that the gentle sounds of two treble recorders are quite inaudible during a considerable part of the work…. The only solution to all the problems encountered in the Brandenburg concerto is to assume that the flauto d’echo parts sounded an octave higher than written.” This conclusion is supported by a

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letter in 42, no. 1 (January 1961): 101, by Peter F.Williams, who notes that certain eighteenth-century organs included stops with the designation “echo,” which seems to have been an octave coupler. The fault with Dart’s suggestion that the instruments were flageolets in G is hidden away in a footnote (p. 340): “the low F in bar 183 of the first movement is outside the compass of the instrument.” Dale Higbee takes note of this problem with Dart’s theory in 43, no. 2 (April 1962): 192–93, and argues that the intended instruments are altos in F. He suggests that Bach used the designation “echo” “because of the way they answer (or echo) and interchange with each other.” Dart’s thoughts on the roles of the recorder and flageolet in the Baroque also form part of his “Performance Practice in the 17th and 18th Centuries: Six Problems in Instrumental Music,” in International Musicological Society: Report of the Eighth Congress, New York 1961, vol. 1: Papers (Kassel: Bärenreiter, 1961), 234–35. 1790. Krainis, Bernard. “Bach and the Recorder in G.” American Recorder 2, no. 4 (fall 1961): 7. Suggests the possibility that the “flauto I” part of the Brandenburg Concerto no. 4 was written for recorder in G rather than F. Letter from Wesley M.Oler in 4, no. 3 (August 1963): 22, cites several references to Paisible’s “echo flute” in English newspapers. Oler follows up in 4, no. 4 (November 1963): 21, by acknowledging Thurston Dart’s earlier consideration of the Paisible echo flute (see item 1789), which had been brought to Oler’s attention after writing the letter. 1791. “Bach’s Brandenburgs and the Recorder.” Recorder and Music Magazine 1, no. 4 (February 1964): 113. Summarizes the discussion of the fiauti d’echo controversy in Norman Carrell’s Bach’s Brandenburg Concertos (London: G.Allen & Unwin, 1963). For some time, it was thought that the term d’echo simply referred to the echo effects in the slow movement, but the discovery of references to an “echo flute” in London newpapers dating from 1713–18 suggests that perhaps Bach had a specific instrument in mind. Cites a number of problems with Thurston Dart’s theory (see item 1789) that the intended instrument might have been a flageolet in G.Carrell supports the use of recorders. Internal evidence—and Bach’s practice in other works—leads him to conclude that the appropriate instruments are a pair of altos: one in G and one in F.Beverly Smith argues in favor of two altos in F in a letter in 1, no. 5 (May 1964): 154. More letters in 1, no. 6 (August 1964): 185. 1792. Montagu, Jeremy. “What Was the Flauto d’Echo?” FoMRHI Quarterly, no. 23 (April 1981): 20–21 (Communication no. 328). By comparing the Fourth Brandenburg Concerto with Bach’s arrangement of it as the Concerto in F Major for Harpsichord, Two Fiauti à bec, and Strings (BWV 1057), Montagu comes to the conclusion that the fiauti d’echo were not plain recorders but capable of making a genuine echo. Considers “the only probability” that they had “some mechnical device such as an additional thumb or finger hole which would increase the area of open hole and thus sharpen the pitch just enough to compensate for the drop in air pressure of the piano passages.” 1793. Higbee, Dale. “Bach’s ‘Fiauti d’Echo.’” Galpin Society Journal 39 (1986): 133. Reconsiders the identity of the fiauti d’echo. Proposes that the “echo” is not a description of the instrument but rather the manner in which it was played—offstage, to provide a genuine soft answering effect. Bernard Krainis describes his theory that the

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instrument was an alto recorder fitted with a “whisper key” in American Recorder 29, no. 2 (May 1988): 76. 1794. Martin, John. “Echoes from the Past.” Recorder: Journal of the Victorian Recorder Guild, no. 9 (February 1989): 1–3. Summarizes the views of various authors from Carl Dolmetsch (1941) to Dale Higbee (1986) on the identity of the fiauti d’echo. Concludes that they were probably altos in F, or altos in G and F; or else the term is a simple misprint. Continued by items 1795 and 1797. 1795. Morgan, Fred, John Martin, and Malcolm Tattersall. “Echoes Resounding.” Recorder: Journal of the Victorian Recorder Guild, no. 10 (December 1989): 19–24. A series of letters to the editor continuing Martin’s speculations on the identity of Bach’s fiauti d’echo (see item 1794). Morgan supports the idea that they were altos in G and F.Tattersall demolishes Dart’s idea that they were flageolets. Martin cites historical evidence for his new belief that they consisted of two recorders fastened together to play loud and soft. Tattersall concludes that “the issue is ultimately unresolvable.” Continued by item 1797. 1796. Marissen, Michael. “Organological Questions and Their Significance in J.S.Bach’s Fourth Brandenburg Concerto.” Journal of the American Musical Instrument Society 17 (1991): 5–52. A slightly updated version of chapter 2 from item 1787. 97. Lasocki, David. “More on Echo Flutes.” Recorder: Journal of the Victorian Recorder Guild, no. 13 (July 1991): 14–16. A follow-up to items 1794 and 1795. Refutes John Martin’s suggestion that Bach’s term fiauti d’echo was a misprint. Then asserts that there are only two general avenues of approach to the identity of those instruments: Bach had in mind an instrument called an echo flute, or else the instruments were plain recorders and the appendage “d’echo” referred to an echo effect, either literal or figurative. Taking the first approach, shows that James Paisible’s echo flutes were at least similar to ordinary recorders, adds two references to support John Martin’s theory that they could have consisted of two recorders fastened together, and modifies Dart’s belief that they could have found their way to Berlin and Bach. Taking the second approach, reports a reference to “fiauti eco” in 1704, but opts for Michael Marissen’s view (see items 1787 and 1796) that Bach intended a figurative echo. 1798. Lasocki, David. “Paisible’s Echo Flute, Bononcini’s Fiauti Eco, and Bach’s Fiauti d’Echo.” Galpin Society Journal 45 (1992): 59–66. An extended version of the arguments presented in item 1797. Martin, John. The Acoustics of the Recorder. Cited above as item 681. 99. Power, Tushaar. “On the Pitch Dispositions of Bach’s fiauti d’echo and Other Treble Recorders.” Galpin Society Journal 47 (1994): 155–60. Power develops a case that one of the two fiauti d’echo that J.S.Bach scored for in his Brandenburg Concerto no. 4 was an alto recorder in G (the other being the standard alto recorder in F). The gist of his argument is that when Bach’s recorder parts descend to f1 he never requires the instrument to produce f#3; and that when Bach does require f#3 of an alto recorder, the part never descends below g1. Michael Marissen (see item 1800) convincingly, for our money, shows that these conditions do not in fact hold up to

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scrutiny. 1800. Marissen, Michael. “Bach and Recorders in G.” Galpin Society Journal 48 (1995): 199–204. Marissen, replying to an article by Tushaar Power (item 1799), claims that, in arguing for recorders in G, Power made a high number of errors that confound his argument. Power, in response, says that Marissen’s argument “rests on numerous unqualified assumptions…a presumed intimacy with J.S.Bach,” and faulty logic. One of the difficulties of debating such an issue is that there are many theories chasing a small and ambiguous body of evidence. Reply by Power on pages 265–69. 1801. Goebel, George H. “New Evidence on the Echo Flute.” Galpin Society Journal 48 (1995): 205–7. Reports a new source of information about what seems to be an echo flute, although the quotation is puzzling. In his Elements ou principes de musique (Amsterdam, 1696), Etienne Loulié, who was among other things a recorder player and teacher, wrote, “Les sons de deux flutes d’echo sont differents, parce que l’un est fort, & que l’autre est foible” (The sounds of two echo flutes are different, because one is strong and the other is weak). Goebel takes this to mean that the echo flute was an instrument that could play both loud and soft. But why, then, would one need two instruments to play loud and soft? Did Loulié mean that one half of an echo flute played loud and the other soft, or is there some other explanation? We already knew that James Paisible was playing on an echo flute in London in the 1710s, but we have only been able to speculate about the nature of that instrument—two recorders tied together?—and Loulié is no help here. Furthermore, as Marissen has previously shown (see items 1787 and 1796), Bach seems to have intended the f and p markings in the recorder parts of the Brandenburg Concerto no. 4 to be tutti and solo rather than soft and loud. 1802. Böhmer, Karl. “Bachs mythologisches Geheimnis: Philip Pickett, Remhard Goebel und das verborgene Programm der Brandenburgischen Konzerte” [Bach’s mythological secret: Philip Pickett, Reinhard Goebel, and the hidden program of the Brandenburg concertos]. Concerto: Das Magazin für Alte Musik, no. 109 (December 1995/January 1996): 15–17. Suggests that the set of six Brandenburg Concertos may have had a mythological program, related to the symbolism of instruments in the Baroque and the decorations and layout of Baroque palaces (such as that of the Margrave of Brandenburg). The First Concerto depicts the Margrave as Hunter, the Second as Hero (with the recorder, oboe, and violin playing Dionysus, Hera, and Apollo to the trumpet’s Hercules), and the Third as Muse. In the Fourth Concerto the Margrave is Shepherd, with the recorders playing Pan to the violin’s Phoebus/Apollo (or Echo in the slow movement). The program is completed by the Margrave as Lover in the Fifth Concerto and Learned Man in the Sixth. 1803. Martin, John. “Los fiauti d’echo en el 4° Concierto de Brandenburgo de J.S.Bach.” Revista de flauta de pico, no. 4 (January 1996): 13–17. Spanish translation of appendix 1 from item 681. 04. Smith, Mark. “J.S.Bach’s ‘Fiauti d’echo’: Recorders Off-Stage.” FoMRHI Quarterly, no. 82 (January 1996): 41–42 (Communication no. 1421). Smith considers the question of the placement of the fiauti d’echo from Bach’s Fourth Brandenburg Concerto on the stage. “Echo” in Bach’s time was used with a meaning

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closer to the original story of Narcissus and Echo in Ovid’s Metamorphoses. Because Echo’s love was not returned by the narcissistic Narcissus, “from sheer grief Echo dissolved into nothing but a voice, which awakened only on being called upon by human sounds, when she was able to answer the caller from the hollows and caverns of mountains and groves.” Thus an “echo” could be reflected sound or a phrase repeated at a fairly large physical distance by a performer out of sight. On this and other grounds, Smith concludes that the solo violin and fiauti d’echo should play offstage in the second movement, walking back during the opening of the third movement. His unsatisfactory explanation for why the solo violin too should be offstage is that the violin had only an accompanying role in the second movement. 1805. Rampe, Siegbert, and Michael Zapf. “Neues zu Besetzung und Instrumentarium in Joh. Seb. Bachs Brandenburgischen Konzerten Nr. 4 und 5” [News on the instrumentation and instrumentarium in Bach’s Brandenburg Concertos nos. 4 and 5]. Concerto: Das Magazin für alte Musik, no. 129 (December 1997-January 1998): 30– 38; no. 130 (February 1998): 19–22. The third section of this article (which begins in the first installment and concludes in the second) reconsiders the question of the fiauti d’echo in the Fourth Brandenburg Concerto. Begins by going over the recent discussions by Lasocki, Marissen, Martin, Montagu, and so forth (see items 1787, 1792, and 1794–1800), and looking at the evidence for an instrument called an echo flute in the late Baroque (Pepys, Paisible, Banister II, Loulié). Then introduces new evidence: the survival of pairs of identical alto recorders by the same maker (Bressan, Heytz)—the relevance of this to the echo-flute question is unclear; and particularly a pair of recorders of different tonal characteristics joined together at the head and foot joints by brass flanges (anonymous, Saxon, late eighteenth century; Grassi-Museum, Leipzig), which the authors take to have been an echo flute. Also presents further evidence that Bach’s notation (the breaking of beamings plus f and p markings) in the concerto implies register changes, and therefore he would have needed an echo flute to perform them. The first and third movements of the concerto require only normal alto recorders, so the performers would have switched. Cantatas 1806. Ruëtz, Manfred. “Die Blockflöte in der Kirchenmusik Johann Sebastian Bachs” [The recorder in the church music of J.S.Bach]. Musik und Kirche 7 (1935): 112– 20, 170–86. Also published in Collegium Musicum 3 (1935): 13–19, 75–82. A pioneering article, outlining for the first time the extent of Bach’s use of the recorder in his church cantatas. (The dating of the cantatas has been updated by later scholarship.) Recognizes the Chorton/Cammerton problem and proposes solutions for modern performances (at modern pitch). 1807. Höffer-von Winterfeld, Linde. “Die Blockflöte in den Kantaten J.S. Bachs” [The recorder in the contatas of J.S.Bach], Hausmusik 17 (1953): 106–16. Covers the same territory as item 1806 in less detail. 08. Thalheimer, Peter. “Der flauto piccolo bei Johann Sebastian Bach” [The flauto piccolo in the works of J.S.Bach]. Bach-Jahrbuch 52 (1966): 138–46. Begins by discussing the small sizes of the three types of “flûte” used in the Baroque

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era: flutes, recorders, and flageolets. Then suggests what Bach meant by the term flauto piccolo in cantatas 96 (sopranino recorder) and 103 (sixth flute, using a narrow, strongly conically bored instrument to produce the large range of the part). In the absence of a sixth flute, believes that, because no other recorder has the necessary range, two players in tandem using soprano and sopranino recorders present the best solution. 1809. Sharp, Nan Ellen Orthmann. The Use of Flutes and Recorders in the Church Cantatas of Johann Sebastian Bach. D.M.A. diss., Eastman School of Music, University of Rochester, 1975. xxxiii, 406 leaves. OCLC #4651191. UMI order no. 75–20068. Concentrates more on the flute than the recorder, partly because the author admits her “knowledge regarding technical matters of the recorder is far less my experience with the flute.” Chapter 1, on the recorder, describes all the cantatas with recorder parts, including musical motives symbolizing sleep, death, tears, the pastoral, and the supernatural (usually, presented as fact, not opinion, although ironically in her conclusions she recognizes that “[w]e must distinguish as precisely as possible between Bach’s intentions and inferences made by others”). The information about the terminology and ranges of recorders other than the alto is confused. Chapter 6 briefly summarizes the differences between Bach’s treatment of the recorder and the flute. Quotes heavily from other modern writers, the few original thoughts being drawn to our attention with asterisks! Perhaps useful as a compilation of opinion, if you can stand the appalling prose. 1810. Bloodworth, Denis. “The Recorder Parts of the Bach Cantatas: A Practical Approach.” Recorder & Music 6, no. 6 (June 1979): 162–65. Advice for players who must fit the recorder parts onto instruments in F and C. Each cantata is considered separately. Bloodworth bases his suggestions on the Heugel edition of the recorder parts (prepared by Michel Sanvoisin) rather than on a reliable critical edition, which leads Ralph Leavis to question a few of Bloodworth’s recommendations and observations in 6, no. 7 (September 1979): 215. Bloodworth replies in 6, no. 8 (December 1979): 229. Eugene Reichenthal writes on the practicality of the key of Eb major for Cantata 106 in Recorder & Music 6, no. 9 (March 1980): 276. 1811. Haynes, Bruce. “Questions of Tonality in Bach’s Cantatas: The Woodwind Perspective.” Journal of the American Musical Instrument Society 12 (1986): 40–67. Follows up his article on the pitches of woodwind instruments available to J.S.Bach (item 628) by furnishing practical solutions to the problems of performance posed by those early cantatas of Bach’s—for recorder, nos. 18, 71, 106, 152, 161, and 182—in which the woodwind instruments (built at chamber pitch) were treated as transposing instruments in relation to the other instruments (sounding at the higher choir pitch [Chorton]). 1812. Higbee, Dale. “Recorders in Bach Cantata 161, Komm, du süße Todesstunde.” Journal of the American Musical Instrument Society 17 (1991): 83–84. Really only a “letter to the editor,” following up on item 1811. Puts forward the opinion that the best modern solution for playing Cantata 161 is “to use an alto recorder in f’ for Flauto I and a voice flute in d’ for Flauto II, or use two voice flutes throughout except for movement five where Flauto I would use alto recorder.” 1813. Freeman, Daniel E. “J.S.Bach’s ‘Concerto’ Arias: A Study in the Amalgamation of Eighteenth-Century Genres.” Studi musicali 27, no. 1 (1998): 123–62.

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It is well known that in his own concertos Bach imitated the textural contrasts, formal designs, and melodic characteristics of the Vivaldian solo concerto. For the first time, surprisingly, a scholar has discussed Bach’s incorporation of Vivaldian forms into arias composed for cantatas and other vocal works. Freeman analyzes how Bach took up the Italian da capo aria (as exemplified in an early cantata with recorder parts, Gott ist mein König, BWV 71 [1708]), then learned how to provide alternatives to strict da capo form using Vivaldian procedures. “In this conception, the vocal sections [of his arias] are recognizable as the equivalent of the solo sections to be found in the fast movements of Italian solo concertos.” Freeman cites the aria with recorder obbligato “Leget euch dem Heiland unter” from Himmelskönig set willkommen, BWV 182 (1714), as an early example of Bach’s newfound skill. A number of features are influenced by Vivaldi: the alternation of ritornellos and solo sections, the “motto” opening of the voice (the opening phrase is cut short by a snatch of the ritornello before starting over), and the appearance of the head motive of the first ritornello at the start of the second ritornello. At the same time, there is a clear ABA structure, in which the tonic returns at the end of the A section, and musical continuity is maintained by the use of motives from the A section in the B section. Freeman singles out another recorder aria, “Mein Seelenschatz ist Gottes Wort” from Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 (1715), as an early example of a “motto” opening coupled with a return to the tonic before the last solo section (a feature that was to predominate in Bach’s Leipzig “concerto” arias). Sonatas 1814. Marissen, Michael. “A Trio in C Major for Recorder, Violin and Continue by J.S.Bach?” Early Music 13, no. 3 (August 1985): 384–90. Suggests that Bach’s Sonata for Flute and Harpsichord in A Major (BWV 1032) was originally written as a trio sonata in C major for alto recorder, violin, and basso continue (the slow second movement remaining in A minor). The alto recorder would be suitable for the range of his reconstructed top part except for one note: the e1 found in measure 6 of the slow movement, which Marissen believes could have been played by a virtuoso (covering the bottom of the instrument with the knee). Also discusses the completion of the excised middle section of the first movement. For criticism of Marissen’s views, see item 1815 and Laurence Dreyfus, “J.S. Bach and the Status of Genre: Problems of Style in the G-Minor Sonata BWV 1029,” Journal of Musicology 5, no. 1 (winter 1987): 55–78 (esp. 62–63). On the Bach A-major flute sonata, see also: Michael Marissen, “A Critical Reappraisal of J.S.Bach’s A-Major Flute Sonata,” Journal of Musicology 6, no. 3 (summer 1988): 367–86; Marianne Betz, “Bearbeitung, Rekonstruktion, Ergänzung: Der erste Satz der Sonate A-Dur BWV 1032 für Flöte und obligates Cembalo von J.S.Bach” [Arrangement, reconstruction, completion: the first movement of the Sonata in A Major, BWV 1032, for Flute and Obbligato Harpsichord of J.S.Bach], Tibia 13, no. 3 (1988): 158–63; and the letter from Erich Benedikt in Tibia 13, no. 4 (1988): 314, and the reply by Betz, p. 315. 1815. Kroesbergen, Willem, and Marijke Schouten. “Bachs triosonates gereconstrueerd” [Bach’s trio sonatas reconstructed]. Tijdschrift voor oude muziek 1, no. 5 (15 November 1986): 115–18.

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Rejects Marissen’s suggestion (item 1814) that the A-major flute sonata (BWV 1032) was originally a trio sonata for recorder, violin, and basso continuo, expressing skepticism about the suggested use of e1 for the alto recorder and the key scheme (C major-A minor-C major). Also challenges his proposed reconstruction of the first movement. We await the publication of musicological support for their own theories. Barsanti, Francesco (ca. 1690–1775) 1816. Bergmann, Walter. “Francesco Barsanti” Consort, no. 18 (1961): 67–77. Gathers together all the biographical material about Barsanti known at that time. Also brief but cogent comments on Barsanti’s music. The recorder sonatas “not only show unusual knowledge of the recorder, as one would expect from a master of that instrument, but also high musical imagination.” Partly based on his article about Barsanti in Recorder News, no. 13 (autumn 1955). 1817. Schneider, Michael. “Dekor oder Substanz?: Untersuchungen anhand der Sonate C-dur für Blockflöte und Bc von Francesco Barsanti” [Decoration or substance? Investigations into the Sonata in C Major for Recorder and Basso Continuo by Francesco Barsanti]. Musica 40, no. 3 (May/June 1986): 239–44. Discusses the first movement of Barsanti’s C-major recorder sonata, which is a rather rhapsodic written-out ornamentation. Shows that the ornamentation can be increasingly simplified until it becomes a melodic skeleton similar in appearance to some simple Baroque movements. Then analyzes the entire movement as written phrase by phrase, pointing up the surprising features of the melody, rhythm, and articulation. (Beware: some of the accidentals are incorrect or else supplied editorially without comment.) Encourages readers to experiment with their own ornamentation of the skeleton. 1818. Sharman, Ian G. “Francesco Barsanti: A Discography and Worklist.” Brio 28, no. 1 (spring/summer 1991): 29–33. Lists Barsanti’s compositions, including modern editions and recordings. A complement to item 1292. 1819. Careri, Enrico. “The First Publications in England of Geminiani, Castrucci and Barsanti.” Studi musicali 27, no. 2 (1998): 311–37. Barsanti’s six recorder sonatas, published in London in 1724, are generally considered among the better Baroque sonatas for the instrument, although in practice performers tend to play individual sonatas here and there in concerts and on recordings, apparently failing to appreciate the sonatas as a set. Careri takes these sonatas seriously, discussing their general formal structures and considering their place in music history in relation to the violin sonatas of both Arcangelo Corelli and Francesco Geminiani (Barsanti’s fellow Lucan). He concludes that Barsanti was influenced by both of these composers as well as general topoi of Baroque music such as the descending chromatic tetrachord (2, ii; 3, i; 5, ii). Yet he developed his own particular fusion of the church and chamber sonata as well as his own procedures, such as assigning an important role to the opening phrase of a binary movement and contracting the reprises of the internal slow movements. Bassano, Giovanni (1560 or 1561–1617) 1820. Zimmermann, Ines, and Franz Müller-Busch. “Ricercata sesta von Giovanni

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Bassano—Analyse und Übehilfe” [Giovanni Bassano’s sixth ricercar: analysis and advice for practice]. Tibia 19, no. 4 (1994): xiii-xvi (Die gelbe Seite). Bassano’s ricercar, from his collection Ricercate, passaggi et cadentie (Venice, 1585), was written “for all sorts of instruments.” After describing the fundamental importance of intervals in Renaissance music, Zimmermann and Müller-Busch demonstrate how the piece is built up of three motives based on the intervals of a fourth, a fifth, and an octave. They go on to point out the main harmonic and rhythmic events (for instance, the accelerating harmonic rhythm leading into the first cadence). Finally, they suggest some useful preparatory exercises. Bigaglia, Diogenio (ca. 1676–1745) 1821. Wind, Thiemo. “Bigaglia’s Sonata in A Minor: A New Look at Its Originality.” Recorder and Music Magazine 8, no. 2 (June 1984): 49–54. Argues, through extensive comparisons, that the version of the A-minor sonata edited by Hugo Ruf (Mainz: Schott, 1966) is not a work by Bigaglia but an anonymous reworking of the original, which was published in Amsterdam by Le Cène in 1725. Similarly argues that the same arranger was responsible for the G-minor sonata edited by Ruf (Mainz: Schott, 1965). See also item 1822. 1822. Wind, Thiemo. “New Facts Concerning Bigaglia’s Sonata in A Minor.” Recorder and Music Magazine 8, no. 4 (December 1984): 106–8. Shortly before item 1821 was published, Wind discovered yet another version of the sonata in a two-volume Walsh and Hare publication of arrangements by Pietro Chaboud dating from ca. 1723. This set, containing arrangements of the music of a number of composers, was reprinted by Le Cène ca. 1730. Wind discusses the history of the publications, the life of Chaboud, and the identity of the sonata’s authentic version— which he continues to believe to be the 1725 Le Cène publication of Bigaglia’s opus 1. Boismortier, Joseph Bodin de (1689–1755) 1823. Peterman, Lewis Emanuel, Jr. The Instrumental Chamber Music of Joseph Bodin de Boismortier with Special Emphasis on the Trio Sonatas for Two Treble Instruments and Basso Continuo. 2 vols. Ph.D. diss., College-Conservatory of Music, University of Cincinnati, 1985. xx, 995 leaves. OCLC #13924601. UMI order no. 85–18112. Part 1, “The Background of French Music in the Baroque Era,” surveys social history, the function of music, the Franco-Italian style, French ensemble music, performance practice, and the instruments (including the recorder) for which Boismortier composed. Part 2 summarizes Boismortier’s life, then analyzes his instrumental chamber music in general and his trio sonatas in particular. Part 3 consists of complete modern editions of his opp. 4, 12, 18, 28, 41, and 78 (none of which were primarily intended for recorders). The appendixes include lists of works (with locations of copies, if known) and of modern editions, both arranged by opus number. The thorough and stimulating analyses in this dissertation should prompt a reappraisal of a composer who is often dismissed as a money-grubbing scribbler.

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Charpentier, Marc-Antoine (1634–1704) 1824. Duron, Jean. “L’orchestre de Marc-Antoine Charpentier” [Marc-Antoine Charpentier’s orchestra]. Revue de musicologie 72, no. 1 (1986): 23–65. This otherwise excellent article suffers because Duron does not relate the instrumentation of Charpentier’s orchestral pieces to actual ensembles used by the composer (such as that of Marie de Lorraine studied by Ranum [item 121]). Nevertheless, it is full of interesting material on the recorder. Charpentier’s standard size of recorder was the alto; occasionally he asked for sopranino, soprano, tenor, and bass. The instrument represents birdsong, tender and calm love, evocation of the night, and peace. Corelli, Arcangelo (1653–1713) * Michel, Winfried. “Editionskunde—ein Stückchen Verbraucheraufklärung: Zur Bearbeitungspraxis von Instrumentalmusik des 18. Jahrhunderts.” Cited above as item 1708. Demoivre, Daniel (fl. 1687–1731) 1825. Stratford, Michael. “Daniel Demoivre (c.1675-c.1720) and His Music.” Consort, no. 43 (1987): 13–16. Discusses the three French-style collections of “aires” or “lessons” for alto recorder (1701, lost) and for alto recorder and basso continuo (1704 and ca. 1715) published by Daniel Demoivre. Stratford’s remark that “virtually nothing” is known of Demoivre’s life prompted a response from David Lasocki (item 1296). Dieupart, Charles [Francis] (ca. 1670-ca. 1740) 1826. Read, Robin. “Discovery of Six Sonatas by Dieupart.” Recorder and Music Magazine 1, no. 11 (November 1965): 332. Brief report of a lecture by Walter Bergmann on the recorder compositions of Francis Dieupart, which consist of an arrangement of six harpsichord suites (1705) for recorder (some for fourth flute, others for voice flute) and basso continue, and a set of Six Sonatas for Alto Recorder and Basso Continuo (1717). 1827. Fader, Don. “Let the Buyer Beware: Dieupart’s Six suittes de clavessin and Arrangement Practices for the Recorder.” Recorder Education Journal, no. 2 (1995): 32–52. Scrutinizes the two different versions of Francis Dieupart’s suites, the first for harpsichord, and the second in two parts “mises en concert…pour un violon & flute avec une basse de viole & un archilut” (arranged for a violin and recorder with a viola da gamba and archlute). Concludes that neither version “is an ideal representation of the composer’s intentions—and in fact those intentions, as far as they can be determined, were different from what either version presents. In other words, what Dieupart seems to have originally had in mind was a performance with solo harpsichord doubled by violin or recorder, but the extant versions represent realizations for solo harpsichord and for instrumental ensemble with basso continuo. [Fader’s] interpretation is that the ultimate

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realization of the possibilities inherent in the score is something the composer left up to the performer.” Includes some thoughtful discussion of the status of arrangements in the Baroque era and the wide latitude given to performers at that time. The Division Flute * Hullfish, William R. “The Division Flute: An Introduction to Playing upon a Ground.” Cited above as item 1073. * Habert, Andreas. “Wege durch die Division Flute: Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17. Jahrhunderts.” Cited above as item 1072. * Lasocki, David. “Divisions on a Ground for the Recorder: A Bibliographic Essay.” Cited above as item 1075. Eyck, Jacob van (ca. 1590–1657) Jacob van Eyck’s Der fluyten lust-hof, published in two volumes that went through five printings during the composer’s lifetime, is the largest collection ever published of music for a solo wind instrument by a single composer. It consists primarily of variations on popular tunes and psalms. * White, Beverly. “Frans Brueggen’s Visit to Oberlin, 1973: A Recollection.” Cited above as item 1394. 1828. Baker, Christina. “The Psalm Variations in Jacob van Eyck’s ‘Der Fluyten Lusthof.’” Recorder & Music 7, no. 8 (December 1982): 194–96. Concerned with the sources for the psalm tunes used by van Eyck as the basis of sixteen sets of variations. Begins with a brief history of Dutch psalters and their dissemination during the last half of the sixteenth century. Notes general differences between van Eyck’s versions of the tunes and the originals. Concludes with a table indexing the various tune sources. 1829. Griffioen, Ruth van Baak. “Some French Melodies in Jacob van Eyck’s ‘Der Fluyten Lust-Hof.’” Recorder and Music Magazine 8, no. 11 (September 1986): 322– 27. In Dutch as: “Iets over enkele ‘bloempjes’ in Jacob van Eyck’s ‘Lust-hof.’” Tijdschrift voor oude muziek 1, no. 2 (1 May 1986) : 42–44. Nearly one-quarter of the tunes van Eyck chose for the 144 sets of variations in Der fluyten lust-hof are probably of French origin. Griffioen discusses the history and texts of the six tunes that can be identified as part of the French air de cour repertory (songs performed and composed at French courts): “O Heiligh zaligh Bethlehem,” “Courante Mars,” “La Bergere,” “Al hebben de Princen,” “Repicavan,” and “Aerdigh Martyntje.” Includes versions of the tunes as they were published in French songbooks (some in facsimile). 1830. Wind, Thiemo. “Jacob van Eyck and His ‘Euterpe oft Speel-goddinne.’” American Recorder 27, no. 1 (February 1986): 9–15. Describes the editions of Der fluyten lust-hof, stressing the importance of the neglected first edition of volume 1 published under the title Euterpe oft Speel-goddinne, which included three pieces not found in later editions as well as many variant readings of other pieces. Also includes the first detailed information on van Eyck’s life available in English (largely taken from Dick van den Hul’s dissertation [Rijksuniversiteit Utrecht, 1982]).

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1831. Wind, Thiemo. “Chain Variations in van Eyck’s ‘Der Fluyten Lust-Hof.’” American Recorder 28, no. 4 (November 1987): 141–44. Adapted from: “Kettingvariaties in Der Fluyten Lust-hof van Jacob Van Eyck.” Tijdschrift voor oude muziek 1, no. 2 (1 May 1986): 45–47. Coins the term “chain variation” to describe van Eyck’s use (in seventeen pieces) of variations in the pattern AA AA’ A’ A”…(“variation chain” seems more appropriate). Shows how the recurrence of the phrases can be used to check for errors in the musical text of those phrases. 1832. Humphries, Nicholas. “A Translation of the Introduction to Jacob van Eyck’s Der Fluyten Lust-Hof of 1649.” Recorder: Journal of the Victorian Recorder Guild, no. 8 (July 1988): 1–7. English translation of the title page, dedicatory poem, and preface, and the fingering instructions from the 1649 edition of the first part of van Eyck’s collection (these instructions stem from the publisher, P[aulus] M[atthyszoon]). 1833. Griffioen, Ruth van Baak. Jacob van Eyck’s Der Fluyten Lust-hof (1644–c1655). Ph.D. diss., Stanford University, 1988. xiv, 502 leaves. OCLC #20616800. UMI order no. 88–15005. Studies the collection with the kind of exhaustive musicological approach usually reserved for the works of major composers; certainly one of the most impressive documents ever written about the recorder. First, spends thirty pages setting out the considerable amount that is now known about van Eyck’s life (almost all of this was previously available only in Dutch). Second, discusses Der fluyten lust-hof as a printed collection, including its complex bibliographic history, its publisher, its seventeenth-century audience, and its modern revival, ending with the astounding news that well over one hundred thousand copies of modern editions and facsimiles have now been sold. Third, spends over three hundred pages tracing each of van Eyck’s melodies backward and forward in time, whenever possible printing the words (and English translations) of all the vocal melodies. Valuable for bringing to life what were popular and favorite tunes in van Eyck’s day, as well as shedding light on the spread of music throughout Europe in the first half of the seventeenth century. Fourth, briefly considers van Eyck’s variation technique. Finally, drawing on Griffioen’s own study of the depiction of recorders in one hundred selected seventeenthcentury Dutch paintings, discusses what instrument was used in van Eyck’s day to play his music. Concludes that it was probably “a wooden one-piece recorder, with an inner design allowing for strong low notes and a responsive high range reaching to c4 and even to d4. No known surviving recorder matches this description, but analysis of known instruments and the continued accumulation of expertise by the world’s recorder makers should lead to more fully satisfactory designs.” 1834. Griffioen, Ruth van Baak. Jacob van Eyck’s Der Fluyten Lust-hof (1644–c1655). Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1991 (paperpack reprint, 2000). 467 p. ISBN 9063751516. ML 410 .E96 B3 1991. In its published form, the main strength of Griffioen’s study (see item 1833) is still the detailed histories of the tunes used by van Eyck. For publication, she had to cut out all but the first stanza of each song: even so, this section still takes up two-thirds of the book.

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Shorter sections are devoted to van Eyck’s life, Der fluyten lust-hof as a printed collection, the variations, and the instrument intended, and the appendixes list, among other things, recordings of van Eyck’s pieces (brought up to date). Highly recommended. Reviewed by Judith Linsenberg in American Recorder 33, no. 4 (December 1992): 21– 22, and Ruth Wilkinson in Recorder: Journal of the Victorian Recorder Guild, no. 17 (September 1993): 25–26. Scholarly reviews by Joan Rimmer in Music & Letters 74, no. 3 (August 1993): 428–31, and Thiemo Wind in Tibia 17, no. 4 (1992): 312–16. Wind, besides taking issue with some of Griffioen’s premises and conclusions, warns of the large number of typographical errors in the music examples. In his review (Early Music 20, no. 3 [August 1992]: 485–86), Jeremy Barlow laments that Griffioen did not include anything on ornaments, which would certainly have been added to van Eyck’s tunes by seventeenth-century performers. 1835. Wind, Thiemo. “Die Psalm-Variationen Jacob van Eycks: Geschichte, Analyse, Interpretation” [Jacob van Eyck’s psalm variations: history, analysis, interpretation]. Tibia 15, no. 1 (1990): 22–32. Der fluyten lust-hof contains no fewer than fourteen psalms as well as the Our Father and the Magnificat—more than 10 percent of the collection, some of them located at strategic points—and “Psalmen” are named first on the title page among the types of pieces contained therein. Nowadays, however, these pieces are neglected in favor of their more catchy secular counter-parts. Considers the importance of psalms in van Eyck’s time, including the fact that the Dutch would have heard them every day on their carillons, some-times with divisions. Looks at the relationship between theme and variations (which retain the theme strictly as a cantus firmus), and uses the logic of their matching up to discover errors and missing accidentals. Discusses the tempo relations between theme and variations. Finally, classifies the psalm variations into three types (Th and V without rests; Th with rests, V without; Th and V with rests), then considers whether they were meant to be differentiated in performance, concluding that the notation of the second type is erroneous. 1836. Wind, Thiemo. “‘Some Mistakes or Errors….’” Recorder Magazine 11, no. 3 (September 1991): 82–86. Describes the various types of mistakes Wind encountered when preparing the New Vellekoop edition of Der fluyten lust-hof (Naarden: XYZ, 1986–88). Because van Eyck, owing to his blindness, could see neither the transcriptions of his music compositions nor the printed results, errors inevitably crept into the seventeenth-century editions of Lusthof Wind believes that “we have to weigh the pros and cons of every note before deciding whether it is the right one or not.” His work with Lust-hof also illustrates “how risky it is to rely gratuitously on original sources of early music….” Some of the types of errors include notes printed upside down, omitted (or extra) notes, and misplaced barlines. Most of these become apparent through a comparison of the theme and its variations. Wind also includes a biography of van Eyck. * Schneider, Michael. “Am Beispiel van Eyck: Probleme mit dem Blockflötenrepertoire.” Cited above as item 1699. 1837. Wind, Thiemo.“‘Stemme Nova’—eine neuentdeckte Komposition Jacob van Eycks” [“Stemme Nova”—a newly discovered composition of Jacob van Eyck’s]. Tibia 18, no. 2 (1993): 466–69.

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Argues convincingly that an anonymous “Stemme Nova” in Der gooden fluyt-hemel (1644) is actually the work of Jacob van Eyck, having been left over from Euterpe, the first edition of the first part of van Eyck’s Der fluyten lust-hof The argument is based on errors in the source (typical for the blind van Eyck), some publication considerations of Der gooden fluyt-hemel and Der fluyten lust-hof, and stylistic observations. 1838. Griffioen, Ruth van Baak. “A Field Guide to the Flowers of the Fluyten Lust-hof: Notes on the Familiarity of the Tunes van Eyck Chose.” In item 111, pp. 159–75. Begins by showing that, in the minds of van Eyck’s contemporaries, the words “fluyten lust-hof”—literally translated, a flute’s (or recorder’s) garden of delights— would have had associations with a real garden and also a collection of songs. And what about the flowers that the garden was “planted full of (as the title page says)? For the mid-seventeenth-century audience, they may have been more a selling point than the variations were. Van Eyck chose them from the repertory of the Calvinist (Reformed) Church, carillon music, and pocket songbooks (which contain many contrafacta). In origin the tunes are roughly 50 percent French, 30 percent English, only 10 percent Dutch, and 10 percent other. Griffioen assesses their level of familiarity to van Eyck’s contemporaries as 15 percent unique to Der fluyten lust-hof, 35 percent with one other known setting, 20 percent with between five and twenty-five tune-indications in other collections, and 30 percent with over thirty tune-indications. Most of the tunes were current throughout the seventeenth century, and a significant number “have been in unbroken use from Van Eyck’s time until ours.” Griffioen concludes by encouraging performers to make a broader choice of pieces from the Lust-hof for concerts and recordings. 1839. Wind, Thiemo. “Jacob van Eyck’s Der fluyten lust-hof: Composition, Improvisation, or…?: Consequences for Performance Practice.” In item 111, pp. 177– 95. The thesis of this article is that “[a]lthough Van Eyck must have been an experienced improvisor, as every well-trained musician in the seventeenth century was, and although this practice may have been the genesis of his music, his printed works largely went beyond the improvised state.” The collection contains a few doublings, presumably caused by the blind composer dictating the pieces over a long period of time. “Chain variations”—obviously a compositional rather than an improvisatory practice—are common. Van Eyck was aware of “the new Italianate stop-and-start style [of ornamentation] with its rapid changes of pace from slow to fast,” as witnessed by Modo 4 of the second set of variations on “Amarilli mia bella.” The variation technique he used elsewhere actually constitutes “an essential step forward in the development of an independent instrumental music, liberated from the Renaissance privilege of vocal music.” Seen from this perspective, van Eyck was not as old fashioned as many modern writers have claimed him to be. And even when he set vocal music, a number of examples show that he could make different breaks from the text; thus he “should be considered a composer of…purely instrumental music.” “Many levels of relationship between themes and variations can be perceived…from tight to very loose.” There are some elements of improvisation in the collection, but they are shown mainly in the small deviations of melody or pitch level between repeated tunes. 1840. Waterman, Rodney. “The Lure of Jacob van Eyck (A Forest Full of Nightingales).”

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Recorder and Early Music [Australia], no. 20 (1996): 11–16. Presents his own experience of hearing and playing van Eyck, then a short discussion of the composer’s life and work, based on Ruth van Baak Griffioen’s book (item 1834). 1841. Wind, Thiemo. “Why the Duets from Der Fluyten Lust-hof Are Not by Jacob van Eyck.” Recorder Magazine 16, no. 2 (June 1996): 44–48. Many commentators, from Thurston Dart to Ruth van Baak Griffioen, have noted that the duets in the second edition of van Eyck’s Der fluyten lust-hof (1649) are much lower in quality than the solo pieces, and at times even clumsy. Wind examines the ways in which the duets were created from van Eyck’s solo pieces, demonstrating that the job was done in such a willful and unmusical manner that it could not have been by the composer. Wind lays the blame on the publisher, Paulus Matthyszoon, who had “a reputation for manipulating monophonic pieces in order to use them as ensemble repertoire.” To clinch the matter, Wind shows that the order of pieces in the gatherings of paper probably helped to determine the choice of arrangements, and the publisher “during the process of printing, took unfolded and uncut sheets from the presses now and then, and started to arrange [the pieces] found there, in order to ‘enrich’ the last two gatherings of Der Fluyten Lust-hof I with a series of duets.” 1842. Rosenfeld, Randall A. “Van Eyck’s Der Fluyten Lust-hof (1644–ca. 1655) and the Perception of the Baroque.” In Going for Baroque: Cultural Transformations 1550– 1650, ed. Francesco Guardiani, 169–90. Ottawa: Legas, 1999. Seeks to understand the collection “within the context of the visual arts and politics of the Dutch ‘Gouden Eeuw’ (Golden Age).” Of course, Ruth van Baak Griffioen already went over the collection in great detail in item 1833, so perhaps only small insights are to be obtained at this stage of research. A few of Rosenfeld’s comments struck us in passing: Van Eyck was of “polite birth,” unusual for a professional musician, even by that time. He “certainly made a living wage, but it is unlikely that he did spectacularly well from his musical earnings.” It was van Eyck’s skill as a performer rather than his compositions that excited comment from his contemporaries. His compositional style was conservative, except for a few instances of broken chords. The presence of a number of tunes set to pastoral poems in the Dutch songbooks reflects not only the pastoral images common in Dutch society but the recorder as a pastoral emblem. Rosenfeld suggests that the faulty progressions in the duets of the collection are “quite likely” to be printing errors rather than compositional inadequacies; he therefore disputes the conclusions of Griffioen and Thiemo Wind that the duets are not authentic, concluding that “it is best to conserve the duets as part of van Eyck’s corpus.” The collection was selected “from a moderate, tolerant, Calvinistic position, one in which even dances can be published in company with psalms. Some may wish to see in [its] tone…a reflection of the tone of Utrecht society….” In conclusion, van Eyck’s collection reflects the mixed culture of the Dutch “Golden Age,” somewhat cosmopolitan, somewhat conservative, showing us the broad variety of styles that could still exist during the “Baroque.” 1843. Wind, Thiemo. “Jacob van Eyck.” In The Essential Guide to Dutch Music: 100 Composers and Their Work, ed. Jolande van der Klis, 123–26. Amsterdam: Amsterdam University Press; Muziekgroep Nederland, 2000. This book is a translation of Het HonderdComponistenBoek. Haarlem: Gottmer, 1997. ISBN 9025729649. ML 106. N4.

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A useful summary of the life and work of van Eyck, who is included in this guide to the one hundred most significant Dutch composers resident in the Netherlands. The guide’s entry on Unico Wilhelm van Wassenaer (by Rudolf Rasch, pp. 405–8) mentions his “very creditable” recorder sonatas (written at the age of twenty), and the entry on Servaas de Konink (also by Rasch, pp. 209–12) speculates that his early chamber music, all involving the recorder, was written as theater music. 1844. Wind, Thiemo. Jacob van Eyck Quarterly. http://www.fourwinds.demon.nl. Quarterly, January 2001–. A Web magazine produced by an expert on van Eyck. Each issue contains one article. So far the contents have been: 2001, no. 1 (January): “Jacob van Eyck in Nimegue, 1651”; 2001, no. 2 (April): “On the Origin of ‘Beginnende door reden ons gegeven’ (NVE 142)”; 2002, no. 3 (July): “The House Where Jacob van Eyck Lived”; 2001, no. 4 (October): “‘Stil, stil een reys’: A New Reconstruction”; 2002, no. 1 (January): “Jacob van Eyck and Poverty: A Reevaluation of the Evidence”; 2002, no. 2 (April): “‘Courant Mars’: Variations (Re?)united.” Presumably all of this material will eventually appear in Wind’s doctoral dissertation. Finger, Godfrey (ca. 1660–1730) 1845. Marshall, Arthur W. “The Chamber Music of Godfrey Finger.” Consort, no. 26 (1970): 423–32. An important article, drawing attention to the hitherto neglected chamber music (including a great deal for recorder) of a significant figure in the history of the instrument, possessed of a “genuine if modest inspiration.” Analyzes his style, then surveys the output, pointing out works of merit or interest. Appendix 1 lists all the works with modern editions. A letter from Marshall in 31 (1975): 148, describes recent discoveries and makes corrections. 1846. Marshall, Arthur W. “The Recorder Music of Godfrey Finger.” Recorder & Music 5, no. 11 (September 1977): 350–52. Begins with a summary of how Finger’s recorder compositions have come down to us; the author considered many to have been lost until they were discovered in the Library of Congress during the early 1970s. Lists the known compositions and offers stylistic analyses of a handful of the works. Concludes with an essay on Finger’s compositional style. Fischer, Johann (1646–1716 or 1717) 1847. Delius, Nikolaus. “Johann Fischer: Allemande für Flöte und Generalbaß” [John Fischer: Allemande for Flute and Basso continue]. Tibia 17, no. 3 (1992): xiii-xix (Die gelbe Seite). A thorough study of the performance of Fischer’s allemande (from his Vier Suiten für Blockflöte, ed. Waldemar Woehl, Hortus Musicus, no. 59 [Kassel: Bärenreiter, 1932], Suite 3, no. 9). Covers: the composer, the history of the allemande, phrasing, melody/motives, articulation, structure, and ornaments.

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Fontana, Giovanni Battista (d. 1630) 1848. Nitz, Martin. “G.B.Fontana: ‘6 Sonaten für Violine (Sopranblockflöte) und B.c.’ Ueberlegungen zu den Temporelationen ihrer 2er- und 3er-Taktabschnitte” [G.B.Fontana, Six Sonatas for Violin (Soprano Recorder) and Basso Continuo: reflections on the tempo relations of its duple- and triple-meter sections]. Tibia 15, no. 3 (1990): 205–8. Fontana’s sonatas are now available in three modern editions. Drawing on the work of Mirjam Nastasi (“Zur Tempofrage bei Frescobaldi,” Tibia 4, no. 1 [1979]: 217–21) and Karin Paulsmeier (“Temporelationen bei Frescobaldi,” in Alte Musik, Praxis und Reflection: Sonderband der Reihe “Basler Jahrbuch für historische Musikpraxis” zum 50. Jubiläum der Schola Cantorum Basiliensis, ed. Peter Reidemeister and Veronika Gutmann [Winterthur: Amadeus, 1983], 187–203), Nitz suggests solutions to the problems of the duple/triple tempo relations based on theory and experience. Fux, Johann Joseph (1660–1741) 1849. Kubitschek, Ernst. “Block- und Querflöte in Umkreis von Johann Joseph Fux— Versuch einer Übersicht” [Recorder and flute in Johann Joseph Fux’s circle: an attempt at a synopsis]. In Johann Joseph Fux und die Barocke Bläsertradition, ed. Bernhard Habla, 99–119. (Alta música, Bd. 9.) Tutzing: Hans Schneider, 1987. ISBN 3795204941. ML 929.5 J63 1987. A highly important article, bringing to light a great deal of information on an almost unknown subject. Begins with the use of flauti in the Austro-Hungarian empire of the late seventeenth century. Continues with the court, including Giovanni Battista Bononcini’s employment of “2 Flauti Eco.” Makes an aside on the transition from Renaissance to Baroque recorders. Concludes with Fux himself. The recorder parts would have been played by the court oboists (see the companion article: Herbert Heyde, “Blasinstrumente und Bläser der Dresdner Hofkapelle in der Zeit des Fux-Schülers Johann Dismas Zelenka (1710–1745)” [Wind instruments and instrumentalists of the Dresden court chapel in the time of the Fux student Johann Dismas Zelenka (1710–1745)], 39–65). See also the other companion articles: Herbert Seifert, “Die Bläser der Kaiserlichen Hofkapelle zur Zeit von J.J.Fux” [The winds of the royal court chapel during the time of J.J.Fux], 9–23, and Gunther Joppig, “Die hohen Holzblasinstrumente (Chalumeau und Oboe) im Schaffen von Johann Joseph Fux” [The high woodwind instruments (chalumeau and oboe) in the works of Johann Joseph Fux], 67–71. 1850. Suppan, Wolfgang. “The Use of Wind Instruments (Excluding Chalumeau) in Fux’s Music.” In Johann Joseph Fux and the Music of the Austro-Italian Baroque, ed. Harry White, 95–108. Aldershot: Scolar Press, 1992. ISBN 0859678326. In German as: “Blasinstrumente (ohne Chalumeau) im musikalischen Schaffen von Johann Joseph Fux.” Das Musikinstrument 39, no. 11 (November 1990): 68–74. Mentions a few arias with parts for “Flöte,” unfortunately not distinguishing between the recorder and transverse flute, and simply drawing on the work of Kubitschek (see item 1849).

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Graun * Hofmann, Klaus. “Gesucht: Ein Graunsches Trio mit obligater Bassblockflöte. Ein Ermittlungsbericht—mit Seitenblicken auf ein Trio Carl Philipp Emanuel Bachs.” Cited above as item 1771. Graupner, Christoph (1683–1760) 1851. Großpietsch, Christoph. Graupners Ouverturen und Tafelmusiken: Studien zur Darmstädter Hofmusik und thematischer Katalog [Graupner’s overtures and table music: studies of court music in Darmstadt, and a thematic catalog]. (Beiträge zur mittelrheinischen Musikgeschichte, 32.) Mainz: Schott, 1994. 427 p. ISBN 379571334X. ML 410 .G78 G76. Christoph Graupner worked at the Hesse court in Darmstadt. The manuscript score of his alto recorder concerto in F major dates from 1735–37, so it is unlikely to have been written for the famous woodwind virtuoso of the court, Johann Michael Böhm, who left Darmstadt for Ludwigsburg in 1729. The most probable dedicatees are the court’s two oboists, J.Corseneck and J.F.Stolz. Großpietsch discusses a companion work, also in F major, an “Ouverture” for alto recorder and strings (published in a modern edition by Nagel, ed. Klaus Hofmann). He dates this work, F5 in his thematic catalog, also ca. 1735–37. His main comment on the musical side of the work is about the third movement, Air en Gavotte, the shortbreathed (kleinteiliger) style of which he calls up to date, or galant. As the Darmstadt inventory of 1769 still listed no fewer than twenty-one recorders, Großpietsch finds a mere concerto and suite for solo recorder “an astonishingly small number of soloistic works” for the instrument by Graupner. Handel, George Frideric (1685–1759) * Welch, Christopher. Six Lectures on the Recorder and Other Flutes in Relation to Literature . Cited above as item 34. 1852. Hillemann, Willi. “Auftreten und Verwendung der Blockflöte in den Werken George Friedrich Händels” [Occurrence and use of the recorder in the works of George Frideric Handel]. Die Musikforschung 8, no. 2 (1955): 157–69. An early overview of the subject, touching briefly on terminology, range, keys, technique, articulation, and ornaments. The repertory is listed, then discussed. * Newman, Joel. “A Commentary on the Directions for Playing the Flute (c. 1731).” Cited above as item 962. 1853. Newman, Joel. “Handel’s Use of the Recorder.” American Recorder 5, no. 4 (November 1964): 4–9. Revision of an article in ARS Newsletter, nos. 22, 24, and 26. Documents Handel’s use of the recorder in vocal, orchestral, and chamber works, with an emphasis on the vocal. Through a perusal of the old Handel complete edition, Newman identifies twenty-five operas, ten oratorios, five Italian cantatas, and three serenatas and pastorals that use the instrument. Each entry in the listing includes title, date of composition, aria name, role and voice, tempo, meter, key, instrumentation, range of recorder part, and general remarks. Newman notes that Handel favors flat keys and

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rarely uses pitches higher than eb3. The information on the chamber works is outdated. Discusses the flauto piccolo problem in Handel—similar to the one in Vivaldi’s music. 1854. Levin, Lia Starer. The Recorder in the Music of Purcell and Handel. Ph.D. diss., International College, Los Angeles, 1981. xiv, 404 p. OCLC #8966035. An extremely detailed study of these composers’ use of the recorder (and the flute in the case of Handel), looking piece by piece at instrumental and vocal combinations, tempo and expression marks, keys, time signatures, the range of the recorder/flute part, and the texts (for verbal associations of the instruments). The final chapter sums up the results of the investigation. Begins with a brief history of the recorder, already considerably outdated. 1855. Solomon, Jon. “Polyphemus’s Whistle in Handel’s ‘Acis and Galatea.’” Music & Letters 64, nos. 1–2 (January-April 1983): 37–43. Seeks an explanation for why Handel scored for recorder in Polyphemus’s aria “I rage, I burn.” Suggests it is only because John Gay’s libretto, based on John Dry den’s translation of Ovid, mentions a “whistle,” although that is far from Ovid’s original meaning (a panpipe with one hundred pipes), and the recorder obbligato has “little of particular artistic importance.” 1856. Schneider, Michael. “‘Besonderes’ und ‘Allgemeines’: Larghetto aus der Senate CDur op. 1, 7 für Blockflöte und Basso continue von Georg Friedrich Händel” [“Special” and “general”: the Larghetto from the Sonata in C Major, op. 1, no. 7, for recorder and basso continuo by George Frideric Handel]. Üben & musizieren 2/1984, 80–84. A long analysis of the first movement of Handel’s C-major recorder sonata, unprecedented in the writings about the recorder’s Baroque repertory in its attention to harmonic and melodic detail as well as phrase structure. Concludes briefly with the salutary warning that the “special” features of this movement should not be ornamented away. * Letteron, Claude. “Des thèmes pour 1985.” Cited above as item 1779. 1857. Beeks, Graydon. “Handel and Music for the Earl of Carnarvon.” In Bach, Handel, Scarlatti: Tercentenary Essays, ed. Peter Williams, 1–20. Cambridge: Cambridge University Press, 1985. ISBN 0521252172. ML 55 .B14 1985. Draws together what is known about the music that Handel wrote for James Brydges, Earl of Carnarvon (later Duke of Chandos), at Cannons, 1714–19, and about the musicians who played it. The music involving recorders included Acis and Galatea and the Tenth Chandos Anthem. 1858. Möller, Dirk. Besetzung und Instrumentation in den Opern Georg Friedrich Händels [Scoring and instrumentation in Georg Frideric Handel’s operas]. (Europäische Hochschul-schriften. Reihe 36: Musikwissenschaft, Bd. 38.) Frankfurt am Main: P.Lang, 1989. ix, 231 p. ISBN 363140784X. ML 410 .H13 M64 1989. Handel’s use of the recorder in his operas is surveyed on pages 44–50. 59. Cornsweet, Amy. Handel’s Use of Flute and Recorder in Opera and Oratorio. M.M. thesis, University of Arizona, 1990. 147 p. A largely statistical study of the 125 “pieces” involving flutes or recorders found in Handel’s operas and oratorios. Discusses keys, affections, and the doubling of musical lines. Lots of charts. Apparently done in ignorance of the work of Levin (item 1854). The

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music examples are taken from the Chrysander edition. Makes no attempt to relate the instrumentation to the musicians of the time (as reported in item 126). 1860. Braun, Gerhard. “Händels Opern und Oratorien in Bearbeitungen für Flöteninstrumente” [Handel’s operas and oratorios arranged for flutes]. Tibia 21, no. 1 (1996): 10–14. Notes that the contemporaneous recorder arrangements of Handel’s vocal works “no doubt served the opera lover as a kind of recording substitute. On the relatively simpleto-play recorder, the melodies of the dances and arias of the opera heard the night before could be recalled at any time.” Unfortunately, these arrangements contain “gross melodic and rhythmic errors,” the structure of the pieces was often modified (for example, by replacing a shortened or varied da capo section with a normal one), and the orchestral texture was often reduced to a mere basso continue line, replete with faulty figuring. Letter from Karl Stangenberg in 21, no. 2 (1996): 156. 1861. Heidecker, Martin. “Block- und Querflöten in den Opern Georg Friedrich Händels” [Recorder and flute in the operas of George Frideric Handel]. Tibia 21, no. 1 (1996): 2–10. Generally breaks no new ground, but we are struck by Heidecker’s insight that Handel used a variety of means to make recorders audible in the orchestra: muting the strings or having them play softly, reducing the size of the basso continue group or having the continuo strings play pizzicato, using violas or even violins as the lowest-sounding line, and having the recorders play unaccompanied or make soloistic forays into the high register for a few measures. 1862. Lasocki, David. “Handel’s Original Works for Recorder: A Bibliography.” Recorder Education Journal 3 (1996): 38–44. A comprehensive list of all Handel’s works involving the recorder (instrumental and vocal), including modern editions and facsimiles. Arranged by medium, following the Handel-Werke-Verzeichnis (HWV), published as volumes 1–3 of Handel-Handbuch: operas, oratorios, cantatas, other sacred vocal music, orchestral music, sonatas, and trio sonatas. 1863. Paterson, Scott. “Performing Handel’s Cantata Nel dolce dell’oblio” American Recorder 39, no. 4 (September 1998): 9–14. Paterson discusses the background to the 1707 cantata, which is scored for soprano, alto recorder, and basso continuo. Then he follows the unusual format of collecting the comments of four other recorder players—Aldo Abreu, Cléa Galhano, Alison Melville, and Mordecai Rubin—on how to perform the cantata. The collective authors are particularly helpful in elucidating the text and key scheme of the cantata. They also discuss ornamentation, articulation, and rhythmic alteration. In the bibliography we enjoyed hearing about a humorous contrafactum of the text, which begins: “Is this the music chosen? I do not like it, for it has a recorder in it, playing a lot!” 1864. Thalheimer, Peter. “Spurensuche im Repertoire für ‘flauto piccolo’: Händel oder Montenari?—das ist hier die Frage….” [Tracks on the trail of repertory for flauto piccolo. Handel or Montenari?—that is the question]. Windkanal 2/2000:6–10. In 1988, Thalheimer published an edition of a flauto piccolo concerto attributed to Handel in a Rostock manuscript. Although Bernd Baselt included it among the doubtful works in the Handel-Handbuch, Thalheimer argued in his preface that an English

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provenance was probable and Handel’s authorship was not out of the question. Since then further evidence has turned up. The Rostock collection originally belonged to Friedrich Ludwig, Prince-Bishop of Württemberg (1698–1731), who was a flutist and perhaps even a recorder player. The collection contains other works with links to England, including the famous case of the concertos attributed to Loeillet that were published under Woodcock’s name (see item 1316) and an oboe concerto by Handel that Baselt considered authentic enough to give it an HWV number (287). In the Breitkopf catalog of 1763, the Rostock flauto piccolo concerto is ascribed to one Montenari, perhaps the same man as Francesco Montenari, who published twelve sonatas for recorder or violin in Amsterdam around 1730 (not extant). Works of Handel’s were performed on the “little flûte” in London in the 1720s and ’30s. A contemporaneous arrangement of Handel’s Concerto grosso op. 3, no. 3 (HWV 314), for flute and strings, may well have been intended for a small recorder. Still, the question Handel or Montenari must remain open. Sonatas * McGrady, Richard. “Corelli’s Violin Sonatas and the Ornamentation of Handel’s Recorder Sonatas.” Cited above as item 1100. 1865. Best, Terence. “Handel’s Solo Sonatas.” Music & Letters 58, no. 4 (October 1977): 430–38. The first full survey of the manuscript and printed sources. Includes discussion of the sonatas attributed to Handel that are either spurious or of doubtful authenticity. A concluding table provides a concordance of contemporary prints, autographs, and locations of the sonatas in the Hallische-Händel-Ausgabe. 1866. Lasocki, David. “A New Look at Handel’s Recorder Sonatas: I. Ornamentation in the First Movement of the F major Sonata.” Recorder & Music 6, no. 1 (March 1978): 2–9, 19. Suggests how a player might arrive at suitable ornamentation of the movement. The qualities of good ornamentation, being dependent on the judgment of the interpreter, are a matter of taste, but some guidance can be found by first analyzing the melodic and motivic content of the music and considering what historical sources have to say about the purpose of ornamentation. Although skillfull ornamentation can resurrect a monotonous work, ill-considered ornamentation can just as easily ruin a piece. As an example of the latter, Lasocki cites the contemporary ornamentation of the sonata movement found on an eighteenth-century barrel organ, which David Munrow used as the basis for his recording of the work (Lasocki includes a transcription). Lasocki then proceeds through the movement and describes what appropriate ornamentation might be, given the content of the music and what ornamentation should and should not accomplish. Finally, as an example of a “musical, sensitive and convincing” performance, Lasocki offers a transcription of Frans Brüggen’s second recording of the movement. 1867. Savage, Alan A. “On Performing the Handel Recorder Sonatas, Opus One.” Recorder & Music 6, no. 1 (March 1978): 9–11. Describes the author’s experience as an amateur preparing for a performance of the four opus 1 recorder sonatas. Offers personal observations on the appropriate tempo,

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articulation, and ornamentation for each movement. 1868. Lasocki, David. “A New Look at Handel’s Recorder Sonatas: II. The Autograph Manuscripts.” Recorder & Music 6, no. 3 (September 1978): 71–79. Reviews the history of the manuscript sources and early editions. Compares the autographs, contemporaneous copies, and editions, then offers examples of variants among them. Suggests probable chronologies for the sources. 1869. Lasocki, David. “A New Look at Handel’s Recorder Sonatas: III. The Roger and Walsh Prints: A New View.” Recorder & Music 6, no. 5 (March 1979): 130–32. Reports Lasocki’s revised theory on the circumstances surrounding the publication of the “Jeanne Roger” and Walsh prints of the Handel opus 1 sonatas (see item 1868 for his original thoughts). 1870. Lasocki, David. “New Light on Handel’s Woodwind Sonatas.” American Recorder 21, no. 4 (February 1981): 163–70. In German as: “Händels Sonaten für Holzbläser in neuem Licht.” Tibia 5, no. 3 (1980): 166–76. Summarizes recent research by Lasocki and Best (items 1865, 1868, and 1869), whose studies of early prints and newly discovered manuscripts have radically altered the accepted ideas about instrumentation and authenticity for certain sonatas. Speculates on the circumstances that might have led John Walsh to publish the first edition of the sonatas under the name of Jeanne Roger of Amsterdam. See also items 1872–73. 1871. Hofmann, Klaus. “Zu Händels Fitzwilliam-Sonate in G-dur: Eine Replik” [On Handel’s Fitzwilliam Sonata in G major: a reply]. Tibia 6, no. 3 (1981): 391–96. A long reply to David Lasocki’s brief argument (see item 1870) that Handel’s G-major sonata (HWV 358)—unattributed in the autograph manuscript found in the Fitzwilliam Museum, Cambridge—was intended for the violin, although Hofmann had claimed it for the alto recorder (in his edition published by Hänssler-Verlag in 1974). Points out that he suggested the recorder as a “provisional and more practical solution to the problem” of attribution. Discusses in detail the passage in the final movement containing four very high notes (b3–e4), concluding that they were erroneously notated by Handel, and suggesting two possible readings (e3–a3 or a3–d4). Rejects Lasocki’s statement that these readings are “unplayable or unthinkable” on the alto recorders of the day: the first would have been possible on a Continental recorder, the second on an alto in G (still used by Bismantova in 1677). Also rejects Lasocki’s argument that the impossibility of taking a breath in the sixteenth-note passages of the first movement points away from the recorder, remarking that the same could be said about the (clearly genuine) A-minor sonata. Concludes that the question of attribution is not closed. The sonata could have been written for a nonstandard instrument or size of instrument. Of the standard instruments of the beginning of the eighteenth century, only the recorder comes into consideration. Handel’s G-major sonata has been accepted as a violin sonata by Handel scholars. Yet the fact that the sonata does not reach lower than g1 (with an isolated f#1) does indeed strongly suggest that the question of attribution is still open. 1872. Lasocki, David. “A New Dating for Handel’s Recorder Sonatas.” Recorder and Music Magazine 8, no. 6 (June 1985): 170–71. Updates information presented in items 1868–70. Surveys the surviving sources for the works. On the basis of recent research by Handel scholars, the autographs of the six

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sonatas can be assigned the date “probably 1725–26.” 1873. Best, Terence. “Handel’s Chamber Music: Sources, Chronology and Authenticity.” Early Music 13, no. 4 (November 1985): 476–99. An extremely useful review of the recent research on Handel’s solo and trio sonatas, summarizing research on the solo sonatas dealt with in other articles (including items 1865, 1868–70, and 1872), and furnishing new information on the trio sonatas, one of which is definitely, and two of which are possibly, for recorder. 1874. Lasocki, David, and Eva Legêne. “Learning to Ornament Handel’s Sonatas through the Composer’s Ears.” American Recorder 30, no. 1 (February 1989): 9–14; 30, no. 3 (August 1989): 102–6; 30, no. 4 (November 1989): 137–41. In German as: “Wie man lernt, beim Verzieren von Händel-Sonaten mit dem Ohr des Komponisten zu hören.” Tibia 22, no. 3 (1997): 488–503. An updated one-part version, closer to the German version but having the complete music examples of the American Recorder version: Recorder Education Journal 6 (2000): 44–59. Starting from the premise of item 1096 that ornamentation is “a type of composition, or rather, recomposition,” Lasocki and Legêne demonstrate how the study of various aspects of Handel’s compositional style can enable players to ornament sensibly and effectively. Part 1 covers three of Handel’s techniques: rhetoric, variation technique, and reworkings. Part 2 discusses essential graces and free ornamentation. Part 3 concludes the overview of free ornamentation and examines contemporaneous examples (barrel-organ ornamentations and William Babell’s ornamented slow movements) that have been held up—the authors believe inappropriately—as models by modern performers. 1875. Braun, Gerhard. “Von ‘mäßiger Lustigkeit’: Einige interpretatorische Anmerkungen zu den Menuetten von G.F.Händel für Sopranblockflöte und Klavier” [Of ‘moderate gaiety’: some interpretative remarks on Handel’s minuets for soprano recorder and piano]. Tibia 17, no. 1 (1992): v-viii (Die gelbe Seite). The minuets in question are from a Walsh print of 1762 (in a modern edition by Martin Heidecker). Sketches the background of the minuet in the eighteenth century: form, affection, and tempo, leading to advice on accentuation and articulation. Useful but leaves us asking for more. (The tag “mäßiger Lustigkeit,” incidentally, is Johann Mattheson’s.) 1876. Schneider, Michael. “Muster mit Wert: Händels Blockflötensonaten” [A pattern with value: Handel’s recorder sonatas]. In item 39, pp. 139–53. Although much research has been done on Handel’s recorder sonatas in the last twenty years, little has been said in recent years about their musical qualities. Schneider takes some steps in this direction, outlining the types of movement employed, analyzing in detail the opening Larghetto of the A-minor sonata (and in less detail the Larghetto of the C-major sonata), and commenting on some of Handel’s ornamental techniques. He concludes: “I hope that Handel’s recorder sonatas regain their status once more in concerts and instruction, as is fitting, because they still belong to the few works in the original repertoire which really reveal a compositional master hand in every measure.” 1877. Bixler, Martha. “A Handel Sonata Roundup: Editions, Then & Now.” American Recorder 39, no. 5 (November 1998): 9–16. Begins by briefly reviewing the history of the early English editions from the 1730s. Then surveys “modern editions of the recorder sonatas as they have appeared since 1940,

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leading up (with some detours) to David Lasocki and Walter Bergmann’s edition of 1979 (revised 1982).” Bixler evaluates the editorial method and the realization of the basso continuo. Unfortunately, the survey is not quite complete, as Bixler did not own copies of two editions. She adds a further edition in a letter published in 41, no. 4 (September 2000): 39. 1878. “Ein Blick in die Werkstatt: Einige Anmerkungen zu den unterschiedlichen Ausgaben der Blockflötensonaten von G.F.Händel” [A glimpse into the workshop: some observations on the various editions of Handel’s recorder sonatas]. Tibia 25, no. 3 (2000): ix-xi (Die gelbe Seite). Comments briefly on the history of Handel’s recorder sonatas, based partly on item 1870. 1879. Martínez Ayerza, María. “Las sonatas para flauta de pico y bajo continuo de G.F.Haendel” [The sonatas for recorder and basso continuo by G.F.Handel]. Revista de flauta de pico, no. 15 (2000): 13–22; no. 16 (2000): 17–28. This long article on Handel’s recorder sonatas is said to “come from a student paper for a course on the recorder at the Seville Conservatory.” As a term paper with a selfeducational purpose, it constitutes a fair summary of the background of these celebrated sonatas, which should prove useful to the Spanish-speaking audience for whom it is now published. Unfortunately, the author apparently does not realize that a published article must give full credit to all its sources, which are mostly an edition and several articles by David Lasocki (with extra material from Terence Best and Klaus Hoffman). When so much is taken from other authors, three footnotes for some points in the article simply do not suffice: all of the material used must be acknowledged (for example, Lasocki’s motivic analysis of movements from the D-minor and F-major sonatas) or else a charge of plagiarism could be leveled. It is a shame that the editors of the journal did not alert her to the appropriate scholarly procedure. The worthwhile original contributions that she does make are some commentary on the musical qualities of the sonatas, a comprehensive bibliography of editions, and a similarly comprehensive discography with an index of performers. Haydn, Joseph (1732–1809) 1880. Sahlin, Eva. “Blockflöte als Lirenersatz?” [The recorder as a substitute for the lira?]. Tibia 4, no. 1 (1979): 244–46. The piano reduction of Joseph Haydn’s concerto for two lire organizzate (organized hurdy-gurdies) published by Doblinger (ed. Karl Trotzmüller) replaces the solo instruments with alto recorders. Sahlin asks questions about the context and associations of the lira organizzata in the late eighteenth century, and the consequences for the substitution of recorders in Haydn’s composition, admitting that the questions cannot be definitively answered. The instrument, a combination of hurdy-gurdy and bellows-driven organ, could therefore produce string timbre, wind timbre, or both together. It was characterized by a piercing tone, a drone (never notated), a limited range of keys, and pastoral associations. Trotzmüller plumped for the recorder because it would have been similar to the organ part of the instrument. Sahlin argues that, on the other hand, using recorders misses the string and string/wind timbres, the instruments are an octave too

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low, their tone is too soft, they lack a drone, and they had no pastoral associations at Haydn’s time. Prefers the solution that Haydn himself adopted for his nocturnes that were written for the same instrumentation: flute and oboe on the solo parts. Ends with an editorial note that a German maker, Kurt Reichmann, is now making lire organizzate. Letters from Erich Benedikt and Diether Steppuhn in 4, no. 2 (1979): 363–65. Heinichen, Johann David (1683–1729) 1881. Kubitschek, Ernst. “Die Verwendung der Flöte im Schaffen von Johann David Heinichen und seinen Dresdner Kollegen” [The use of the recorder and flûte in the works of Johann David Heinichen and his Dresden colleagues]. In Musikzentren: Persönlichkeiten und Ensembles: Konferenzbericht der XV wissenschaftlichen Arbeitstagung, Blankenburg/ Harz, 19. bis 21. June 1987, 34–45. (Studien zur Aufführungspraxis und Interpretation der Musik des 18. Jahrhunderts, 35.) Michaelstein bei Blankenburg: Kultur- und Forschungsstätte Michaelstein bei Blankenburg/Harz, 1988. OCLC #9802675. ML 240.3 .M89 1988. Recorders are found in several large-scale vocal works of Heinichen: a trio of alto recorders in an aria about death, and a bird aria for soprano with recorder obbligato in Mario (Venice, 1713); three recorders and bass recorder in Zeffiro e Clori (Venice, 1714); recorders in unison with “violini piano” in Flavio (Dresden, 1719/20); flute, recorder, and “violini sempre piano” in Serenata fatta su l’Elba (ditto); three recorders in the oratorio La pace di Kamberga (Dresden); and flutes and recorders together in the “Et in spiritum sanctum” and “Agnus Dei” from the Mass in D (Dresden, 1729). On the whole, Heinichen “distinguishes carefully between flute and recorder. The flute has obbligato parts in the orchestra; the recorder is only inserted as extra sound color in unison passages.” Still, during the course of his life, Heinichen changed the manner in which he employed the two instruments, and even the range he favored. The recorder parts in Dresden were always played by the oboists in the orchestra.

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Hotteterre, Jacques (1674–1763) 1882. Bloodworth, Denis. “Performing Jacques Hotteterre’s ‘Echos.’” Recorder & Music 5, no. 12 (December 1977): 387–88. A brief article concerning the selection of a suitable instrument, articulation, and the fingering of ornaments. * House, Delpha LeAnn. Jacques Hotteterre “le Romain”: A Study of His Life and Compositional Style. Cited above as item 1298. 1883. Berryman, Brian Alexander. “Jacques-Martin Hotteterre, Les goûts réunis und die Entwicklung der französischen Barockmelodik” [Jacques-Martin Hotteterre, Les goûts réunis, and the development of French Baroque melody]. Tibia 20, no. 3 (1995): 517– 31. Compares in detail Jacques Hotteterre le Romain’s first set of suites for flute and basso continuo (1708) with the second set (1715). (Hotteterre remarked in the preface to the first set that they could be transposed up a minor third for the alto recorder.) Cites the increased number of Italian elements in the second set as proof that Hotteterre was attempting to keep up to date and retain his patrons in changing times. 1884. Lasocki, David. “The Doubles in Jacques Hotteterre’s Airs et brunettes (ca. 1721).” Recorder Education Journal 5 (1999): 21–52; no. 6 (2000): 60. Around 1721, after he had finished writing some attractive chamber music that blended elements of the French and Italian styles, Hotteterre published a collection of French songs arranged for the flute under the title Airs et brunettes. Most of the songs were arranged for two or three melody instruments with basso continue. At the end of the collection came a series of twenty-one pieces “pour la flute seule” (for flute alone), grouped into three sets by key, although not actually labeled “suites.” As the title page noted, these songs were “ornez d’agrements” (ornamented) by Hotteterre. Sometimes he transcribed the vocal ornamentation of the songs; at other times he invented ornamentation more idiomatic for the flute. In fourteen cases he also supplied doubles, or ornamental variations of the entire song. Lasocki analyzes the situations in which Hotteterre used ornamentation in these doubles, dividing them up into ornaments: portde-voix, port-de-voix double, coulement, “coulement double” (his term), accent, “accent double” (again his), two different types of turn—and freer ornamentation: appoggiaturas, neighbor tones and passing tones, chord tones, thirds, larger intervals, escape tones, other nonchord tones, compound ornaments, playing with rhythm, pauses, rhythmic displacement, and divisions. The article includes the texts of the songs with Lasocki’s English translations as well as the songs and doubles transposed for the alto recorder with their original basso continue parts (omitted in Hotteterre’s edition). In two cases, the analysis and the supplying of the continuo line are left as exercises for the reader. Loeillet Family * Priestman, Brian. “An Introduction to the Loeillets.” Cited above as item 1300. 1885. Skempton, Alec. “The Instrumental Sonatas of the Loeillets.” Music & Letters 43, no. 3 (July 1962): 206–17.

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Contains a useful descriptive catalog of the original published sources for the sonatas of the three Loeillets. Also summarizes evidence supporting the conclusion that John Loeillet and Jean Baptiste Loeillet de Gant were two different people. Includes the text of John Loeillet’s will. 1886. Deane, Morag. “Compositions by Members of the Loeillet Family.” Recorder & Music 6, no. 11 (September 1980): 318–23. A catalog of historical and modern editions. Includes complete transcriptions of title pages and dedications from the early editions as well as information on library locations and contemporary advertisements. Reproduces three title pages in facsimile. 1887. Reyne, Hugo. “Les oeuvres des trois Loeillet et leurs editions” [The works of the three Loeillets and editions of them]. Flûte à bec, no. 5 (December 1982): 10–12. A listing of works and editions, intended to complement Janzen’s article (item 1304). Lully, Jean-Baptiste (1632–1687) 1888. Eppelsheim, Jürgen. Das Orchester in den Werken Jean-Baptiste Lullys [The orchestra in the works of Jean-Baptiste Lully]. (Münchner Veröffentlichungen zur Musikgeschichte, Bd. 7.) Tutzing: Hans Schneider, 1961. 251 p. OCLC #22355493. ML 410 .L95 E6 1961a. The section “Flöten” (pp. 64–98) discusses the apportioning of Lully’s “flute” parts among flutes and recorders on the basis of nomenclature in sources, clefs, range, and contemporaneous usage (of which it provides many fascinating details, some otherwise unpublished). “Die instrumentale Besetzung…Flöten” (pp. 205–9) considers the types of stage situations in which Lully employed flutes and recorders (love; the pastoral; the Muses; peace, security, and tranquility; grief, lamentation, and supplications to the gods to free from torment; and certain mythological situations). The glossary (pp. 15–17) defines (with sources) the names for various sizes of flutes and recorders of the sixteenth to eighteenth centuries. An essential book. Reviewed by Anthony Baines in Galpin Society Journal 16 (1963): 110–11. 1889. Peeters, Vanessa. “De blokfluit in Frankrijk in de 17de eeuw: Haar gebruik in het werk van Jean-Baptiste Lully (1632–1687)” [The recorder in France in the seventeenth century: its use in the works of Jean-Baptiste Lully (1632–1687)]. Musica antiqua 16, no. 3 (August 1999): 129–39. Begins by showing how Arnold Dolmetsch transformed late-Baroque fingering into modern fingering (and pitch), then considers French seventeenth-century pitch. Presents short biographies of Loulié, Freillon-Poncein, and Hotteterre and summarizes their recorder methods. Finally, briefly considers the ostensible subject of the article: the recorder parts in Lully’s operas and ballets (and readers are referred to item 1765 for a more detailed treatment). Mancini, Francesco (1672–1737) 1890. Kubitschek, Ernst. “Eine Sonatensatz von Francesco Mancini. Gedanken zu seiner Interpretation aus dem Blickwinkel der Komposition” [A sonata movement by Francesco Mancini: thoughts on its interpretation from the perspective of the composition]. Tibia 18, no. 2 (1993): xxix–xxxii (Die gelbe Seite).

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Analyses the second movement (Allegro) of the first sonata, in D minor, from Francesco Mancini’s XII Solos for a Flute or Violin with a Thorough Bass (London, 1724). Since the movement is a fugue, also looks at some contemporaneous commentary on the character of fugues. Finally, discusses how the modern player could use this analysis and historical information to gain insights into how to perform the movement. A footnote: Kubitscheck suggests that a phrase was brought down by an octave to avoid f3 because the oboes and flutes of the day were uncomfortable with that note; the same could be said, however, of English alto recorders. Marcello, Benedetto (1686–1739) 1891. Clark, Paul. “Sonata in F: Marcello.” (Playing.) Recorder and Music Magazine 1, no. 6 (August 1964): 170–71. Suggestions for interpreting the work, based on the Oxford University Press edition edited by Joseph Slater. Includes a brief biography. * Kneihs, Hans Maria. “Musical Structure and Interpretation with Reference to Marcello’s Sonata in D Minor.” Cited above as item 1134. Mozart, Wolfgang Amadeus (1756–1791) 1892. Hunt, Edgar. “Mozart and the Recorder.” Recorder Magazine 10, no. 4 (December 1990): 109–10. It is now well known that the recorder survived to the end of the eighteenth century, so we might reasonably suppose that at least some of the flauto piccolo parts in Classical works were written for soprano or sopranino recorders. Yet there also existed various sizes of flageolets, and the true piccolo—a small flute in d2—is heard of as early as ca. 1739 (Michel Corrette’s flute method), so researchers need to display caution. Unfortunately, Hunt throws caution to the winds, declaring quite erroneously that “[t]he transverse piccolo seems not to have been used in the orchestra until the time of Beethoven” and claiming virtually all Mozart’s flauto piccolo parts for the recorder. For a more realistic approach, see item 214. 1893. Tarasov, Nikolaj. “Mozart und die Blockflöte” [Mozart and the recorder]. Windkanal 1/1998:20–21. Cheats a little by including Wolfgang Amadeus’s son Franz Xaver, a friend of the csakan virtuoso Ernest Krähmer. A few of Wolfgang’s pieces were arranged for the csakan in the early nineteenth century, and recorder arrangements have been made in the twentieth century by Karl Marx (the composer, not the inspirer of communism), Fritz Spiegel, and others. Philidor, Pierre Danican (1681–1731) 1894. Bowman, Peter. “Ornamentation in the Duets of Pierre Danican Philidor.” Recorder Education Journal, 5 (1999): 12–20. The flute duets of Philidor, a wind and string player at the French court, were published in 1717–18. In keeping with the performance practice of the time, they can be transposed for performance on alto recorders. Before discussing the ornaments in the

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duets, Bowman notes their great musical worth. They “contain a richer and more varied selection of musical forms than recorder players would normally encounter in the standard French suite repertoire for recorder”; there are six fugues, and the binary dances feature much other use of counterpoint. “Philidor’s style is therefore strongly contrapuntal throughout, but nonetheless intimate, often sensuous, and rich in dissonance and harmonic variety.” The composer’s ornaments were selected and notated carefully with a system of signs, some familiar from Hotteterre, some idiosyncratic. Bowman classifies these ornaments according to musical function: melodic, harmonic, rhythmic, and variable (depending on context, articulation, and gesture). He also shows how Philidor uses ornaments to define and clarify structure. An absorbing article. See also item 1119. Purcell, Daniel (1660?-1717) 1895. [Newman, Joel]. “In Honor of Daniel Purcell (c. 1660–1717).” (Flauto Piccolo’s Corner.) American Recorder 2, no. 1 (winter 1961): 5. Discusses his music for recorders and lists modern editions (now quite out of date). Purcell, Henry (1659–1695) * Bergmann, Walter. “Three Pieces of Music on Henry Purcell’s Death.” Cited above as item 1757. 1896. Bergmann, Walter. “Henry Purcell’s Use of the Recorder.” In Music Libraries and Instruments, 227–33. (Hinrichsen’s 11th Music Book.) London: Hinrichsen Edition, 1961. Reprinted in Recorder & Music Magazine 7, no. 12 (December 1983): 310–13. Also reprinted with slight revisions in Recorder and Music Magazine 1, no. 11 (November 1965): 333–35. A paper read at the Joint Congress of the International Association of Music Libraries and the Galpin Society at Cambridge in 1959. Begins by explaining the change in nomenclature from “recorder” to “flute” during the seventeenth century and the concurrent advent of the Baroque recorder, which, according to contemporaneous accounts, was treated as if it were a new instrument. Purcell called for recorders only in his secular works, and he used only altos—nearly always in pairs—which were usually played by the oboists of the orchestra. (Bergmann discounts the appearance of the bass recorder in the Ode for St. Cecilia’s Day [1692] as a later addition.) Recorders most often accompany or introduce arias and duets and appear in the usual contexts: to establish a mood of tranquility, to evoke the supernatural, to paint text, to accompany a pastoral scene, to imitate birdsong, and to represent amorous love. The only chamber work for recorders is the fantasia “3 Parts upon a Ground” for three altos and basso continuo. (Another independent instrumental piece is the chaconne from Dioclesian for two altos and basso continuo.) Bergmann believes that Purcell must have been fond of the instrument, since several composers chose to use it in odes on his death (this use, however, could be attributable to the funereal associations of the recorder), and it appears in Edwart Collier’s portrait of the composer. Includes a list of compositions employing the recorder. Letter from Layton Ring in 8, no. 1 (March 1984): 26–27. * Levin, Lia Starer. The Recorder in the Music of Purcell and Handel. Cited above as

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item 1854. 1897. Holman, Peter. Henry Purcell. (Oxford Studies of Composers.) Oxford and New York: Oxford University Press, 1994. xvii, 250 p. ISBN 0198163401. ML 410 .P93. The recorder is mentioned a great deal in passing in this fine book by Holman, who has mastered the art of mixing historical information with perceptive music analysis. He counters Thurston Dart’s suggestion that the famous “3 Parts upon a Ground” was originally written in F major for recorders then transposed to D major for violins, suggesting instead that “perhaps Purcell had both instruments in mind, much as collections were sometimes devised with double clefs and key signatures.” Because he is so knowledgeable about the music of Purcell’s contemporaries, Holman has noticed that the composer’s ode “Celestial Music,” scored for recorders and strings, is modeled on a work by Giovanni Battista Draghi, an Italian composer employed at the English Court. Holman writes that “Purcell followed Draghi in using the recorders in a new way: as well as providing the customary final ritornello, they clothe the voice in rich harmony and provide interludes between the vocal phrases.” 1898. Mezger, Marianne. “Henry Purcells Chaconne Two in One upon a Ground aus dem dritten Akt der Prophetess or the History of Dioclesian, London 1690” [Henry Purcell’s chacone Two in One upon a Ground from the third act of Prophetess, or, The History of Dioclesian. London, 1690]. Tibia 20, no. 2 (1995): xxxiii–xxvi (Die gelbe Seite). Shows how Henry Purcell’s “Two in One upon a Ground” for two alto recorders and basso continuo can be transformed with ornaments based on those in Carr and The Compleat Flute Master (anon., 1695). 1899. Mezger, Marianne. “Henry Purcell 1659–1695.” Intrada 1, no. 4 (1995): 5–9. Purcell’s life and times, with a few comments on his recorder players. 00. Mezger, Marianne. “Henry Purcell—‘Orpheus Britannicus’ (1659–1695).” SAJM Zeitschrift 24, no. 1 (January 1996): 5–35 (with French summary). Not just a biography, but a long and rich meditation on Purcell and his recorder music. After summarizing the cultural background, assesses Purcell’s life and career, his musical contemporaries and followers, the significance of the recorder for professionals in Purcell’s England, his recorder works (a complete list with a few musical examples) and selected works by his contemporaries, ornaments in Purcell’s time (the author’s special subject), and English recorder tutors. 1901. Davis, Alan. “Purcell and the Recorder.” Recorder Magazine 16, no. 1 (March 1996): 9–15. Writing for a new generation and citing more recent research on the composer than Walter Bergman had available, Davis goes over Purcell’s use of the recorder once more, classifying the uses of the instrument into the supernatural, ceremonial or religious or religious character, amorous, pastoral, repose or contrast, textual reference to “flûte,” and ornithological, although the categories sometimes overlap. * Mezger, Marianne. “Bearbeitungen für Flageolet und Blockflöte aus Werken H.Purcells und Zeitgenossen.” Cited above as item 1721.

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Three Parts upon a Ground 1902. Ring, Layton. “The ‘Missing Bar’ in Purcell’s 3 Parts upon a Ground.” Consort 52, no. 2 (autumn 1996): 92–95. Presents a solution to a compositional problem in Purcell’s finest recorder work, 3 Parts upon a Ground, caused by a missing measure in the autograph manuscript. 1903. Holman, Peter. “Compositional Choices in Henry Purcell’s Three Parts upon a Ground.” Early Music 29, no. 2 (May 2001): 251–61. A knowledgeable discussion of one of the major works in the recorder repertory. Shows that the work was written around 1678, rather than in the late 1680s as previously thought. The work survives in an almost complete version for three violins and a fragmentary version for three recorders; it seems to have been conceived for this alternative instrumentation from the beginning. Its style relates more to the contrapuntal consort tradition developed in the Private Music at Court, rather than the Frenchinfluenced orchestral idiom of the Twenty-Four Violins, and its ground bass is actually taken from Christopher Simpson’s Compendium of Practical Music (London, 1667), where it illustrates canonic writing over a ground. Actually, the work, which has a neutral title, alternates three different styles—French chaconne writing, canons, and florid divisions—and thus “sums up” the various traditions of Court music. Holman also wonders “whether Purcell was trying to develop a new style of Court consort music, attuned to Charles II’s musical tastes,” since it sounds superficially like dance music. Finally, the work may also have been intended as a tribute to Simpson. 1904. Loretto, Alec V. “Purcell Finale.” Recorder Magazine 21 [marked 21a], no. 3 (autumn 2001): 97–98. While conducting research on Purcell’s Behold Now, Praise the Lord in the British Museum in 1909, Godfrey Arkwright came across a piece of paper that Purcell had glued to the manuscript to make a correction. The paper had fallen off of the manuscript, and when Arkwright turned it over, he found several measures of flute music in Purcell’s hand. In 1910, he published a query in the Musical Antiquary with the hope that a reader might identify the music. In 1957, Layton Ring came across the query and immediately identified the excerpt as the beginning of the first recorder part to Three Parts upon a Ground. The excerpt confirmed Layton’s hunch that Purcell originally composed the work in F major for three recorders and that the complete manuscript (not in Purcell’s hand) in the British Library is a transposition of the original into D major (but see item 1903). 1905. Loretto, Alec V. “Those Two Purcell Missing Bars.” Recorder Magazine 21 [marked 21a], no. 2 (summer 2001): 49–52. Describes how the two missing measures from Purcell’s Three Parts upon a Ground can be reconstructed by taking heed of Purcell’s observation that the recorder parts at that point are “recte et retro” (forward and backward) and “arsin per thesin” (rising and falling). The bottom part is created by playing the top part backward, and the middle part is an inversion of the top part, displaced by three beats. Thurston Dart (in the 1950s) and Layton Ring (in 1996) arrived at two different solutions based on these instructions. (Loretto prefers Ring’s version.) At the end of the article, Loretto asks the reader to identify the compositional errors in the Schott, Dart, and Ring versions; the answers

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appear in 21, no. 3 (autumn 2001): 122. Quantz, Johann Joachim (1697–1773) 1906. Reilly, Edward R. “Quantz and the Recorder.” American Recorder 7, no. 4 (fall 1966): 7–9. Describes three trio sonatas, one flute trio, and a set of six flute duets intended by Quantz for possible performance on recorders. Offers a general description of Quantz’s flute treatise and its importance to the study of performance practice. 1907. Augsbach, Horst. Johann Joachim Quantz: Thematisch-systematisches Werkverzeichnis (QV) [Johann Joachim Quantz: thematic catalog]. Stuttgart: CarusVerlag, 1997. xxxiii, 333 p. ISBN 3923053479. ML 134 .Q36A12. Augsbach’s new thematic catalog of the works of Quantz, surprisingly, relegates the famous Trio Sonata in C Major for Recorder, Flute, and Basso Continuo to the appendix of doubtful and spurious works (QV 2: Anh. 3), giving only the following terse comment for this drastic action: “The composer is (certainly) G. Ph. Telemann, by whom other works with recorder are found in Dresden.” This suggests that his reasoning for questioning the authenticity is the instrumentation (and he presumably knows full well that Telemann wrote a concerto and a quartet sonata that mix recorder and flute). The first movement does sound a little like Telemann’s Affettuoso movements, but the other movements are unlike Telemann in style. Augsbach is on much firmer ground in relegating to the appendix (QV 2: Anh. 1) the other work claimed to be for recorder by Quantz, a trio sonata in C major edited by Walter Bergmann and Leonard Lefkovitch and published as for alto recorder, violin, and basso continue by Schott, London, in 1958 (Edition Schott 10652). The work is known from five other eighteenth-century sources as a sonata for two flutes or violins and basso continuo by Johann Adolph Hasse. Sammartini, Giuseppe (1695–1750) 1908. McGowan, Richard A. “The Recorder Sonatas of Giuseppe Sammartini.” American Recorder 17, no. 2 (August 1976): 51–55. Briefly surveys the extant flute and recorder sonatas. Includes an edition of two movements selected from two sonatas that are part of a manuscript collection housed in the Sibley Library of the Eastman School of Music. Scarlatti, Alessandro (1660–1725) 1909. Bettarini, Luciano. “Appunti critici sulle ‘Sette sonate’ per flauto e archi di Alessandro Scarlatti” [Critical notes on the seven sonatas for recorder and strings by Alessandro Scarlatti]. Chigiana 25 (nuova serie 5) (1968): 239–46. Concerns the Seven Sonatas for Flute [flauto], Strings, and Basso Continue (1725; copyist’s manuscript score and parts in the Biblioteca del Conservatory Musicale “S.Pietro a Majella,” Naples), taking it for granted that the solo instrument in question is the transverse flute, although the name and range of the instrument indicate the alto recorder. Considers that the attribution to Scarlatti is correct on stylistic grounds. Offers a descriptive analysis of each sonata.

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1910. Alton, Edwin H. “The Recorder Music of Alessandro Scarlatti (1660–1725).” Recorder and Music Magazine 4, no. 6 (June 1973): 199–200. In Italian as: “La musica per flauto dolce di Alessandro Scarlatti.” Il flauto dolce, no. 4 (July-December 1973): 7–9. A brief biography followed by simple descriptions of chamber works either written for or suitable for recorder: suites for flute and continue in F major and G major (1699); Sonata for Flute, Two Violins, and Basso Continuo in F major; Sonata for Three Flutes and Basso Continuo in F Major; Sonata for Two Flutes, Two Violins, and Basso Continuo in A Major; seven sonatas for flute, strings, and basso continuo (1725); and Sonata for Flute, Two Violins, and Basso Continuo in D Major. Includes a bibliography of modern editions. 1911. Müller-Busch, Franz. “Alessandro Scarlattis Kantaten mit obligaten Blockflöten” [Alessandro Scarlatti’s cantatas with obbligato recorders]. Tibia 16, no. 1 (1991): 337–46. Seeks to inform “recorder players, and not only them” about a neglected part of the repertory: Scarlatti’s cantatas. Divided into: introduction; an overview of the Italian cantata da camera; a brief biography of Scarlatti; a catalog of the eleven cantatas containing recorder parts; a discussion of the authenticity of the sources, dating, and texts (generally on the themes of winds, waves, and birds); sizes of recorder (alto, or in two or three cases, tenor); and conclusions. In a review of Müller-Busch’s edition of the cantata Clori mia, Clori bella (p. 402 of the same issue), Thiemo Wind points out the existence of a further source in which the obbligato instrument is named as the oboe. On Scarlatti’s cantatas, see also Edwin Hanley, Alessandro Scarlatti’s “Cantate da camera”: A Bibliographical Study (Ph.D. diss., Yale University, 1963), and Cecilia Kathryn van de Kamp Freund, Alessandro Scarlatti’s Duet Cantatas and Solo Cantatas with Obbligato Instruments (Ph.D. diss., Northwestern University, 1979). Schickhardt, Johann Christian (ca. 1680–1762) * Lasocki, David. “Johann Christian Schickhardt (ca. 1682–1762): Woodwind Composer, Performer and Teacher.” Cited above as item 1307. * Lasocki, David. “Johann Christian Schickhardt (ca. 1682–1762): A Contribution to His Biography and a Catalogue of His Works.” Cited above as item 1309. Schütz, Heinrich (1585–1672) 1912. McCulloch, Derek. “Instrumentation and the Recorder in the Works of Heinrich Schütz.” Recorder & Music Magazine 2, no. 7 (November 1967): 204–6. Suggests that, although only four works in the Schütz-Werke-Verzeichnis specifically call for recorders, a number of his vocal works include parts for unspecified obbligato instruments or for violins “or the like” that can easily be performed on recorders. Schultzen, A.H. 1913. Portell, Patricio. “The Virtuoso Recorder Sonatas of the Mysterious ‘Signore’ Schultzen.” American Recorder 42, no. 2 (March 2001): 15–18.

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Concerns the six recorder sonatas of A.H.Schultzen published ca. 1704 by Estienne Roger. (Portell has prepared a modern edition: Drize, Switzerland: Editions Papillon, 1998; www.editionspapillon.ch.) Nothing is known of Schultzen, and the recorder sonatas are one of his two publications. Includes some historical background and a rudimentary style analysis. Telemann, Georg Philipp (1681–1767) 1914. Silbiger, Alexander. “The Trio-Sonatas of Georg Philipp Telemann.” American Recorder 5, no. 1 (February 1964): 3–6. Covers only the trio sonatas that include recorder. Written for the performer interested in instrumentation possibilities and ornamentation. The discussion of the music itself is generalized. 1915. Loonan, Martin. “The Published Recorder Music of Telemann.” American Recorder 5, no. 2 (May 1964): 11–12. An outdated listing of limited use. Works are classified by instrumentation and described briefly. Includes information on modem editions. 1916. Anderson, Loren H. “Telemann’s Music for Recorder.” American Recorder 8, no. 1 (winter 1967): 3–6. Proposes that Telemann’s popularity among performers can be attributed to the “idiomatic suitability” of his music. Offers several examples of how Telemann’s knowledge of the recorder is reflected in his writing for the instrument. Contrasts Telemann’s facility to the awkwardness of Bach, who “did not compose as idiomatically for the instrument, either because of unfamiliarity with, or an equally relative lack of interest in, the recorder.” Also enters the debate over the instrumentation of Brandenburg Concerto no. 4; Anderson believes the work was intended for two altos. 1917. Thaler, Alan. “Der getreue Music-Meister: A ‘Forgotten’ Periodical.” Consort, no. 24 (1967): 280–93. Describes the publication and the works it contained, including several important ones for the recorder. Includes short biographies of the composers represented (except for Telemann). Appendix A is a complete table of contents; appendix B, an index; and appendix C, concordances with the Hortus Musicus edition (Bärenreiter). 1918. Metcalfe, William C. “The Recorder Cantatas of Telemann’s Harmonischer Gottesdienst.” American Recorder 8, no. 4 (fall 1967): 113–18. Devotes a major part of the article to a summary of Telemann’s Vorbericht (preface), which contains important information on the history of Der harmonischer Gottes-Dienst, its instrumentation, performance considerations, and tempo markings. Includes Telemann’s example of how appoggiaturas are added to the vocal line of recitatives. Metcalfe describes the form (aria-recitative-aria), tempo, key structure, and part ranges of a typical cantata and notes deviations from this model in certain cantatas. A table provides the following information for the thirteen recorder cantatas: numbering within the set, title, key, and position in the church calendar. 1919. Scheck, Gustav. “The Recorder Sonatas of Georg Philipp Telemann.” Recorder & Music Magazine 2, no. 8 (February 1968): 236–38. Flowery analyses of the two sonatas from Essercizii musici and the four from Der

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getreue Musik-Meister. Letter from Eric Gillett in 2, no. 9 (May 1968): 285. 1920. Mosser, Thomas R. The Recorder Idiom in the Instrumental Music of Georg Philipp Telemann. Ph.D. diss., West Virginia University, 1975. iv, 433 leaves. OCLC #4841229. UMI order no. 76–11776. After an introduction giving some relevant biography and background material, has chapters on the history and technical aspects of the recorder. A chapter on the repertory mostly concerns sources. The main chapter, “The Idiom,” analyzes the repertory in terms of key, range, tessitura, type of passagework, dynamics, and technical difficulty. Appendix 2 (pp. 182–342) is a complete thematic catalog, which has been superseded by Georg Philipp Telemann: Systematisches Verzeichnis seiner Werke: TelemannWerkverzeichnis (TWV), Instrumentalwerke (ed. Martin Ruhnke, 3 vols. [Kassel: Bärenreiter, 1984–99]). Appendix 3 consists of a “tessitura analysis” of all the recorder parts. 1921. Jones, Trevor A. “This Year’s Centennials: (II) Telemann and the Recorder: A Tricentennial Tribute.” Australian Journal of Music Education, no. 28 (April 1981): 23–27; no. 29 (October 1981): 9–16. Begins by noting that in the twentieth century recorder players knew the value of Telemann’s music before others caught on. Then lists all of his recorder works, with modern editions of them. The bulk of the article is devoted to a sympathetic, knowledgeable, and enthusiastic discussion of this music (“he has no peer among composers for the treble [alto] recorder; no one else exploits its usually rather limited technique as effectively nor draws such eloquent expression from its intrinsically confined dynamic range”). It is particularly useful for its identification (with examples) of five types of figures and passagework that Telemann gave to the recorder: scales, arpeggios and broken-chord figures, rapid repeated notes, figures involving frequent returns to a pivotal note, and sequential ornamentations of single notes. Examples 1–2 are missing. 1922. Hunt, Edgar. “Telemann’s Der harmonische Gottèsdienst and the Recorder.” Recorder & Music 7, no. 2 (June 1981): 40–42. A brief history of the series of seventy-two solo cantatas published by Telemann in 1725, with a cursory survey of the thirteen that feature recorder obbligato. 1923. Hunt, Edgar. “Telemann’s Essercizii Musici.” Recorder & Music 7, no. 3 (September 1981): 65–66. Describes the contents of Essercizii musici, a set of twelve solo sonatas (two for recorder) and twelve trio sonatas (four including recorder) published in 1739–40 by Telemann. Includes a table showing the distribution of the parts among the three original partbooks, which were of equal pagination. 1924. Hunt, Edgar. “The Recorder in Telemann’s Der getreue Music-Meister.” Recorder & Music 7, no. 4 (December 1981): 90–91. Der getreue Music-Meister was a biweekly publication produced in 1728–29 by Telemann; a total of twenty-five numbers appeared during its short life. Hunt surveys the seven works in the set that involve the recorder (three solo sonatas; a trio sonata; and three duets for two recorders, recorder and viola da gamba, and recorder and violin), with information on modern editions. 1925. Du Bois, Elizabeth Ann. “A Comparison of Georg Philipp Telemann’s Use of the

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Recorder and the Transverse Flute as Seen in His Chamber Works.” Emporia State Research Studies 30, no. 3 (winter 1982): 5–72. This poorly written pamphlet fails to live up to its promise. It begins with two long sections covering Telemann’s life and the history of the recorder and flute up to his day. Only thirty pages, in fact, are devoted to Telemann’s use of the recorder and the transverse flute, and even they boil down to a largely descriptive analysis of three works: TWV 42:F7, 42:a7, and 43:dl. From such slim evidence Du Bois concludes that Telemann differentiates the two instruments by his choice of key, range, intervals (the flute may have wider ones than the recorder), and virtuosity (the recorder may be treated more virtuosically than the flute). The most useful part of the book is probably the appendixes, which list Telemann’s recorder and flute works by instrumentation, type, and key. The study “originated as a thesis for the degree Master of Music (Musicology)…in the Department of Music at Emporia State University.” * Coomber, David. “Rhetoric and Affect in Baroque Music.” Cited above as item 1111. 1926. Swack, Jeanne Roberta. The Solo Sonatas of Georg Philipp Telemann: A Study of the Sources and Musical Style . Ph.D. diss., Yale University, 1988. 2, xi, 322 leaves. OCLC #22744704. UMI order no. 90–09474. Divides Telemann’s solo sonatas into four main groups: Frankfurt, 1715–18; early Hamburg, 1728–32; later Hamburg, 1733–40; and manuscript sources. Group 1 includes, among other sonatas, the Kleine Cammer-Musik; group 2, Der getreue Musik-Meister and the Neue Sonatinen; group 3, the Essercizii musici; and group 4, the F-minor sonata (TWV 41:f2). For each group, presents background information, then detailed style analysis. Shows how in group 2 Telemann developed what Swack dubs “permutation technique,” based on the setting out and subsequent reordering of short musical fragments (for example, in the first movements of the F-major recorder sonata and the Fminor bassoon/recorder sonata from GMM), and “partitioning technique,” in which a motive is dissected into an array of sub-motives (for example, in the third movement of the bassoon/recorder sonata). Cites the second movement of the bassoon/recorder sonata as an example of a movement based on the da capo aria. Names the first movement of the C-major recorder sonata from EM as a development of the capriccio movement, alternating lyrical slow sections with fast sections over pedal points, and now also including passages with an active bass part. Shows that the manuscript F-minor sonata includes “awkward melodic writing and an overall melodic repetitiveness that Telemann avoided in his published sonatas,” concluding that “if the piece is authentic, it is not one of Telemann’s better efforts.” Swack’s general conclusion is that “Telemann’s solos are highly original works, in which the composer experimented with the traditional concept of the sonata by introducing formal and stylistic procedures drawn from other genres, such as the operatic aria and the concerto, and by exploiting various manifestations of the new ‘mixed taste’ in a multitude of imaginative ways.” A thorough and intelligent dissertation, with special insight into the compositional style. Essential reading for those playing Telemann’s sonatas. 1927. Schwarting, Heino. “Zwei Altflötenstimmen suchen ihren verlorenen Baß—haben sie ihn gefunden? Zu zwei Rekonstruktionen eines Basso continuo für zwei Sonaten Telemanns” [Two alto recorder parts are looking for their lost bass—have they found

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it? On two reconstructions of a basso continuo part for two Telemann sonatas]. Tibia 14, no. 2 (1989): 412–18. In 1989, only the recorder part of Telemann’s Neue Sonatinen for alto recorder and basso continuo (TWV 41:c2 and 41:a4) was believed to have survived. Two editors had attempted to write a bass part: “Claus E.Maynfrank” [apparently a pseudonym for Klaus E.Hofmann] (London: Musica Rara, 1978) and Winfried Michel (Winterthur: Amadeus, 1986). Schwarting makes the general comment that Michel’s “reconstruction” is more daring, Maynfrank’s more solid. Then analyzes in detail the first movements of the first and second sonatinas in both editions. He concludes that neither of the two new basses is optimal. “But they have achieved something worth-while…so [the sonatinas] gain life and perhaps even currency; and perhaps through a third editor, or a team of editors, a version will be found that comes closer to an authentic model.” Reply by Maynfrank in 15, no. 3 (1990): 253–54. The basso continuo part has since been found by Nikolaus Delius. See Martin Nitz, “Abschied von lieben Hörgewohnheiten” [Farewell to beloved listening habits], Tibia 22, no. 4 (1997): 581–84. 1928. Teske-Spellerberg, Ulrike. “Der unbekannte Telemann: Obligate Blockflötenpartien in seinen unveröffenlichten Kantaten” [The unknown Telemann: obbligato recorder parts in his unpublished cantatas]. Tibia 16, no. 4 (1991): 599–610. Begins with overviews of Telemann and his reputation—then, now, and in between— as well as his production of cantatas (over 2,300 of them over a working life of seventy years). Telemann employed the recorder in no fewer than ninety-three cantatas and vocal serenades written between 1716 and 1762, but concentrated primarily in the years 1720– 31. Few of them are published; most of the manuscripts are in Frankfurt am Main. Telemann generally called for the alto recorder, occasionally for the flauto piccolo, “Oktavflöte,” and “Quartflöte.” Looks at the scoring, then analyzes the textual situations in which the recorder is called for (humility, tranquility, idyll, sadness, lamentation, love, the imitation of natural sounds, and pastoral motives), giving several interesting music examples. An important article. 1929. Knight, Annabel E. “A Practical Study of Telemann’s Treatment of the Recorder in the Concerto Repertoire.” M.Mus. thesis, Royal College of Music, London, 1993. Not seen. 30. Swack, Jeanne R. “On the Origins of the Sonate auf Concertenart.” Journal of the American Musicological Society 46, no. 3 (fall 1993): 369–414. Shows that the “sonata in the style of the concerto” (as Johann Adolph Scheibe dubbed it) was more common than we have supposed, examples having survived not only by J.S.Bach but also by Telemann, Quantz, Zelenka, Bodinus, Heinichen, J.G.Graun, Förster, and others. At least one movement in such a sonata exhibits features of ritornello form. It also has much in common with the Vivaldian chamber concerto. Swack shows in passing that several of Telemann’s recorder works fit into this category: the Quartet for Recorder, Violin, Viola, and Basso Continue in G Minor (TWV 43:g4); the Concerto à 3 for Horn, Recorder, and Basso Continue in F Major (TWV 42:F14); the Quartet for Recorder, Two Flutes, and Basso Continue in D Minor from Musique de table (TWV 43:d1); and the Quartet for Recorder, Oboe, Violin, and Basso Continuo in G Major (TWV 43:G6). Well written and cogently argued. 1931. Love, Harold. “Telemann’s Illustrious Ladies.” Australia’s Journal of Recorder

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and Early Music, no. 19 (August 1995): 4–6. The concluding movements of Telemann’s Trio Sonata in C Minor for Two Recorders and Basso Continuo from Der getreue Music-Meister (1728, TWV 42:C1) are named “Xantippe,” “Lucretia,” “Corinna,” “Clelia,” and “Dido.” In England by the midtwentieth century, the work was known fondly as “Telemann’s girlfriends.” In Harold Love’s reformulation, the women become “illustrious ladies” of antiquity. Xantippe was the scolding wife of Socrates. Lucretia’s rape and suicide led to revolution in Rome. Corinna was the subject of Ovid’s love elegies: “attractive, frivolous, promiscuous, but also fond of tormenting her lover, the poet.” Clelia managed to escape the attentions of Lucretia’s ravisher. And finally, Dido, who, “abandoned by her lover Aeneas, experiences extremes of sorrow and frenzy, before finally ending her life.” Love concludes that “these narratives of rape and suicide must surely influence our interpretation…, even though the representation is a miniaturistic one that should not be too overloaded with passion.” 1932. Zohn, Steven David. The Ensemble Sonatas of Georg Philipp Telemann: Studies in Style, Genre, and Chronology. 2 vols. Ph.D. diss., Cornell University, 1995. xx, 732 leaves. OCLC #34014819. UMI order no. 95–27392. Following Swack’s excellent dissertation on Telemann’s solo sonatas (item 1926), Zohn takes a similarly illuminating look at the composer’s works in trio and quartet format—a highly significant part of the recorder’s Baroque repertory. Dates all of the works and discusses their style chronologically. The recorder does not feature in the earliest trios, which are in the French style. The next group, trios in the Italian style and mixed (French and Italian) taste, includes TWV 42:c7 (recorder and oboe) and F7 (two recorders), both written around 1713–14. The Six Trios (1718), including one for recorder and violin (TWV 42:a1), are in pure Italian style. The celebrated collection Essercizii musici, published as late as 1740, rather than being Telemann’s “last word on the solo and trio,” as other scholars except Swack have assumed, seems to contain works written ca. 1725–30. The works are in the mixed style, now with galant elements, and some movements have vocal models. The trios involving the recorder are TWV 42:c2 (with oboe), F3 (with viola da gamba), a4 (with violin), and B4 (with obbligato harpsichord). A group of manuscript trios from the 1720s is similar in style, “if less adventurous…in formal structure and expressive range.” It includes four trios for recorder with treble viol (TWV 42:C2, d7, F6, g9), apparently composed as a set with five trios for oboe and treble viol, and sent to the Darmstadt court. It also includes trios for recorder with violin (TWV 42:d10, F8, f2) and with oboe (TWV 42:F9, F15). The final trio, that for recorder and oboe (TWV 42:a6), was also written for Darmstadt, around 1737–44; unlike other Telemann trios of that decade, it contains few galant elements but harkens back to the works of the 1720s. As already noted in an article by Swack (item 1930), the Quartet in G Minor for Recorder, Violin, Viola, and Basso Continuo (TWV 43:g4), written ca. 1710–15, is one of the earliest examples by any composer of the Sonate auf Concertenart (concerted sonata), in which at least one movement exhibits features of ritornello form and has much in common with the chamber concerto. The three other quartets featuring the recorder (TWV 43:d1, G6, a3) and one of the trios (the Concerto for Recorder, Horn, and Basso Continuo, TWV 42:F14), are also examples of the concerted sonata.

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1933. Rüdiger, Wolfgang. “‘…kein geringes im Lande der Affecten’—das Triste aus Telemanns f-Moll-Sonate für Fagott und Generalbass” [“…no small thing in the realm of the affections”: the Triste from Telemann’s F-minor sonata for bassoon and basso continuo]. Tibia 21, no. 1 (1996): i–viii (Die gelbe Seite). Takes a detailed look at the opening Triste from Telemann’s F-minor sonata for bassoon (or recorder) and basso continuo. Pays careful attention to the key, the modality/tonality, the rhetorical use of figures, and the suitability of the whole for the “soul” of the bassoon. Although our instrument has a different soul, at least we recorder players can benefit from such thorough analysis, with many insights from Baroque practice. 1934. Paterson, Scott. “Performing Telemann’s Recorder Sonata in D Minor.” American Recorder 38, no. 5 (November 1997): 14–18. Concerns the sonata TWV 41:d1 from Essercizii musici. A cumulation of practical advice on tempo, dynamics, alternative fingerings, ornamentation, articulation, accents, and phrasing offered by Ken Andresen, Eric Haas, and Kim Pineda. Opens with a brief biography of Telemann and background to the Essercizii musici. Sidebars include a discography of performances on compact disc and a bibliography of modern editions. 1935. Thieme, Ulrich. “Fantasie mit Phantasie: G. Ph. Telemanns 1. Fantasie für Traversbzw. Blockflöte ohne Baß” [Fantasia with fantasy: G. Ph. Telemann’s first fantasia for flute (or recorder) without basso continue]. Tibia 24, no. 1 (1999): xvii–xxiii (Die gelbe Seite). A stimulating study of how to perform the first of Telemann’s solo fantasias for flute (or recorder). It opens with the telling point that Baroque writers called players of a piece of music “interpreters” rather than performers. Thieme’s interpretation of the fantasia flows partly from Johann Mattheson’s account of the “fantastical style,” in which the composer has the greatest freedom in meter, tempo, tonality, and part-writing. Thieme is particularly sensitive to changes of tempo in this fantasia, as Telemann veers from what Thieme calls “Präludium” to “Fugue” to “Toccata” to “Dance.” He also takes into account the nature of the melodic material, whether improvisatory or more formal, and the harmonic movement. Highly recommended. * Maute, Matthias. “Rhetorik in der Musik des Barock.” Cited above as item 1113. Valentine, Robert (1674?-1747) 1936. Young, J.Bradford. A Thematic Catalog of the Works of Robert Valentine. (MLA Index and Bibliography Series, 27.) Canton, Mass.: Music Library Association, 1994. xxvi, 95 p. ISBN 0914954466. ML 134 .V27. Valentine was an English woodwind player of the late-Baroque period who spent most of his sparsely documented career in Italy. He was also one of the most prolific recorder composers who ever lived, publishing no fewer than eighteen recorder duets, forty-two sonatas for recorder and basso continuo, and twenty-one trio sonatas for two recorders and basso continuo. (There is also a manuscript concerto for recorder and strings.) Young has performed a potentially valuable service by sorting out all of the various editions and arrangements of these works. Yet the catalog is riddled with little errors and inconsistencies that really should have been caught in the editing and proofreading

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stages. Unfortunately, on being confronted with these errors, the publishers refused to take the book off the market. Caveat emptor! Vivaldi, Antonio (1678–1741) 1937. Higbee, Dale. “Michel Corrette on the Piccolo and Speculations Regarding Vivaldi’s ‘Flautino.’” Galpin Society Journal 17 (1964): 115–16. Higbee argues that Vivaldi wrote the flautino concertos for a piccolo: “Some passages of these concerti are impossible on the recorder or flageolet—but possible, though very difficult, on the one-key (octave) transverse flute.” Lasocki counters this argument (item 1939). In 1960, several years before this article was published, a review by Higbee of an edition of the C-major flautino concerto for “piccolo or flute or soprano recorder” (American Recorder 1, no. 3 [summer 1960]: 8) sparked a series of correspondence on the “flautino problem,” a controversial topic in recorder literature. Higbee argued that the pieces were probably composed for piccolo and are not practical on soprano recorder. The editor of the edition under review, Josef Marx, made an unsubstantiated rebuttal following the review. Shelley Gruskin, in 1, no. 4 (fall 1960): 22–23, supported performance on the sopranino recorder based on his own experience of performing the works on both piccolo and recorder. Higbee reconfirmed his belief that the music was intended for “octave traverse or fife” in 2, no. 2 (spring 1961): 22. 1938. Metcalfe, William C. “Dolce or Traverse? The Flauto Problem in Vivaldi’s Instrumental Music.” American Recorder 6, no. 3 (summer 1965): 3–6. Vivaldi composed over fifty works for flauto, which, in earlier times, many scholars had assumed to be the transverse flûte. More recent scholarship has shown that many of the flauto works were intended for recorder, but Vivaldi clouds the issue by using similar keys, tessituras, and ranges for both instruments. Since he used the term indiscriminately to mean either recorder or flute, Metcalfe considers all of the flauto works candidates for performance on the recorder and classifies them into three groups (he includes only the forty-seven works in print in 1965): eighteen recorder works, twenty-two flute works possible on recorder, and seven flute works not suitable for recorder. The tables include the following for each of the works: thematic-catalog number, key, instrumentation, range of the flauto part, and other comments. 1939. Lasocki, David. “Vivaldi and the Recorder.” American Recorder 9, no. 4 (fall 1968): 103–7. Reprinted in Recorder & Music Magazine 3, no. 1 (March 1969): 22– 27. A survey of Vivaldi’s works including recorder. Cites twelve works definitely composed for recorder and three works for flautino published in the Ricordi collected edition. Disagrees with Higbee’s belief (item 1937) that the flautino was a one-keyed piccolo and offers evidence in support of performance on the sopranino recorder. Traces the frequently misunderstood history of the opus 10 flute concertos, concluding that Vivaldi intended the entire set to be playable on both flute and recorder, even though all of the concertos were not originally written for recorder. Includes tables that list keys, instrumentation, thematic-catalog numbers, modern performing editions, and recordings. William Metcalfe corrects a few errors in American Recorder 10, no. 2 (spring 1969): 69,

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and Lasocki responds in 10, no. 4 (fall 1969): 129. Letter from W.A.Ayre in Recorder & Music Magazine 3, no. 2 (June 1969): 66–67. 1940. Ohmura, Noriko. “I ‘concert! senza orchestra’ di Antonio Vivaldi” [The “concertos without orchestra” of Antonio Vivaldi], Nuova rivista musicale italiana 13, no. 1 (January/March 1979): 119–49. Originally in English in Ongakugaku 17 (1972). Classifies Vivaldi’s chamber concertos into four groups, depending on how many instruments there are and how many of them play the solos: (a) three/one, (b) three/several, (c) four or more/one, and (d) four or more/several. Looks at the structure of the movements with and without ritornellos, the character of the themes and the motivic work, the key schemes, and the use of instruments (marred by failing to distinguish between flute and recorder). This analysis is useful as far as it goes, although it would have taken a lot more space to do justice to the subject. Ironically, the article is billed as a synthesis of part of a master’s thesis from the Kunitachi Music School, Tokyo, 1971. * Reyne, Hugo. “Interview de Jean-Claude Veilhan: ‘Autour des Quatre Saisons de Vivaldi.’” Cited above as item 1638. 1941. Heller, Karl. “Italienische Kammermusik in variabler Besetzung: Antonio Vivaldis Concerto für Kammerensemble” [Italian chamber music in variable settings: Antonio Vivaldi’s chamber concertos]. In Der Einfluß der italienischen Musik in der ersten Hälfte des 18. Jahrhunderts: Konferenzbericht der XV. Wissenschaftlichen Arbeitstagung Blankenburg/Harz, 19. bis 21. Juni 1987, 35–44. (Studien zur Aufführungspraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 34.) Michaelstein/Blankenburg: Die Forschungsstätte, 1988. OCLC #21374724. ML 290.3 .E36 1988. A relatively brief overview of Vivaldi’s chamber concertos, mentioning some obvious formal points, then analyzing some aspects of several of the individual concertos, including four that include the recorder: RV 92, 94, 103, and 105. 1942. Demoulin, Jean-Pierre. “A propos de Vivaldi, quelques réflexions sur l’interpretation actuelle de la musique ancienne et baroque” [About Vivaldi: reflections on the present-day interpretation of early and Baroque music]. In Nuovi studi vivaldiani: Edizione e cronologica critica delle opere, ed. Antonio Fanna and Giovanni Morelli, 703–11. Florence: Leo S.Olschki, 1988. ISBN 8822236254. Asks whether “the mature works [Vivaldi] composed after 1725 and designated by the word ‘flauto’ are not destined for the flute” rather than the recorder. These works include the Concerto in C Minor (RV 441); the Sonata for Flute [flauto], Bassoon, and Basso Continuo in A Minor (RV 86); and the Concerto in C Major (RV 558) of 1740. Demoulin’s argument, however, has many holes in it (for full details, see item 20). 1943. Talbot, Michael. “Vivaldi and Rome: Observations and Hypotheses.” Journal of the Royal Musical Association 113, no. 1 (1988): 28–46. Vivaldi scholars are now putting considerable effort into working out the chronology of his compositions. Michael Talbot makes some plausible hypotheses about which compositions Vivaldi wrote for Rome in the 1720s. Among them are the chamber concertos II gardellino (RV 90) and La pastorella (RV 95), the Concerto per la Solennità di S.Lorenzo (RV 556), two settings of Laudate pueri (RV 601 and 602a), and a Salve regina (RV 616)—all of which include recorder parts. They would have been performed by members of Cardinal Pietro Ottoboni’s orchestra.

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1944. Lescat, Philippe. “‘Il pastor fido,’ une oeuvre de Nicolas Chédeville” [Il pastor fido, a work by Nicolas Chédeville]. Informazioni e studi vivaldiani 11 (1990): 5–10. Lescat reports that he has discovered a notarized declaration by Jean-Noël Marchand, the publisher of Vivaldi’s Il pastor fido, op. 13 (1737), that it was in fact the musette player Nicolas Chédeville who composed the work in 1736–37, partly using themes by Vivaldi and other composers. Then, “wanting to publish this work, and having particular reasons why it should not appear under his name,” Chédeville persuaded Marchand to obtain the necessary publication privilège and gave him money for both that and the engraving costs. Curiously, Chédeville obtained his own privilège two years later entitling him to issue musette and vielle transcriptions of all Vivaldi’s published works. Lescat promises to return to the obvious questions: why Chédeville attributed Il pastor fido to Vivaldi and why he wanted Marchand to publish it. See also Peter Ryom’s preface, “An Authentic Case of Falsification,” to the facsimile of Il pastor fido published by C.D.Facsimilés, Le Vaud, Switzerland, 1991, and item 1946. 1945. Hünteler, Konrad. “Blockflöte und Querflöte bei Vivaldi” [The recorder and flute in Vivaldi]. Zeitschrift SAJM 20, no. 3 (May 1992): 3–8. An up-to-date and intelligent overview of the problems of Vivaldi’s flûte and recorder pieces. Begins with the difficulties of getting to know them: the multiplicity of thematic catalogs, the poor quality of the complete edition (the practical editions published by Musica Rara are singled out for praise), the different versions of the opus 10 concertos, and the curious range and keys of some of the pieces. Considers the circumstances in which Vivaldi would have used the instruments, emphasizing the lack of technical difficulty in the earliest flute parts. Discusses the versions of the opus 10 concertos. Reasons that the solo recorder and flautino concertos as well as the Trio Sonata for Recorder, Bassoon, and Basso Continuo (RV 86) seem to have been composed for Mantua rather than Venice, and that Vivaldi probably did not write for the flute before about 1728. 1946. Lescat, Philippe. “‘Il pastor fido,’ une oeuvre de Nicolas Chédeville” [Il pastor fido: a work by Nicolas Chédeville]. In Vivaldi vero e falso: Problemi di attribuzione, ed. Antonio Fanna and Michael Talbot, 109–25. (Studi di musica veneta, Quaderni vivaldiani, 7.) Florence: Leo S.Olschki, 1992. ML 410 .V82 Q3 no. 7. Although it bears the same title as item 1944, this is a completely different article. Lescat confesses that he has not come up with the answers to the questions raised in that article. Instead, summarizes the lives of Jean-Noël Marchand and Nicolas Chédeville (who were cousins), considers the publication of Il pastor fido, then looks at both French and Italian compositional elements in the collection as well as Chédeville’s other arrangements. Ironically, Chédeville had more success with works published under his own name than those under Vivaldi’s. 1947. Hermes-Neumann, Andrea. Die Flötenkonzerte von Antonio Vivaldi [The flute concertos of Antonio Vivaldi]. (Deutsche Hochschulschriften, 469.) Egelsbach: Hänsel-Hohenhausen, 1993. 104 p. ISBN 3893494693. MT 130 .V58 H47 1993. [Master’s thesis, Johann Wolfgang Goethe-Universität, Frankfurt am Main.] “Flute” is used here to mean both transverse flute and recorder. Begins with a survey of Vivaldi’s life in relation to the concertos, looks at the sources of the concertos, considers Vivaldi’s terminology (flauto, flautino, flauto traverso), then comments on

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some idiosyncrasies of Vivaldi’s notation. Then follow chapters on the opus 10 concertos (including their original versions), the manuscript flute concertos, the recorder concertos, and the flautino concertos, in each case briefly analyzing the form and commenting on questions of instrumentation. Ends with a conclusion and bibliography. (The author acknowledges that she came across item 1939 too late to consider in her research and she was apparently unaware of items 1938 and 1942.) See also Luca della Libera, “L’idioma vivaldiano nel repertorio per flauto traverso” [The Vivaldian idiom in the flute repertoire], Nuova rivista musicale italiana 26, nos. 3–4 (July-December 1992): 469–81. 1948. Berdes, Jane L. Women Musicians of Venice: Musical Foundations, 1525–1855. (Oxford Monographs on Music.) Oxford: Clarendon Press, 1993. 305 p. ISBN 0198162367. ML 290.8 .V26 B47. This book on the musicians in Venice’s orphanages has disappointingly little on the recorder. But perhaps this is to be expected, since recent research suggests that Vivaldi’s solo and chamber concertos were written for other venues than the Pietà orphanage. One tidbit: repairs were made to four recorders at that orphanage in 1706 (p. 169). 1949. Fertonani, Cesare. “Antonio Vivaldi: Le sonate a tre” [Antonio Vivaldi: the trio sonatas]. Informazioni e studi vivaldiani 18 (1997): 5–36. Vivaldi’s Trio Sonata in A Minor for Alto Recorder, Bassoon, and Basso Continuo, RV 86, has often been mistaken for one of the composer’s chamber concertos. In this study, Fertonani demonstrates why: “Although the architecture of [all] four movements as well as the binary structure of the slow movements (with ornamented reprise of the opening material in the second section after a cadence in a minor key) make reference to the tradition of the sonata, the ritornello form of the fast movements together with the accentuated virtuosity is an intense sign of the concerto.” Later he refers to this crossbreeding as “the contamination of the sonata by the concerto.” The first movement, Largo, immediately defines “the contrapuntal and imitative rapport” of the recorder and bassoon. The third movement, Largo e cantabile, is similar to several movements in the chamber concertos in which the solo recorder is accompanied by the “Albertino” (little Alberti) bass of the bassoon. The two fast movements have the same construction scheme, with five ritornellos and four episodes; the thematic material of the ritornellos is noteworthy for being contrapuntal. A useful short analysis. 1950. Michel, Winfried. “Vivaldis Konzerte ‘per Flautino’ in ihrer wahren Gestalt: Ein letzter Leseversuch” [Vivaldi’s concertos “per flautino” in their true form: A final attempt at a reading]. Tibia 23, no. 2 (1998): 106–11. Like Peter Thalheimer (item 1951), Michel bases his argument on the little-observed instructions by Vivaldi in two of the concertos that “the instruments” should be transposed “a fourth lower” or simply “a fourth.” He takes Vivaldi at his word, transposing the concertos down a fourth, now taking full advantage of the stringed instruments by making use of the lowest string of the violins and viola and the lowest two notes of the cello. Michel reasons that the flautino was almost certainly a soprano recorder, which in the English practice of Vivaldi’s day was treated as a transposing instrument with alto fingering (and sounding a fifth higher than notated). He attributes to Vivaldi’s notorious haste the single note in a solo passage in the (originally) A-minor concerto below the compass of the soprano recorder. Performance on other types of “small flutes,” however, cannot be ruled out. Letter from Thalheimer in 24, no. 1 (1999):

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426–28, to which Michel replies in 24, no. 3 (1999): 601. 1951. Thalheimer, Peter. “‘Flautino’ und ‘Flasolet’ bei Antonio Vivaldi” [“Flautino” and “flasolet” in Antonio Vivaldi’s works]. Tibia 23, no. 2 (1998): 97–105. Originally published in item 39, pp. 155–68. Thalheimer, unlike Winfried Michel (see item 1950), believes that a downward transposition of all the parts in Vivaldi’s flautino concertos would be “unplayable” for the strings. Two contemporaneous Italian sources—Bismantova (1677, rev. 1694) and Bonanni (1722)—equated the flautino with the flageolet. The obvious candidate for Vivaldi’s flautino parts is the small flageolet in g2 (always notated as if it was in d1, so that its part must be transposed a fourth lower in relation to the score). But how could that instrument play the notes below g1 called for by Vivaldi—a relatively small number of instances of e1, f1, and f#1 in solo passages and c1 and d1 in ritornellos? By partially or completely closing the end-hole of the instrument sometimes coupled with underblowing—techniques discussed by theorists from Cardan (ca. 1546) through Mersenne (1636) to Bellay (ca. 1800). Thalheimer concludes that his hypothesis remains to be confirmed by practical experience with surviving flageolets as well as more research into the kinds of duct flutes that would have been available to Vivaldi’s musicians. Letter from Thalheimer in 24, no. 1 (1999): 426–28, to which Michel replies in 24, no. 3 (1999): 601. 1952. Cassignol, Jean, and Anne Napolitano-Dardenne. “Le concerto RV 312 est-il le quatrième ‘Conto P Flautino Del Viualdi’?” [Is the concerto RV 312 Vivaldi’s fourth flautino concerto?]. Informazioni e studi vivaldiani 20 (1999): 83–110. The discovery of a “new” flautino concerto by Vivaldi was actually made by the Vivaldi cataloger Peter Ryom, although it was taken up profitably by Cassignol, who describes the situation at length in a scholarly article on the subject with the musicologist Napolitano-Dardenne. Readers interested in the concerto should find the details of this article fascinating. Briefly, around 1727–28, Vivaldi began writing a flautino concerto in D major, then eventually changed his mind after about 90 percent of the first movement was complete and continued the work as a violin concerto (RV 312). Since the compass of the solo violin part tends to remain within the compass of the original flautino part, it is possible to construct a flautino part from the violin part for the last 10 percent of the first movement plus the second and third movements. Cassignol has of course now made such an arrangement, which has already been performed extensively in Europe and elsewhere by well-known soloists such as Michala Petri. See also Karsten Erik Ose, “Neue entdeckte Flöten-Lust: Vivaldis ‘Concerto in G’ nach RV 312 für Flautino, 2 Violinen, Viola und B.c.” [Newly discovered “fluyten lust”: Vivaldi’s Concerto in G major after RV 312 for flautino, 2 violins, viola, and basso continuo], Concerto: Das Magazin für Alte Musik, no. 153 (May 2000): 9. 1953. Tarasov, Nikolaj. “A New Flautino Concerto by Vivaldi?” American Recorder 41, no. 2 (March 2000): 12–14. Originally in German as: “Vivaldis 4. Flautinokonzert?” Windkanal 4/1999:6–9. A popular account of Jean Cassignol’s work on the “new” flautino concerto by Vivaldi (see item 1952). Letter from David Lasocki in American Recorder 41, no. 4 (September 2000): 39, corrects two errors. Also letters from Piers Adams, Conrad Steinmann, Manfred Stilz, and Michala Petri in Windkanal 1/2000:36–37, and from Maurice Steger,

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Michael Copley, Michael Schneider, Barthold Kuijken, Peter Holtslag, Ingo Gronefeld, and Sonja Kemnitzer in 2/2000:34–35. 1954. Thalheimer, Peter. “Ein weiteres Flautino-Konzert von Vivaldi?” [Another flautino concerto by Vivaldi?]. Tibia 25, no. 3 (2000): 209–10. Discusses the implications of Jean Cassignol’s “discovery” of a concerto that Vivaldi originally intended for the flautino (see items 1952–53). Points out the problem of trying to reconstruct the flautino part: in the first movement, when Vivaldi converted his flautino part into a violin part, if it did not lie well on the violin, he simply composed a new melody on the same bass. “No arranger today would, for good reasons, take such freedom.” The solo flautino part went from notated g1 to e3; in the tutti sections it goes down to f#1 and d1; and in the last solo section Vivaldi originally even wrote an f#3 (a note which is found in no other Vivaldi flautino part). This information does nothing to shed light on the identity of Vivaldi’s flautino. In any case, the manuscript bears no instruction about transposition of the part. A revised version of a Vivaldi aria with a flautino part refers to a difference of a semitone in pitch (again unhelpful for the identity of the instrument). The article ends with the comforting (?) words of Chuang Tsu: “No one is farther from the truth than the one who knows all the answers.” 1955. Toffano, Giovanni. “Le composizioni di Vivaldi per flauto dolce: Repertorio e versioni.” [The recorder compositions of Vivaldi: repertory and recordings]. In item 42, pp. 70–75. This introduction to the recorder music of Antonio Vivaldi does little more than list the compositions in question, then quickly moves on to a spirited discussion of modern recordings of Vivaldi’s concertos, from the classic ones of Frans Brüggen (whose performances “remain a basic point of reference”) to those of Michala Petri, Marion Verbruggen, Michael Schneider, and Dan Laurin (whose interpretations “bring back the same gusto as Brüggen for the beautiful sound of the recorder”). 1956. Sardelli, Federico Maria. La musica per flauto di Antonia Vivaldi [The music for flute and recorder of Antonio Vivaldi]. (Studi di música veneta. Quaderni vivaldiani, 11.) Firenze: L.S.Olschki, 2001. 250 p. ISBN 8822249720. Sardelli’s book is a considerable achievement in woodwind scholarship—the first book-length study of Vivaldi’s music for flute and recorder (in Italian, both are kinds of flauto). The author is quite well informed about previous research on this music as well as on Vivaldi’s music in general, and he brings that knowledge to bear on the main preoccupation of the book, which is with matters of instrumentation, dating, and the players and occasions for which pieces were written. For recorder players, the greatest interest lies in the sections on the recorder and flautino concertos (pp. 108–48). Sardelli’s discussion is remarkable for its insights into the thorny identity of the flautino (he comes down conclusively on the side of the sopranino recorder); Vivaldi’s directions to transpose two of the flautino concertos down a fourth (Sardelli agrees with Winfried Michel [item 1950] that this was to make them playable on the soprano recorder); and the way in which the composer reworked the great C-minor concerto, RV 441, from a violin concerto, RV 202. A further stimulating section (pp. 177–214) is on Vivaldi’s use of the flute and recorder in vocal music (previously almost uncharted territory). The Italian is clear and easy for foreigners to read. Highly recommended. Anthony Rowland-Jones’s review in Early Music Review, no. 73 (September 2001): 4–5 (which serious students

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should read) does bring up a few inconsistencies in instrumentation and particularly the use of the term flauto. Wassenaer, Unico Wilhelm van (1692–1766) 1957. Vlaardingerbroek, Kees. “Enkele analytische opmerkingen over de drie blokfluitsonates van Unico Wilhelm van Wassenaer” [Some analytical observations concerning the three recorder sonatas of Unico Wilhelm van Wassenaer]. In Unico Wilhelm van Wassenaer, 1692–1766: Componist en staatsman, ed. Rudolf Rasch and Kees Vlaardingerbroek, 285–87. Zutphen: Walburg Pers/Centrum Nederlandse Muziek, 1993. 344 p. ISBN 9060118235. Three recorder sonatas by Count Unico Wilhelm van Wassenaer were discovered in Rostock by the Belgian flutist Wim Brabants and published in 1992 in a deluxe edition by Saul B.Groen of Amsterdam replete with portraits and facsimiles. As Ruth van Baak Griffioen noted in a perceptive review of the edition, a set of eighteenth-century recorder sonatas “by a Dutch composer warrants headlines. It will unfortunately be a disappointment irritatingly familiar to recorder players that these pieces are not long-lost masterpieces.” Still, the twenty-two-year-old count acquitted himself quite well in a Corellian style, which is briefly analyzed (in Dutch) by Vlaardingerbroek in a volume devoted to the composer, best known now as the true composer of the Concerto armonici long attributed to Pergolesi. Woodcock, Robert (1690–1728) “The twelve woodwind concertos of Robert Woodcock—three for sixth flute (soprano recorder in D), three for two sixth flutes, three for transverse flute, and three for oboe— were published in London around 1727. They are of historical importance as the first flute concertos and second recorder concertos ever published, and the first oboe concertos published by an English composer” (item 1316, p. 92). The authorship of the concertos has been debated since the 1950s, when Brian Priestman (item 1300) argued that at least two of them were composed by Jacques Loeillet. 1958. MacMillan, Douglas. “‘A New Concerto, Compos’d by Mr. Woodcock.’” Recorder and Music Magazine 8, no. 6 (June 1985): 180–81. Tackles the often raised question: Did Robert Woodcock really compose the twelve concertos attributed to him in the Walsh print of 1727? Priestman (item 1300) noted that two of these concertos were identical to works attributed to a member of the Loeillet family (in manuscripts in Rostock; copy in Brussels). Having obtained one of the Rostock manuscripts, MacMillan points out that the slow movement of the D-major “Loeillet” concerto is different from that in the corresponding Woodcock concerto. For this reason and (apparently) on stylistic grounds, he concludes that “the manuscripts probably represented pirated [i.e., misattributed] copies of the Walsh edition,” which was the work of Woodcock. Also offers some biographical information on Woodcock. For a later, more comprehensive survey, see item 1315. * Lasocki, David, and Helen Neate. “The Life and Works of Robert Woodcock, 1690– 1728.” Cited above as item 1316.

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NINETEENTH CENTURY 1959. Tarasov, Nikolaj. “Neues von Beethoven: Csakan-Recherchen in Beethovens Konversationsheften” [News of Beethoven: Csakan researches in Beethoven’s conversation books]. Windkanal 3/2000:6–10. “Neues von Beethoven: CsakanRecherchen beim großen Wiener Klassiker. 2. Teil” [News of Beethoven: Csakan researches on the great Viennese Classical composer. Part 2] Windkanal 4/2000:6–9. Part 1 discusses the terse references to both the csakan and three of its players (Ernest Krähmer, Joseph Sellner, Wilhelm Klingenbrunner) in the conversation books. Part 2 sets out the evidence for Beethoven having owned a cane csakan, shows that the reference to an arrangement of the composer’s Wellington’s Siege for flute or csakan in 1820 was a joke, discusses Tarasov’s discovery of a famous minuet of Beethoven’s (written for the Piano Sonata op. 49, no. 2) arranged for csakan and guitar in 1820, and mentions in a postscript Tarasov’s further discovery of a collection of Beethoven’s music for the same combination and published by Anton Diabelli. Tarasov’s researches are already revolutionizing our views of duct flutes in the nineteenth century. 1960. Thalheimer, Peter. “Csakan-Musik—eine Nische im heutigen Blockflötenrepertoire” [Csakan music—a niche in today’s recorder repertory]. Tibia 25, no. 4 (2000): 288–95. Begins by citing Dietz Degen’s oft-quoted opinion (item 38, p. 104) that the recorder died out in the middle of the eighteenth century, being replaced by the flute; but also cites his lesser-known opinion that, judging by the number of surviving examples, the csakan must have been found “not at all uncommon.” Then covers: csakan history (with photographs of three main types); the rediscovery of the csakan repertory in the 1960s; Marianne Betz’s book (item 116) and especially its repertory list; how to transpose csakan music for the recorder; modern csakan copies; and the need to make a lot more of the csakan repertory available in modern editions, especially for practice in the Classical and Romantic styles. Concludes with a list of csakan music in modern editions.

29 Repertory: Modern This chapter looks at the twentieth- and twenty-first-century repertory of the recorder. It begins with general sources, then deals with the music of individual composers (including biographical material on their work with the recorder). Entries are arranged chronologically under each heading. 1961. Dolmetsch, Carl. “The Recorder’s 20th Century Repertoire.” Recorder & Music Magazine 2, no. 8 (February 1968): 247–49. An incomplete survey that dwells on compositions the author has performed. Descriptions of the music are quoted from newspaper reviews of performances. No bibliography of cited works. 1962. Horner, Keith. “Frans Brueggen on Contemporary Music for the Recorder.” Recorder & Music 4, no. 10 (June 1974): 352–54. Brüggen discusses the current state of avant-garde composition for the recorder. Covers: the origin of avant-garde recorder music with Michael Vetter in the late 1950s; the composers Brüggen hopes will write works for the recorder; Gesti and why Berio chose to compose it for recorder rather than for flute; Brüggen’s own work as a composer and his performances with Sour Cream; and his aversion to conservative contemporary music. (The source of the interview is presumably a BBC Radio 3 broadcast, similar to item 1383.) 1963. Hunt, Edgar. “The Recorder and the Avant Garde.” Recorder & Music 5, no. 6 (June 1976): 195–96, 198, 202. Describes the extended techniques employed in avant-garde recorder music and surveys the principal works in the genre composed during the period 1960–75. 1964. Braun, Gerhard. “Blockflöte und Avantgarde: Versuch einer Typologie der zeitgenössischen Blockflötenmusik” [The recorder and the avant-garde: an attempt at a typology of contemporary recorder music]. Tibia 1, no. 1 (1976): 19–25. A prepublication version of chapter 2 from Braun’s book Neue Klangwelt auf der Blockflöte (item 1213). Classifies avant-garde recorder music into the following: serial compositions, postserial period, tone color and tone alteration, open form, other media (tape recorder, contact microphone, synthesizer, etc.), graphic notation, and musical theater. 1965. O’Loughlin, Niall. “The Recorder in 20th-century Music.” Early Music 10, no. 1 (January 1982): 36–37. An intelligent “short and selective” survey of the twentieth-century repertory for recorder up through the early 1970s, with an emphasis on post-1945 compositions. 1966. Rolin, Étienne. “Un répertoire pour demain” [A repertory for tomorrow]. Flûte à bec, no. 3 (June 1982): 36–37. Brief remarks on the state of composing for the recorder in France, followed by the music of his one-page “pedagogical piece for alto recorder,” Phénix.

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1967. Linde, Hans-Martin. “Neue Musik für alte Instrumente” [New music for old instruments]. In Alte Musik: Praxis und Reflexion. Sonderband der Reihe “Basler Jahrbuch für Historische Musikpraxis” zum 50. Jubiläum der Schola Cantorum Basiliensis, ed. Peter Reidemeister and Veronika Gutmann, 395–404. Winterthur: Amadeus, 1983. OCLC #10696619. ML 55 .B14 1985. A quick overview of twentieth-century music for the recorder, harpsichord, viola da gamba, and viola d’amore, as well as ensemble pieces by Rudolf Komorous and Mauricio Kagel. Sees the recorder music in three phases: (1) that written under the influence of the German Jugendmusikbewegung (youth music movement) in the 1920s and ’30s; (2) the post-World War II interest in the specific sound of early instruments, although the recorder was treated somewhat like the flute; and (3) the avant-garde music of the 1960s onward. Concludes with a two-page selected bibliography of compositions. 1968. Braun, Gerhard. “Ludus juvenalis: Moderne Blockflötenmusik für den Anfang” [Child’s play: modern recorder music for beginners]. Tibia 9, no. 1 (1984): 8– 12. Considers it a mistake to conclude that “beginners” (or rather, inexperienced performers) should avoid all new music. Improvisation and graphically notated music spring to mind as being suitable means of getting started, leading on naturally to music in “duration notation.” (The duration of a note is indicated by the length of a horizontal line at the pitch of the note, or by its positioning across the space between barlines set at regular [time] intervals.) Two of Braun’s own compositions use a soprano recorder without the footjoint, an easy way to make unusual pitches. At Braun’s request, Erhard Karkoschka wrote a moderately easy piece, Pointen for recorder and two-channel tape recorder, incorporating simple avant-garde techniques. Such a piece leads on to little musical scenarios, such as Klaus Hashagen’s Gardinenpredigt eines Blockflötenspielers [A recorder player’s telling off from the wife]. Braun has also incorporated speech elements, for example, in Monologe III for tenor recorder. Certain pieces make good studies for focusing on individual techniques. Ends with the hope that, by following such a schema, “soon the music of our time will be played as self-evidently as now the sonatas of Marcello, Boismortier, or Telemann are.” Bibliography of relevant compositions and books. * O’Kelly, Eve Elizabeth. The Recorder in Twentieth-Century Music. Cited above as item 1209. The catalog is arranged by medium (pieces for one recorder, then those for two recorders, etc.). Each entry gives the (O’Kelly) catalog number of the work, composer’s name and dates, title and publication date, publisher, commercial recordings (if any), and exact instrumentation. There is a composer index and a list of publishers (address given as city and country only). 1969. Martin, John. “Playing the Recorder Tongue-in-Cheek.” Recorder: Journal of the Victorian Recorder Guild, no. 5 (November 1986): 12–15. “Actually about tongue-in-cheek recorder music.” First, describes how doing the unexpected with the music, instruments, or surroundings can produce tongue-incheekery. Then reviews a selection of such music (dance music, blues, fusion, etc.). * O’Kelly, Eve Elizabeth. The Recorder Today. Cited above as item 1210. Contains a catalog based on the one in item 1209. Unfortunately, the catalog has been

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cut down considerably, so that instead of “comprising as full a listing as possible of modern recorder compositions,” it now “contains some 400 works out of about 800 known to me,” the selection having been made on the basis of suitability for professional or semiprofessional performance, current availability, and “sufficient musical merit.” 1970. Kerwin, Michael. “Musica Nova: 20th Century Music for Historical Instruments.” Continuo 12, no. 1 (February 1988): 5–10. Sets twentieth-century recorder music in the context of new repertory for all historical instruments. Attributes the enormous size of such repertory to the preoccupation of twentieth-century composers with new and original sonorities, citing David Loeb to the effect that “nothing was more natural than for composers to seek out ‘instruments left unused for so long that they seemed as fresh and tantalizingly unfamiliar as if they had been newly invented.’” Mentions the well-known recorder works by Hindemith, Britten, Baur, Berio, Andriessen, Staeps, and Kagel, as well as Harry Somers’s Twelve Miniatures and Kazimierz Pyzik’s Symphonic Triptych Part 2: Action 2. 1971. Davis, Alan. “Commissioned Works for the Recorder.” Recorder and Music Magazine 9, no. 10 (June 1989): 278–81. Discusses eight compositions commissioned by Davis: Nightes Blacke Bird by Philip Wilby, Thymehaze by John Casken, Aubade by Colin Hand, Constellations by Edwin Roxburgh, The Hour Hand by John Joubert, Breakdance by Philip Wilby, Dancing Day by Colin Hand, and Antifonia by Colin Touchin. * Rose, Pete. “On the Cutting Edge.” Cited above as item 163. 1972. Rose, Pete. “Avant-Garde Recorder Music: An Evolutionary View.” American Recorder 33, no. 3 (September 1992): 19–22. A chart covering developments in avant-garde recorder music from 1950 to 1989. Divides the forty-year period into eight five-year segments and notes significant events and trends in the United States, Europe, and “elsewhere” for each. 1973. Rose, Pete. “What Pieces Would I Recommend to Someone Who Wanted to Begin Playing the Modern Repertoire?” American Recorder 34, no. 2 (June 1993): 18. Reprinted from Early Music Newsletter, November 1992. Suggests over two dozen compositions, mostly for solo recorder. Pieces are grouped by playing ability into six categories ranging from beginner to professional. Letter from Madeline M.Hunter, on the availability of a few of the titles, in 34, no. 3 (September 1993): 29. 1974. Izquierdo, Joan. “La flauta de pico y la música de vanguardia” [The recorder and the music of the avant-garde]. Revista de flauta de pico, no. 5 (May 1996): 13–14. Gives Spanish-speaking readers a brief introduction to avant-garde recorder music and its techniques. The choice of “notable” repertory includes such classics as Luciano Berio’s Gesti, and Louis Andriessen’s Sweet and Paintings, but also Maki Ishii’s TenorRecorder Piece—East-Green-Spring, Franco Donatoni’s Sweet and Nidi II, Isang Yun’s Chinesische Bilder, Joep Straesser’s Points of Contact, John Casken’s Thymehaze, and Robert Heppener’s Hymn to Harmony. 1975. Braun, Gerhard. “Ein Schritt vor—zwei zurück. Blockflöte und Avantgarde” [One step forward, two steps back: the recorder and the avantgarde]. In 4. Internationales Blockflöten Symposium Kassel, ERTA Kongress, 6–9. Juni 1996, Vorträge und Dokumentation, 3–11.

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For a long time in the twentieth century, modern recorder music steered clear of general musical developments. Even though the Second Viennese School was preeminent in the 1930s, the first twentieth-century compositions for the recorder were in neoBaroque style. Experiments with the full chromatic scale began around 1950, for example, with the Reihe kleiner Duette of Hans-Ulrich Staeps. Serial music appeared around 1960, for example, with Werner Heider’s Katalog für einen Blockflötenspieler. The sudden discovery of extended techniques for the recorder in the 1960s in the hands of players such as Vetter, Kelber, Clemencic, Linde, and Brüggen opened up a new world of musical possibilities. Aleatoric music, open form, graphic notation, Klangfarben compositions, and deliberately ugly music arrived at the same time. As for the avantgarde today, new directions have opened up, such as minimal music, jazz, pop, as well as postmodern music, although there seems to be little interest in the recorder on the part of serious composers. There has been renewed interest in recorder consorts and music for recorder and orchestra. We need good modern music for children, youth, and amateurs. Ends with long quotations on music education by Cornelius Hirsch and on new music by Dieter Schnebel. 1976. Lünenbürger, Gerd. “Zur Rolle der Blockflöte in der zeitgenössischen Musik” [The role of the recorder in contemporary music]. Tibia 21, no. 3 (1996): 182–90. In Italian as: “II ruolo del flauto dolce nella musica contemporanea.” In item 42, pp. 90–100. Presents the history of the recorder’s role in twentieth-century music, leading up to the avant-garde developments of the 1960s and ‘70s, and commenting at length on Berio’s Gesti in relation to the composer’s series of Sequenze. Believes that modern recorder composition, after a period of experimenting and “individualization”—its “adolescence”—has come to maturity. As evidence of such maturity, he singles out what he considers to be four central works of the last ten years: Marco Lasagna’s Nervi (1991) for solo recorder, Kunsu Shim’s peripatetic exercise (1992) for three tenor recorders, and Richard Rijnvos’s Zahgurim, Whose Number is Twenty-Three and Who Kills in an Unnatural Fashion (1987/88) for bass recorder and four percussionists (all unpublished); and Roland Moser’s Musik zu Pontormo for recorder octet (published by Edition Hug). Concludes that the danger of compositions for the instrument being restricted to a “recorder ghetto” has been lessened but not yet averted. The Italian version ends with a “Post scriptum 1999.” * Winters, Ross. “The Dolmetsch Legacy: The Recorder Music Composed for Carl Dolmetsch, 1939–1989.” Cited above as item 1445. 1977. Matyl, Ulrich. “‘Neue Flötentöne’—ein ungewöhnliches Konzertprojekt” [“New flute sounds”—an unusual concert project]. Tibia 23, no. 3 (1998): 208–9. Describes how the recorder player Dörte Nienstedt and the flutist Anne Horstmann created a project at the Hochschule für Künste, Bremen, entitled “Neue Flötentöne” and commissioned composers such as Violeta Dinescu, Myriam Lucia Marbe, Oskar Gottlieb Blarr, and François Rossé to write pieces for the two women to play on various sizes of flutes and recorders. See also Theresia Fleck, “Flöte—was ist das? Fachtagung mit dem Ensemble ‘Neue Flötentöne’ und dem Komponisten Hans-Joachim Hespos” [Flute— what is that? Workshop with the ensemble Neue Flötentöne and the composer HansJoachim Hespos], Tibia 26, no. 2 (2001): 480–81. 1978. Thalheimer, Peter. “Neue Blockflötenmusik vor 1950” [New recorder music before

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1950]. SAJM Zeitschrift 27, no. 4 (July 1999): 15–23. Recorder music written between 1930 and 1950 is already “early music” for us and needs reviving. The historically inspired recorders of Arnold Dolmetsch encouraged composers such as Robin Milford. Carl Dolmetsch commissioned works by Berkeley, Rubbra, Murrill, Jacob, Britten, Scott, and others. Stravinsky arranged his lullaby from The Rake’s Progress for recorder duet in 1960. In the 1920s and ’30s, bamboo pipes inspired French composers in particular. In Germany, the Harlan renaissance brought recorders in A and D, and new compositions for them from Bornefeld, Hindemith, Fortner, and eventually Genzmer and David; the great success of Waldemar Woehl’s method (22,000 copies sold in four years) encouraged simple Gebrauchsmusik and pieces by Orff; more difficult music by Marx, Lechner, and others followed. Ends with a chronological bibliography of all the pieces mentioned. 1979. Vissing, Heida. “Eine Werkcollage alter & neuer Musik” [A work collage of old and new music]. Windkanal 2/2000:27–29. Describes how the German recorder quartet Four Wheel Drive, of which Vissing is a member, made a kind of musical collage from the sixteenth-century chorale “Aus tiefer Not” and Ryohei Hirose’s Lamentation (1975). Then discusses their own and the public’s reaction to the piece. Ends with thoughts on collages. 1980. Bowman, Peter. “The Electro-Acoustic Recorder.” Recorder Magazine 20 [marked 21], no. 3 (autumn 2000): 103–4. Describes Bowman’s work (with Kathryn Bennetts) on commissioning and performing compositions for two recorders and electronically generated sound, including Duplicator by Vítor Rua, Pertaining to Trees by Geoff Cox, and Tricorder by Mark Bromwich. * Mayes, Andrew. “Carl Dolmetsch and the Recorder Repertory in the 20th Century.” Cited above as item 1440. * Mayes, Andrew. “Carl Dolmetsch and the Recorder Repertoire of the Twentieth Century.” Cited above as item 1439.

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GEOGRAPHICAL FOCUS Australia See also items 1684–86 above. 1981. Thorn, Benjamin. “Selling Recorder Music to the World.” Sounds Australian: The Journal of the Australian Music Centre, no. 57 (2000): 35, 44. An account of his work with Orpheus Music, a small publisher of recorder music in Armidale, North South Wales, owned by Zana Clarke and himself. They have already issued more than fifty titles, mostly by Australian composers. Canada 1982. McCutcheon, Mary. “Recorder in the Lives of Four Montreal Composers.” American Recorder 31, no. 4 (December 1990): 10–16. Profiles of Daniel Pilon, Walter Sheper, Michelle Boudreau, and Wolfgang Bottenberg. Includes reproductions of excerpts from the composers’ manuscripts. Letter from Kennan Garvey in 32, no. 1 (March 1991): 35, concerns the comment made by one of the composers that amateurs should not play in public. Great Britain 1983. Dolmetsch, Carl. “An Introduction to the Recorder in Modern British Music.” Consort, no. 17 (July 1960): 47–56. Recounts the circumstances of performance and gives brief descriptions of almost forty works, many of which were commissioned and first performed by the author. Japan 1984. Henseler, Ewald, with Yoshie Tokimitsu. “Neue Blockflötenmusik in Japan” [New recorder music in Japan]. Tibia 21, no. 2 (1996): 96–105. A relatively small number of Japanese recorder compositions (by Ryohei Hirose, Maki Ishii, and Makoto Shinohara) have become extremely well known. The full extent of the Japanese commitment to the instrument, however, is revealed by Henseler, who (with Tokimitsu) catalogs no fewer than 177 compositions by 86 composers. Only 52 of these compositions have been published, although happily Henseler mentions plans by the Music Library Association Japan to support the publication of some of the remainder. He classifies Japanese recorder music into that based on Japanese traditional music and that based on Western music (whether conservative or avant-garde). Although some writers have assumed that the influence of traditional music and the shakuhachi must be paramount, in fact young Japanese composers have tended to know little about their own musical heritage, being exposed instead to Western music and instruments. The differences between the recorder and the shakuhachi in dynamics, articulation, and so forth, are enormous—so much so that Kikuko Masumoto wrote a composition, Kaikoh (1974), for two of each instrument, exploiting the musical and technical differences.

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“Two completely foreign worlds meet one another, resound, but separate again,” as the composer wrote. Henseler concludes by observing that “Japanese com-posers, who hitherto have taken over every Western style uncritically, on their part now want to give the ‘new music’ new impulses.” 1985. Henseler, Ewald, and Yoshie Tokimitsu. “Recorder Music by Japanese Composers.” Music Library Association Japan Newsletter 16, no. 1 (30 April 1995): 1–7. An English version of the catalog in item 1984 with Japanese interpolations. A slightly abbreviated version solely in English is available from the authors. 1986. Yoshizawa, Minoru, comp. Japanese Music for Recorder. Available on the World Wide Web at http://www1.ocn.ne.jp/~mino/ejapcompslist.html and at http://members.iinet.net.au/~nickl/japcomps.html. Accessed May 2002. An ongoing comprehensive catalog, which draws on the previous printed sources. Available in Japanese and English versions. The Netherlands 1987. Vetter, Michael. “New Recorder Music from Holland=Neue Musik für Blockflöte aus Holland.” Sonorum Speculum, no. 31 (spring 1967): 19–25. (English text reprinted in Recorder & Music Magazine 2, no. 8 [February 1968]: 260 and American Recorder 9, no. 2 [spring 1968]: 47–49.) Parallel columns in English and German. Describes early 1960s works by Dutch composers that explore the unconventional sound possibilities of the recorder. Works discussed include: Spiel und Zwischenspiel, Pastorale VII, and Ricercare by Rob du Bois; Paintings by Louis Andriessen; and Wonderen zijn schaars by Will Eisma. The RMM version contains only the sections on the Andriessen and Eisma works. United States 1988. Rose, Pete. “Zum Stand der modernen amerikanischen Blockflötenmusik: Eine subjektive Betrachtung” [On the state of modern American recorder music: a subjective view]. Tibia 17, no. 2 (1992): 90–95. The Americas have tended to produce conservative and technically undemanding recorder compositions. Surveys the most interesting of them, classified as solos (some with tape), duets, trios, works for four or more recorders, recorder with keyboard, and recorder with other instruments. For each piece, gives background information and a few comments on special features.

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INDIVIDUAL COMPOSERS Ball, Michael 1989. Turner, John. “The Recorder Music of Michael Ball: A Catalogue and Description.” Recorder Magazine 16, no. 3 (September 1996): 83–89. Turner draws our attention to the recorder music—most of which he commissioned— by Ball, a composer from the north of England now resident in Dublin. The music ranges “in intent from the engagingly light to the intensely serious, and from the technically easy to the virtuosic (including extended techniques).” We particularly enjoyed Ball’s own description of the quality of the recorder he finds the most attractive: “the way in which the sense of at-one-ness between instrument and performer seems greater than that with possibly any other wind instrument, both in its striking clarity and immediacy of attack, and in the particularly critical relationship of control and firmness of air flow to tone and pitch—thus the ease of deliberate intonational distortion and expressive ‘bending of notes,’ allied with the subtlety and variety of vibrato techniques available.” Bandt, Ros 1990. Bandt, Ros. “Original Wind: Ros Bandt, Composer-Performer, Artist in Sound.” Recorder: Journal of the Victorian Recorder Guild, no. 1 (1984): 8–11. Bandt says that “pipes, breath and sound have been the major preoccupations in my work since the early seventies.” Describes four of her pieces involving recorders and other pipes: Wind Instruments in the Environment (Tank Pieces, Silo Pieces, Car Park Pieces); Disjointed Quartet; Soft and Fragile: Music in Glass and Clay; and Loops. Baur, Jürg (b. 1918) 1991. Vetter, Michael. “Recorder Works by Jürg Baur.” Recorder & Music Magazine 2, no. 7 (November 1967): 226–27. Concerns Incontri (1960) for recorder and piano, Mutazoni (1960) for alto recorder, and Pezzi uccelli (1964) for recorder solo. 1992. Schieffer, Eva. “Jürg Baurs Concerto da camera—für virtuose Blockflöte und Sinfonieorchester” [Jürg Baur’s Concerto da camera for virtuoso recorder and orchestra]. Tibia 23, no. 4 (1998): 302–3. In conjunction with Michael Vetter, Baur wrote some of the earliest “avant-garde” recorder music, partly using extended techniques: Incontri, Mutazioni, and Pezzi uccelli. These charming works, well worth exploring for their musical qualities, seem to be little played today. Baur’s Concerto da camera for recorder and orchestra is, if anything, even less known, presumably because it demands a modern orchestra to play it. Schieffer, who prepared a performance of the work to honor Baur’s eightieth birthday in 1998, writes about its virtues: “The Concerto is, in both technical and musical respects, a challenge for the interpreter and holds its own with famous solo concertos. The slow movements contain highly expressive melodies, while the fast movements captivate through virtuosity and pregnant rhythms.” Fortunately, for readers without an orchestra at their

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disposal, a piano reduction is available. Berio, Luciano (b. 1925) 1993. Brüggen, Frans. “Berio’s ‘Gesti.’” Recorder and Music Magazine 2, no. 3 (November 1966): 66. Background and analysis. In a letter to Brüggen accompanying the manuscript of the work, Berio wrote: “As you can see I tried to celebrate a divorce between your fingers and your mouth.” Brüggen commissioned the work and gave its British premiere soon after the publication of this article, on 7 December 1966. * Feider, Denise. “Contribution à l’étude de la renaissance de la flûte à bec au XXe siècle.” Cited above as item 151. Bernstein, Leonard (1918–1990) 1994. Begley, Rachel. “Premiering Bernstein.” American Recorder 38, no. 5 (November 1997): 4–5, 38. Surprisingly, the only recorder composition written by one of the major American composers of the twentieth century had to wait until six years after his death before receiving its first performance. Begley reports how she discovered Leonard Bernstein’s Variations on an Octatonic Scale (1989) for recorder and cello and gave its world premiere in its original instrumentation in 1996. The work was written as a gift for a young amateur, the daughter of one of Bernstein’s friends. Unfortunately, the composer betrays some lack of familiarity with the recorder and the work is not particularly idiomatic, although still charming. Begley discusses various modifications she had to carry out to make it performable, lamenting, “Just imagine what [Bernstein] could have done if a recorder player had shown him some of the instrument’s potential.” Bois, Rob clu (b. 1934) * Vetter, Michael. “New Recorder Music from Holland.” Cited above as item 1987. 1995. Arran, Roderick. “Muziek voor Altblokfluit—Rob du Bois.” Recorder & Music 7, no. 4 (December 1981): 91–94. A description of extended techniques and compositional devices employed in the work. Includes a reproduction of the entire score, complete with Arran’s analytical notations. Bornefeld, Helmut (1906–1990) 1996. Bornefeld, Helmut. “Ein Leben mit Bläsern und Orgel” [A life with winds and organ]. (Das Porträt.) Tibia 2, no. 2 (1977): 289–93. Works for wind instruments and for organ occupied a central place in the output of Helmut Bornefeld. Here he traces his involvement with these instruments throughout his life, many of his compositions being based on folksong or sacred songs and hymns. Complete list of works. 1997. Braun, Gerhard. “Das andere Arkadien: Gedanken zur Flötenmusik von Helmut Bornefeld” [The other Arcadia: thoughts on the flute music of Helmut Bornefeld].

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Tibia 12, no. 2 (1987): 401–5. Reprinted from Württembergische Blätter für Kirchenmusik, 6/86. Discusses the style and circumstances of composition of Bornefeld’s works for both recorder and flute. 1998. Braun, Gerhard. “Das Raschèr Saxophone Quartet.” (Das Porträt.) Tibia 18, no. 2 (1993): 455–60. Reports that the leader of the Raschèr Saxophone Quartet, Sigurd Raschèr, gave the first performance of Helmut Bornefeld’s Suite for recorder solo in Stuttgart in the 1930s because it was held to be unperformable on the recorder. 1999. Thalheimer, Peter. “‘Fünf kleine Suiten für eine Blockflöte’ von Helmut Bornefeld (1906–1990): Entstehung und Rezeption” [Five little suites for recorder by Helmut Bornefeld (1906–1990): Genesis and reception]. Tibia 23, no. 4 (1998): 268–73. Thalheimer, who has been preparing the recorder music for the complete edition of Bornefeld’s work (Carus-Verlag), discusses his works of the early 1930s in relation to the characteristics of the recorders available at that time. The composer owned a Germanfingered recorder in d1 (a1= 435 Hz) marked “Peter Harlan/Markneukirchen” but probably made by Kurt Jacob; a German-fingered recorder in e1 (a1=435 Hz) marked “DACAPO” (probably also from Markneukirchen); and a “Baroque”-fingered alto recorder marked “BÄRENREITER/KASSEL” (the “Meisterflöte” model conceived by Manfred Ruëtz and made by Max Hüller, beginning around 1935). Thus the works in question were intended not for the alto in f1 but for recorders in d1 or e1. The characteristics of such recorders were described by Walter Merzdorf, a harpsichord and recorder maker in Markneukirchen, in 1934 as follows: “The instruments are proportionately wide bored and give a soft, round, thus flutelike tone. The choice of bore allows easy and gentle overblowing without compromising the low register.” (He considered the tone of the newer C and F recorders “more string- and gamba-like.”) One acoustic advantage of the best recorders of that day—the pure overblowing—has recently been rediscovered by Nikolaj Tarasov and applied to modernized recorders. Thalheimer hopes we may soon appreciate Bornefeld’s early recorder music—not to mention Hindemith’s celebrated trio—in the way he conceived it. Bousted, Donald (b. 1957) 2000. Bousted, Donald. “My Music and the Recorder.” Cinnamon Sticks 1, no. 1 (November 2000): 14–17. Of Bousted’s thirty-eight compositions, no fewer than sixteen have been written for recorders: “solos, duos, a piece for the electro-acoustic recorder of Philippe Bolton, a concerto for two recorders and string orchestra and, most recently, a piece for two recorders, tape and video projection.” Although his works are unified by his interest in rhythmic structural relationships and an emphasis on scales, his recorder music differs from his other music in being mostly microtonal. He has “come to believe, in the course of this work, that the recorder has unique potential as a microtonal instrument and that it is, at least through the central part of its range, only limited in its capacity for alternative tuning systems by the aural and technical ability of the player.” Describes some of his recorder compositions, as well as his work with Peter Bowman and Kathryn Bennetts on

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The Quarter-Tone Recorder Manual (Celle: Moeck, 1998; Moeck no. 2084) and in their Ensemble QTR. Braun, Gerhard (b. 1932) 2001. Devroop, Chatradari. “Monologe eines Blockflötenspielers: Anmerkungen zu den Kompositionen für Blockflöte solo von Gerhard Braun—zum 60. Geburtstag des Komponisten” [Monolog of a recorder player: remarks on the compositions for recorder alone by Gerhard Braun—on the composer’s 60th birthday]. Tibia 17, no. 2 (1992): 85– 90. A complement to Braun’s own comments on introducing recorder players to modern music (item 1968). Mentions three such pieces of Braun’s, then goes on to describe other works of his that incorporate speech and graphical elements, notably the Monologe I–IV. The bibliography is restricted to those recorder compositions of Braun’s published by Moeck, the publishers of Tibia (ironically, not including the Monologe I–IV). The article celebrates Braun’s sixtieth birthday, praising his role as both recorder player and composer. 2002. Feider, Denise, and Marianne Mezger. “Die aktuellen Interviews: Mit Hans Martin Linde, Werner Heider und Gerhard Braun” [Interviews now: with Hans Martin Linde, Werner Heider, and Gerhard Braun]. SAJM Zeitschrift 23, no. 6 (November 1995): 11– 23. Two interviews held at the Internationales Blockflöten-Symposion, Karlsruhe, 1992, with two recorder-playing composers and a composer who are close in age. Linde: how he came to the recorder and to composing; for whom he composes. Braun: the same questions; the recorder in jazz; the great future for modern recorder music; modern recorders; standardized notation (or not). Both: combining the recorder with other instruments; the modern aesthetic. Linde: reviving the A and D recorders of the early twentieth century (“an unbelievably fine task”); concentrating more on composing; music and painting; national styles of composing. Heider: how he earns his living (composing, playing the piano, and conducting); how he composes; his relationship to early music; the importance to him in performance of faithfulness to the work; his recorder works; the superiority of the recorder to the flute for modern music. Braun: his compositions; his approach to composing; the development of his compositional style; influences on his style; his works Klangsplitter, Holzwege, Sulamith V, and Hexentanz; what he was writing then; and his plans. 2003. Braun, Gerhard. “Ach, wie gut, dass niemand weiß…. Marginalien zu meinem Abbreviaturen für Sopranblockflöte und Klavier” [Ah, how nice that no one knows… marginalia on my Abbreviaturen for soprano recorder and piano]. Tibia 24 no. 4 (1999): xxxiii-xxxiv (Die gelbe Seite). Braun writes about his Abbreviaturen, a series of ten miniature pieces that have the pedagogical purpose of teaching young people about contemporary techniques, including special fingerings to achieve dynamics. Perhaps to give the performers something familiar to hang on to, the form of each piece is based on classical types such as lied, dance, toccata, chorale, notturno, invention, and ostinato, albeit sometimes using graphic notation.

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2004. Braun, Gerhard. “Das Männlein im Walde: 12 Variationen über Kinderlieder für Sopranblockflöte solo” [The little man in the woods: 12 variations on children’s songs for solo soprano recorder]. Tibia 26, no. 2 (2001): xxv–xxviii (Die gelbe Seite). Braun describes the technical and musical qualities of his composition. Although based on children’s songs, it is hardly intended for children, but rather features playful rhythmic games and such “modern” techniques as singing and playing simultaneously (yes, Braun notes that it was first mentioned by Mersenne in 1636). Bridge, J.C. (1853–1929) * Kinsell, David. “J.C.Bridge and the Recorder” Cited above as item 175. Britten, Benjamin (1913–1976) 2005. Winters, Leslie. “Benjamin Britten: Scherzo.” (Playing.) Recorder and Music Magazine 1, no. 4 (February 1964): 106–7. Advice on rehearsing and interpreting the work. 2006. Strode, Rosamund. “Benjamin Britten and the Recorder.” Recorder and Music Magazine 1, no. 9 (May 1965): 262–63. Concerns five works either for or including recorders: Scherzo (1955), Alpine Suite (1955), Noye’s Fludde (1958), A Midsummer Night’s Dream (1960), and Psalm 150 (1962). Describes the use of the recorder in each and, for the first two works, the circumstances of their composition. Broadstock, Brenton (b. 1952) 2007. Broadstock, Brenton. “Aureole 3—a Musical Drama.” (Writing for the Recorder.) Recorder: Journal of the Victorian Recorder Guild, no. 2 (March 1985): 16–18. Composer’s commentary on his Aureole 3 (1984) for recorder and harpsichord. 2008. Martin, John. “Preparing Aureole 3 for Performance.” Recorder: Journal of the Victorian Recorder Guild, no. 3 (November 1985): 31–32. Briefly describes the work and the practical aspects of learning to play it. Buckley, John (b. 1951) 2009. Hamel, Peter Michael. “Zwischen Keltentum und Avantgarde: Der irische Komponist John Buckley” [Between Celticity and avant-garde: the Irish composer John Buckley]. Musik Texte: Zeitschrift für neue Musik, no. 20 (July-August 1987): 19–25. Lists three works Buckley has written for recorder, one of which, Fantasia no. 2 (1987) for alto recorder, is reproduced with the article. Bullard, Alan (b. 1947) 2010. Turner, John. “The Recorder Music of Alan Bullard: A Catalogue and Description.” Recorder Magazine 15, no. 4 (November 1995): 128–32. Bullard teaches composition in Colchester and writes conservative music in the tradition of Britten and Howells. Turner’s descriptions of Bullard’s dozen works for

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recorder are lively and evocative. In an appendix, the composer describes how he learned to play the soprano recorder and wrote his first works for the instrument (alas, no longer extant) at the age of eight. “I owe a great debt to the recorder in my musical education, more than I perhaps realized at the time, and I hope I am helping to repay that by writing recorder music today.” Burgess, Anthony (1917–1993) 2011. Paterson, Scott. “Anthony Burgess: The Man and His Recorder Music.” American Recorder 41, no. 4 (September 2000): 11–17. Burgess, a famous novelist best known for A Clockwork Orange, was also a prolific composer. Among his papers at the University of Texas at Austin are fourteen works for recorder: five for great bass, five for tenor, and four for alto. Paterson describes Burgess’s musical activity during his youth (at the age of seventeen he composed a symphony for large orchestra), his choice under pressure to pursue a literary rather than a musical career, and his ongoing work as a composer for the remainder of his life—particularly during his later years. Concludes with an extensive style analysis of the recorder works. Includes several music examples as well as the complete score to the Siciliano for tenor recorder and piano. Letters from David Lasocki in 41, no. 5 (November 2000): 36 and Mark Bones in 42, no. 4 (September 2001): 36–37. Burrows, Benjamin (1891–1966) 2012. “Benjamin Burrows, 1891–1966.” Recorder Magazine 11, no. 4 (December 1991): 99–100. In response to a query about Burrows in 11, no. 3 (September 1991): 90, Ralph Hall, Gwilym Beechey, Bernard Barrell, and Paul Clark contribute short pieces on Burrows and his works, particularly the Suite for Soprano Recorder and Piano (1955). Clark offers an analysis and assessment of the work. Catán, Daniel (b. 1949) 2013. “San Diego Recorderists Perform in New Opera by Daniel Catán.” American Recorder 35, no. 3 (May 1994): 5. Reports on an opera by the Mexican composer Daniel Catán, Rappaccini’s Daughter (based on the novel by Nathaniel Hawthorne), which features two recorders in the orchestra. Catán “wanted the recorders to sound like shakuhachis, with a ‘breathy’ quality and drooping note-ends.” He “used recorders in every act but chose specific spots, allowing them to surface after long rests to play a dialogue with the bass clarinet or piccolo, or in the dream sequence, to accompany the soprano alone.” A recording of the opera has been made in which the recorder players include the Mexican Horacio Franco. Cage, John (1912–1992) 2014. Geddert, Geesche. “Three—das Blockflötentrio von John Cage” [Three: John Cage’s recorder trio]. Tibia 19, no. 1 (1994): 40–43.

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Geddert describes how she and the two other members of Trio Dolce (Christine Brelowski and Dorothea Winter) worked with Cage on the first performance of his Three “for three players having a variety of recorders.” They commissioned it from him to fill a gap in the series of pieces he was writing named after the number of players involved. In Three, the rapid switching of instruments by each player “has an important function within the structure.” Cage was initially unfamiliar with the “variety” of recorders, asked for a list with ranges, and then was entranced by the larger sizes: “Aren’t they marvelous, those big ones?” The piece has many “chance” or aleatoric elements; as the composer disarmingly put it, “Durations and dynamics are free; they are to be discovered in rehearsal.” Challulau, Patrice 2015. Duhot, Jean-Joël. “Un jeune compositeur écrit pour la flûte à bec. Patrice Challulau entretien avec Jean-Joël Duhot” [A young composer writes for the recorder. Patrice Challulau interviewed by Jean-Joël Duhot]. Flûte à bec & instruments anciens, no. 28 (July 1989): 4–5. Briefly covers: his training, his influences, microintervals, being a composer today, earning “a lot less than a cleaning woman,” his composition prizes, and his writing for recorder. Chin, Unsik 2016. Beutler, Irmhild, and Sylvia C.Rosin. “Mit vier Blockflöten im SymphonieOrchester: Uraufführung von Unsik Chins Miroirs des temps mit dem Deutschen Symphonie-Orchester Berlin” [With four recorders in the symphony orchestra: first performance of Unsik Chin’s Miroirs des temps with the Deutsche Symphonie-Orchester Berlin]. Tibia 26, no. 4 (2001): 648–49. Chin’s work was first performed on the BBC by the London Philharmonic Orchestra in 1999; a revised version was to be performed in Berlin in 2001 by the above-named orchestra with the Milliard Ensemble and a consort of four recorders. The article describes the work, which has texts based on the theme of love and death, and draws on a number of ideas from medieval music. The recorders play in the second and third movements, which are based on a ballade by Ciconia and a rondeau by Machaut, respectively. Concludes that it is an attractive addition to the recorder repertory and provides a challenge to makers to produce instruments at the orchestra pitch of 443–44 Hz. Clingan, Judith (b. 1945) 2017. Clingan, Judith. “The Seven Deadly Sins.” Recorder: Journal of the Victorian Recorder Guild, no. 12 (December 1990): 26–27. Describes her composition of that title (commissioned for the Recorder ’90 festival in Canberra, Australia, in October 1990) and its first performance there.

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Coates, Gloria (b. 1938) 2018. Coates, Gloria. “A Cockatoo Will Do.” American Recorder 31, no. 4 (December 1990): 17–19. The story behind Coates’s Breaking Through, a composition for alto recorder commissioned and first performed by Dörte Nienstedt for an international contest sponsored by GEDOK (a German organization for women artists). The work is based on the songs of a cockatoo. Letter from Joanna Neroda in 32, no. 1 (March 1991): 36. Cooke, Arnold (b. 1906) 2019. Whiting, B.C. “The Recorder Music of Arnold Cooke.” Recorder & Music 5, no. 10 (June 1977): 318–22; 5, no. 11 (September 1977): 355–58. Substantial analyses of the nine recorder compositions by Cooke published by 1977. The descriptions focus on theoretical matters but also include assessments of the difficulty of the recorder parts. David, Johann Nepomuk (1895–1977) 2020. Thalheimer, Peter. “Kammermusik mit Blockflöte von Johann Nepomuk David (1895–1977)” [Recorder chamber music by Johann Nepomuk David (1895–1977)]. Tibia 26, no. 2 (2001): 460–67. Names David as one of the three finest German recorder composers of the 1930s and ’40s (alongside Helmut Bornefeld and Paul Hindemith) who wrote art music for professionals when others were largely writing easy pieces for the Jugendbewegung. Discusses at length the surviving sources and the instrumentation of David’s Variationen über ein eigenes Thema für Blockflöte und Laute (Variations on an original theme for recorder and lute [DK 373; 1943]), which was written for the German D recorder typical of the period. An interesting photograph depicts no fewer than seven different D recorders made between 1930 and 1945. Concludes with similar but briefer comments on David’s Concertino for viola, two recorders (alto and bass), and lute (DK 376; 1944). Gal, Hans (1890–1987) 2021. Thorne, J.O. “Hans Gal: A Seventy-Fifth Birthday Tribute.” Recorder and Music Magazine 1, no. 10 (August 1965): 303. A biographical sketch and survey of his compositions for recorder. 2022. “Dr Hans Gal OBE.” Recorder & Music 6, no. 11 (September 1980): 325. Profile in honor of Gal’s ninetieth birthday. Covers: his musical activity in Austria; his immigration in 1938 to Great Britain and subsequent work at Edinburgh University; and his activity as a composer. 2023. H[unt], E[dgar]. “Obituary: Dr Hans Gál OBE.” Recorder and Music Magazine 9, no. 4 (December 1987): 102. Mentions his compositions for recorder and his contributions to the Society of Recorder Players.

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Gilbert, Anthony (b. 1934) 2024. Thomason, Geoffrey. “An Innovative Concerto: Geoffrey Thomason Assesses Anthony Gilbert’s ‘Igorochki.’” Recorder Magazine 14, no. 1 (March 1994): 10–12. Thomason praises the way that Gilbert’s Igorochki (Russian for “little games”) absorbs such modern techniques as microtones, singing into the instrument, finger vibrato, and glissandos “quite unselfconsciously.” This work, written for John Turner in 1992, is a five-movement concerto for recorder, string quartet, guitar, and tuned percussion, based on ideas from Stravinsky’s Symphonies of Wind Instruments (1920). According to Thomason, the music creates “a whole world of untraditional, non-Western sounds using largely familiar instruments. Like his mentor, Gilbert has harnessed a wide spectrum of folk influences, from Balinese gamelan to Japanese ritual lament, for his own distinctive purposes without destroying its spirit.” 2025. Turner, John. “The Recorder Music of Anthony Gilbert: A Catalogue and Description.” Recorder Magazine 17, no. 3 (September 1997): 93–98. Summarizes the life of the contemporary British composer Gilbert, for many years a composition teacher at the Royal Northern College of Music in Manchester. His main influences have been Stravinsky, Messiaën, and northern Indian music. Describes his recorder music: Farings for sopranino recorder and piano (a continuing series of compositions with whimsical titles: “Mr. Pitfield’s Pibroch,” “Eighty for William Alwyn,” “Arbor Avium Canentium,” “BatterFeet,” “Slow Down after Fifty,” “Miss Carroll Her Lullabye,” “Chant-au-Clair,” and “MidWales Lightwhistle Automatic”); Igórochki for recorder player and chamber orchestra; Palauma for sopranino recorder and piano; Flame-Robin for sopranino recorder; and Stars for alto recorder and guitar. The composer himself adds a postscript, explaining how he unsuccessfully tried writing avant-garde music under the influence of Frans Brüggen’s repertory of the 1960s, then later sought to reflect “the instrument’s traditional associations” in his music. Gümbel, Martin 2026. Braun, Gerhard. “Martin Gümbel: Flötenstories für 3 Blockflöten gleicher Stimmlage, Satz I, III und IV, Edition Moeck Nr. 2504” [Martin Gümbel’s Flötenstories for three equal recorders, movements 1, 3, and 4: Edition Moeck 2504]. Tibia 25, no. 2 (2000): v-vii (Die gelbe Seite). Considers the six studies “a good introduction to the playing technique and expressive possibilities of the recorder in contemporary music” and therefore suitable for “young players with good skills in traditional ways of playing.” Describes the technical features of the pieces and gives a sample page. Hand, Colin 2027. Hand, Colin. “The Composer Writes: PLAINT for Tenor Recorder and Harpsichord (or Piano).” Recorder & Music 5, no. 3 (September 1975): 89. Offers background to the piece and suggestions for performance.

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Heiden, Bernhard (1910–2000) 2028. Lasocki, David. “The Third Recorder Age of Bernhard Heiden.” American Recorder 30, no. 3 (August 1989): 109–12. Written on the occasion of Heiden’s having composed a recorder concerto (1987) for Eva Legêne and the Minneapolis Chamber Symphony, who premiered the work in August 1988. Opens with a biographical sketch. Heiden was introduced to the recorder as a composition student of Paul Hindemith’s in Berlin from 1929 to 1933. Sometime late in this period, Heiden joined Hindemith and, he believes, Harald Genzmer in the first broadcast performance of the trio from Plöner Musiktag. Heiden later conducted recorder players at summer camps in Lake Placid and organized the Indiana University Collegium Musicum. The idea of a recorder concerto came to him when the conductor of the Minneapolis Chamber Symphony “asked him to write something for orchestra at about the same time that Legêne approached him about a recorder piece for her.” The remainder of the article describes in some detail the structure and musical content of the concerto as well as adjustments made by both Heiden and Legêne during rehearsals. Heider, Werner (b. 1930) 2029. Kelber, Sebastian. “Werner Heiders Katalog für einen Blockflötenspieler: Eine Analyse” [Werner Heider’s Katalog für einen Blockflötenspieler (Catalog for a recorder player): an analysis]. Tibia 1, no. 3 (1976): 145–48. Begins with the revelation that Katalog “owes its origin to a herring.” Sitting with friends at a beer table under the trees, Heider was joined by Kelber, who started cutting a smoked herring. Slightly disgusted, especially by the sight of the “milk” of the herring, Heider said finally: “When you have eaten it all up, I’ll write you a piece.” Goes on to describe Katalog, the first solo piece to use several recorders played by one player. Heider wanted to explore the possibilities of the recorder: range, dynamics, articulation, ornaments, tone formation, and special effects. Shows the symmetry of the piece in a diagram. Then analyzes the serial technique (twelve rows, each consisting of from one to twelve notes), based on information supplied by the composer. 2030. Braun, Gerhard. “‘G’fällt euch das?’: Einige Bemerkungen zu Werner Heiders Gassenhauer für Sopranblockflöte (oder Piccoloflöte) und kleine Trommel” [“Did you like that?”: remarks on Werner Heider’s Gassenhauer for soprano recorder (or piccolo) and snare drum]. Tibia 25, no. 1 (2000): 33–36. The German word “Gassenhauer” meant a kind of ballad made by using parody texts with popular Singspiel or opera melodies. But Werner Heider seems to have had street musicians and their music in mind when he wrote a piece of that title in 1984. It combines elements of art music and folk music as well as comments that the musicians might make to their audience (“Did you like that?”). Gerhard Braun analyzes the piece, which he believes “now belongs to the standard repertoire for recorder and percussion.” 2031. Jacobsen, Silke. “Das Phänomen der Zeitlosigkeit: Werner Heider zum 70. Geburtstag” [The phenomenon of timelessness: Werner Heider on his seventieth birthday]. Tibia 25, no. 1 (2000): 37. Largely a description of Heider’s La leggenda di Sant’Orsola (1981) for three tenor

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recorders. Briefly mentions at the end that, after not writing for the recorder since 1984, in the period 1996–98 Heider came back to the instrument and wrote “a few little pieces.” Hespos, Hans-Joachim (b. 1938) 2032. Braun, Gerhard. “‘—schattenhaft ruhig—grob gekant—’: Anmerkungen zu den Flötenkompositionen von Hans-Joachim Hespos” [‘ghostly quiet—coarsely chewed’: remarks on the flute and recorder compositions of Hans-Joachim Hespos]. Tibia 8, no. 3 (1983): 418–21. Based partly on radio commentaries by Reinhard Oelschlägel and Hans-Klaus Jungheinrich. Describes two recorder pieces by Hespos: pico for sopranino, and ilomba for three basses (bass, contrabass, sub-bass). See also David Smeyers, “Exploding Silence(s)—an Introduction to Hans-Joachim Hespos and His Music,” Clarinet 14, no. 4 (summer 1987): 16–20. 2033. Kumpf, Hans. “Hans-Joachim Hespos.” (Das Porträt.) Tibia 9, no. 1 (1984): 33–35. Covers: how he came to write for the recorder; reconciling his “aggressive” style with the sopranino recorder (in pico); comments on ilomba; dynamic markings in his compositions; provoking the public; his switch from school teaching to full-time composing; young people and his music; having his own publishing company; his opposition to minimalism; and his compositional philosophy. Hindemith, Paul (1895–1963) 2034. Higbee, Dale. “Notes on Hindemith’s Trio for Recorders.’” American Recorder 10, no. 2 (spring 1969): 39. Reprints a letter from Hans Ulrich Staeps confirming Higbee’s suspicion that Hindemith intended the fugato as the middle movement of the trio when performed outside its context in Plöner Musiktag. Also includes suggestions for alternate instrumentation. See also item 2035. 2035. Bergmann, Walter. “Further Notes on Hindemith’s Recorder Trio.” American Recorder 13, no. 1 (February 1972): 17. A response to item 2034. When Bergmann submitted his edition of the trio (Schott 10094, RMS 474) to Hindemith for approval, he asked the composer to clear up several questions about the work. According to Hindemith, the second alto part may be played on a tenor, and the last two movements may be reversed. Nonetheless, Bergmann still favors retaining the original fast-fast-slow ordering of the movements. 2036. Neumeyer, David. “Hindemith’s Recorder Trio: Sketches and Autograph.” American Recorder 17, no. 2 (August 1976): 61–68. In German as: “Hindemiths Blockflötentrio—Skizzen und Autograph.” Tibia 6, no. 1 (1981): 262–67. Describes the sketches and autograph score of the trio and explores Hindemith’s compositional process in preparing the autograph. Includes a reproduction of a page from the sketches. 2037. Chandelier, Christian. “A propos du trio de Hindemith” [Concerning Hindemith’s trio]. Flûte à bec et instruments anciens, no. 26 (November 1988): 18–19. Background on Hindemith and his musical style, followed by detailed comments on the form and harmonic structure of his recorder trio, “without doubt the only important

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work of the first part of the 20th century written for recorder.” 2038. Thalheimer, Peter. “Hindemith heute—Anmerkungen zur Aufführungspraxis seines Trios für Blockflöten” [Hindemith today: Remarks on the performance practice of his recorder trio]. In 3. Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation [unnumbered pages]. Reprinted in Tibia 20, no. 4 (1995): 586–93. In a thought-provoking article, Thalheimer demonstrates that questions of urtext and performance practice can apply in twentieth-century music just as much as in early music. By way of illustration, he takes a hard look at Hindemith’s recorder trio, which was written in 1932 for recorders in A and D, then transposed and edited by Walter Bergmann for recorders in C and F (1952). The recorders in A and D used in Germany in the 1920s and ’30s had a restricted range—essentially an octave—and a tone emphasizing the fundamental. “On D and A recorders the parts lay in the most sonorous register; on today’s C and F recorders, in the gentlest and most unresponsive.” He recommends performance on “original instruments” or various substitutes. Then he reminds us that Hindemith’s original score allowed for performance by a recorder ensemble. Thalheimer notes that Bergmann in his arrangement tended to change the long slurs in the original into either portato marks, the instruction legato ed espressivo, or no marking at all. Quoting F.J.Giesbert in the first modern recorder method for F recorders, and taking into consideration Hindemith’s articulations in other wind compositions, Thalheimer states his belief that Hindemith meant what he wrote, in keeping with the clarinet practice of his day in which “a tight, vibratoless legato” was the “highest ideal.” Finally, Thalheimer cites Hugo Riemann’s influential theories of phrasing in the early twentieth century, in which “Accented high points are achieved through impulses and come early, and the unaccented phrase endings taper off slowly; articulation and dynamics support these tendencies.” Hindemith in his own performances tended toward Riemann’s ideas. Applying them to the trio, we can interpret the long slurs in a new light: “there, where several upbeat notes are combined with the downbeat, they mark emphases performed early.” He concludes that the sixty-odd years since the origin of this trio have been enough for us to lose the meaning of the notation. Ishii, Maki (b. 1936) 2039. Izquierdo, Joan. “Tenor Recorder Piece—East-Green-Spring, Maki Ishii (1991/Op. 94).” Revista de flauta de pico, no. 5 (May 1996): 15. Originally published in Catalan in Butlletí de la Associació BLOC, no. 9 (January 1996): 3–5, 6. A brief discussion. Jacob, Gordon (1895–1984) 2040. Mayes, Andrew. “Gordon Jacob’s ‘Trifles.’” Recorder Magazine 20 [marked 21], no. 4 (winter 2000): 136–39. During the course of research for a book about the recorder works commissioned by Carl Dolmetsch, Mayes made several trips to Haslemere to work with manuscripts and letters in Dolmetsch’s library. He was particularly interested in finding an unpublished

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suite for recorder, violin, cello, and harpsichord by Gordon Jacob, which Dolmetsch had first performed in 1983. Mayes discovered that the suite was actually a piece titled “Trifles,” which Jacob had sent Dolmetsch in 1971. For the premiere in 1983, Dolmetsch had changed the title and discarded Jacob’s descriptive titles for the four movements. Mayes offers an analysis of the work, which was published in 2000 by Emerson Edition. Joubert, John (b. 1927) 2041. Turner, John. “The Recorder Music of John Joubert: A Catalogue and Description.” Recorder Music 19, no. 1 (spring 1999): 8–15. According to Turner, Joubert “has a gift for striking and memorable ideas within a tonal framework, which are often concisely but intricately manipulated to create larger structures, with the listener being only instinctively aware of the subtleties involved.” Turner describes and briefly analyzes the following works: Sonata a cinque for recorder, two violins, cello, and harpsichord (op. 43, 1963); Crabbed Age and Youth: Five Songs to 16th-Century Texts for countertenor, recorder, viola da gamba, and harpsichord (op. 82, 1974; rev. 1988); Dr. Syntax: A Suite for recorder ensemble (op. 85,1975); The Hour Hand: Song-Cycle for soprano and alto recorder (op. 101, 1983); Music for a Pied Piper for six male voices, sopranino recorder, two lutes, two violins, viola da gamba, and violone (1985); Improvisation for alto recorder and piano (op. 120, 1988); and The Rose is Shaken in the Wind for soprano and alto recorder (op. 137, 1996). At the end of the article, Joubert himself comments on his delight in discovering that “the recorder, far from being a sort of obsolete flute, was an instrument in its own right with its own distinctive character and voice.” He subsequently learned about “[the recorder’s] capacity to combine on equal terms with the human voice,” “the expressive potential of the recorder in a mixed ensemble,” and “the homogeneity of timbre possessed by an unbroken consort.” Kagel, Mauricio (b. 1931) 2042. Schmidt, Dörte. “Über Möglichkeiten—zu Mauricio Kagel’s Musik für Renaissanceinstrumente” [About possibilities: on Mauricio Kagel’s Musik für Renaissanceinstrumente (Music for Renaissance instruments)]. Tibia 15, no. 3 (1990): 186–94. Philosophical ruminations on, and analysis of, Kagel’s 1968 work for Renaissance instruments (including recorders), probably the earliest ensemble work for recorders that included modern playing techniques and somewhat free notation. Karkoschka, Erhard (b. 1923) 2043. Braun, Gerhard. “mit/gegen sich selbst und andere Schwierigkeiten: Zur Interpretation szenischer Blockflötenmusik am Beispiel einer Komposition von Erhard Karkoschka” [mit/gegen sich selbst (with/against oneself) and other difficulties: on the interpretation of staged recorder music as exemplified in a composition by Erhard Karkoschka]. Tibia 3, no. 3 (1978): 162–66. An expanded version of a chapter in item 1213. Simply describes Karkoschka’s piece,

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then comments briefly on the recorder in modern musical theater. Lämmer, Lothar (b. 1934) 2044. Michel, Winfried. “‘Flautissimo’: Wie der Frankfurter Komponist Lothar Lämmer spät, aber erfreulich radikal die Blockflöte seinem Schaffen einverleibt” [“Flautissimo”: how the Frankfurt composer Lothar Lämmer incorporated the recorder, late in his life but delightfully radically, into his works]. Tibia 23, no. 3 (1998): ix–xi (Die gelbe Seite). Describes how, with twenty-one years of composing under his belt, Lämmer finally came to the recorder to write three “expressive and provocatively difficult” works for the instrument: Pfeif drauf for three alto recorders, Duo for soprano recorder and piano, and flautissimo for soprano recorder alone. The music examples cited show a preoccupation with little melodic cells, sometimes in unison. The article is graced by provocatively difficult quotations from the composer: “My mistrust of melody is the reason for my interest in it.” “The funny thing is that I really always want to write a slow movement.” “We should so compose today that an uneducated singer would not be capable of performing it: is that right, or what?” Lechner, Konrad (1911–1990) 2045. Lechner, Konrad. “Konrad Lechner über sich selbst” [Konrad Lechner on himself]. (Das Porträt.) Tibia 1, no. 2 (1976): 89–93. Describes his career as a composer, performer, and teacher, mentioning his involvement with the recorder in passing. Bibliography of his flûte and recorder music. 2046. “Epitaph: Zum Tode von Konrad Lechner” [Epitaph: on the death of Konrad Lechner]. Tibia 15, no. 2 (1990): 134–36. Tributes by Gerhard Braun, Peter Reidemeister, Hans-Martin Linde, Hans Darmstadt, Werner Heider, and Hans Leygraf. 2047. Braun, Gerhard. “Traumbilder: Einige Bermerkungen zu den Solosrücken für Sopranblockflöte von Konrad Lechner” [Dream images: some notes on Konrad Lechner’s pieces for solo soprano recorder]. Tibia 22, no. 4 (1997): xxxiii-xxxvii (Die gelbe Seite). Between 1935 and 1988, Lechner wrote no fewer than eighty-seven little pieces for solo soprano recorder, which collectively constitute what Braun dubs “a kind of modernday Der fluyten lust-hof, the compositional qualities of which can be compared to Béla Bartók’s Mikrokosmos for piano. It is about time for this significant work (also a compendium of new playing techniques) to be finally published in a complete edition….” He discusses a number of the pieces, making use of some examples from Lechner’s sketchbook. Linde, Hans-Martin (b. 1930) 2048. Prior, Susan. “Notes on Hans-Martin Linde’s Modern Exercises for Treble Recorder,” Continuo 2, no. 6 (March 1979): 4–8. Based on remarks made by the composer during a 1975 course. 2049. Fairhall, Helen. “Music for a Bird—and for the Adventurous.” Recorder: Journal

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of the Victorian Recorder Guild, no. 11 (June 1990): 10–12. Some general notes on performing modern music followed by a disappointingly brief discussion of performance problems in Linde’s Music for a Bird. 2050. Linde, Hans-Martin. “Zwei Ensemblewerke zu Lassos ‘Sybillinum’” [Two ensemble works based on Lasso’s Prophetiae Sybyllarum]. In 3. Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation [3 p.]. Briefly discusses works by himself and Mathias Steinauer, both including a recorder ensemble, that were written for the fiftieth anniversary of the Freunde alter Musik in Basel. Lutosławski, Witold (1913–1994) 2051. Kneihs, Hans Maria. “Nicht nur zur Weihnachtszeit: Sechs polnische Weihnachtslieder dreistimming für Blockflöten oder andere Instrumente gesetzt von Witold Lutosławski” [Not only at Christmas: six Polish Christmas songs in three parts for recorders or other instruments, set by Lutosławski]. Tibia 26, no. 4 (2001): xxxvii-xl (Die gelbe Seite). A humorous meditation on Christmas music, then the joys and difficulties of Lutoslawski’s imaginative settings. Martinů, Bohuslav (1890–1959) * Feider, Denise. “Contribution à l’étude de la renaissance de la flûte à bec au XXe siècle.” Cited above as item 151. Marx, Karl (1897–1985) * Marx, Karl. “Begegnungen mit der Blockflöte.” Cited above as item 1549. Maute, Matthias 2052. Maute, Matthias. “Set soli per flauto senza basso: Ein Zeitgenosse im Barock” [Six solos for unaccompanied recorder: a contemporary composer in the Baroque]. Windkanal 1/2001:12–17. Maute describes how he composed a set of six pieces in late-Baroque style, modeled after J.S.Bach’s solo works for violin and cello (Winterthur: Amadeus, 1997). The modeling extended to the number of pieces, the mixture of suites and sonatas, the key scheme, the ability to add an imaginary bass line, the attitude toward sequences, the use of a chaconne to end the set, the order of movements in the suites, the even number of measures, the principle of one-voiced fugato, and the latent two-voiced writing. Ends with comments on the individual works. McCabe, John (b. 1939) 2053. Turner, John. “The Recorder Music of John McCabe: A Catalogue and Description.” Recorder Magazine 18, no. 1 (March 1998): 12–17.

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Turner’s descriptions invite exploration of this small but distinguished body of work. “Les soirs bleus” (1979) for soprano, recorder, cello, and harpsichord exploits the changing emotional moods of Rimbaud’s text by having the recorder player switch between soprano, bass, and alto. Desert IV: Vista (1983) for solo recorder (tenor/sopranino), “one of the few major works in the repertoire for unaccompanied recorder,” evokes the mood of the desert by eerie, mournful sounds, enclosing “an obsessive but brilliant repetitive and rhythmic stamping dance for the sopranino recorder, perhaps representing the celebrations of a wandering tribe….” Two Latin Elegies (1991) for countertenor, recorder, cello, and harpsichord sets a funeral elegy by Catullus and the Compline hymn “Te lucis ante terminium” to solemn music based on melodic fragments from a pavan by William Byrd. The piece not quite a tAnGo (1994) for alto recorder and piano is a “tiny and deft scherzo” dedicated to the composer Anthony Gilbert and based on his initials. Finally, McCabe has made an arrangement for recorder and string orchestra (1993) of his friend Alan Rawsthorne’s Suite for Recorder and Piano. McCabe has a refreshingly positive attitude toward the recorder, seeing its relatively limited dynamic range as an inspiration for the musical material of his pieces. Mellers, Wilfrid (b. 1914) 2054. Turner, John. “The Recorder Music of Wilfrid Mellers: A Catalogue and Description.” Recorder Magazine 20 [marked 21], no. 3 (autumn 2000): 93–101. Mellers, who is known primarily as an insightful (and prolific) music historian and critic, was also a prolific composer from the 1940s through the 1970s. Among his works are four chamber compositions that feature the recorder and two works for children’s chorus accompanied by an ensemble including recorder. An introductory biography is followed by style analyses of the four chamber works and one of the choral works. Concludes with several paragraphs by Mellers offering background on his work with the recorder. Meynaud, Michel (b. 1950) * Meynaud, Michel, and Johannes Fischer, with Patrick Blanc and Jean Sebastien Catalan (moderators). “Ein ‘Cross-Interview.’” Cited above as item 1454. Müller-Hartmann, Robert (1884–1950) 2055. Grant, Dinah. “R.Müller-Hartmann: Suite.” (Playing.) Recorder and Music Magazine 1, no. 5 (May 1964): 157–58. Suggestions for rehearsal and interpretation. Neuhaus, Fabian (b. 1972) 2056. Steinmann, Conrad. “Erfahrungen beim Erarbeiten des Konzertes für Bassblockflöte und großes Ensemble von Fabian Neuhaus” [The experience of working on the concerto for bass recorder and large ensemble by Fabian Neuhaus]. Tibia 26, no. 2 (2001): 479–80.

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Steinmann briefly discusses his involvement in the first performance of the Neuhaus concerto, written for him to play on the newly developed knick bass by Küng. See also Nikolaj Tarasov, “Erstes Konzert für Bassblockflöte—oder: Wie macht man eine tiefe Flöte hörbar” [First concerto for bass recorder—or: how one makes a low recorder audible], Windkanal 1/2001:35. Proosdij, Hanneke van 2057. Rose, Pete. “The Innovative Music of Hanneke van Proosdij.” (On the Cutting Edge.) American Recorder 40, no. 2 (March 1999): 26–27. A brief profile of the San Francisco-based composer, followed by a discussion of recent performances of her compositions Mael (1996) and Nabja (1998). Rawsthorne, Alan (1905–1971) 2058. Turner, John. “Rawsthorne’s Recorder Suite.” Recorder Magazine 13, no. 1 (March 1993): 13–14. Documents the discovery of a recorder composition by Alan Rawsthorne that had long been assumed lost. Rawsthorne, in order to fill a commission from a player of the viola d’amore, had taken the unpublished and unperformed composition for alto recorder and piano and revised it. Neither version was ever published. Turner was able to identify the revisions and fairly accurately reconstruct the original, which he premiered in July 1993. He offers a postscript in 17, no. 1 (March 1997): 36. Riehm, Rolf (b. 1937) 2059. Whybrow, Julia. “Eine Einführung in das Blockflötenstück Weeds in Ophelia’s Hair von Rolf Riehm” [An introduction to Weeds in Ophelia’s Hair, a piece for recorder by Rolf Riehm]. Tibia 20, no. 1 (1995): 357–61. Discusses and analyzes Riehm’s solo recorder composition (Munich: Ricordi, 1993). The work is poetically conceived around the Ophelia theme, “translated into a nuanced musical speech which is expressed in an abundance of up to now ‘unheard’ sounds, and places high demands on new playing techniques.” Weeds has an enormous dynamic range (pppp to fff) as well as a special notation to indicate small amounts of air pressure. Whybrow concludes that it represents “a clear advance in the development of new sound domains on the recorder. The entire range of facets of the instrument is brought to bear. It is an extraordinarily innovative work, which will surely represent a milestone in the recorder literature of the 20th century.” Roosendael, Jan Rokus van 2060. Hauwe, Walter van. “Jan Rokus van Roosendael’s Rotations.” Key Notes 25 (1988–89): 45–47. Takes the view that modern recorder compositions have reached the point where they are “undeniably well written for the [instrument]” and “one could scarcely imagine [them] being played by any other instrument.” Considers Rotations to be “an admirable

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example of this type of composition.” Gives a little background information, then briefly describes the piece. Note that van Hauwe prefers the term “blockflute” to recorder, partly to differentiate it from tape and cassette recorders, and partly on (mistaken) historical grounds. The same issue of Key Notes also contains “A Forum Discussion” on modern recorder music involving participants in the International Week of Twentieth-Century Recorder Music, Amsterdam, October 1988 (pp. 42–44) and a report on the festival by Eve O’Kelly (pp. 39–41). Rose, Pete (b. 1942) 2061. Rose, Pete. “‘Nachrichten aus Philadelphia’: Pete Rose äußert sich zur Interpretation seiner Werke” [“News from Philadelphia”: Pete Rose discusses the interpretation of his works]. Tibia 23, no. 4 (1998): xiii–xv (Die gelbe Seite). Rose discusses how to play his jazz-oriented works, attempting to correct “the most important problems” he has noticed in performances by others: incorrect “jazz inégale” and articulation, a misunderstanding of the intention and aesthetic of the works, too little “swing,” and no concept of melodic patterns and how to bring them out. He advocates listening to jazz, varying the inequality of the small note-values according to the tempo, linking notes softly rather than playing staccato, playing the music “straight” without Baroque ornaments, etc., keeping a strict tempo, and using articulation to bring out the melodic patterns. What Rose does not take into consideration is that, once a composer hands over compositions, performers can, and will, do what they like with them, regardless of how much the composer lectures. The title seems to be related to Rose’s I’d Rather Be in Philadelphia, although he actually lives in Maplewood, New Jersey. Rubbra, Edmund (1901–1986) 2062. [Hunt, Edgar?]. “Obituary: Dr. Edmund Rubbra.” Recorder and Music Magazine 8, no. 9 (March 1986): 277–79. Includes a brief description of the genesis of the Meditazioni, op. 67, and Rubbra’s interpretation of the work when he served as an accompanist to Hunt. 2063. Hunt, Edgar. “The Recorder Music of Edmund Rubbra.” Recorder and Music Magazine 8, no. 10 (June 1986): 296–97. Brief analyses of, and comments on, Rubbra’s seven major works involving the recorder. 2064. Grover, Ralph Scott. The Music of Edmund Rubbra. Aldershot: Scolar Press; Brookfield, Vt.: Ashgate, 1993. xvii, 625 p. ISBN 0859679101. ML 410 .R887. Grover’s book on the music of Rubbra includes substantial analyses of, and background information on, his “impressive list of works for the recorder”: Meditazioni sopra “Coeurs désolés” for tenor recorder and harpsichord; Air and Variations for recorder quartet; Fantasia on a Theme of Machaut for alto recorder, string quartet, and harpischord; Notturno for recorder quartet; Passacaglia sopra “Plusieurs regrets” for alto recorder and harpsichord; First Study Pieces for alto recorder and piano; Sonatina for alto recorder and harpsichord; and Fantasia on a Chord for alto recorder and harpsichord with viola da gamba ad lib. Good analysis of recorder music is worth its weight in gold

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(and rarer than the noble gases), and Rubbra is an important composer in a conservative style, so this study is particularly welcome. Runswick, Daryl 2065. Highcock, Robert, and Peter Robertson. “The Recorder Works of Daryl Runswick.” Recorder Magazine 15, no. 1 (March 1995): 13–14. Pays tribute to Runswick, a Leicester music teacher who wrote and arranged a few dozen compositions for recorder ensemble, generally for six parts with three independent bass lines (bass, great bass, contrabass). Includes a complete list of the compositions, copies of which may be obtained from the Leicester branch of the Society of Recorder Players. Rzewski, Frederic (b. 1938) 2066. Izquierdo, Joan. “Contando ovejas: Reflexiones después de una realización de ‘Les moutons de Panurge’ de Frederic Rzewsky” [Counting sheep: reflections following a performance of “Panurge’s Sheep” by Frederic Rzewski]. Revista de flauta de pico, no. 14 (1999): 23–24. Draws our attention to an aleatoric piece that was dedicated to Frans Brüggen, although the title page generously allows performance “[f]or any number of musicians playing melodic instruments plus any number of non-musicians playing anything.” Panurge was the high-spirited rogue who becomes Pantagruel’s companion in François Rabelais’s satire Gargantua and Pantagruel. So, as the performance instructions have already hinted, we can expect something high-spiritedly roguish about the piece, which features the counting of numbers from 1 to 65 (counting sheep?). “[I]f you get lost, stay lost,” says the composer. “The idea of being lost is, therefore, essential,” says Izquierdo. Perhaps recorder players who have mastered Berio’s Gesti to the point of not feeling lost could try Rzewski’s piece. Saux, Gaston (1886–1969) 2067. Hunt, Edgar. “Gaston Saux: Quartet in F.” Recorder & Music Magazine 3, no. 6 (June 1970): 201. What kind of music might César Franck or his student Vincent d’Indy have written for the recorder in the late nineteenth century if duct flutes had been taken seriously by major composers? We can gain some idea from the recorder music of a student of d’Indy’s, Gaston Saux, largely written late in his life but still in a late-Romantic style. The F-major quartet, composed in 1959, was the “first sizeable work of its kind to achieve publication and acceptance among recorder players.” Hunt offers suggestions for rehearsal and interpretation. 2068. Davies, Malcolm. “The Recorder Music of Gaston Saux (1886–1969).” Recorder Magazine 19, no. 3 (autumn 1999): 87–89. Describes Saux’s most important recorder works, the quartets in F major (1959) and G major (1965), which “will provide hours of fun for a group of four, moderately advanced, recorder-playing friends.” Then he lists no fewer than twenty other works of Saux’s that

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involved the recorder, most of them unknown today as they have never been published. Some survive in autograph manuscripts owned by the French recorder player Jean Henry; others may be lost or held by the Société des Auteurs, Compositeurs et Editeurs in Paris. Sciortino, Patrice 2069. Scharapan, Gérard. “Salicionaux de Patrice Sciortino (édition A.Zurfluh, 1973)” [Salicionaux by Patrice Sciortino (Paris: Zurfluh, 1973)]. (Musique d’ensemble: Présentation d’une oeuvre.) Flûte à bec & instruments anciens, no. 12 (September 1984): 11–12. An abortive attempt to start a series of articles about ensemble works for the recorder. Consists of “a succinct analysis which, we hope, gives to prospective interpreters some working ideas and which will also help listeners”—or in other words, background and brief descriptive notes. Serocki, Kazimierz (1922–1981) 2070. Zielinski, Tadeusz A. “‘Concerto alla Cadenza’ by Kazimierz Serocki.” Recorder & Music 6, no. 3 (September 1978): 68–71. Covers the following topics: Serocki’s musical aesthetic and his interest in tone color, the instrumentation of the Concerto alla Cadenza (1974) and the special techniques required of the soloist, a synopsis of the plan of the work, and Serocki’s notational devices (including examples). 2071. Zielinski, Tadeusz A. “Anmerkungen zu ‘Arrangements’ für 1 bis 4 Blockflöten von Kazimierz Serocki” [Observations on Arrangements for 1 to 4 recorders by Kazimierz Serocki]. Tibia 5, no. 1 (1980): 23–28. Describes Serocki as “one of the most interesting ‘colorists’ in contemporary music” and “one of the best [composers] in contemporary Polish music.” Arrangements (1976) consists of seventeen segments, notated on separate sheets, which can be played in any order or in one of the fifteen specified orders, not to mention by from one to four recorders. Such a “large number of setting and performance possibilities is possible because the composer has employed tone colors as basic composition material”—some forty different tone colors “which are created through unconventional styles of playing on the whole instrument or only the removed head joint.” Goes on to briefly describe these tone colors and their combinations. Sieg, Sören (b. 1966) 2072. Beutler, Irmhild, and Sylvia C.Rosin. “Artikulation in Sören Siegs pina ya phala, oder, Warum wir die Afrikanische Suite Nr. 2 zweimal einspielten…” [Articulation in Sören Sieg’s pina ya phala, or, Why we practiced the African Suite no. 2 twice…]. Tibia 25, no. 1 (2000): i-iv (Die gelbe Seite). Sieg’s second African suite, entitled pina ya phala (1995), was performed by the Ensemble Dreiklang Berlin on their CD “Chips ’n’ Chocolate.” In his preface, the composer had written that the piece required “a rhythmically precise and lively nonlegato style of playing.” The trio took this advice to heart. When they sent the CD to

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Sieg, however, he told them that their relatively short articulations in no way corresponded to his intentions. Over the phone, singing and playing the flute, he demonstrated to them what he wanted—varied articulations that made the piece “more melodically and rhythmically fluent.” Then they learned the piece again…. The article, by two members of the trio, describes and illustrates the composer’s ideas on articulation for each movement. Spahlinger, Mathias (b. 1944) 2073. Braun, Gerhard. “Im Grenzbereich: Einige Anmerkungen zu Mathias Spahlingers ‘nan, getrennt’ für Altblockflöte Solo” [In the borderland: some remarks on Mathias Spahlinger’s nah, getrennt for solo alto recorder]. Tibia 19, no. 4 (1994): 294–98. Braun dubs Spahlinger’s 1993 composition nah, getrennt (close, yet separated) for solo alto recorder, “probably one of the most physically and psychologically strenuous recorder pieces of the present day…in many respects also advancing the frontiers of the instrument.” Since the piece lasts thirty minutes, as Braun points out the listener also gets a workout. The excerpts quoted disclose a vast dynamic range (achieved by alternative fingerings), in some places changing wildly almost from note to note, nuanced microtones, and a variety of articulations and tone qualities. Braun concludes with the comment of a Swiss musicologist, Jürg Stenzl, that after this piece, “the recorder is no longer what it once was, even in new music.” 2074. Rose, Pete. “New Directions: A Report on Mathias Spahlinger’s nah, getrennt.” American Recorder 35, no. 4 (September 1994): 12–14. Takes a look at Spahlinger’s composition for solo alto recorder, seeking to answer the questions: (1) what makes this composition unique? (extreme microtonality, unusual timbres produced by special fingerings, extreme length, evolving form); (2) in which respects does it seem to be in sync with current musical trends? (the impact of world music, microtonality, minimalism); (3) in what respects does it seem contrary to current trends? (“its psychological, expressionistic bent and the isolated way one experiences its sounds”); and (4) how would the next generation of recorder players benefit from learning to play it? (readiness for unusual fingerings and other microtonal works, improved aural sensitivity to pitch and color, greater breath control). Staeps, Hans Ulrich (1909–1988) 2075. Staeps, Hans Ulrich. “Saratoga Suite.” American Recorder 7, no. 4 (fall 1966): 5– 6. The composer discusses the genesis of his recorder trio Saratoga Suite and offers suggestions for performance. * H[unt], E[dgar] H. “Prof. Hans-Ulrich Staeps.” Cited above as item 1613. * Primus, Constance M. “Memories of Hans Ulrich Staeps, 1909–1988.” Cited above as item 1614. Stockhausen, Karlheinz (b. 1928) 2076. Geddert, Geesche. “‘In Freundschaft’ von Karlheinz Stockhausen jetzt auch für

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Blockflöte” [Karlheinz Stockhausen’s In Freundschaft now also for recorder]. Tibia 10, no. 3 (1985): 416–19. In Freundschaft was written in 1977 for clarinet alone and subsequently adapted for several other melody instruments (alto recorder, basset horn or bass clarinet, bassoon, flute, horn, oboe, saxophone, trombone, violin, and violoncello). Geddert, who worked with the composer to produce the version for recorder, discusses why she believes the work to be important, analyzes it, comments on the recorder version, and helps with its interpretation. See also the discussion and analysis of the clarinet version by Beate Zelinsky and David Smeyers, “Karlheinz Stockhausens ‘In Freundschaft’: Eine Herausforderung für Interpreten und Publikum” [Karlheinz Stockhausen’s In Freundschaft: a challenge for interpreter and public], Tibia 10, no. 3 (1985): 412–16. Szalonek, Witold (b. 1927) 2077. Schoeneich, Leila. “‘Auf der Suche nach dem verlorenen Kleinen Prinzen’” [“In Search of the Lost Little Prince”]. Tibia 23, no. 1 (1998): i-iv (Die gelbe Seite). Introduces a work for recorder and guitar, In Search of the Lost Little Prince, which Witold Szalonek wrote for the birth of Schoeneich’s daughter Miriam in 1995. It was recomposed from some music for a children’s puppet theater for flute, guitar, and percussion. It is still designed to appeal to children, and partly playable by them; nevertheless, the interpretation of the whole suite of ten dances requires a professional soloist. Musical figures are associated with humans and animals in the story, such as an enchanted Bird of Paradise, a Snow Queen, and a dancing tiger. The recorder version divides the original flute part among sopranino, soprano, alto, and tenor recorders, according to character and range. The role of the percussion is absorbed by both recorder (sputati, foot-stamping) and guitar. Schoeneich goes on to discuss the musical characteristics and role in the story of each of the ten movements. 2078. Beutler, Irmhild, and Sylvia C.Rosin. “‘Da wird selbst die sanfte Blockflöte zum messerscharfen Mord-Instrument…’: Ensemble Dreiklang Berlin über Witold Szalonek’s Das Haupt der Medusa” [“The soft recorder itself became a razor-sharp instrument of death…”: Ensemble Dreiklang Berlin on Witold Szalonek’s Medusa’s Head]. Tibia 24, no. 4 (1999): 630–31. Beutler and Rosin, two members of the Ensemble Dreiklang Berlin, describe a work for one to three alto recorders called Das Haupt der Medusa (Medusa’s head) by the Polish composer Witold Szalonek (written 1992, published 1998). The title of the article is a quotation from a review of the ensemble’s performance of the piece in 1998. The work is the third in a “Medusa cycle” by Szalonek, who has clearly been inspired by the Greek legend of gods, gorgons, ghosts, and the underworld. Program music seems to us a fine use of the recorder’s avant-garde techniques, which can otherwise seem purposeless and off-putting to all except specialized audiences. Based on a suggestion by the composer, Ensemble Dreiklang Berlin was planning to perform the work in conjunction with dance later that year. Tippett, Michael (1905–1998) 2079. Bergmann, Walter. “Michael Tippett: His Recorder Works.” Recorder and Music

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Magazine 1, no. 8 (February 1965): 229–31. Concerns three compositions: Four Inventions (SA duet), Bonny at Morn (chorus and recorders), and Crown of the Year (girls’ chorus with chamber orchestra). Offers background on the composition of the works and assesses the difficulty of the recorder parts. The section on Four Inventions includes suggestions for performance and corrects an error in the published parts. 2080. Kenworthy, C. “Michael Tippett: An Appreciation.” Recorder and Music Magazine 1, no. 8 (February 1965): 229. Concerns the role of Morley College in the promotion of early music in London during the 1940s and 1950s. Tippett served as director of music at the college. Worrall, David * Worrall, David. “Composing for a Large Recorder Ensemble.” Cited above as item 1233. Zahnhausen, Markus (b. 1965) * Saperas, Josep Maria. “Markus Zahnhausen: ‘…soy un apasionado luchador por nuestro instrumento.’” Cited above as item 1658.

30 Societies This chapter discusses articles about the history or philosophy of the recorder societies in three English-speaking countries (Australia, Great Britain, and the United States). It excludes news items about the activities of these societies (which are of course frequently found in their respective publications). 2081. Wyatt, Theo. “Is the Grass Greener on the Other Side?” Recorder and Music Magazine 8, no. 7 (September 1985): 212–13. Compares the the American Recorder Society with the Society of Recorder Players (SRP, based in the U.K.), largely on the basis of financial resources and costs to members. Since members of the SRP often donate their services to the society, costs are low compared with their sister society in “that affluent land.” Similar arguments appear in a letter from Wyatt in American Recorder 26, no. 4 (November 1985): 183. AMERICAN RECORDER SOCIETY The interviews cited below include discussion of the American Recorder Society and its history. * Bixler, Martha, and Ken Wollitz. “An Interview with Suzanne Bloch.” Cited above as item 1359. * Davenport, LaNoue. “Erich Katz: A Profile.” Cited above as item 1499. 2082. [Krainis, Bernard]. “Amateurs, Professionals, and the ARS.” American Recorder 30, no. 4 (November 1989): 151–53. Discusses the relationship between amateurs and professionals in the American Recorder Society. Argues that both groups are essential to the society: “a healthy recorder movement is possible only if those who play for pleasure and those who perform and teach for a living can find some mutually beneficial way of coming together.” Also speaks out against “recreational noodling” and urges amateurs to work at acquiring the skills necessary to enjoy musicmaking. Finally, calls for the society to develop a “program that would stimulate and challenge the vast number of potential players out there.” Letters by Frank Plachte and William F.Long in 31, no. 1 (March 1990): 29 and David Keenleyside in 31, no. 2 (June 1990): 33. * Nagle, Sigrid, with Marcia Blue. “An Interview with Bernard Krainis.” Cited above as item 1510. 2083. “Reflections on the Early Music Scene on the Occasion of AR’s Twenty-Fifth Anniversary.” American Recorder 26, no. 1 (February 1985): 4–11. Contributions by LaNoue Davenport, Marvin Rosenberg, Suzanne Bloch, Dale Higbee, Colin Sterne, Shelley Gruskin, Susan Brailove, Friedrich von Huene, Bernard Krainis, Martha Bixler, Alexander Silbiger, and Thomas Binkley (all of whom were contributors to the first volume of the American Recorder). Mostly short, chatty pieces blending

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reminiscence with pleasure at present achievements. Three sections stand out: Krainis’s criticism of the direction taken by the ARS; and Silbiger’s and Binkley’s comments on authenticity and the involvement of the recorder in the early-music movement. * Seibert, Peter, and Martha Bixler. “Remembrances of Erich Katz: Interviews with Winifred Jaeger and Hannah Katz.” Cited above as item 1502. * Wollitz, Ken, and Marcia Blue. “An Interview with LaNoue Davenport.” Cited above as item 1422. SOCIETY OF RECORDER PLAYERS (UNITED KINGDOM) 2084. Hunt, Edgar. “The Society of Recorder Players: How It Began and What It Has Achieved.” Recorder and Music Magazine 2, no. 1 (March 1966): 23–24; 2, no. 4 (February 1967): 127–28. Recounts the activities and achievements of the society, focusing on the period 1937– 48. 2085. Wyatt, Theo. “Pioneering Days.” Recorder & Music 5, no. 11 (September 1977): 353–54. Reminiscences of the early days of the Society of Recorder Players, inspired by Wyatt’s acquisition of C.Kenworthy’s stock of back issues of the Recorder News (1946– 63).

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VICTORIAN RECORDER GUILD (AUSTRALIA) * Norman, Janet. “I Just Wanted Someone to Play With.” Cited above as item 1597. 2086. Rodgers, Gwen. “Rewards and Challenges: The History of the Victorian Recorder Guild.” Recorder: Journal of the Victorian Recorder Guild, no. 14 (December 1991): 25–34. An account of the VRG, not to mention the development of the recorder in Victoria and other parts of Australia, over the previous twenty years, interspersed with quotations from the guild’s newsletters. And did they have fun? Too right, mate.

31 The Future of Research on the Recorder: My View in 2002 David Lasocki The future of research on the recorder looks different to me now than it did nine years ago when I wrote about it for the first edition.1 Then I complained that few researchers were aware of all the work being done in the field—which I attributed to their not reading the relevant periodicals. That situation probably has not changed much: most recorder players still subscribe to only one magazine, if any. What is different is that researchers have been reading my annual reviews of recorder research, especially the Germanlanguage version in Tibia, which has a wide circulation in Europe. The purpose of these reviews is to save people time in identifying, reading, and evaluating the new research on our instrument. And it looks as if it has worked: I have received more feedback from that series of articles than from anything else I have published. Of course, the first edition of the present book also alerted those kind souls who bought it to the wide range of existing research. Last time I also complained that we lack overview of the field: Edgar Hunt’s The Recorder and Its Music (item [28]) and Hans-Martin Linde’s Handbuch des Blockflötenspiels (item [29]) served something like that function when they were first published in 1962, but neither author has brought his work up to date adequately in subsequent editions, and even the second edition of Linde’s book is overdependent on German sources. We desperately need a real history of the recorder. Hunt has just published a new edition of his book, but with minimal corrections and updates. The Yale Musical Instrument series promises a scholarly book on the recorder before long. Meanwhile, I also suggested that, before a real history of the recorder can be written, we need a series of good histories of portions of the recorder’s history. Eve O’Kelly’s The Recorder Today (item [1210]) goes some way toward constituting a history of the recorder in the twentieth century, although that was not her primary intent. Laurence Pottier’s dissertation, La répertoire de la flûte à bec en France à l’époque baroque (musique profane) (item [1765]), does fulfill its intent of shedding light on a previously almost unknown corner of recorder history: the instrument’s role in France in the Baroque era. I stand by this idea, and lament that no new small histories have appeared in the meantime. What I wrote next about my own work still holds:

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I have attempted a similar task myself. In my doctoral dissertation, Professional Recorder Players in England, 1540–1740 (item [126]), I looked at a portion of the history of the recorder in England from the unfamiliar primary viewpoint of recorder players. Who played the recorder, where, when, for whom, and even why? What instruments did they use? What music did they perform? What were the relationships among players, instrument makers, composers, patrons, and publishers? The approach of combining archival and musical research yielded insights into the size and nature of the repertory; the dependence of the publishers on music written by and for professionals; the changes in musical style, instrumentation, and performance practices that came to a country with the many foreign composers who made their living primarily as performers; and the attractions and limitations of the recorder itself. I mention this study not only because I am the most familiar with it but because I would like to suggest it as a model for one type of research. I hasten to add that I do not take credit for thinking of the approach. In the late 1970s, Frans Brüggen decided he wanted to make a documentary about recorder players of the past. Realizing that we know little about this subject, he commissioned researchers in several European countries to undertake research on the players in their own countries. Unfortunately, mine was the only study completed. I therefore encourage researchers to go and prepare similar studies for other countries—Germany, Italy, the Netherlands, Spain, and so forth. I was already struck in 1993 by the recent improvement in quality of recorder research, and I feel even stronger about that today. One has only to look at the work of such people as Rob van Acht, Jan Bouterse, Maurice Byrne, Ruth van Baak Griffioen, Michael Marissen, Eve O’Kelly, Laurence Pottier, Patricia Ranum, Jeanne Swack, William Waterhouse, Thiemo Wind, Phillip Young, and Steven Zohn, who have truly advanced our knowledge and also point the way for the future. The studies written by such researchers have the following characteristics: • Extreme thoroughness • Bibliographic control—that is, knowledge of all the important relevant sources in several languages • A deep knowledge of the period and of the individual countries in question • Imagination • Open-mindedness • A mastery of the archives, where appropriate Most of this research was done for academic theses or dissertations. This is not surprising, as such documents give researchers advice from their supervisors, a chance to work on a large study, and an incentive to finish it. Academic training is helpful but not essential for good research; a great deal can be picked up through experience, as we see from a Byrne or a Waterhouse. Access to good libraries, however, is essential, both for original sources such as scores and archival records, and for secondary materials such as books, theses, and periodicals. To obtain primary sources, there is no substitute for travel, or being in the right spot (London, Paris, Utrecht, etc.). For secondary sources, American

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music libraries still have a considerable edge over European ones. We do seem to have seen improvement in the subject of my last complaint: that some people are still uncomfortable with the very idea of recorder research. If we have not exactly seen a rush of musicologists working on recorder (or even woodwind) topics, at least more recorder/woodwind players are becoming musicologists. And the relevant periodicals have found ways to deal with the trappings of scholarship. For example, American Recorder, which had abandoned the use of footnotes/endnotes in 1990, at least has sidebars and bibliographies today. And a lively new periodical, Windkanal, unabashedly intermingles scholarly and popular articles. Alec V.Loretto has complained about standards in writings about the recorder: “so much inaccuracy, so much carelessness and so much lack of scholarship—so much shoddy research.”2 At great length he takes The Cambridge Companion to the Recorder to task for making factual errors that could easily have been checked. He answers the question in his title “How Accurate Need Facts Be?” only with further questions, but clearly implies that accuracy is paramount. Ironically, in citing a recent “hugely important book on the recorder” (the first edition of Griscom and Lasocki), Loretto misquotes the title. Elsewhere in his article “March 1966” appears for “March 1996.” Gentle reader, it is inevitable that errors will creep into even the best scholarship. The Craft of Research relates how one of the authors’ instructors in graduate school had, over the years, asked hundreds of his students to copy a poem exactly as written. Only three of them had ever been able to do so.3 In making our pleas for better recorder scholarship— as I am doing here—let us be mindful of that rate of accuracy and correct errors with compassion. Let me now suggest research that still needs to be done on various aspects of the recorder. First, the recorder’s repertory, about the lack of which one always hears complaints. Yes, perhaps there are not enough stunning, original solo works to satisfy the voracious appetites of the enormous numbers of recorder virtuosos today. But it is abundantly clear that the recorder featured in a great many early compositions, especially vocal ones, that have not yet been cataloged or made available to the public. Two catalogs show what can be discovered by specialists in a particular part of the repertory: that by Diane Parr Walker and Paul Walker on German sacred polyphonic vocal music between Schütz and Bach4 and that of Ingo Gronefeld on flute concertos (item 1683). Unknown compositions can even be found among the works of well-known composers such as Telemann (see item 1928). Although the recorder has not yet attracted a Frans Vester5 or a Bruce Haynes6 to catalog its entire repertory even adequately, a start has at least been made on parts of the repertory. The World Wide Web has allowed catalogs-inprogress to be “published” so that readers can reap the benefit of what has been compiled as well as send in additions and corrections. See, for example, Stichting Blokfluit’s catalog of contemporary recorder music (item 1671) and Nicholas Lander’s catalog of Australian recorder music (item 1684). Richard Griscom and I have begun work on a catalog of recorder music before 1800, and I have been publishing bibliographies for individual composers or genres (items 1675 and 1862). Would-be bibliographers, please note: a good bibliography, whether of writings or of music, can be done well only when the items in question are examined; cobbling together publishers’ catalogs or citations from databases is a recipe for error.

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Even before we have identified all of the repertory, we need more first-class analyses of it or commentary on it. Such writings as Swack on Telemann’s solo sonatas (item 1926), Zohn on Telemann’s chamber sonatas (item 1932), Arran on Muziek voor Altblokfluit by du Bois (item 1995), and Chandelier and Neumeyer on Hindemith’s trio (items 2036–37) are still rare exceptions, although the gelbe Seite (literally “yellow pages”) in Tibia have brought us welcome, brief analyses and performance suggestions for both early and modern repertory. Second, the recorder players. We need more studies of historical performers (both professional and amateur) in a number of countries in their context of performing groups and situations. Who did play the recorder, when, where, why, and for whom? Third, the recorder makers. The Dutch makers have now been exhaustively studied by van Acht and Bouterse (items 317–25), the Nuremberg makers by Kirnbauer and Nikkel (items 298–300 and 302). But what about other cities and countries? We need more organological and biographical studies. Fourth, the instruments. Some progress has been made toward identifying all of the surviving historical recorders, and measuring them and classifying them—by maker, type, and size. Let’s continue. In the last decade, Rowland-Jones has written a number of impressive studies of the recorder in works of art. We need more. Then we need to relate the iconographic information to the physical. Before long, we should be able to write a detailed history of the development of recorder construction. Iconographic research has made some progress in shedding light on the origins and early history of the recorder— still rather mysterious. And once again, the Web is providing the opportunity for an excellent catalog-in-progress: of works of art featuring the recorder (see item 249). Fifth, performance practices. This is an area in which we would dearly like to know more, but probably never will know much, unless more treatises turn up. Professional musicians did not like to give away their trade secrets to the layman. Yet Patricia Ranum has been able to shed new light on tired old information about the French articulation syllables (item 1058), and Marianne Mezger has changed our view of English ornaments (items 937, 1039, and 1898). Above all else in recorder research, we need more revolutionaries like them to shake us out of our complacency. The “authenticity debate” initiated by another revolutionary, Richard Taruskin, has already modified some of our attitudes about performance practice and begun to inspire imaginative performances combining styles both historical and modern, serious and popular. (Hesperus’s “Crossover” music has made a good start along these lines.) Sixth, the symbolism of the recorder. Abundant evidence has survived about the way people saw the recorder in works of art, vocal music, and theater music in various countries. It would not take much work to tie it together. Seventh, the recorder and other duct flutes in the late eighteenth and nineteenth centuries. Recent research by Betz, Tarasov, and others (see items 116–18 and 1959–60) is beginning to show the continuous use of duct flutes, and even recorders, by both amateurs and professionals between the Baroque period and the so-called modern revival; and the revival turns out to have been not as one-pointed as we thought. The repertory of original nineteenth-century pieces is vast, approaching that of the Baroque era. There is a lot of room for more research here. Eighth, the acoustics of the recorder. For his dissertation (item 680, published as item

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681), John Martin both summarized past research and performed original research of his own. In the 1990s, various European researchers did new and promising theoretical and practical research. May they all continue. In short, there is still much work to be done. Let’s do it. NOTES 1 . The first version of this chapter was based on my essay “Gaps in Our Knowledge of the Recorder in the 17th Century and How We Could Fill Them” (in item 111). 2 . “How Accurate Need Facts Be?” Recorder Magazine 16, no. 4 (December 1996): 135–37. 3 . Wayne C.Booth, Gregory G.Colomb, and Joseph M.Williams, The Craft of Research (Chicago: University of Chicago Press, 1995), 80. 4 . German Sacred Polyphonic Vocal Music between Schütz and Bach: Sources and Critical Editions, Detroit Studies in Music Bibliography, 67 (Warren, Mich.: Harmonic Park Press, 1992). This book has many references to the recorder, under its own name or masquerading as a flute. 5 . Flute Repertoire Catalogue: 10,000 Titles (London: Musica Rara, 1967); Flute Music of the 18th Century: An Annotated Bibliography (Monteux, France: Musica Rara, 1985). 6 . Music for Oboe, 1650–1800: A Bibliography, 2d ed. (Berkeley, Calif.: Fallen Leaf Press, 1992).

Appendix Communications in the FoMRHI Quarterly “FoMRHI” at first stood for Fellowship of Makers and Restorers of Historical Instruments; later “Restorers” was replaced by “Researchers.” The intention of the Bulletin, later the Quarterly, was explained by Jeremy Montagu in the first issue. The circulation to FoMRHI members of the Communications (as the articles are called) “will not constitute formal publication and the authors are welcome to publish them properly elsewhere in due course…. The idea behind [them] is a) to fly ‘kites’ so that authors may receive comments from other members on their ideas… ; b) to pass information to other members; c) to make information known quickly and informally in advance of proper publication” (p. 2). The Communications are reproduced from authors’ typescripts with no editing for content, style, spelling, writing, or typographical errors. Because these Communications are therefore not formally published, in the first edition of this book we relegated almost all of them to this appendix. In a few cases in which the important subject matter of a Communication had not been published elsewhere, we cited it as an item in the main part of the book (see present items 334, 338, 552, 584, 601, 632, 639, 704, 761, and 1792). Where the author did publish the subject matter elsewhere, we included a note about the relevant Communication in the citation for the item (see items 638–39). In this second edition, because David had already written annotations for the Communications from 1993 onward for his annual bibliographic essays, we decided to give these more recent Communications full entries (see items 315–16, 320, 323, 325, 336–37, 356, 390, 546, 549, 553, 583, 587–89, 611, 624, 629, 651, 728, 767, 837, 852, 1079, 1101, 1804, and 2105). 2087. Bigio, Robert. “Making Woodwind Keys.” FoMRHI Quarterly, no. 18 (January 1980): 40–44 (Communication no. 254). In Dutch as: “Doe het zelf kleppen voor houten blaasinstrumenten.” Bouwbrief, no. 22 (September 1980): 14–21. 2088. Cameron, Rod. “Drilling Deep Holes Accurately in Wood.” FoMRHI Quarterly, no. 15 (April 1979): 49–54 (Communication no. 197). 2089. Cameron, Rod. “Profile Turning of Reamer Blanks for Use in Woodwinds.” FoMRHI Quarterly, no. 8 (July 1977): 38–44 (Communication no. 70). 2090. Cronin, Robert H. “More Thoughts on Woodwind Bore Measurement.” FoMRHI Quarterly, no. 49 (October 1987): 24 (Communication no. 828). 2091. Desforges, A.N. “Artificial Ivory Rings for Woodwind Instruments.” FoMRHI Quarterly, no. 46 (January 1987): 51 (Communication no. 780). 2092. Drake, Julian. “A Temporary Debarockant Mock-Renaissance Cuneiform Recorder Windway Modifactory Acoustic Device.” FoMRHI Quarterly, no. 23 (April 1981): 37 (Communication no. 331). 2093. Esteves Pereira, L.A. “Artificial Ivory Made from Milk.” FoMRHI Quarterly, no. 15 (April 1979): 59 (Communication no. 201). 2094. Folkers, Catherine. “More on Dead Elephants.” FoMRHI Quarterly, no. 59 (April

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1990): 38–39 (Communication no. 975). 2095. Hachez, R. “An Ivory Substitute.” FoMRHI Quarterly, no. 5 (October 1976): 25 (Communication no. 35). 2096. Haynes, Bruce. “…In Death I Sing.” FoMRHI Quarterly, no. 53 (October 1988): 25–26 (Communication no. 889). See also the response by Jonathan Swayne in no. 55 (April 1989): 22 (Communication no. 908). 2097. Haynes, Bruce, and Ardal Powell. “Urgent Communication on Ivory.” FoMRHI Quarterly, no. 54 (January 1989): 64–65 (Communication no. 903). See also no. 56 (July 1989): 40 (Communication no. 928) and no. 57 (October 1989): 12 (Communication no. 940). 2098. Heide, Geert Jan van der. “Effects Associated with Tuning Instruments Having a Conical Bore and Rules of Thumb Concerning the Intonation of Historical Wind Instruments.” FoMRHI Quarterly, no. 31 (April 1983): 48–50 (Communication no. 457). Untitled reply by Bob Marvin in no. 33 (October 1983): 34–35 (Communication no. 492). 2099. Jenkins, Simon. “Welcome Back the Hunter—Income from the Ivory Trade is the Best Assurance for the Survival of Elephants.” FoMRHI Quarterly, no. 72 (July 1993): 17–18 (Communication no. 1173). 2100. Karp, Cary. “Accuracy of Measurement of Woodwinds and the ‘Exact Copy.’” FoMRHI Quarterly, no. 9 (October 1977): 47–48 (Communication no. 84). 2101. Karp, Cary. “Devices for Measuring the Undercutting of Woodwind Tone-holes.” FoMRHI Quarterly, no. 23 (April 1981): 39–46 (Communication no. 333). In Dutch as: “Methoden voor het meten van ondersneden vingergaten bij houtblaasinstmmenten.” Bouwbrief, no. 27 (November 1982): 13–16. 2102. Karp, Cary. “Woodwind Bore Measuring Tools.” FoMRHI Quarterly, no. 45 (October 1986): 50–54 (Communication no. 762). 2103. Karp, Cary. “Woodwind Bore Oil.” FoMRHI Quarterly, no. 27 (April 1982): 20– 24 (Communication no. 406). Anonymous reply in no. 35 (April 1984): 50 (Communication no. 533). 2104. Lewin, Greg. “A Proposed Device for Woodwind Bore Measurement and Analysis.” FoMRHI Quarterly, no. 27 (April 1982): 17–18 (Communication no. 404). 2105. Lyndon-Jones, Maggie. “Renaissance Woodwinds in the Museo degli strumenti musicali, Rome.” FoMRHI Quarterly, no. 90 (January 1998): 21–25 (Communication no. 1554). Notes that, with one exception, the recorders in the Museo degli strumenti musicali in Rome were purchased twenty-five years ago from the Collection Marcello-Giusti of Giardino near Padua, originally collected by Benedetto Marcello (1686–1739), who is well known to recorder players as the composer of twelve sonatas for the instrument. The collection includes four recorders (tenor, basset, extended basset, and bass) stamped with the triple version of the maker’s mark that David Lasocki has attributed to the Bassano family working in both London and Venice. The exception is a tenor recorder, originally from the Gorga collection, marked with two trefoils. All of these instruments are made of an orange-colored wood, probably from the cornelian cherry, a member of the dogwood family, and native to central and southern Italy. 2106. Marvin, Bob. “The Fornication of Recorder Windways.” FoMRHI Quarterly, no.

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35 (April 1984): 48–49 (Communication no. 532). 2107. Marvin, Bob. “Making Reamers on a Shoestring.” FoMRHI Quarterly, no. 14 (January 1979): 37–38 (Communication no. 180). 2108. Marvin, Bob. “Nuts, Bolts, and Plugs.” FoMRHI Quarterly, no. 12 (July 1978): 42 (Communication no. 146). 2109. Marvin, Bob. “Reamer-Saving Counterbores.” FoMRHI Quarterly, no. 41 (October 1985): 20 (Communication no. 648). 2110. Marvin, Bob. “Tuning Recorders.” FoMRHI Quarterly, no. 41 (October 1985): 23– 24 (Communication no. 652). 2111. Miller, Theo. “Restoration of a Recorder Edge.” FoMRHI Quarterly, no. 24 (July 1981): 18–19 (Communication no. 353). 2112. Montagu, Jeremy. “Don’t Go Overboard about Ivory.” FoMRHI Quarterly, no. 57 (October 1989): 13–14 (Communication no. 941). 2113. Montagu, Jeremy. “What Should Measuring Tools Be Made Of?” FoMRHI Quarterly, no. 44 (July 1986): 33–36 (Communication no. 733). 2114. Powell, Ardal. “Ivory.” FoMRHI Quarterly, no. 54 (January 1989): 58–63 (Communication no. 902). 2115. Powell, Ardal. “Plastic, Ivory, Gold and South Africa.” FoMRHI Quarterly, no. 55 (April 1989): 23–24 (Communication no. 909). 2116. Powell, Ardal. “Throwing Ivory Overboard.” FoMRHI Quarterly, no. 59 (April 1990): 31–37 (Communication no. 974). 2117. Ransley, Michael. “Authentic Methods of Making Woodwinds.” FoMRHI Quarterly, no. 73 (October 1993): 47–49 (Communication no. 1199). 2118. Raudonikas, F. “Method of Woodwind Frequency Measurement Data Treatment.” FoMRHI Quarterly, no. 12 (July 1978): 38–41 (Communication no. 145). 2119. Schultze, Bernhard. “A Contact-Free Woodwind Bore Measurement Tool.” FoMRHI Quarterly, no. 59 (April 1990): 26–27 (Communication no. 970). 2120. Segerman, Ephraim. “Early 18th Century English Pitches, Especially ‘Consort Flute Pitch’ and ‘Church Pitch of f’.” FoMRHI Quarterly, no. 67 (April 1992): 54–56 (Communication no. 1100). 2121. Segerman, E. “Wood Contraction and Instrument Bores.” FoMRHI Quarterly, no. 31 (April 1983): 54–55 (Communication no. 460). 2122. Stevens, W.R. “GPS Agencies Artificial Ivory.” FoMRHI Quarterly, no. 55 (April 1989): 24 (Communication no. 910). 2123. Stroom, Charles. “Some Measurement Techniques for Recorders.” FoMRHI Quarterly, no. 40 (July 1985): 73 (Communication no. 639). Includes answers to comments by Jeremy Montagu. 2124. Stroom, Charles. [Untitled communication on measuring recorders]. FoMRHI Quarterly, no. 45 (October 1986): 55–57 (Communication no. 763). 2125. Swayne, Jon. “Another Reamer-Saving Counterbore.” FoMRHI Quarterly, no. 42 (January 1986): 30–31 (Communication no. 675). 2126. Swayne, J. “Teaching Woods to Sing.” FoMRHI Quarterly, no. 66 (January 1992) : 27 (Communication no. 1077). 2127. Taggart, Stephen. “A Substitute for Ivory.” FoMRHI Quarterly, no. 4 (July 1976): 18 (Communication no. 24).

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2128. Whinray, Paul. “A Shaper for Recorder Block Blanks.” FoMRHI Quarterly, no. 11 (April 1978): 51–52 (Communication no. 122). 2129. Whinray, Paul. “Woodwind Measurements” FoMRHI Quarterly, no. 11 (April 1978): 49–50 (Communication no. 121). 2130. Willetts, Carl. “Moisture Blocking of Fipple Flutes.” FoMRHI Quarterly, no. 32 (July 1983): 29 (Communication no. 470). 2131. Willetts, Carl. “Woodwind Bore Oil.” FoMRHI Quarterly, no. 32 (July 1983): 39 (Communication no. 475). 2132. Williams, Ken. “Bore Gauging—Some Ideas and Suggestions.” FoMRHI Quarterly, no. 45 (October 1986): 48–49 (Communication no. 761).

Index The index includes entries for authors (roman type), titles (italic type), and subjects (bold-face type). Numbers refer to item numbers unless preceded by a “p.”, which designates page numbers. Under an author’s name, a title is included when the author is chiefly responsible for the article or book. A plain number under an author’s name indicates that the author’s contribution is secondary (for example, work as a translator or editor, as the writer of a letter or review, or as one of several contributors to a publication). Both situations may occur: titles with page numbers, then, after a semicolon, plain numbers. Title entries are included for books but not for articles. Aardenberg, Abraham van: recorders by, 322, 420 Abreu, Aldo, Accademia del Flauto Dolce, 195 Accademia Filarmonica (Bologna), 195; recorders in, 416 Accademia Filarmonica (Verona) recorders in, 417, 631 restoration of, 418 Acht, Rob van: Checklist of Technical Drawings…, 398; “Dutch Wind Instruments…,” 317–18; Niederländische Blockflöten…, 420; “The Sound Quality of Dutch Wind Instruments 319; p. 644 Acoustics, 652, 759–849; of air flowing against a sharp edge, 671; beats and difference tones, 694–96, 1249; of blown pipes, 669, 675, 689, 691, 693; effect of bore shape on, 586, 717; of early woodwinds, 460, 539, 556; harmonics, 678, 685, 711; historical studies, 663–64; introduction to, 665–67, 684; models, 692; relation of size and shape of mouth cavity to pitch, 699; software to measure, 728; transients, 718–19; and voicing, 674 Acoustics of the Recorder (Martin), 788 Adams, Piers, 3 Adams, Piers, 3 Adler-Heinrich, 440 Adorno, Theodor W., 142, 157, 164, 269 Aesthetics, 141

Index

520

Affections, 141 Agricola, Martin: Musica figuralis deudsch, 889; Musica instrumentalis deudsch, 886–89 Agricola, Martin: Musica instrumentalis deudsch, 233, 890–91 Agullo, J.: “Time-Domain Modelling…” 712 Ajabeba, 102 Akar, Etienne: “Ça y est…,” 768 Al de toonen van de fluyt abec volgens den nieuwen trant, 102 Albrecht, Christian: “Blockflötenbau Küng, Schaffhausen,” 479; “…Walter Giannini,” 1460 Alcala, R.J., 102 Alexander, Ellen, 102 Alexandra, Kate: “Dolmetsch Gold Series…,” 568 Alizon, Jean-François: “Amateurs et professionels…,” 107 Alker, Hugo: Die Blockflöte, 35; Block-flöten-Bibliographie, 1–3; “The Tenor Recorder,” 225 All About the Recorder (Dantimo), 35 Allain-Dupré, Philippe: “Lettre ouverte sur la justesse…” 625 Alton, Edwin: “Danilo Dolci,” 1430; “The Recorder in Italy,” 201; “The Recorder Music of Alessandro Scarlatti,” 1910 Alton, Edwin, 35 Alto recorder: acoustical characteristics, 673; in G, 72, 221–22, 1790; plastic, reviews of, 783. See also specific topics (e.g., Acoustics; Construction and design; etc.) Alvarez, Louis, 35 Amateur players, 144–6, 155, 162 The Amateur Wind Instrument Maker (Robinson), 162 The American Recorder, 162 American Recorder Music (Primus), 162 American Recorder Society, 31, 35–; Education Program, 1268 American Society of Recorder Players, 35 Amis, Kingsley: Lucky Jim, 86

Index

521

Ammann, Heinz: “Auf der Suche nach der Seele,” 434 Ammann, Heinz, 443 –7 Ammann, Ulrich: recorders by, 428 The Amorous Flute (Manifold), 40 Amplification, 679–80 Amsterdam Loeki Stardust Quartet, 160– Amsterdam Recorder Ensemble, 160 Anastasio, Angelo: “Let’s Get Those Fingers Limbered Up!,” 1161 Ancóriz, Antón: inventory after death of, 140 Anderson, Loren H.: “Telemann’s Music for Recorder,” 1916 Anderson, Natasha: “Streamlining for the Future,” 144 Anderson, Natasha, 160 Anderson, Wayne J., 337 Ando, Yoshinori: “Physical Properties of Sustained Part…,” 714 Andresen, Ken: “Don’t Waste Your Time Practicing,” 1193 Andriessen, Louis, 337 Angerhöfer, Günter, 300 An Annotated Bibliography of Woodwind Instruction Books, 1600–1830 (Warner), 300 Antichi strumenti Veneziani 1500–1800 (Toffolo), 295 Antioch Consort, 295 Antonicek, Theophil, 379 Antonini, Giovanni, 379 Apollo’s Cabinet, 379 Arcana (musical group), 379 Argentina: recorder music, 1687 Ariel Juan, Gonzalo: “Catálogo de obras…de compositores argentinos,” 1687 Arkwright, Godfrey, 379 Arne, Thomas, 83 Arno, Michael, 83 Arno, Michael, 83 Arran, Roderick: “Muziek voor Altblokfluit,” 1995, p. 646 Arrangement. See Transcription and arrangement Arredondo, Consuelo: “FRINGE,” 1637 Ars Subtilior, 83 Art: recorder in. See Iconography

Index

522

L’art de préluder (Hotteterre), 83 – The Art of Playing the Recorder (Waitzman), 83 The Art of Preluding, 1700–1830 (Mather &Lasocki) , 83 Arthur, Bradford: “The Articulation of Hotteterre’s Tu-Ru” 1047 Articulation, 83 “cantabile” style, 1055 historical, 1048–61, 1071 French, 1047, 1053, 1056–58 physiology of, 688 slurring, 1061, 1146–47 tonguing syllables, modern, 1052 Ashbee, Andrew: Biographical Dictionary…, 123 Ashbury, John, 290 Ashton, Don: “In Defense of Keywork,” 594; “The Value of Keywork,” 597; 595 Ashworth, Jack, 290 Attaingnant, Pierre, 225 Atwater, Betty Ransom: “Erich Katz,” 1498 Augsbach, Horst: Johann Joachim Quantz, 1907 Aulos recorders, 646 Austin, Louise: Playing Music for the Dance, 1660; 1125 Australia, 162; recorder in jazz in, 194; recorder music from, 1684–86; Victoria, history of recorder in, 193, 2086 Austria Hofkapelle (Vienna), 119, 404 recorders in: Schlägl monastery, 401–2 Schloß Sigmaringen, 403 Vienna, Kunsthistorisches Museum C 8522 (“Ganassi” recorder), 6, 251, 315–16, 762, 764, 766–67 Authenticity, 162 Avant-garde repertory. See Repertory, twentieth century, avant-garde Avant-garde techniques. See Technique, avant-garde Ayre,W.A., 162 Baak Griffioen, Ruth van. See Griffioen, Ruth van Baak Babell, William, 162 Babitz, Sol: “On the Need for Restoring Baroque Inequality,” 1115 Bach, Carl Philipp Emanuel:

Index

523

Trio for Viola, Bass Recorder, and Basso Continuo (H. 588), 229, 233, 1771 Bach, Johann Sebastian, 45 arrangements of music by, 45 bibliography, 1778–79 Brandenburg Concertos, 45 No. 2, 62, 1786 No. 4, fiauti d’echo in, 656, 1787, 1789–1805, 1916; key of recorders in, 222, 1790, 1800–1801 cantatas, 62, 1782, 1806–13 “concerto” arias, 1813 flauto piccolo in music of, 1808 keyboard music, arranging for recorders, 1776 Partita no. 2 for Violin in D Minor (BWV 1004), 1780 pitch of instruments in music of, 628, 1772, 1777, 1806, 1811 Sonata in A Major for Flute and Harpsichord (BWV 1032), as trio sonata, 1814–15 Sonata in B Minor for Flute and Harpsichord (BWV 1030), 218 transposition problems in recorder parts, 1777 Bach Aria Group, 45 Bacon, Francis: Sylva Sylvarum, 663 Bacon, Francis, 791, p. 211; reference to “wetting one’s whistle,” 829 Baghuis, Elly, 211 Baines, Anthony: “James Talbot’s Manuscript,” 950; 28, 31, 1044, 1099, 1888 Bak, Niels: “Investigating the Influence of Blowing Technique…,” 697; “A Physical and Physiological Study…” 698; “Pitch, Temperature, and Blowing-Pressure…,” 699 Baker, Christina: “The Psalm Variations…,” 1828 Baldauf-Berdes, Jane L. See Berdes, Jane L. Balestracci, Sergio: “La sonata solistica…,” 1766 Ball, Christopher: “Renaissance and Baroque Recorders,” 769; “…Trio Tagarela,” 1634 Ball, Christopher, 211 Ball, Michael, 211 Ballester, Jordi: “La flauta dulce en la antigua Corona de Aragón…,” 236; “El pastor músico…,” 237; “Retablos marianos…” 238 Bamforth, Dennis A.: “The Recorder Orchestra,” 1241 Bandt, Ros: “Original Wind,” 1990 Bandt, Ros, 211 Banister, John:

Index

524

The Most Pleasant Companion, 934 Banister, John: The Most Pleasant Companion, 938 Bär, Frank P.: “FAICT DE LA MAIN…,” 372; “Musikinstrumente auf Schloß Sigmaringen,” 403 Barab, Seymour, 211 Barata, Antonio: “Sources…on…Multiphonics,” 1235 Baratz, Lewis Reece: “15th-Century Improvisation,” 1089; “Improvising on the Spagna Tune,” 1088 Barbey, Beverly. See Smith, Beverly Barbireau, Jacobus, 211 Barcelona Early Music Festival, 211 Bärenreiter (instrument manufacturer), 211 Bariaux, Daniel, 448 Barker, Michael, 448 Barnes, Julie: “Ruth Wilkinson,” 1652 Barnett, David, 448 Baron, Samuel: “J.S.Bach,” 1781 Barrell, Bernard, 448 Barsanti, Francesco, 448 – Barthel, Rudolf: “Die Blockflöte,” 44; “Consigli per un complesso,” 1242 Barthel, Rudolf, 448 Bartlett, Clifford: “Facsimiles and Editing,” 1705; 4, 33 Barton, David, 448 Baschenis, Evaristo, 358 Basler Jahrbuch für historische Musikpraxis, p. 307 Bassano, Giovanni, 317; Ricercate, passaggi et cadentie, 1820 Bassano, Jacomo, 294 Bassano, Santo, 295 –6 Bassano family, 119, 309 –19 The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–1665 (Lasocki with Prior), 313 Bass recorder, 218–25; Renaissance, 232; Baroque, 72, 229; 20th century, 230; clefs for, 1205; construction and design, 562–65; do-it-yourself, 759;

Index historical instruments, 310, 342, 388, 430; keywork, modernization of, 813–14 Basso continue realization, 225 Bate, Philip, 273 Baur, Jürg: “Revolution der Blockflöte,” 1212 Baur, Jürg, 164; Concerto da camera, 1992 Beale, Robert: “Turner’s Secret,” 1635 Beats (acoustics), 812 Beaudin, Jean-François: “De nouveaux plans de flûtes…,” 406 Beaudin, Jean François, 370, 452 Beechey, Gwilym, 452 Beeks, Graydon: “Handel and Music,” 1857 Beethoven, Ludwig van: and the csakan, 1959 Begley, Rachel: “Premiering Bernstein,” 1994; 1736 Behrmann, Karsten: “Linde Höffer-von Winterfeld…,” 1481 Belgium, 190; recorders in, 232 Bellinzani, Paolo Benedetto, 190 Bell-keyed recorder, 692, 712–6 Bellugi, David, 716 Benade, Arthur, p. 212 Benedikt, Erich: “Recorders of Unusual Sizes,” 209; “Die Stimmlagen…,” 210; “Ungewohnte Stimmlagen…,” 211; “Zum Selbstbau…,” 723; 216, 1814, 1880 Benn, Nicholas: “A Great Consort,” 724 Bennett, Rodney M.: “Carl Dolmetsch…,” 1432 Bennetts, Kathryn, 212 Bense, Rotraud, 212 Beranek, Leo, 783 Berdes, Jane L.: Women Musicians of Venice, 1948 Berger, Christina: “Aus der Blockflötenwerkstatt,” 517; 822 Bergmann, Walter: “Authenticity or Snobbery?,” 626; “Elly Baghuis,” 1337;

525

Index

526

“Francesco Barsanti,” 1816; “Rudolf Barthel,” 1340; “The Chester Recorders,” 354; “Amico Dolci,” 1429; “An Editor Explains,” 1711; “Golden Rules…,” 273; “…Hindemith’s Recorder Trio,” 2035; “Michala Petri,” 1581; “…Music on Henry Purcell’s Death” 1757; “Henry Purcell’s Use…,” 1896; “Recorder Dynamics,” 1156; “Recorder Playing in the States,” 206; “Recorders in the D.D.R.,” 1343; “Gustav Scheck,” 1602; “Teaching Intonation,” 1185; “Michael Tippett,” 2079; “When a Treble…,” 77; 2, 28, 1126, 1205, 1661, 1751 Bergmann, Walter, 323; transcription of Hindemith trio, 2038 Bergner, Joseph, 262 Bergstrøm, Ture: “Die Kilmarnocker Flöte,” 306; “Pörschmann-block-flöjten på Musikhistorisk Museum,” 371 Bergstrøm, Ture, 661 Berio, Luciano, 146; Gesti, 1213, 1382, 1391, 1962, 1976, 1993 Berkeley, Lennox, 146 Berlin, Johann Daniel: Musicaliske Elementer, 1013 Berlin-Neukölln Blockflötenorchester, 146 Berlioz, Hector, 174 Bernardini, Alfredo: “Carlo Palanca…,” 370; “Woodwind Makers in Venice…,” 363 Bernstein, Leonard: Variations on an Octatonic Scale, 1994 Berryman, Brian Alexander: “Jacques-Martin Hotteterre…,” 1883 Besetzung und Instrumentation (Boresch), 174 Besetzung und Instrumentation in den Opern Georg Friedrich Händels (Möller), 174 Besivillibald, Giorgio Giacomo, 174 Best, Terence: “Handel’s Chamber Music,” 1873; “Handel’s Solo Sonatas,” 1865 Bettarini, Luciano: “Appunti critici…,” 1909 174: Der Csakan und seine Musik, 116;

Index

527

“Verzierungspraxis im italienischen Stil…,” 1093; 1814, p. 647 Beukers, Willem: recorders by, 322, 420 Beutler, Irmhild: “‘Da wird selbst die sanfte Blockflöte…,’” 2078; “…Sören Siegs pina ya phala,” 2072; “…Unsik Chins Miroirs des temps,” 2016 Bibliography, 1–3, 32, 63; essays on research published from 1985–2000, 6–27; 20th-century revival in the U.S. and England, 172; writings about the recorder in the 17th century, 109. For bibliographies of music, see Repertory, bibliography Biblioteca Comunale (Assisi): bass recorder in, 310 Bickhardt, Klaus, 689 Bigaglia, Diogenio: Sonata in A Minor for Recorder and Basso Continuo, 1821–22 Bigio, Robert, 455 Binkley, Thomas, 455 Biographies. See Recorder players; Makers and manufacturers; and under individual names The Bird Fancyer’s Delight, 83 Birds: association of the recorder with, 81, 84 Bismantova, Bartolomeo: Compendio musicale, 928–29 Bismantova, Bartolomeo: Compendio musicale, 930–32 Bismarck, Otto von, 726 Bitters, David L.: “Hand Crafting Recorders,” 473 Bixler, Martha: “Berkeley Panel,” 1318; “…Suzanne Bloch,” 1359; “Handel Sonata Roundup,” 1877; “An Introduction to Renaissance Ornamentation,” 1090; “…Erich Katz,” 1502; “…Bernard Krainis,” 1509; “…Paul Leenhouts and Han Tol,” 1528; “…Eva Legêne,” 1529; “…Matthias Maute,” 1550; “On the Application and Misapplication…,” 665; “…Michala Petri,” 1585; “…Marion Verbruggen,” 1639; 30, 1126, 1472, 1487, 1512, 1569, 2083 Bixler, Martha, 726 Bizey: recorders by, 431 Blaker, Frances: “Are High Notes Your Nightmare?,” 1173;

Index

528

“Continuo Viewed from Above,” 1067; “Opening Measures,” 1128; 72, 784 Blaker, Frances, 726 Blanc, Patrick: “Ein ‘Cross-Interview,’” 1454 Blanchfield, David: “A 19th-century English Recorder,” 393 Blankenburg, Gerbrant Quirijnszoon van: Onderwyzinge…, 924–26 Blankenburg, Gerbrant Quirijnszoon van: Onderwyzinge hoemen…, 861, 927, 1118, 1121 Bleazey, Phil, 456 Blezinger, Stephan: “Ganassi-Kynseker-Bressan-Denner,” 539; “Stimmungskorrekturen…,” 847 Blezinger, Stephan, 457 Blischke, Katja, 457 Bloch, Suzanne, 30 Bloch, Suzanne, 30 Block, 67, 708; synthetic, 661 Die Blockflöte in der zeitgenössischen Musik (Rechberger), 708 Die Blockflöte in Kantate, Oratorium und Oper des 17. Jahrhunderts (Thieme), 708 Die Blockflöte: Instrumentenkunde, Geschichte, Musizierpraxis (Alker), 34 Die Blockflöte: Tips für Anschaffung und Pflege, Stimmkorrekturen, Reparaturen (Bouterse), 34 Blockflöte Modern (CD recording), 159 Blockflöten-Bibliographie (Alker), 1 –2 Blockflötenchor Biel, 2 Bloemart, Abraham, 235 De blokfluit, handleiding voor aanschaf, onderhoud, bijstemmen en kleine reparaties (Bouterse), 235 Blood, Brian: “Tips and Maintenance,” 848; 71 Bloodworth, Denis: “The Baroque-Fingered Recorder,” 1078; “The Lockwood Great Bass Recorder,” 563; “A New Design of Bass Recorder,” 562; “Performing Jacques Hotteterre’s ‘Echos,’” 1882; “The Recorder Parts of the Bach Cantatas,” 1810; 1178 Bloom, Peter H., 278 Blow, John: Ode on the Death of Mr. Henry Purcell , 1757 Blue, Marcia: “…LaNoue Davenport,” 1422; “…Bernard Krainis,” 1510 Blues, 185 Blumfeld, Harold, 185 Bobbin, Tim, 185

Index Bock, Annette, 185 Boeckman, Vicki, 625 Boeckman, Vicki, 625 Boehm, Johann Michael, 625 Boeke, Kees: “Recorder Now,” 145; “La flauta de pico hoy,” 145 Boeke, Kees, 625 Boekhout, Thomas: recorders by, 319, 322, 341, 420, 428 Boenau, Marilyn: 625 Bogenhausen Kunstkapelle, 169–70, 174 Böhmer, Karl: “Bachs mythologisches Geheimnis,” 1802 Bois, Rob du, 174 Boismortier, Joseph Bodin de, 174 Bolhuis, Michiel van, 308; estate auction, 320 Bolton, Philippe: “Les bois dont on fait…,” 641; “De l’arbre à la flûte,” 726; “Electroacoustic Recorder,” 578; “La flûte à bec” 540; “Mesurer une flûte ancienne,” 582; “La naissance d’une flûte à bec,” 727; “Remplacer le bouchon…” 849; “Resonans,” 728 Bonet, Pedro, 308 Bononcini, Giovanni Battista: use of “echo flute,” 1798, 1849 Bonsor, Brian, 308 Bonsor, Brian, 308 Boragno, Pierre: “…Walter van Hauwe,” 1474 Boresch, Hans-Werner: Besetzung und Instrumentation, 1782 Bornefeld, Helmut: “Ein Leben…,” 1996 Bornefeld, Helmut, 308; Fünf kleine Suiten, 1999 Bornstein, Andrea: “Il flauto dolce,” 45; Gli strumenti musicali…, 95 Borsch, Sebastian: “Eine weiteres Klappenpatent…,” 617 Borsch, Susanne, 159 Bottenberg, Wolfgang, 159 Boudreau, Jean-Luc, 159

529

Index

530

Boudreau, Jean-Luc, 460 –5 Boudreau, Michelle, 465 Boullet, Jean-Pierre: “…la flûte à bec en Belgique,” 195 Bousted, Donald: “An Instrument for the 21st Century?,” 1225; “Malle Symen Quartet,” 1544; “My Music and the Recorder” 2000; “The Recorder,” 1224; “Walter van Hauwe…,” 1475 Bousted, Donald, 465; Four Pieces, 163 Bouterse, Jan: “Alternative Fingerings…,” 1079; “Alto Recorders of Steenbergen,” 390; “Die Baßblockflöten von Thomas Boekhout,” 341; Die Blockflöte, 791; “Bolhuis Auction…,” 320; “Early Dutch Fipple Flutes,” 321; “The Flutes of Robert and Willem Wijne,” 394; “Four Baroque Recorders…,” 356; “Historical Dutch Recorders…,” 322; “How Accurate and Understandable…,” 583; “Inventory of the Musical Instruments…,” 323; “Nederlandse houtblasinstrumenten…,” 324; “Scaling and Making New Joints,” 830; “Selhof Auction (1759),” 325; “Stempels en inscripties…,” 288; “Three Baroque Soprano Recorders by Richard Haka,” 364; 420, p. 644 Bouterse, M.C.J. See Bouterse, Jan Bowen, Meirion, 465 Bowers, Jane M.: “‘Flaüste traversienne’…,” 120; “The Hotteterre Family…,” 367 Bowman, James, 465 Bowman, Peter: “Art of Breathing,” 1148; “Birth of a Truly Contemporary Recorder,” 458; “Body and Hand Positions...,” 1129; “…Daniel Brüggen,” 1374; “…Dynamics,” 1157; “Electro-Acoustic Recorder,” 1980; “Fingerings and Finger Movements,” 1080; “Ornamentation in…Philidor,” 1894; “Producing a Sound on the Recorder,” 1149; “The Quarter-Tone Recorder Manual,” 1234; “Tonguing on the Recorder,” 1144; “Use of Non-Standard…,” 1081 Bowman, Peter, 465

Index

531

Boxall, Maria: “Elizabeth Henthorn’s Recorder Books,” 124; “Realiz-ing the Realization,” 1068; 823, 1099 Boxwood, 279, 742 Boydell, Barra: “Another Bass Recorder…,” 342; 287 Boyer, Margareth Anne: Jacques Hotteterre’s L’art de préluder, 1000 Brach, Manfred: “On Three Well-Proportioned Alto Recorders,”584 Bradbury, Joseph, 290; recorders by, 428 Bradbury, Louise: “…Andrew Mayes,” 1552 Bradbury, Louise, 290 Bradford, Margaret, 290 Brailove, Susan, 290 Bran-Ricci, Josiane: “Holzblasintrumente im Museum des Conservatoire…,” 407 Brancher, David, 743 Brauer, Christoph: “Holz für Blockflöten,” 642 Brauer, Emil, 743 Braun, Gerhard: “Ach, wie gut, dass niemand weiß…,” 2003; “Das andere Arkadien,” 1997; “Bachsonaten für Blockflöte?,” 1784; “Ballast oder Herausforderung,” 146; “Die Blockflöte als idealer Klangschnuller,” 1269; “Blockflöte und Avantgarde,” 1964; “Das Blockflötenensemble,” 1243; “Dolce ed acerbo,” 1641; “Einige Gedanken zur Ästhetik…,” 147; “Es ist wie mit einem Fernrohr,” 1533; “Martin Gümbel,” 1467, 2026; “Händels Opern und Oratorien…,” 1860; “Im Grenzbereich…,” 2073; “…Werner Heiders Gassenhauer,” 2030; “Sebastian Kelber,” 1503; “…Konrad Lechner,” 2046; “Ludus juvenalis,” 1968; “Das Männlein im Walde,” 2004; “Karl Marx,” 1547–48; “…Matthias Maute,” 1551; “mit/gegen sich selbst…,” 2043; Neue Klangwelt 1213; “New Generation,” 615; “…Dorothee Oberlinger,” 1572;

Index

532

“Clas Pehrsson,” 1579; “Das Raschèr Saxophone Quartet,” 1998; “‘—schattenhaft ruhig—grob gekant,’” 2032; “Ein Schritt vor,” 1975; “Das sterbende Pan,” 148; “Traumbilder,” 2047; “Von ‘mäßiger Lustigkeit,’” 1875; 4, 49 Braun, Gerhard, 192; recorder music by, 163, 1213, 1968, 2001, 2003–4 Breathing, 832; circular, 72, 1128, 1152 Breath pressure: 780, 813–32; high notes, 1173 Breath support, 832; and the soprano recorder, 1155 Breed, Alexander: “Notes on Composing…,” 1229 Brekelenkam, Quiringh Gerritszoon van, 236 Brelsford, Edmund: “Conversation at Saratoga,” 1376 Bressan, Peter, 290, 321–8, 363 recorders by, 176, 342, 346, 348–53, 405, 407, 421, 431 based on blanks, 553 bass recorders, 342, 348 Chester recorders (see Chester recorders) copied by Dolmetsch, 179, 351 drawings of, 543 left-handed, 349 measurements of, 584, 950 Breukink, Adriana, 468 –72 Brewer, Roy, 193 Bridge, J.C.: “The Chester ‘Recorders,’” 90 Bridge, J.C., 168 Brindley, Giles: “A Method for Analyzing…,” 710 British Broadcasting Corporation: project to record the Chester recorders, 346 Britten, Benjamin, 168 Britton, Thomas, 168 Broadstock, Brenton: “Aureole 3,” 2007 Broadstock, Brenton: Aureole 3, 2007–8 Brock, John Earl: “A Checklist of Music…,” 1672 Brodie, Gary: “Recorder Makers at Home,” 521

Index

533

Bromwich, Mark: Tricorder, 1980 Brookes, Oliver, 168 Brooks, David R., 736 Brown, Adrian: “Cuidado y maintenimiento…,” 792; “Pflege der Blockflöte…” 793; The Recorder, 794; “Renaissance Recorders Data Base,” 283 Brown, Adrian, 477 Brown, Howard Mayer: “Catalogus,” 239 Brown, Howard Mayer, “The Recorder in the Middle Ages and the Renaissance,” 477; 477 Brouwer, Leo: Paisaje cubano con rumba, 1342 Bruckner, Hans: “Die Pfeifenmacherei in Berchtesgaden,” 295 Brüggen, Daniel: “Ruling the Waves,” 1116; “Das Vibrato beim Blockflötenspiel,” 1116 Brüggen, Daniel, 477 Brüggen, Frans: “Berio’s ‘Gesti,’” 1993; “Morgan ist tot!,” 509; 1493 Brüggen, Frans, 477; aesthetics of his playing, 1382; effect of historical copies on his playing style, 489; interest in recorder players of the past, p. 644; interviews with, 1376, 1380, 1383–84, 1386–90, 1395, 1962; Ricardo Kanji’s study with, 1497; work with Hans-Martin Linde, 1539, 1542; master class in Rome (1973), 1033; on performance practice, 1394; ornamentation of the F-major Handel sonata, 1866; participation in 1965 BBC project, 346; recorder collection of, 394, 419; Steve Rosenberg’s thoughts on, 1598; teaching methods, as described by Walter van Hauwe, 1474 Brunette, 477 Brydges, James, Earl of Carnarvon, 477 Buck, Jack Lee: “The Literature of the Twentieth Century Revival…,” 172 Buckley, John, 477 Budgenhagen, Bärbel: “Von Husten, Schnupfen, Heiserkeit,” 822 Billiard, Alan, 477 Bullard, Beth: Musica getutscht, 880;

Index

534

Musical Instruments in the Early 16th Century, 879 Burakoff, Gerald: “An Interview with Nobuo Toyama,” 533; 1694 Burakoff, Gerald, 477 Burckart, J.V., 477 Burford, Freda: “Coping with Condensation,” 823 Burger, Hans-Joachim, 757 Burgess, Anthony, 757 Burgess, Chris, 757 Burney, Charles, 88 Burrows, Benjamin, 88 Busch, Siegfried: “Original und Bearbeitung bei Praetorius,” 1739; “Vom Kuhstall zur Blockflöte,” 1534 Busch, Siegfried, 88 Butler, Brian: “Sloppy Joints,” 831 Butt, Valerie, 88 Buttress fingering, 88 Byrd, William, 88 Byrne, Maurice: “Peter Bressan,” 345; “More on Bressan,” 344; “Eric Halfpenny,” 1468; “Pierre Jaillard, Peter Bressan,” 343; “Some More on Stanesby Junior,” 386; p. 644 Cadenzas, 88 Cage, John: Three, 2014 Caix d’Hervelois, Louis de: Suite in G Major, 1032 The Cambridge Companion to the Recorder (Thomson), 32; p. 737 Cameron, Allison, 737 Campbell, J.Patricia: “Musical Instruments in the Instrumentälischer Bettlermantl,” 916 Campbell, Margaret: Dolmetsch, 1431 Canada: degree programs in early music, 1280 Canessière, Philippe de la. See La Canessière, Philippe de “Cantabile” style, 737 Cantata: 17th-century, 1752–53 Cantigas (musical group), 737 Card, Maurice, 51 Cardan, Jerome. See Cardano, Girolamo

Index Cardano, Girolamo: De música, 899; Writings on Music, 900 Cardano, Girolamo: De musica, 901 Carduelis, Susan: “Use Your Head,” 1194. See also Prior, Susan Careri, Enrico: “First Publications in England…,” 1819 Carl, Georg Franz, 288 Carlson, Marilyn: “Intonation,” 1186 Carmichael, Craig: “Dynamics—and Tremolo, Too!,” 616;819 Carr, Robert: The Delightful Companion, 935 Carrell, Norman, 288 Carroll, Paul: Baroque Woodwind Instruments, 36 Carse, Adam: “Fingering the Recorder,” 1082 Carse Collection (London): recorder by Heitz in , 365 Carter, Stewart: “The String Tremolo 1117 Cartwright, Bill, 743 Cartoons, 266 Carved instruments, 669 –71 Casa, Girolamo dalla, 671 Casals, Miquel: “…Romà Escalas,” 1450 Case, carrying: 67; construction of, 67 Casken, John: Thymehaze, 1137, 1971 Cassignol, Jean: “Le concerto RV 312…,” 1952 Castellani, Marcello: Del portar della lingua…, 1048; “I flauti nell’inventario…,” 308; “The Regola per suonare…,” 932 Castellani, Marcello, 67 Castellano Muñoz, Manuel: “…Amsterdam Loeki Stardust Quartet,” 1330; “…Giovanni Antonini,” 1333; “…Joan Izquierdo,” 1495; “…Denis Raisin-Dadre,” 1590

535

Index

536

Castellengo, Michèle: Contribution à l’étude éxperimentale…, 669; “La flûte à bec,” 670 Castello, Dario, 67 Catalan, Jean Sebastien: “Ein ‘Cross-Interview,’” 1454; “Roggenbrot, Schafskäse & Blockflöten,” 532 Catalogue général: Musique pour flûte à bec 1989 (Letteron), 67 Catán, Daniel: Rappaccini’s Daughter, 2013 Catrice, Jean-Noël: “Flûtes à bec alto…” 783; “Panorama des flûtes à bec en plastique,” 785 Caussé, R.: “Linear Analysis of the Initial Transient…,” 719; “A Physical Model of Recorder-like Instruments,” 692; “Sound Production…,” 713 Cavalier-Smith, Mary, 67 Cavicchi, Adriano: “Prassi strumentale in Emilia…,” 930 Cawley, Margaret E.: “Ernst Stieber,” 530 Cedar, 739 Céline, Louis-Ferdinand, 739 Cène, Michel Charles le. See Le Cène, Michel Charles The Center for Old Music (New York City), 176 Cerda, Juan Luis de la: inventory after death of , 138 Chaboud, Pietro, 176 Challulau, Patrice, 176 Chamfers, 656 Chancy, François de, 656 Chandelier, Christian: “A propos du trio de Hindemith,” 2037, p. 646 Chapman, Roger E., 656 Charpentier, Marc Antoine, 82, 116 Checklist of Technical Drawings of Musical Instruments in Public Collections of the World (van Acht), 370 Chédeville, Nicolas, 370 Chester recorders, 31, 88, 168, 323, 324–6, 329–30, 691 Children’s literature, 268 Children’s music, 268 Chile, 191 Chins, Unsik: Miroirs des temps, 2016 Chilton, Charles: “Recording for the BBC…,” 346 Choirs:

Index

537

recorder, 1259, 1264. See also Ensembles Christian IV, of Denmark: instrument collection of, 250 Christmas music, 191 Church, R.W., 695 Cieszki, Kara, 695 Cincinnati Art Museum: Schuchart recorder in, 382 Circular breathing, 695 The Civic Muse (D’Accone), 125 Clarion Concerts Orchestra, 125 Clark, Marcel, 109 Clark, Paul: “Consorting with Teenagers,” 1244; “Digitalism,” 1162; “Eurobore,” 575; “Goldenfingers,” 1163; “A Guide to the Sopranino,” 217; “Inflectious Cases,” 1164; “Music for Recorders and Guitar,” 1676; “Not for You?” 1130; “Raiding the Larder,” 1712; “The Rechorder,” 1236; “Recorder Player’s ABC,” 1131; “Sonata in F: Marcello,” 1891; “Yodelling for the Recorder Player,” 1150; 1125, 1493, 2012 Clark, Paul, 109 Clarke, Jeremiah: On Henry Purcell’s Death, 1757 Clarke, Zana: “Natasha Anderson,” 1332 Clarke, Zana, 187 The Classical Woodwind Cadenza (Lasocki & Mather), 187 Classic Buskers, 187 Clausing, Susette: “Werner Heider,” 1478 Clefs, 125 Clemencic, René: “Neue Klang- and Ausdrucksmöglichkeiten…,” 1214; “Hans Ulrich Staeps,” 1616 Clemencic, René, 125 Clemencic Consort, 125 Cline, Gilbert D.: The Cornetto, 1195 Clingan, Judith: “The Seven Deadly Sins,” 2017 Clingan, Judith, 125

Index Coates, Gloria: “A Cockatoo Will Do,” 2018 Coates, Gloria: Breaking Through, 2018 Coconut, 747 Coen, Bart, 747 Cogan, Racheal, 187 Cohen, Albert, “The King’s Musicians…,” 187; 187 Cohen, Joel: Reprise, 1377 Cohrs, Benjamin Gunnar: “Margaret Löbner…,” 486 Collections: of historical instruments, 398–432. See also under specific country or museum name Colleges and universities, 159 Collier, Edwart, 231, 239 239: recorders by, 428 Collins, Lee, 598 Collis, Andrew: “Robert Ehrlich,” 1447 Coltman, John: p. 212 Column recorders, 346 Colyer, Edwaert. See Collier, Edwart Combination tones, 809. See also Difference tones Compendio musicale (Bismantova), 809 The Compleat Flute-Master, 809 The Compleat Flute-Master, 809 Compleat Instructions for the Common Flute, 809 The Compleat Instructor to the Flute, 809 The Compleat Musick-Master, 809 The Compleat Tutor for the Common Flute, 809 The Compleat Tutor for the Flute, 809– The Compleat Tutor for ye Flute (Rutherford), 809 The Compleat Tutor for ye Flute (Wright), 809 The Compleat Flute Master, 809 Composers: biographical dictionaries, 1289. See also under individual names Composing for recorder, 809 Comstock, George W.: “An Early American Recorder Consort,” 207 Condensation, 67 Conklin, William T., 680 Conn, Robert, 680 Conrad, Ferdinand:

538

Index

539

“Am Anfang stand ein großer Irrtum,” 173; “Embellishments in Baroque Music,” 1094 Conrad, Ferdinand, 680; Michala Petri’s study with, 1581, 1584 The Conservation and Technology of Musical Instruments (Karp), p. 256 Conservatoire National Supérieur de Musique (Paris). See Paris Conservatoire Consorts, 103, 121; p. 632. See also Ensembles Construction and design, 56, 650–757, 771, 796; Middle Ages, 101, 105, 560–61, 758; Renaissance, 93, 97, 100, 265, 338, 539, 551, 561, 748; Baroque, 539, 542–43, 552, 1079; bass recorder, 562–65, 814; block, adjustable, 613; bore, 545, 550, 585, 717, 813; carved instruments, 566–67; chamfers, 548; for the music of van Eyck, 555; fingerholes, 547, 729; foot, length of, 546, 1079; historical instruments, 584; historical versus modern, 489, 543, 592; history of, 554; key work, 581, 594–95, 597, 600, 602, 617, 813–14; modernization, 80, 113, 152, 458, 592–617 (see also Bell-keyed recorder); scientific modeling, 712–13; software to assist in, 728; effect on tone quality, 557; window, 549; windway, 587, 639, 753. See also Maintenance and repair; Making; Measuring; One-handed recorders; Woods Continue realization, 796 Contrabass recorder: by Paetzold, 565 Contribution à l’étude éxperimentale des tuyaux à bouche (Castellengo), 770 Cook, S.Ronald Jr.: “The Copyright Law…,” 1694 Cooke, Arnold, 770 Coolen, Saskia, 770 Coolsma (recorder manufacturer), 482–4, 692 Coomber, David: “Rhetoric and Affect…,” 1111 Coomber, David, 692

Index Copley, Michael, 692 Copley, Michael, 692 Copyright law, 692 Corelli, Arcangelo, 692 Cornetto, 95 The Cornetto (Cline), 95 Cornsweet, Amy: Handel’s Use of Flute and Recorder…, 1859 Corrette, Michael, 95 Cossa, Francesco del, 245 Cotte, Roger, 245 Courteville, Raphael, 245 Courtly Music Unlimited, 245 Courvoiser, Walter, 245 Cousen, John: “A Great Consort,” 724 Cousen, John, 245 Coward, Paul, 245 Cox, Geoff: Pertaining to Trees, 1980 Cramer-Chemin-Petit, Jeannette, 245 Cranmore, Tim, 486–9 Craven, John: “Harpsichord Tuning…,” 1104 Crispin, Brian, 109 Crookes, David Z., 109 Cross, Lucy, 109 Cruise, Bernadette: “Genevieve Lacey,” 1515 Csakan, 111–2; and Beethoven, 1959 Der Csakan und seine Musik (Betz), 111 Culbertson, D.C.: A Discography of the Recorder, 1691; “Julia Whybrow…,” 1651; “Men, Women, and Early Winds,” 1569 Currie, John, 111 Czech Republic: recorders in, 405, 1514 D’Accone, Frank A.: Civic Muse, 133 La Dada Amsterdam, 111 Dahnk-Baroffio, Emilia, 111 Dalla Casa, Girolamo. See Casa, Girolamo dalla Dallin, Lynn: “‘And Sweetly Trilled the Fipple Flute,’” 1645 Danbury, Graham, 111

540

Index Dance music, 111 Danican-Philidor, Anne, 111 Danksagmüller, Raphaela, 111 Dantimo, Stanley: All about the Recorder, 37 D’Ariel Trio, 111 Darmstadt, Hans, 111 Dart, Thurston: “Bach’s ‘Fiauti d’Echo,’” 1789; “Bressan and Schick-hardt,” 347; “Four Dutch Recorder Books,” 927; “Morley’s Consort Lessons…” 1737; “Recorder ‘Gracings’ in 1700,” 939; 125, 1738 Davenport, LaNoue: “…Alternate Fingerings,” 1165; “Erich Katz,” 1499; 1569, 2083 Davenport, LaNoue, 111; Martha Bixler’s work with, 1356–57 Davenport, Mark: “…LaNoue Davenport,” 1418; “Recorder Pitch,” 627; 4, 33, 984, 1419 Davey, A.J., 676 David, Johann Nepomuk: recorder music by, 2020 Davidson, Martin: “Observations on the Relation…,” 643; “Of Bleeps, Slurps, and Presbycusis,” 770; “Variation of Pitch…,” 700; 72 Davies, Alan: “Interview with Jan Kvapil,” 1514 Davies, Malcolm: “…Guido Klemisch,” 476; “The Marks and Rules for Gracing,” 940; “Recorder Music of Gaston Saux,” 2068; “Recorder or Wreck?,” 771 Davies, Peter: “Tribute to Stanley Taylor,” 1621 Davis, Alan: “Articulation…,” 1145; “Bach’s Recorder Parts,” 1777; “Commissioned Works 1971; “Fingering the Recorder)” 1166; “Jacques Hotteterre and the French Style,” 1042; “Playing Baroque Recorders…,” 1083; “Purcell and the Recorder,” 1901; “Vibrato on the Recorder,” 1208; 355, 514 Davis, Eric: “Interview with Matthias Weilenmann,” 1647

541

Index

542

Dayton C.Miller Flute Collection (Washington, D.C.), 340, 641 Deafness: senile, 770 Deane, Morag: “Compositions by Members of the Loeillet Family,” 1886; “Jacob Loeillet…,” 1303; “John Loeillet…,” 1302 Deerenberg, Baldrick, 641 Degen, Dietz: Zur Geschichte der Blockflöte…, 38 Deggeller, Kurt: “Aus der Geschichte…,” 205 De Gregorio, Vincenzo: “Flauto a becco sopranino…,” 309 de Konink, Servaas. See Konink, Servaas de de Laborde, Jean Benjamin. See Laborde, M. de (Jean Benjamin) Delahousse, D.: “Conseils pour le choix et l’entretien…,” 772 Delavigne, Philibert, 641 The Delightful Companion (Carr), 641 Delius, Nikolaus: “A la gloire de ma flûte,” 1399; “Die erste Flötenschule des Barock?” 915; “Johann Fischer,” 1847; “Gustav Scheck,” 1603; Sine musica nulla vita, 39; 291, 1683, 1927 Delius, Nikolaus, 641 Del portar della lingua negli instrumenti di fiato (Castellani & Durante), 641 De Lusse, Charles: L’art de la flûte traversière, 994 Del Valle Martínez Ortega, María: “…Amsterdam Loeki Stardust Quartet,” 1330; “…Peter Holtslag,” 1485 Demoivre, Daniel, 641 Demoulin, Jean-Pierre: “A propos de Vivaldi,” 1942 De Musica (Cardano), 641 Denecker, Patrick: “De blokfluit in de 19de eeuw,” 112 Den Hul, Dick van. See Hul, Dick van den Den singende Knochen (Grasshoff & Moeck), 263 Denmark: recorders in: Copenhagen, Musikhistorisk Museum, 359, 371 Denner, Jacob, 337; recorders by, 177, 356, 359, 403, 413, 427 Denner, Johann Carl: recorders by, 422

Index

543

Denner, Johann Christoph, 284 recorders by, 177, 360, 407, 411, 413, 421–22, 430 drawings of altos, 543 Denner family, 287–8, 289, 330–6; recorders by, 176, 356, 359–61, 405, 427 Derengowski-Stein, Mary: “Measurements of Sounding Frequency…,” 701 A Descriptive Catalogue of Recorder Music (Hosoda), 336 Dessy, Lee: “Hear There Everywhere,” 672; “The Principles of Recorder Design…,” 541; “Wood, Water, and Oil,” 645 Dessy, Raymond: “Hear There Everywhere,” 672; “New Kinds of Plastic Wood,” 644; “The Principles of Recorder Design…,” 541; “Wet Your Whistle,” 826; “What New Experiments,” 671; “Wood, Water, and Oil,” 645 Detroit Public Library manuscript, 336 Dettman, Carl E., 336 Deveson, Richard, 27 Devroop, Chatradari: “Blockflöte und Apartheid?” 204; “Monologe eines Blockflötenspielers,” 2001 Dewey, Monica: “…Dom Gregory Murray,” 1565 Diamond, H.J., 3 Dickeson, Brenda, 671 Dickey, Bruce: “…Bismantova’s Compendio Musicale,” 931; “Untersuchungen zur historischen Auffassung des Vibratos….” 1118 Dickey, Bruce, 671 Diderot, Denis: Art du faiseur d’instruments…, 720; Encyclopédie, 1027 Diderot, Denis, 852 Dieupart, Charles (or Francis), 852 Difference tones, 810–2. See also Combination tones Dijk, Jan van: Musique à trois, 1755 Dikmans, Greg: “Florid Italian Instrumental Music…,” 1728; “…Barthold Kuijken,” 1513; “…Genevieve Lacy,” 1516 Dikmans, Greg, 187 Dinn, Freda:

Index

544

“The Art of Practising,” 1196; Early Music for Recorders, 1032; “…Recorders and Strings,” 1680; 4 Dinn, Freda, 187 Di Pasquale, Marco. See Pasquale, Marco di Directions for Playing on the Flute, 187 Directions for Playing the Flute, 187 Dirié, Gerardo: “…Latin American Recorder Music,” 1688 Disabilities: recorders that accommodate, 568–74. See also One-handed recorders Discography, 187 A Discography of Recorder Music (Seviour), 187 Discography of the Recorder (Paterson & Lasocki), 187 Dissertatio physica de sono (Euler), 760 Dit is een seer schoon boecxken, 760 The Division Flute, 760; “Faronell’s ground,” 1074 Divisions, 760 Dixon, Kay: “Judith Clingan…,” 1407 Dodgson, Stephen: Shine and Shade, 1473 Dolci, Amico, 760 Dolci, Danilo: “Edwin Alton,” 1327 Dolci, Danilo, 195 Dolmergue, Sylvie: “Jouer les partitas de Bach…,” 1780 Dolmetsch, Arnold, 44, 171, 494; Bressan recorder copied by, 179, 351; friendship with Bernard Shaw, 184; recorders by, 422 Dolmetsch, Carl: “Cataclysms and the Chester Recorders,” 355; “High F Sharp,” 1174; “…Edgar Hunt,” 1489, 1493; “In at the Start,” 1435; “An Introduction to the Recorder…,” 1983; “Is There Magic in Wood?,” 646; “On Playing the Recorder,” 1132; “The Recorder and Flute,” 91; “Recorder and German Flute…,” 108; “Recorder in Evolution,” 608; “The Recorder or English Flute,” 46; “The Recorder’s 20th Century Repertoire,” 1961; “Which Way to Turn the Clock?,” 593; 71, 113, 175, 575, 633, 1178

Index

545

Dolmetsch, Carl, 330, 494, 497; patents by, 608, 611; repertory composed for, 1439–40, 1445 Dolmetsch family, 494 –7 Dolmetsch Foundation, 31 Dolmetsch Gold Series recorder, 671 Arnold Dolmetsch, Ltd., 692 J. & M. Dolmetsch, Ltd., 494 Dolmetsch: The Man and His Work (Campbell) , 494 Donington, Robert: “The Recorders,” 47; 1563 Donizetti, Gaetano, 174 Dopadlik, Adam J.: “…Carl Hanson,” 456 Dordrecht recorder, 283, 308; making a copy of, 743 Dörfe-Kelletat, Renate: “‘Ich transkribiere gern,’” 1713 Dorwarth, Agnes: “…Conrad Steinmann,” 1618 Douglas, Lorna M.: “Harmonic Generation,” 675 Douglass, Paul Marshall, 308 Douwes, Claas: Grondig ondersoek 979–80 Downer, Caroline: “Gareth Farr,” 1451; “Danya Segal,” 1608 Downer, Jane, 308 Draghi, Giovanni Battista, 308 Drawings: of instruments, 398, 406, 419–20 Dream flute (Breukink/Mollenhauer), 472 Drillon, Jacques: “Frans Brüggen et la rhétorique,” 1378 Driscoll, Daniel A.: “Acoustical Characteristics…,” 673; “The Decline of the Recorder…,” 113; Synthetics of a Recorder Tone-color, 715; 807 Drobig, Bernhard: “…Hans-Martin Linde,” 1535 Drumbleby, Samuel, 290 Du Bois, Elizabeth Ann: A Comparison of…Telemann’s Use…, 1925 Du Bois, Rob. See Bois, Rob du Duckles, Vincent H.: p. 134 Duffin, Ross: “‘Cornets & Sagbuts,’” 1758

Index

546

Duggan, Peter T.: “A Practice Baroque Recorder,” 729 Duhot, Jean-Joël: “Une énigme musicale résolue?,” 290; “Entretenir une flûte,” 795; “Facture restauration recherche,” 529; “Un jeune compositeur…,” 2015; “S.O.S. flûte à bec,” 796 Dullat, Günter: Holzblasintrumentenbau, 730 Dunham, Benjamin: “…Aldo Abreu,” 1323; “Dan Laurin,” 1523; 72, 794, 1059, p. 249 Dunn, John: “The Middle of the Note,” 702 Dupuis: copies of recorders by, 654, 656 Durante, Elio: Del portar delta lingua…, 1048 Dudok, S.A.C.: “Amsterdam als centrum van ‘fluytenmakers’…,” 318 Dürer, Albrecht, 289 Duron, Jean: “L’orchestre de Marc-Antoine Charpentier,” 1824 Dürrenmatt, Friedrich: Die Physiker, 86 Dutch Recorders of the 18th Century (van Acht), 411 Dwight, Francis, 411 Dynamics, 710; physiology of, 688 Die dynamische Blockflöte (Fischer), 710 Early music: in the United States, reflections on, 2083; role of recorder in revival of, 145 Early Music (periodical), 710 Early Music Consort of London, 710 Early Music for Recorders (Dinn), 710 Early Music Network, 710 Early Music Summer School (Bechyně), 710 Eastman, Richard: “The Neutral Tone,” 1245 Eberle, Ambros: “Klingendes, singendes Holz,” 480 Eccles, John, 223 Eccles, Lance, 223 Echo flute, 749 Edinburgh University Collection of Historic Musical Instruments:

Index

547

recorder in, 307 Editing music, 32 Edler-Busch, Elli: “‘Blasdruck’ oder ‘druckschwacher Ansatz’?,” 1151; 1054 Edridge, Tom: “Arranging Keyboard Bach…,” 1776 Eggl, Johann (or Joseph), 281 Ehlert, Ralf: “…Friedrich von Huene,” 520 Ehrhardt, Susanne, 520 Ehrhardt, Susanne, 520 Ehrlich, Robert: “Frans Brüggen,” 1379; “Edgar Hunt,” 1490; “Our Recorder Culture,” 149; “Prejudice, Practice, and Pride,” 150; 4, 29, 1040, 1125 Ehrlich, Robert, 520 Eichentopf: recorders by, 394, 414 Eichhorn, Edgar L., 712 Eicken, Alexa: “Jean-Luc Boudreau,” 441 Eisel, Johann Philipp: Musicus autodidaktos, 712 Eisheimer, Adam, 248 Eisma, Will: Wonderen zijn schaars, 1987 Elder, Samuel A.: “Physical Basis for Woodwind-Recorder Voicing,” 674; p. 220 Electro-acoustic recorder, 67, 679 Electronic recorder, 680 Elements of Musick Display’d (Tans’ur), 680 Embouchure, 680 Emerson, David, 680 Encores, 680 Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Diderot), 680 Ende, Vincent van den: Niederländische Blockflöten…, 420 Endler, Johann Samuel: Pièces, 1755 Enfield, Patrick: “Writing for the Recorder and Piano,” 1226 “Engels Nachtigaeltje,” 680 England, 54, 117–23, 124, 166, 193. See also Great Britain recorders in: Chester, Grosvenor Museum, 90, 175, 348–49, 354–55 London, Carse Collection, 365; Horniman Museum, 452; Royal College of Music, 359, 369; Victoria and Albert Museum, 348

Index

548

Norwich, St. Peter Hungate, 348 English Harpsichord Magazine, 193 Ensemble Dreiklang Berlin, 193 Ensembles, 28, 40; bass recorder in, 235; choosing instruments, 778; “golden rules” of, 273; history, 270, 1243, 1247, 1251; intonation and tuning, 1249, 1255, 1258, 1265; jazz-influenced repertory, 72; learning to read clefs, 1207; ornamentation, 1091; performing with one player, 1252; recorder choirs and orchestras, 1241, 1259, 1264; repertory, 72, 1244, 1256, 1258, 1663, 1675, 1723; technique, 1253, 1258, 1261–62, 1266. See also Consorts Enzer, Joseph, 235 Epitome musical (Jambe de Fer), 235 Eppelsheim, Jürgen: Das Orchester in den Werken…Lullys, 1888 Epstein, Jan: “Jean François Beaudin,” 437; “…Kees Boeke and Walter van Hauwe,” 1362; “…Howard Mayer Brown,” 1372; “…Frans Brüggen,” 1380; “…Georg Geiger,” 455; “Hans Maria Kneihs,” 1505; “…Eva Legêne,” 1530; “…Marijke Miessen,” 1557; “…Clas Pehrsson,” 1580 Erich Katz Foundation, 235 Erig, Richard: Italienische Diminutionen, 1071 Escalas, Romà, 235 Eschler, Thomas Jürgen: Die Sammlung historischer Musikinstrumente…, 412 Essai d’une méthode pour apprendre à jouer de la flûte traversière (Quantz), 235 Essai-méthode de flûte traversière (Quantz), 235 Ettlin, Alex: “Gerhard Huber,” 463 Etymology, of “recorder,” 26, 68–73, 88, 594, 101. See also Terminology Euler, Leonhard: Dissertatio physica de sono, 664, p. 219 European Recorder Teachers’ Association: UK Branch, 1366 Evelyn, John, 88

Index Everard, Ferdinand von: fingering chart by, 1028–29 Examinations in England, 1491 Trinity College of Music, 1281–83 Expressivity, 88 Eyck, Jacob van, 88 Euterpe oft Speel-goddinne, 1830 Der fluyten lust-hof, 927, 1033, 1828–42 depicted in a vanitas by Edwart Collier, 240 duets, 1841 “Engels Nachtegaeltje,” 84, 1721 methods associated with, 923–24 “Philis schoone harderinne,” 1770 represented in a Dutch painting, 250 selection of tunes in, 1838 composition in Der gooden fluyt-hemel by, 1837 recorder for the music of, 112, 290, 555 and the recorder’s impoverished repertory, 1699 Eyck, Steven van, 88 Eyre, Chris, 88 Fabre, Benoit: “Sound Production…,” 693; “Transitoire d’attaque des instruments…,” 718 Faber, Johann Christoph: Parties sur les fleut dous, 1698 Facsimile editions, 32 Fader, Bruce: “Cork Joints Affect Your Playing,” 832; “Improving the Tone…,” 843 Fader, Don: “Let the Buyer Beware,” 1827 Fairhall, Helen: “Music for a Bird,” 2049 Fajardo, Raoul J.: “Enhancing the Recorder Sound,” 844; “How to Improve Your Recorder,” 807; “Improving the Tone…,” 843; “Thumb Hole Reinforcement…,” 808 The Falling Leaves (musical group), 182 Fankhauser, Ingo: “Musizieren auf 22 Blockflöten,” 1360 Farleigh, John: “Carl Dolmetsch and Leslie Ward,” 451 Farr, Gareth, 182 Fasch, Johann Friedrich, 219 Fehr, Hans Conrad, 692

549

Index

550

Feider, Denise: “Die aktuellen Interviews,” 2002; “Begegnung in Amsterdam,” 1574; “…Gerhard Braun,” 1369; “Mollenhauer Conrad…,” 503; “Musiker sein heisst…,” 1471; “…la renaissance de la flûte à bec au XXe siècle,” 151; “…Andreas Schöni,” 527; “Conrad Steinmann,” 1619; “Zur Entwicklung der Blockflöte im 20. Jahrhundert,” 152 Feldhaus, Hanne: “Robert Wijne…,” 394 Feldman, Anna: “The Adult Intermediate…,” 1270 Feldon, Frances: “Vibrato in the French Baroque,” 1119; 1736 Feldon, Frances, 692 Ferguson, Suzanne: “…Edgar Hunt,” 1491; “Sight-Reading,” 1202; 1487 Ferguson, Suzanne, 692 Ferris, Jill: “Chris Burgess,” 1397 Fertonani, Cesare: “Antonio Vivaldi,” 1949 Fiauti d’echo, 747 Fiedler, Jörg: “Brunettes ou petits airs tendres,” 1762 The Fifth Book of the New Flute Master, 747 Fifth flute, in eighteenth century, 211 –2 Filiatrault, François: “Interview avec Jean-Luc Boudreau,” 442 Finch, Edward, 212 Finger, Godfrey, 212; quintet sonata, 131; solo sonatas, 1760; trio sonatas, 1742 Fingerholes: angled, 547 Fingering (technique), 28–; leaks, problems with, 1169; use of thumb, 1128, 1173, 1179–82 Fingerings and fingering systems, 30, 149 – acoustical studies, 710 alternative, 72, 1081, 1125, 1138, 1165, 1168, 1170–72, 1177, 1189 avant-garde, 1211, 1216–17 multiphonics, 1236–38 buttress, 71, 902, 914, 1009, 1087

Index

551

color, 1171 German, 37, 72, 180, 198, 499, 533, 575–77 historical, 31, 729, 902, 942, 977, 1029, 1078–87 high notes, 914, 1084–85, 1127, 1159, 1173, 1176, 1178 f#3, 1173–78 humorous description of, 276 notation of, 1240 trills, 72, 1125, 1183–84 Finlay, Ian F.: “Musical Instruments in…,” 254 Finn, John, 178 Fipple flute, 86, 90 Firth, Pond & Co.: capped fipple flute by, 362 Fische: recorders by, 427 Fischer, Johann: Vier Suiten für Blockflöte, 1847 Fischer, Johannes: “Bearbeitungen für Blockflöte,” 1714; “…Gerhard Braun,” 1370; “Ein ‘Cross-Interview,’” 1454; Die Dynamische Blockflöte, 1158; “1+0= 2,” 694; “Grifftechnik und Klangtransformation,” 1167; “Hat die Zukunft im Blockflötenbau…,” 459; “Vom Traum der Unendlichkeit,” 1152 Fischer, Johannes, 159, 192 Fischer, Pieter: “Music Paintings of the Low Countries…,” 240 Fischer family, 281 Fistulatores et Tubicinatores Varsovienses, 196 Fitzgibbon, H.M.: “‘Of Flutes and Soft Recorders,’” 48 Fitzpatrick, Horace: “The Medieval Recorder,” 731 Fitzwilliam Wind Manuscript, 196 Flanders Festival (1972), 156 Flanders Recorder Quartet, 159 Flattement, 159 Flautino, 206. See also Vivaldi, Antonio, “flauto” and “flautino” problem “Flauto curvo,” 369 Flauto d’echo, 747 Il flauto dolce (ed. Nicolucci), 41 Il flauto dolce ed acerbo (Vetter), 41 Flauto harmonico, 358 Flauto piccolo, 206;

Index

552

in music of J.S. Bach, 1808 Flauto Piccolo (pseudonym). See Newman, Joel Fletcher, Neville H.: “Harmonic Generation in Organ Pipes…,” 675; The Physics of Musical Instruments, 666; p. 220 Flexibility, 638 Flute, fipple, 86, 90 Flute, funnel, 703, 705 Flute, transverse history, 91, 108 repertory recorder literature suitable for, 1701 with recorder, 1754–56 Flûte à bec (Möhlmeier and Thouvenot), 705 The Flute-Master Compleat Improved, 705 Flûte pastorelle, 205 Flute, Recorder, and Oboe before 1800: A Selected Bibliography (Rawski), 205 Foky-Gruber, Gyula, 499 Folger Consort, 499 Folgore da San Gimignano, 125 La Folia (musical group), 125 Fontana, Giovanni Battista: sonatas for violin and basso continuo, 1040, 1848 For Four Recorder Quartet, 125 Form, Michael, 125 Fornari, Andrea, 295–6, 338 Forsythe, Neville: “Michael Form,” 1456 Fortune, Nigel, 338 Four and Twenty Fiddlers: The Violin at the English Court 1540–1690 (Holman), 119; p. 632 4900 Historical Woodwind Instruments (Young), 275 Four Wheel Drive (musical group), 275 Fourth flute: in eighteenth century, 219–20 Fox, C.W.: “An Early Duet for Recorder and Lute,” 1729 Fraccaro, Inga Kristina, 275 France history of recorder in, 120, 1889 instrument-making in, 291–94 recorders in: Paris, Conservatoire, 406–10 recorder instruction in, 1284–85 Francis, John: “What Bach Wrote for the Flute…,” 1774 Franco, Horacio, 159 Frederik III, of Denmark: instrument collection of, 250

Index

553

Free Ornamentation for Woodwind Instruments, 1700–1775 (Mather & Lasocki), 159 Freeman, Daniel E.: “J.S.Bach’s ‘Concerto’Arias,” 1813 Freeman, Willa Fowler: “Once More, with Feeling,” 637 Freillon-Poncein, Jean-Pierre: On Playing Oboe, Recorder, & Flageolet, 984; The True Way to Learn to Play…, 983, 985; La veritable maniere…, 981–82, 1764 Freillon-Poncein, Jean-Pierre: La veritable maniere, 861, 984–86, 1043, 1053 Freund, Cecelia Kathryn van de Kamp: Alessandro Scarlatti’s Duet Cantatas, 1911 Freunde alter Musik in Basel: concert programs of, 205 Frideswide Consort, 159 Fridrich: recorder by, 405 FRINGE (Barcelona Early Music Festival), 159 Frings, Gabriele: “‘Flauti dolci’ und ‘pifferari,’” 241; Giorgiones Ländliches Konzert, 242 Funnel flute, 703, 705 Fux, Johann Joseph, 114 Gagnon, Robert: “Interview avec Jean-Luc Boudreau,” 442 Gahn, Johann Benedikt, 288; recorders by, 401, 403, 407, 413, 428 Gal, Hans, 288 Galhano, Cléa, 159 Galpin, Francis W: Old English Instruments…, 125 Galpin, Francis W., 159 Galpin Society, 159 Galway, James, 159 Ganassi, Silvestro: Opera intitulata Fontegara, 892–97 Ganassi, Silvestro, 159; Opera intitulata Fontegara, 232, 336, 766, 898; p. 279 “Ganassi recorder,” 4, 108, 240, 289, 297–8 Gannon, Lee: “Studies for the Beginner…,” 1215 Gannon, Lee, 298 Ganty, Henri: “Petit plaidoyer…,” 212; “Le récital de flûte à bec…,” 1695 Garden, Green “Models of Perfection,” 385

Index

554

Garklein recorder, 208 Garratt, Christine, 208 Garrick, David, portrait of, with recorder, 234 Garrido, Gabriel: “La flûte à bec dans la musique italienne,” 1046 Garrido, Gabriel, 234 Gärtner, Jochen: “Abschied von Gustav Scheck,” 1604 Garvey, Kennan, 234 Gebauer, Joseph, 111 Geddert, Geesche: “‘In Freundschaft’…,” 2076; “Three—das Blockflötentrio von John Cage,” 2014 Gedney, Caleb, 359 –60 Gehrke, Kathrin: “…Johannes Fischer,” 1453 Geiger, Georg: “The Compleat Recorder Para-Medic,” 797 Geiger, Georg, 503 Geissmann, Annemarie: “Der Blockflötenbau in der Schweiz,” 538 Gemeentemuseum (The Hague): 18th-century Dutch recorders in, 420; collection of drawings held in, 398 Gemmach, Hans: “Die ‘grüne Blockflöte,’” 274 The Genteel Companion (Salter), 503 Gentili, Augusto: “Savoldo…,” 241 Gerhard Huber Recorder Factory, 520 Gerhardt, Russell, 337 Gerhold, Hartmut: “Nikolaus Delius…,” 1424 Gerlach, Gottlieb, 169 –70 German fingering, 35, 174, 192, 603, 644, 676 –8 Germanisches Nationalmuseum (Nuremberg): recorders in, 300, 413–14 Germany, 36, 192 Middle Ages, 122 primary education in, 1275, 1286 recorder-making in: Berchtesgaden, 295 Markneukirchen, 297, 433 Nuremberg, 298–302, 304 recorders in: Erlangen-Nürnberg, Musikwissenschaftliches Institut, 412 Göttingen, 296, 303 Munich, Musikinstrumentenmuseum, 411

Index

555

Nuremberg, Germanisches Nationalmuseum, 300, 413–14 Sigmaringen, 372 Würzburg, 327 Germany, East (former), 192 Die geschichtliche Entwicklung der kleinen Flötentypen (Meierott), 206 Gheier: recorder by, 405 Giannini, Tula: Great Flute Makers of France, 291; “Jacques Hotteterre le Remain…,” 368 Giannini, Walter, 206 Il Giardino Armonico (musical group), 206 Gibbons, Orlando: “The Silver Swan,” setting by Staeps, 1615 Gibert, Jordi Ballester i. See Ballester i Gibert, Jordi Giesbert, Franz Julius, 206 Gijsbrecht, 348 Gilbert, Anthony, 348; Igorochki, 2024 Gillespie, Wendy, 348 Gillett, Eric: “Making Arrangements,” 1715; “We’ve been raiding 1712; 1919 Gilliam-Turner, Rob, 634 Ginger, John: Handel’s Trumpeter, 1297 Giorgiones Ländliches Konzert (Frings), 233 Girdler, Thomas, 124 Glanville-Hicks, Peggy, 124 Glassgold, A.C.: “The Amateur’s Wandering Thumb,” 1180; “Another Anachronism,” 395; “The Glassgold Gatherall,” 820; “Thoughts on Thumb-rests,” 809; “Why Compose for the Recorder?,” 1227 Glassgold, A.C., 124 Glassgold, Cook. See Glassgold, A.C. Glätzk family, 113 Gleich, Clemens von, 308 Glösch, Peter, 308 Godard, Jean-Luc, 308 Godby, Paul J.: “Reflections of a Right-Handed Recorder Player,” 569 Godfrey family, 278 Godman, Stanley, 30 Godwin, Joscelyn: “A Design for a Recorder Case,” 821

Index

556

Goebel, George H.: “New Evidence on the Echo Flute,” 1801 Goebels, Franzpeter: “Mit-Teilungen,” 1069 Goembel, Luke: “Making a Recorder,” 733; “Reaming Tapered Bores…,” 734; “Recorder Making at Moeck,” 735 Goetz, Edward (pseudonym). See Thomson, J.M. Goetz, Freddy: “Les articulations sur la flûte,” 1049 Gohin, Henri: “Les étapes de la facture…,” 736 “Golden rules” for ensemble playing, 261 Der gooden fluyt-hemel, 261 Goodman, Jan: “An Hour with Susan Prior,” 1589 Goodyear, Stephen, 261 Gooselink, 149 Gordon, David: “Die Blockflöte,” 186; “The Improvising Recorder Consort,” 187 Gordon, Edgar, 149 Gorelli, Olga: Longing, 1171 Göttingen recorder, 283, 289 Grabbe, 149 Graessel, Georg: recorder by, 412 Grano, John, 149 Grant, Dinah: “R.Müller-Hartmann,” 2055 Grasshoff, Fritz: Den singende Knochen, 275 Graun: Trio for Bass Recorder, Viola, and Basso Continuo, 1771 Graupner, Christoph, 149 Grawe, Ursula: “…Kees Boeke and Walter van Hauwe,” 1362; “…Howard Mayer Brown,” 1372; “Hans Maria Kneihs,” 1505; “Hans Dieter Michatz,” 1555 Gray, Arlen: “Air for the Recorder,” 1153 Grayson, Arnold, 149 Great Britain: degree programs in early music, 1278; twentieth-century repertory, 1983.

Index

557

See also England; Scotland Great Flute Makers of France (Giannini), 279 Greenberg, Abraham: “Articulation in Recorder Playing,” 1050 Greenberg, Noah, 279 Greene, Margaret Duncan, 279 Greenhut, Gary: 829 Greenwich House Music School (New York City), 176 Grien, Hans Baldung, 255 Griffioen, Ruth van Baak: “…the Flowers of the Fluyten Lust-hof,” 1838; Jacob van Eyck’s “Der Fluyten Lust-hof,” 1833–34; “Some French Melodies…,” 1829; 1957, p. 644 Grimmer, Donald, 220 Griscom, Richard: “Bibliography of Writings…,” 109; The Recorder: A Guide to Writings, 4 Griselini, Francesco, 296 Griti, Santo, 294 Grondig ondersoek van de toonen der musijk (Douwes), 294 Gronefeld, Ingo: Flötenkonzerte bis 1850, 1683; 1953, p. 646 Groskreutz, Susan: “Play-Along Recorder,” 1710 Großpietsch, Christoph: Graupners Ouverturen und Tafelmusiken, 1851 Grosvenor Museum (Chester): Bressan recorders in, 32, 90, 175, 348–49, 354–55 Grover, Ralph Scott: The Music of Edmund Rubbra, 2064 Grund-richtiger…Unterricht der musicalischen Kunst (Speer), 294 Gruskin, Shelley, 294 Gryphon (musical group), 294 Guida, Giovanni: “A Note on ‘The Good Oil’…,” 837 Guidebook to Published Recorder Music (Loonan), 294 Guidecoq, P.: “Les buis de La Couture,” 292 Guise, Mademoiselle de, 116 Guitar with recorder, 116 Gümbel, Martin, 116; Flötenstories, 2026 Gurlitt, Wilibald, 116 Gutmann, Veronika: “Il Dolcimelo von Aurelio Virgiliano,” 909; Italienische Diminutionen, 1071 Guzman, Rodolfo, 159

Index

558

Haase-Moeck, Sabine, “…Friedrich von Huene,” 520; “David Lasocki,” 1518 Habert, Andreas: “Wege durch die Division Flute,” 1072 Haden, James C., 27 Hadidian, Eileen, 27 The Hague Conservatory, 27 Hajncl, Jeanette: “Don’t Panic!,” 1154 Haka, Richard recorders by, 321–22, 364, 403, 407 Aulos plastic instrument based on, 533 Hakelberg, Dietrich: “Some Recent Archaeo-organological…,” 296 Halbig, Hermann: “Geschichte der Klappen…,” 580 Halfpenny, Eric: “The Bass Recorders of Bressan,” 348; “Biographical Notices…,” 305; “The English Baroque Treble Recorder,” 542; “Fingering,” 276; “Further Light on the Stanesby Family,” 387; “Serpent in the Mist,” 277; “Technology of a Bass Recorder,” 388 Halfpenny, Eric, 27 Halilith, 194 Hall, Henry: Peace of Musike upon the Death of Mr. H.Purcell, 1757 Hall, Ralph: “Benjamin Burrows,” 2012 Hamburg Recorder Ensemble, 194 Hamel, Peter Michael: “Zwischen Keltentum und Avantgarde,” 2009 Hamlet (Shakespeare), 33, 87 Hanchet, John, 87 Hand, Colin: “The Composer Writes,” 2027 Hand, Colin, 87 Hand position, 87 Handbuch der Blockflöten-Literatur (Höffer-von Winterfeld & Kunz), 87 Handbuch des Blockflötenspiels (Linde), 27; p. 736 Handel, George Frideric, 33, 45, 88 Acis and Galatea, 34, 1855, 1857 and the affections, 1038 bibliography, 1779 “bird” music, 84 chamber music, 1873

Index

559

Chandos Anthem no. 10, 1857 concerto, for flauto piccolo, 1864 flauto piccolo in music of, 1853, 1864 minuets, arranged for recorder and piano, 1875 music for the Earl of Carnarvon, 1857 Nel dolce dell’oblio, 1863 opera airs in Directions for Playing on the Flute, 962 operas, 1858–61 oratorios, 1859–60 solo sonatas, 1033, 1040, 1865–79 in C major (HWV 365), 1097, 1856 in F major (HWV 369), 1866 in G major (HWV 358), 1871 in G minor (HWV 360), 1032 editions of, 1877 manuscripts and early editions of, 1865–69 ornamentation of, 1100, 1874 trio sonatas, 1742 Handel’s Use of Flute and Recorder in Opera and Oratorio (Cornsweet), 88 Hanley, Edwin: “Alessandro Scarlatti’s ‘Cantate da camera,’” 1911 Hanning, Ilona: “Die dritte Oktave,” 1084 Hanson, Carl, 506 Hargail Music, 506 Harlan, Peter, 171–4, 603; recorders by, 422 Harmonics, 783, 794 Harmonic universelle (Mersenne), 794 Harpsichord: tuning of, 1104 Harras, Manfred H.: “…Johann Sebastian Bach,” 1783; “Blockflöte,” 49; “…Carl Dolmetsch,” 1436; “…Hans-Martin Linde,” 1536 Harras, Manfred H., 794 Harrison, Lou, 159 Hart, David, 159 Hart, Günter: “Johann Heitz,” 365 Harvey, Richard, 159 Hashagen, Klaus: Gardinenpredigt eines Blockflötenspielers, 1968 Haslemere Festival, 159 Haslemere Musical Instruments, Ltd., 159 Hasse, Adolphe: trio sonata attributed to Quantz, 1907

Index

560

Hauge, Peter, 159 Hauteloche brothers, 127 Hauwe, Water van: “Frans Brüggen, 60 Jahre,” 1381; “Fundamental Recorder Techniques,” 1133; “Jan Rokus van Roosendael’s Rotations,” 2060; The Modern Recorder Player, 1125; “In Memoriam Fred Morgan,” 510; “Plädoyer für eine Akzentverschiebung…,” 153; “Recorder in Crisis?,” 154; “Recorder versus Blockflute,” 80; “Towards a Modern Recorder Technique,” 155 Hauwe, Walter van, 127 Havens, Daniel: Two Fantasias, 163 Hawkins, John, 88 Hay, Laurent, 88 Haynes, Bruce: “…Bach’s Pitch Standards,” 628; “The Baroque Recorder,” 543; “Beyond Temperament,” 1105; “The Decline,” 592; “Das Fingervibrato…,” 1120; Pitch Standards in the Baroque and Classical Periods, 1106; “Questions of Tonality…,” 1811; “Telemann’s Kleine Cammer-Musik…,” 1290; 113, 593, 1379, p. 646 Haynes, Bruce, 507 Haynes, J.L.: “The Production Recorder,” 564 Heberle, Anton, 111 Hechler, Ilse: “Von Vogel- und Flötenstimmen,” 81; 165 Hedeboe, Julie Pi: “Über den Daumen gepeilt,” 1181 Hedlund, H.Jean: “An Untenable Esthetic Posture,” 1382 Hedrick, Peter J.: “…Carl Dolmetsch and Joseph Saxby,” 1437 Heel, S.A.C.Dudok van: “Amsterdam als centrum…,” 318 Heerde, Jan Jurrianszoon van: recorders by, 407, 421 Heidecker, Martin, “Block- und Querflöten…,” 111; “Quo vadis, Flauto dolce?” 156; “…Peter Thalheimer,” 1623; “Wege aus dem Blockflötendilemma?” 156; 94 Heiden, Bernhard, 111

Index

561

Heider, Werner, 111 Heider, Werner, 111; Gassenhauer, 2030; Katalog für einen Blockflötenspieler, 2029; Musik im Diskant, 1213 Heinichen, Johann David, 111 Heinrich (instrument maker), 111 Heitz, Johann, 341 recorders by, 365, 411 measurement of, 584 Heider, Maarten: “The Harmonic Recorder,” 460; “Die rein überblasende Blockflöte” 460 Heider, Maarten: tenor recorder by, 163, 458–61, 605, 608 Heller, Karl: “Italienische Kammermusik…,” 1941 Hellwig, Hans Joachim, 341 Helmer, Barrie, 341 Helsloot, Loes: “RECORDERS,” 1414 Hemting, Hans, 236 Henning, Uta, 236 Henriksen, Olav Chris: “Two Centuries of Recorder and Lute,” 1678 Henry IV, of England, 69 Henry VIII, of England, 32, 222 –3 Henry Purcell (Holman), 223 Henseler, Ewald: “Neue Blockflötenmusik in Japan,” 1984; “Recorder Music by Japanese Composers,” 1985; “Zwei unbekannte Grifftabellen?,” 977 Hensing, Cathelijne, 223 Henthorn, Elizabeth, 118 Henzler, Elaine, 118 Henzler, Richard, 118 Herbst family, 288 Herman, R.: “Observations on the Acoustical Characteristics…,” 676 Hermes-Neumann, Andrea: Die Flötenkonzerte von Antonio Vivaldi, 1947 Herschel, Sir John: p. 211 Hersom, Herbert: “Bass Recorders in School,” 228; “Walter Bergmann,” 1344; “Duet for Recorder and Harp,” 243; “The National Portrait Gallery…,” 244; “Some Scottish Musical Instruments,” 245; 1426, 1493

Index

562

Herzog, H.K.: “Die Blockflöte in unserer Zeit,” 245; “2 Pole des Blockflötenbaues…,” 501 Hesperus (musical group), 211; p. 739 Hespos, Hans-Joachim, 739 Hess, Stanley: “An Apology for the Carved Recorder,” 566; “Tone Building…,” 567 Hettrick, William E.: “Martin Agricola’s Poetic Discussion…,” 891; Musica instrumentalis deudsch, 890; “Sebastian Virdung’s Method…,” 883; “What to Look for in Editions…,” 1706; 4, 180, 1614 Heyde, Herbert: “Blasinstrumente und Bläser…,” 1849; “Makers’ Marks on Wind Instruments,” 286 Heyens, Gudrun: “Über das ausdrucksvolle Spiel,” 1112 Heyghen, Peter Van: “…Italian Music, 1600–1670,” 134; 4 Heymann, Ulrike: “Blockflötenschulen,” 1271 Heytz: recorders by, 407 Hieronimus, 314, 316 Higbee, Dale: “Alternate Instrumentation…,” 1786; “Bach’s ‘Fiauti d’Echo,’” 1793; “Michel Corrette…,” 1937; “The Etymology of ‘Recorder,’” 76; “Francis W.Galpin,” 1458; “On Playing Recorders in D,” 218; “Notes on Hindemith’s ‘Trio,’” 2034; “On Playing the Baroque Treble…,” 221; “A Plea for the Tenor Recorder…,” 1005; “The Recorder and Its Literature,” 50; “Recorders in Bach Cantata 161,” 1812; “Third-Octave Fingerings…,” 1085; “Christopher Welch,” 1650; 2, 4, 28, 114, 285, 287, 349, 989–90, 1789, 2083 Highcock, Robert: “The Recorder Works of Daryl Runswick,” 2065 Hillemann, Willi: “Auftreten und Verwendung…,” 1852 Hindemith, Paul, 316; Trio from Plöner Musiktag, 1698, 2034–38 Hinteregger, Richard: “Die Elfenbein-Blockflöten…,” 402 Hirose, Ryohei:

Index

563

Lamentation, 1979; Meditation, 1446, 1523 Hirschberg, A.: “A Physical Model of Recorder-like Instruments,” 692; “Sound Production…,” 693, 713; “Transitoire d’attaque des instruments…,” 718 Historische Blasinstrumente—selbst gebaut (Robinson), 757 History, 27, 31, 34, 35–6, 39–42, 48, 50, 53–5, 58, 62–3, 89–, 91 Middle Ages, 96, 101–2, 104–5, 263, 327, 560–61, 758 in Germany, 122 in Spain, 236 Renaissance, 93, 95–97, 99–100, 103, 270, 561 Baroque, 107–13, 1773 decline of recorder in, 113, 592, 600 early Baroque recorder, 112 in instrumental music, 1747 in relation to transverse flute, 108 in the Hofkapelle, Vienna, 119 recorder in C in, 219 research on the 17th century, 1247 in France, 120–21, 1765, 1889 opera, 1763 in Great Britain, 57, 93, 123–32 in Italy, 134, 1768 in Spain, 136–42 in the United States, 143 late eighteenth century, 114 nineteenth century, 114, 117 recorders made in, 362, 393, 395, 397 twentieth century, 144–85, 498, 1209–10, 1976 early-music movement, 158, 1377 revival, 28, 46, 50, 52, 58, 117, 151, 172–85, 499, 1435, 1645, 1978 in France, 183 in the German youth music movement, 499 in the United States, 185 twenty-first century, 165 Hoarseness: of tone, 846 Hochschwarzer, A.: recorder by, 403 Höffer-von Winterfeld, Linde: “Aus dem Leben…,” 1482; “Die Blockflöte in den Kantaten J.S. Bachs,” 1807; “…Jeannette Cramer-Chemin-Petit,” 1417; “Griffkombinationen und Klangfarben…,” 1168; Handbuch der Blockflöten-Literatur, 1661 Höffer-von Winterfeld, Linde, 91 Hofmann, Klaus: “Gesucht,” 91;

Index

564

“Zu Händels Fitzwilliam-Sonate…,” 1871; 1927 Hoffman, Klaus, 91 Holborne, Anthony: Pavans, Galliards, Almains and Other Short Aeirs, 235, 1032, 1735–36 Holland. See Netherlands Höller, Günther: “Hans-Martin Linde wird siebzig,” 1537 Höller, Günther, 91 Holliger, Heinz, 91 Holm, Anna Lena: “Ferdinand Zellbell…,” 1317 Holman, Peter: “The Accompaniment of Concertos…,” 1070; Four and Twenty Fiddlers, 126, p. 520; “Present State of the Recorder in England,” 199; Henry Purcell, 1897; “…Purcell’s Three Parts upon a Ground,” 1903; “Recorder Music in England…,” 1759; 123 Holschneider, Andreas, 91 Holst, Imogen, 91 Holtslag, Peter, 91 Holtslag, Peter, 91 Holzblasinstrumentenbau: Entwicklungsstufen und Technologien (Dullat), 91 Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg (Nickel), 288 Homfray, Tim: “Beyond the Ash Grove,” 1325 Hope, Bob, 48 Hopf (instrument maker), 48 Hopkins, Bernard J.: “Celebrating Christmas…,” 1704; “Polychoralism, Anyone?” 1246 Hopkins, Bernard J., 48 Hopkins, Dennis W., 48 Horn, Nick: “…David Bellugi,” 1341; “Cantigas & La Romanesca,” 1034; “Recorders in Borderland,” 192 Horner, Keith: “Frans Brueggen on Contemporary Music…,” 1962; “Frans Brüggen on the Baroque Recorder,” 1383 Horniman Museum (London): A.Dolmetsch’s instrument collection in, 452 Hosoda, Tsutomu: A Descriptive Catalogue…, 1662 Hotteterre, Jacques: L’art de préluder…, 996–1000; Principes de la flûte traversière, 987–94, 1764 Hotteterre, Jacques, 48

Index

565

music including recorder, 1033, 1056, 1762–65, 1882–83 brunettes, 1191, 1884 recorders by, 369, 407, 431 treatises by, 861, 986, 995 performance practice indicated in, 1042–43, 1047, 1053, 1058 Hotteterre family, 279, 341 –3 Houle, George: “Tongueing and Rhythmic Patterns…,” 1051 House, Delpha LeAnne: Jacques Hotteterre “le Romain,” 1298 House of Schreiber, 343 Howitt, Basil: “Where There’s a Will There’s a Way,” 1636 Hubbard, Clarence T.: “A Recorder is for the Birds,” 51 Hubbard, Frank, 343 Huber, Gerhard, 520 Huber, Markus, 516 Hübner-Hinderling, Renate: “Artikulation oder Der Versuch,” 1052; “Johann Christian Schickhardt in Hamburg,” 1311 Hudgebut, John: A Vade Mecum, 933 Hudgebut, John: A Vade Mecum, 938 Huene, Friedrich von: “Eine Altblockflöte von Scherer,” 378; “The Baroque Recorders in the Stearns Collection…,” 427; “A Jacob Denner Recorder…,” 359; “Efforts to Modernize the Recorder,” 605; “…Frans Julius Giesbert,” 1461; “Makers’ Marks…,” 289; “A Plea for Standard Pitch,” 633; “A Question of Pitch Again,” 636; “Recorder Clinic,” 773, 798; “Some Recorders in…Dutch Paintings,” 254, 286, 420, 514, 543, 606, 637, 807, 812, 1512, 2083 Huene, Friedrich von, 520–38, 603, 633, 670, 692 Huene, Ingeborg von, 625 Huene, Ingeborg von, 532 Huene, Nikolaus von, 67 Hufeisen, Hans-Jürgen, 67 Hughes, Geoff: “Memories of…Frederick Gilbert Morgan,” 511; “Victorian Recorders…,” 193 Hul, Dick van den, 67 Hüller, Max, 67 Hullfish, William R.: “The Division Flute,” 1073;

Index

566

“Improvising Divisions upon a Ground,” 1074 Hulsens, Guido, 542 Humor, 261–6; cartoons, 278; “golden rules” for ensemble playing, 273 Humphries, Nicholas: “…Der Fluyten Lust-Hof,” 1832 Hund-Davies, Malcolm: “A Review of Historical Styles…,” 1035 Hunt, Edgar: “Another One-handed Recorder,” 570; “The Baroque Bass,” 229; “Walter Bergmann,” 1345; “Obituary: Walter G. Bergmann,” 1346; “Martha Bixler,” 1356; “Obituary: Emil Brauer,” 1368; “Bressan and the Stanesbys,” 389; “Tim Cranmore,” 449; “Baldrick Deerenberg,” 1423; “Freda Dinn,” 1426; “Arnold Dolmetsch…,” 452; “…Carl Frédéric Dolmetsch,” 1438; “Early Recorder Methods,” 869; “L’epitome musical…,” 904; “European Impressions,” 489; “Exploring the Repertoire,” 1730; “Fingering the High Notes…,” 1176; “Fitting the Instrument…,” 213; “…Hans Gál OBE,” 2023; “Obituary: Julius Giesbert,” 1462; “A Hotteterre Tenor?,” 369; “An Introduction to Baroque Ornamentation,” 1095; “Ivory Recorders…,” 401; “Left-handed Recorders,” 349; “Life of a Bressan,” 350; “Looking after Your Recorder,” 799; “Alec Loretto,” 488; “…Alec Loretto,” 490; “The Modern Bass,” 230; “Mozart and the Recorder,” 1892; “David Munrow,” 1560; The New Grove…, 56; “The One-handed Recorder,” 571; “Playing from a Facsimile,” 1696; “Playing the Bass Recorder,” 231; “Quartet Sonatas,” 1744; “A Question of Pitch,” 634; “A Question of Pitch Again,” 636;

Index

567

“Questions of Pitch,” 635; The Recorder, 40; “Recorder and Flute,” 1754; “The Recorder and Its Music,” 52; The Recorder and Its Music, 28, p. 643; “The Recorder and the Avant Garde,” 1963; “Recorder Fingerings,” 1175; “A Recorder for France,” 507; “Recorder Making Today,” 595; “The Recorder Music of Edmund Rubbra,” 2063; “Recorders Based on Eighteenth-Century Models,” 737; “The Renaissance Bass,” 232; “The Renaissance Recorder,” 97; “The Right Instrument,” 1697; “Obituary: Dr. Edmund Rubbra,” 2062; “Gaston Saux,” 2067; “The Society of Recorder Players,” 2084; “Some Recorder Trios,” 1698; “Some Thoughts on the Notation…,” 1203; “Hans-Ulrich Staeps,” 1613; “Ernst Stieber,” 531; “…Telemann’s Der getreue Music-Meister,” 1924; “Telemann’s Der harmonische Gottesdienst,” 1922; “Telemann’s Essercizii Musici,” 1923; “Thoughts on Hotteterre’s Recorder Fingerings,” 995; “Titian…,” 246; “The Trinity College…,” 1281; “Trio-Sonatas…,” 1742–43; “The Voice Flute,” 223; “John Willman,” 537; 2–4, 29–30, 34, 71, 198, 225, 285, 574, 757, 829, 845, 880, 890, 920, 960, 1127, 1316, 1431 Hunt, Edgar, 323, 677 Hunt, Enid, 677 Hunt, Rosemary: “The Polish Scene,” 203 Hünteler, Konrad: “Blockflöte und Querflöte bei Vivaldi,” 1945 Hünteler, Konrad, 677 Hunter, Hilda: “Recorders Rampant,” 98 Hunter, Madeline M., 677 Hüygens, Christiaan: “Tons de ma flute,” 942 Ichiro, Tada, 644 Iconography, 31, 233, 238, 245–6, 255, 260; Middle Ages, 104, 238–39, 243; Renaissance, 96, 240–41, 246, 252, 265, 267–68, 271;

Index

568

Baroque, 244, 248, 254, 376; Dutch sources, 112, 240, 248, 254, 321; English sources, 244, 252; Flemish sources , 247; French sources, 253, 264; Italian sources, 239, 246, 268–69; Scottish sources, 245; Spanish sources, 236–38, 263; artworks depicting Jesus Christ, 258–59; corner-post representing three recorders, 264; ensembles, 270; Ganassi recorder, 251; marriage, 261; mythological scenes, 269; pastoral scenes, 269; tapestries of Zaragoza, 255 Improve Your Consort Skills (Prior), 260 Improvement. See Maintenance and repair Improvisation, 180; Baroque preludes, 1109–10; on grounds, 1076; jazz and blues, 188, 191; on Renaissance tunes, 1088–89 An Index of Musical Wind Instrument Makers (Langwill), 273 Indiana University, 273 Indications of Performance Practice in Woodwind Instruction Books of the 17th and 18th Centuries (Warner), 273 Indo-Jazz Fusions, 273 Inequality, 273 The Instrumental Chamber Music of Joseph Bodin de Boismortier (Peterman), 273 Instrumentation: and authenticity, 1063; 16th century, 1734 International Recorder School (Saratoga), 273 International Week of Twentieth-Century Recorder Music (1988), 273 Interpretation of French Music from 1675 to 1775 for Woodwind and Other Performers (Mather), 273 Intonation, 35, 809; acoustical studies, 705–8; adjusting through filing, 856; adjusting through fingering, 629, 1164, 1189–91; breath pressure and, 676, 697–709; Brüggen on, 1392; use of electronic tuners , 1187; in ensembles, 1249, 1255; effect of “pulling out,” 855; teaching, 1185. See also Tuning Introductio gschriben uf pfifen, 871

Index

569

Inventories: preparation of, 399 Iribarren: Cantada al Santísimo con dos flautas de pico, 139 Ishii, Maki: East-Green-Spring, 2039 Israel, 194; recorders in, 415 Italian Baroque Solo Sonatas for the Recorder and the Flute (McGowan), 194 Italienische Diminutionen (Erig), 194 Italy, 195 recorders in: Assisi, Biblioteca Comunale, 310 Bologna Accademia Filarmonica, 416 Museo Civico, 385 Florence, Museo Stibbert, 374 Foligno, 309 Modena, Musei Civici, 216 Rome, Museo degli strumenti musicali, 2105 Verona, Accademia Filarmonica, 417–18 recorder in schools work of Edwin Alton, 1327 Siena, 133 Venice makers, 311–13 musical instruments in 16th-century homes, 314 recorders in the Pietà orphanage, 1948 Izquierdo, Joan: “Contando ovejas,” 2066; “La flauta de pico…,” 1974; “La flauta tenor armónica,” 461; “Tenor Recorder Piece,” 2039 Izquierdo, Joan, 195 Jackson, Alan D., 690 Jackson, Roland: p. 307 Jacob, Gordon, 307; Suite, 1137; Trifles, 2040 Jacob, Kurt, 307 Jacob van Eyck Quarterly (Wind), 307 Jacob van Eyck’s “Der Fluyten Lust-hof” (1644–c1655) (Griffioen), 307 Jacobs, Guido: “Enkele tips voor het onderhoud…,” 800 Jacobs, Manuel: “The Recorders,” 53 Jacobs, Manuel, 307 Jacobs, Paul, 330

Index

570

Jacobsen, Silke: “…Werner Heider zum 70. Geburtstag,” 2031 Jacoby, Richard: “Intonation,” 1186 Jacques Hotteterre “le Romain”: A Study of his Life and Compositional Style (House), 330 Jacques Hotteterre’s “L’art de préluder”: A Translation and Commentary (Boyer), 330 Jaeger, Winifred, 330 Jaeger, Winifred: on Erich Katz, 1502 Jaillard, Pierre. See Bressan, Peter Jambe de Per, Philibert: Epitome musical…, 902 Jambe de Fer, Philibert, 330; Epitome musical, 903–4, 1087 James, Clarence, 545 –7 James, Lionel H., 547 Janssen, Guus: Largo, 163 Janzen, Rose Marie: “The Loeillet Enigma,” 1304 Japan, 195; recorder music from, 1984–86 Jaumann-Bader, Petra, 195 Jazz, 179, 181, 186 Jeger, Frederik de: recorders by, 420 Jerome, Dick: soprano recorder by, 605 Jesus Christ: artworks depicting, 258–59 Johnson, Arthur, 186 Joints, 67 Jolibert, Bernard: “Les senates de chambre baroques,” 1745; “Les suites…,” 1036 Jones, Trevor A.: “…Telemann and the Recorder,” 1921 Joof, Laura Beha: “Dear Recorder Doctor,” 838; “Recorder Voicing and Tuning…,” 850 Joppig, Gunther: “Adler-Heinrich Blockflötenbau…,” 433; “Rubin Academy Collection…,” 415 Joubert, John, 67; The Hour Hand, 1971 Jouve: bass recorder possibly by, 427 Jud, Siegfried:

Index

571

“Es geht eine helle Flöte,” 435; “…Hans Memling,” 247; “…Marianne Lüthi Niethammer,” 1570; “…Michel Piguet,” 1587 Jürisalu, Heino: “Blockflötenmusik in der Sowjetunion,” 208; “Die Leningrader Sammlung…,” 431 Juritz, J.W.F.: “Recorder Fingerings,” 1177 Kadelbach, Ada: “Bauen Sie doch Blockflöten,” 523 Kagel, Mauricio, 67 Kälin, Walter: “…Christian Schlegel,” 380 Kammermusikkreis Ferdinand Conrad, 67 Kammermusikkreis Scheck-Wenzinger, 67 Kanji, Ricardo, 67 Kanji and Sorel (firm): “Authenticity,” 738 Karkoschka, Erhard, 67 Karp, Cary: “Baroque Woodwind 421; The Conservation and Technology of Musical Instruments, p. 267; “Woodwind Instrument Bore Measurement,” 585 Kasseler Avantgarde-Reihe (CD recordings), 159 Katz, Erich: “…Bass Recorder’s Clef,” 1205; “In the Beginning,” 174; “…Question of Arrangements,” 1719; 1–2, 29, 35, 961, 1665 Katz, Erich, 159 Katz, Hannah: on Erich Katz, 1502 Katz, Helen: “Hans-Martin Linde,” 1538 Katz recorder competition, 159 Kauert, Kurt: “250 Jahre Blasinstrumentenbau…,” 297 Kaye, Martin: “The Cornett in Context,” 99 Kelber, Sebastian: “Werner Heiders Katalog…,” 2029 Kelber, Sebastian, 159 Kelischek, George, 547 Keller-Löwy, Walter: “…Matthias Weilenmann,” 1648 Kemnitzer, Sonja, 547 Kennedy, Julian:

Index

572

“Modern Travellers,” 1403 Kenworthy, C. [Ken]: “Graver and Fluter,” 1295; “Michael Tippett,” 2080; 285 Kenworthy, Ken, 547 Kenyon, Dorothy, 547 Kenyon, Nicholas: “…Frans Brüggen,” 1384 Kenyon de Pascual, Beryl: “…Bartolomé de Selma…,” 383; “Bassano Instruments in Spain,” 329; “Instrumentos e instrumentistas españoles…,” 136; “The Recorder Revival in Late 17th-Century Spain,” 137; “Two Sixteenth-Century Spanish Inventories,” 138; “Ventes d’instruments à vent à Madrid au 2e moitié du 18e siècle,” 328 Kershaw, Caroline, 547 Kersten, Fred: “New Fluyten Lust-hof,” 69 Kerwin, Michael: “Musica Nova,” 1970 Ketting, Piet: Fantasia, 1755 Keyed recorder, 368, 692, 694, 696, 699. See also Bell-keyed recorder Keys: history of, 580; reducing noise of, 71. See also Construction and design, keywork Kiefer, Claus, 800 Kientzy, Marline: Les sons multiples…, 1237 Kilmarnock recorder, 291 Kimble, Isabel, 82 King, Alexander Hyatt, 82 King, Ronald: Recorder Humour, 278 Kinsecker, Hieronymus Franciskus, 287–8, 289; recorders by, 298, 413, 428 Kinsell, David: “J.C.Bridge…,” 175 Kirk, Douglas: “An Interview with Jean-Luc Boudreau,” 443 Kirnbauer, Martin: “‘Das war Pionierarbeit,’” 176; “Jacob Denner,” 357; “Historische Holzblasinstrumente…,” 413; “Die Holzblasinstrumente der ‘Bogenhauser Künstler-Kapelle,’” 177; “‘No Smoke without Fire,’” 298;

Index

573

“Musikinstrumentenbau…,” 366; “Überlegungen zu den Meisterzeichen…,” 299; “Untersuchungen an Nürnberger Blockflöten…,” 300; Verzeichnis der Europäischen Musikinstrumente…, 414; 287 Kirnbauer, Martin, 419 Kisby, Fiona, 117 Kitson, Linda, 117 Klemisch, Guido: “Die Kernspaltflöte um 1500,” 100; “Eine Kopie—warum?” 739; 165, 1493 Klemisch, Guido, 549 –54 Klingenbrunner, Wilhehn, 111 Kliphuis, Harry: “First ‘Coolsma Bressan,’” 447 Klukowski, Jozef, 196 Klunder, Marina, 196 Kmetec, Emil, 196 Kneihs, Hans Maria: “…Marcello’s Sonata in D Minor,” 1134; “…Seeks polnische Weihnachtslieder…von Witold Lutosławski,” 2051 Kneihs, Hans Maria, 196 Knight, Annabel: “…Andrew Mayes,” 1552; “A Practical Study of Telemann’s Treatment…,” 1929 Knight, Annabel, 196 Koch, J.G.: “An Introduction to the Recorder,” 54 Koch, John: “Editor’s Notes,” 1204; “William Koch,” 478 Koch, William, 712 Koch, William, 559 Köhler, Gudrun, 559 Köhler, Wolfgang: Die Blasinstrumente aus der “Harmonic Universelle,” 920–21; “Die Blütezeit der Blockflöte,” 94; “Bruce Dickey,” 1425 Kohn, Harold, 559 Kolberg, Sverre, 657 Koldeweij, Jos: “The Best Flutes…,’” 248 Komorous, Rudolf, 657 Köneke, Hans W.: “Ferdinand Conrad…,” 1410 Konink, Servaas de, 657 Koschitzki, Daniel, 159 Koski, Katriina, 159 Kosofsky, Scott-Martin, 159

Index

574

Kottick, Edward Leon: Tone and Intonation…, 845 Krähmer, Ernest, 159 Krähmer, Ernst, 112 Krainis, Bernard: “Amateurs, Professionals, and the ARS,” 2082; “Bach and the Recorder in G,” 1790; “…Bass Recorder’s Clef,” 1205; “…Question of Arrangements,” 1719;1059, 1179, 1569, 1661, 1793, 2083 Krainis, Bernard, 112 Krickeberg, Dieter: “Musikinstrumentenbau im Umkreis…,” 366; “Untersuchungen an Nürnberger Blockflöten,” 300 Kriehn, George, 112 Kroesbergen, Willem: “Bachs triosonates gereconstrueerd,” 1815 Kruspe, Carl, 208 Kubitschek, Ernst: “Block- und Querflöte im Umkreis von…Fux,” 1849; “René Clemencic…,” 1405; “Eine Sonatensatz von Francesco Mancini,” 1890; “Die Verwendung der Flöte…,” 1881; “Zur Entwicklung der Spieltechnik…,” 1037 Kuhweide, Peter: “Cedernholz für den Flötenblock,” 647; “Königsholz,” 648; “Une précision accrue,” 649 Kuijken, Barthold: “An Exchange of Correspondence,” 1717; “Lack of 17th-Century Recorder Repertoire,” 1716; 1017, 1953 Kuijken, Barthold, 208 Kumpf, Hans: “Hans-Joachim Hespos,” 2033 Kunath, Jo: “…Adriana Breukink,” 444; “Blockflöte & Internet,” 504; “Eine ölige Sache,” 839; “Total abgedreht,” 613 Küng, Andreas: “Blockflötenbau,” 482; “…Christian Schlegel,” 380; “‘SCHLEGEL A BALE,’” 381 Küng, Franz, 560 –9 Küng (recorder manufacturer), 560–2, 568, 652, 692 Kunsthistorisches Museum (Vienna): “Ganassi” recorder (C 8522), 6, 251, 315–16, 761–67 Kunz, Harald: Handbuch der Blockflöten-Literatur, 1661

Index

575

Kuss, Mark: Seven out of Ten, 1594 Kvapil, Jan, 692 Kynseker. See Kinsecker, Hieronymus Franciskus LaBarre, Kenneth: “On Selecting a Recorder,” 774 Laborde, M. de (Jean Benjamin): Essai sur la musique ancienne, 115 La Canessière, Philippe de, 279 Lacey, Genevieve, 279 Lacornerie, Agnès: “…Gabriel Garrido,” 1459 La Couture Boussey: boxwood of, 292 Lallement, Mathieu, 279 Lambe, Joan “Obituary: Michael Arno,” 1335 Lämmer, Lothar, 279 Lander, Nicholas S.: “Australian Compositions for Recorder,” 1684, p. 646; “Instrument of Torture or Instrument of Music?” 55; “Literary & Theatrical References to the Recorder,” 88; “…Medieval Recorder,” 101; “Music from Another Sphere,” 70; “Original Makers Database,” 284; “Recorded Recorders,” 1690; Recorder Home Page, 68; “Recorder Iconography,” 249; “…Anthony Rowland-Jones,” 1600 Lander, Nicholas, 64 Langeheinecke, Renate: “Die Grunwald-Trichterflöte auf Konzerttour,” 610 Langer, Rudolf: “Flöten als Behinderteninstrument,” 572 Langwill, Lyndesay G.: An Index of Musical Wind Instrument Makers, 285; The New Langwill Index, 286 La Noue, Mathurin de, 279 Lara García, Juan Ramón: “…Giovanni Antonini,” 1333 La Riche, François, 279 Larson, André P.: “Original Bass Recorders…,” 430 Lasagna, Marco: Nervi, 1976 Lasch, Christopher, 157 Lasocki, David:

Index

576

“Amateur Recorder Players,” 1291; “The Anglo-Venetian Bassano Family…,” 330; “The Art of Becoming a Recorder Player,” 1319; The An of Preluding, 1110; “The Bassanos,” 331; The Bassanos, 333; “The Bassanos’ Maker’s Mark…,” 332; “Walter Bergmann,” 1347; “Bibliography of Writings…,” 109; Biographical Dictionary 123; “Die Blockflöte als Symbol der Liebe,” 82; “The C Recorder,” 219; The Classical Woodwind Cadenza, 1066; “The Compleat Flute-Master…,” 952; “…Daniel De Moivre,” 1296; “The Detroit Recorder Manuscript,” 1760; “Diderot and the Recorder,” 721; A Discography of the Recorder, 1691; “Divisions on a Ground for the Recorder,” 1075; “Doubles in…Hotteterre’s Airs et brunettes,” 1884; “The 18th-Century Recorder Concerto,” 1746; “An Exchange of Correspondence,” 1717; “Flute and Recorder…,” 1755; Free Ornamentation…, 1099; “Freillon-Poncein, Hotteterre, and the Recorder,” 986; [Ganassi letter], 763; “Gaps in our Knowledge…,” 1247; “The Great Authenticity Debate,” 1062; “Guide to Further Reading,” 5; “Handel’s Original Works for Recorder,” 1862, p. 646; “…Bernhard Heiden,” 2028; “Historical Recorder Methods…,” 1062; “Instruction Books and Methods…,” 864, p. 280; “Late Baroque Ornamentation,” 1096; “Learning to Ornament Handel’s Sonatas…,” 1874; “London Publisher John Walsh…,” 1761; “Hans-Martin Linde…,” 1539; “More on…Barsanti,” 1293; “More on Echo Flutes,” 1797; “…Fred Morgan,” 513; “A New Dating for Handel’s Recorder Sonatas,” 1872; “New Landscapes for the Recorder,” 1342; “New Light on Handel’s Woodwind Sonatas,” 1870; “A New Look at Handel’s Recorder Sonatas,” 1866–69; “A New Look at…John Loeillet,” 1305; “A Newly Rediscovered Recorder Tutor,” 1003; “Paisible’s Echo Flute…,” 1798; “The Philosophy of Baroque Ornamentation,” 1096;

Index

577

“Preliminary Bibliography of Ensemble Pieces…,” 1675, p. 646; “Preluding on the Recorder…,” 1109; Professional Recorder Players in England…, 126, p. 644; “Professional Recorder Players I: Pre-Twentieth Century,” 127; “Professional Recorder Playing in England…,” 128; “Quantz and the Passions,” 1023; The Recorder: A Guide to Writings, 4; “Recorder” (New Grove 2), 56; “The Recorder Consort at the English Court…,” 129; “The Recorder in Print,” 7–17; “The Recorder in the…Theater,” 130; “Recorder Players and I,” 1519; “The Recorder’s Role in 17th-Century Music,” 1718; “Scott Reiss…,” 1595; “…Scott Reiss,” 1594; “A Review of Research…,” 6; “Dudley Ryder,” 1306; “Gustav Scheck,” 1605; “Johann Christian Schickhardt,” 1307–9; “Schickhardt in London,” 1310; “17th and 18th Century Fingering Charts,” 1086; “A Short History of the Recorder Ensemble,” 1247; “A Spanish Recorder Tutor,” 1026; “…J.M.Thomson,” 1625; “The Tongueing Syllables…,” 1053; “Ein Überblick…,” 18–27; “Vivaldi and the Recorder,” 1939; “What Kind of Editions…,” 1707; “…Robert Woodcock,” 1316; 72, 368, 862, 990, 1043, 1061, 1211, 1937, 1953 Lasocki, David, 157 Lasso, Orlando di: Prophetiae Sybyllarum, 2050 Latin, Lorraine: “…Walter van Hauwe,” 1476 Laurin, Dan: “Shaping the Sound,” 716 Laurin, Dan, 157 Lavail, Patricia: “Interview de Gabriel Garrido,” 1459 Lavigne, Philibert de. See Delavigne, Philibert Lavista, Mario: Ofrenda, 163 Layton, Roxanne, 157 Layton, Roxanne, 157 Leavis, Ralph, 212 Leber, Eric: “An Approach to Practicing,” 1197 Le Cène, Michel Charles:

Index

578

instruments in the inventory of, 323 Lechner, Konrad: “Konrad Lechner über sich selbst,” 2045 Lechner, Konrad, 212 Lectures on the Recorder in Relation to Literature (Welch), 33 Leenhouts, Paul, 33 Legêne, Eva: “The Early Baroque Recorder,” 112; “A ‘Foolish Passion for Sweet Harmony,’” 250; “Learning to Ornament Handel’s Sonatas…,” 1874; “Musical Interpretation…,” 1038; “The Rosenborg Recorders,” 375 Legêne, Eva, 661 Lehman, Robert A.: “Preparation and Management…,” 399 Lehmann, Jennifer W.: Music for Mixed Ensembles, 1663 Lehner family, 288 Lehrer, Irmgard, 176 Leigh, Walter, 176 Leiss, Volker, 176 Lemaître, Edmond: “L’orchestre dans le Théâtre Lyrique Français…,” 1763 Lempfrid, Wolfgang: “Ich fühle mich…,” 1540 Leonards, Petra G.: “Artikulation auf Blasinstrumenten…,” 1054; “…Bismantova’s Compendio Musicale,” 931 Leonhardt, Gustav, 176 Lerch, Thomas: “Die Entwicklung des barocken Blockflötenbaus…,” 545; Vergleichende Untersuchung…, 586; 590 Lescat, Philippe: “‘Il pastor fido,’” 1944, 1946 Lesure, François: “L’épitome musical…,” 903; “La facture instrumentale à Paris…,” 293; “Le traité des instruments…,” 922; 918 Letteron, Claude: “L’amateur de flûte à bec,” 157; “Bach et la flûte à bec,” 1778; Catalogue général, 1664; “Des thèmes pour 1985,” 1779; “Répertoire partitions,” 1677 Levin, Lia Starer: The Recorder in… Purcell and Handel, 1854 Levin, Philip: “Joints,” 833;

Index

579

“Oiling Recorders,” 840; “Recorder Moisture Problems,” 827; “Voicing and Tuning,” 851; “Which Wood Should I Choose?,” 650; 72, 732, 1179 Levin, Philip, 577 Levine, Joel: “…Introduction to Jazz,” 188 Levine, Joel, 159 Lewin, Greg, 159 Lewis, Anthony, 159 Lewis, Edgar Jay, Jr.: The Use of Woodwind Instruments…, 1747 Lewis, Mildred: “…the Workshop of Friedrich von Huene,” 740 Leygraf, Hans, 159 Liber Fridolini Sichery, 159 Libera, Luca della: “L’idioma vivaldiano…,” 1947 Libin, Laurence: “Holzblasinstrumente im Metropolitan…,” 428; “Sex and the Flute,” 83; “A Unique Soprano Recorder,” 382 Limberg, Gabriele. See Frings, Gabriele Linde, Hans-Martin: “Neue Musik für alte Instrumente,” 1967; The Recorder Player’s Handbook, 29, p. 643; “The Simultaneous Use…,” 1756; “Vom ‘cantablen’ Spiel…,” 1055; “Wie Pans Mysterium…,” 178; “Zwei Ensemblewerke zu Lassos ‘Sybillinum,’” 2050; 2046 Linde, Hans-Martin, 159; composition based on Lasso, 2050; Music for a Bird, 2049; Modern Exercises for Treble Recorder, 2048; Trio, 1754–55 Linsenberg, Judith: 67 Linsenberg, Judith, 67 Lira organizzata: recorder as substitute for, 1880 Literary references, 31, 33, 62, 87, 88, 267 Li Virghi, Francesco: “Il flauto diritto basso…,” 310; “Restauro o non restauro?,” 815 Livre plaisant et tres utila…, 267 Livre plaisant et tres utile…,267 Löbner, Margret, 579 Lockwood, Albert: recorders by, 562–63

Index

580

Loeb, David, 579 Loeillet, Jacob. See Loeillet, Jacques Loeillet, Jacques, 391; Sonata for 2 Flutes, 2 Voice Flutes, and Basso Continuo in B minor, 1754, 1756 Loeillet, Jean Baptiste (de Gant), 391 Loeillet, John, 391 Loeillet de Gand, Jean Baptiste. See Loeillet, Jean Baptiste (de Gant) Loeillet family, 391; music by, 1885–87; Woodcock concertos attributed to, 1958 Löhner, Johann Andreas: recorder by, 412 Löhner family, 288 Loonan, Martin: Guidebook to Published Recorder Music…, 1665–66; “A Listing of Late Baroque Solo Sonatas,” 1681; “The Published Recorder Music of Telemann,” 1915 Lopriore, Cecilia: “Robert Valentine,” 1314 Loré, Etienne, 279 Lorenz, Ricardo: Concerto, 163 Lorenzo the Magnificent: flutes in the inventory of, 308 Loretto, Alec V.: “Adjustable Lip on the Recorder,” 810; “And Oft When on My Couch I Lie,” 158; “Catajo and Ganassi,” 315; “…Paul Clark,” 1402; “Determining the Step Size…,” 587; “Don’t Judge a Book by Its Cover 545; “Experiments at Celle,” 811; “Furniture and Recorders,” 741; “Ganassi Bell Diameter,” 767; “A Ganassi Model Recorder…,” 764; “Happy Birthday, Whenever That May Be!” 179; “How Accurate Need Facts Be?,” p. 645; “Improvements or Modifications…,” 742; “Long and Short Recorder Feet,” 546; “Make Your Own Medieval…,” 744; “Make Your Own Recorder…,” 743; “A New Angle on Finger Holes,” 547; “Noise, Wmdways and Chamfers,” 548; “Old Recorders for New,” 611; “Kees Otten,” 1576; “Plastic Recorders,” 745; “‘Progress Will Be Made,’” 1401; “Purcell Finale,” 1904;

Index

581

“Recorder Bore Measuring,” 588–89; “Recorder Fingerings,” 629; “Recorder Modifications,” 812; “Recorder Voicing,” 852; “Recorder Window Size,” 549; “Recorder Woods,” 651; “Removing the Recorder’s Block and Replacing It,” 819; “Self Inflicted Injuries…,” 828; “So You’d Like to Become…,” 746; “Some Basic Recorder Design Problems,” 550; “This Way, or That?,” 652; “Those Two Purcell Missing Bars,” 1905; “…Thoughts on Recorder Patents,” 611; “When Is a Ganassi Recorder…,” 762; “Which?,” 775; “Yet More on Tuning Recorders,” 853; 218, 514, 541, 606, 609, 627, 1178, 1438 Loretto, Alec V., 582–98; Ganassi recorder by, 6, 763–64 Lorrain, Claude, 248 Lorraine, Marie de, 116 Lot, Louis: recorders by, 395, 431 Lot family, 278 Lottermoser, Werner: “Rauhe Innenwände…,” 717; “Von der Akustic der Blockflöte,” 677 Lotti, Antonio: Trio Sonata for Recorder, Viola da Gamba, and Basso Continuo, 1742 Loughry, B.W., 278 Loulié, Étienne: “Méthode pour apprendre à jouer,” 943–44 Loulié, Étienne, 116; and the “echo flute” 1801; Méthode pour apprendre à jouer de la flûte douce, 946–49 Love, Harold: “Telemann’s Illustrious Ladies,” 1931 Luciani, Riccardo: Concerto di Anacrò, 1342 Luff, Norman, 116 Lully, Jean-Baptiste, 116 Lunbeck, Linda, 116 Lünenbürger, Gerd: “Il ruolo del flauto dolce…,” 1976; “Zur Rolle der Blockflöte…,” 1976 Lüpke, Arndt von, 783 Luscinius, Othmar: Mesurgia…, 878

Index

582

Lutosławski, Witold: Seeks polnische Weihnachtslieder, 2051 Lützen, Ludolf: “Ferdinand Conrad,” 1411 Lyndon-Jones, Maggie: “The Bassano/HIE(RO).S/!!/Venice Discussion,” 334; “Case for the ‘Ganassi Recorder’…,” 316; “Checklist of Woodwind Instruments Marked !!,” 335; “More Thoughts on the Bassanos,” 336; “Renaissance Woodwinds…,” 2105; “Who was HIE.S/HIER.S/HIERO.S?,” 337 Lynn, Michael, 783 Lyons, Donald H.: “Resonance Frequencies of the Recorder,” 679 Maarbjerg, Mary: “The Care and Feeding…,” 1248 Machuca, Alonso Salas: “Consideraciones sobre la aportación 1107 MacLean, Avery Alice: “Performance Practice in 17th-Century Recorder Tablatures,” 941 MacMillan, Douglas: “The Descant Recorder…,” 220; “‘A New Concerto…,’” 1958; “The Recorder in the Late 18th and Early 19th Centuries,” 114; “The Voice Flute,” 224 Madgwick, Paul: “Old Recorders for New,” 611 Magnamusic, 783 Maier, Hans-Christof: “Heiserkeit bei Blockflöten,” 846 Maintenance and repair, 27–8, 31, 34, 39, 67–; block, 72, 812, 819, 849; breaking in, 72; condensation and moisture, 72, 822–29; flexibility, improvement of, 525, 812; joints, 72, 830–36; lips, adjustable, 810; oiling, 645, 797, 837–42; scaling, 830; thumb-hole reinforcement, 808; tuning, 847, 850–60; voicing, 638, 848–52; windway, 72, 811, 826, 846. See also Restoration Majer, Joseph Friedrich Bernhard Caspar: Museum musicum…, 1006–7; Neueroeffneter theoretisch…, 1008

Index

583

Majer, Joseph Friedrich Bernhard Caspar: Museum Musicum, 1009 fingerings in, third-octave, 1085 Makers and manufacturers. See also under names of individual makers biographical dictionaries, 1289 historical, 28, 32, 38, 283–397 sixteenth-century, 396 Baroque, 545 England, 305 France, 291–94, 372 Germany, Nuremberg, 298–302, 304 Italy, Venice, 311–13 the Netherlands, 317–18, 321, 324 index of, 284–86 inventories of instruments, 283, 287, 400 modern, 432–538 directories, 432 Switzerland, 538 Makers’ marks, 276; of Bassano family, 330–32, 334–35, 337; Dutch, 288; Nuremberg, 251, 298–99; of Robert Wijne, 394 Making, 42, 56, 850. See also Maintenance and repair; Manufacturing; Voicing; Woods in the Baroque, 545, 722 intonation decisions, 629 use of blanks, 546, 553 entering the profession, 746 based on historical models, 364, 400, 724, 737–39, 741, 748, 750–55 approaches taken by makers, 521, 740, 747, 756, 760 instrument for the music of van Eyck, 555 medieval recorders, 731, 758 Renaissance recorders, 551, 747 trends of the 1960s, 595 do-it-yourself, 723, 733, 743–44, 759 in contrast to manufacturing, 749 plastic instruments, 745 tools, 734 Malinowski, Stephen A.., 850 Malle Symen Quartet, 850 Mancini, Francesco: Sonata for Recorder and Basso Continuo in D Minor, 1890 Manhattan Consort, 850

Index

584

Manifold, John: The Amorous Flute, 41; The Music in English Drama, 74; “The Recorder,” 57 Mann, Alfred: “…Question of Arrangements,” 1719; “The Use of the Recorder in the Works of Bach…,” 1773 Mann, Alfred, 850 Mann, Manfred: “Trouble and Tea,” 190 Manufacturing, 858 Marcello, Benedetto: sonatas by, 1134, 1767, 1891 Marchand, Jean-Noël: and Il pastor fido, 1944, 1946 Margolis, Bob: “A Composer’s Guide to the Recorder,” 1228 Margolis, Bob, 159 Margules, Anna: “Ars subtilior con flauta de pico?” 1731 Marías, Álvaro, 159 Marissen, Michael: “Bach and Recorders in G,” 1800; “Organological Questions…,” 1796; Scoring, Structure, and Signification…, 1787; The Social and Religious Designs of J.S.Bach’s Brandenburg Concertos, 1788; “A Trio in C Major…,” 1814; 1815, p. 644 Marshall, Arthur W.: “The Chamber Music of Godfrey Finger,” 1845; “The Recorder Music of Godfrey Finger,” 1846 Martin, Anne: Musician for a While, 1348; “The Recorder and ‘Bird Music,’” 84; “The Recorder in…West Germany,” 1286 Martin, J.D., 159 Martin, John: “Acoustics for Beginners,” 667; “The Acoustics of the Recorder,” 682–83; Acoustics of the Recorder, 681, p. 647; “Echoes from the Past,” 1794; “Echoes Resounding,” 1795; “Los fiauti d’echo…,” 1803; “Flattening Your Recorder,” 854; “It’s the Extra Beating…,” 695; “Playing the Recorder…,” 1969; “Preparing Aureole 3,” 2008; A Study of Acoustical Aspects…, 680, p. 647 Martín, Mariano:

Index

585

“La flauta de pico y…,” 139 Martín, Mariano, 159 Martinet, Inés: “Reposición del hilo…,” 835 Martínez Ayerza, María: “Las sonatas…de G.F.Haendel,” 1879 Martinů, Bohuslav, 146 Marvin, Bob: “A Bassano flauto,” 338; “Designing Pre-Baroque Recorders,” 551; “A Flexible Recorder,” 601; “A Ganassi flauto,” 761; “Letters from Bob Marvin,” 494; “Making Renaissance Recorders,” 747; “Playing French Late Baroque…,” 1043; “A Recorder Odyssey,” 748; “Recorders & English Flutes…,” 400; “A Serviceable Early Baroque Flauto,” 552; 72, 606, 645, 1059 Marvin, Bob, 599; Ganassi recorder by, 761, 764 Marvuglio, Matt: “Wired for Sound,” 579 Marvuglio, Tony: “Wired for Sound,” 579 Marx, Josef, 599 Marx, Karl: “Begegnungen mit der Blockflöte,” 1549 Marx, Karl, 599 Mascher, Ekkehardt: “…Ferdinand Conrad,” 1412 Massy, Jim: “The Flattening Effect of ‘Pulling Out,’” 855; “The Taped Recorder,” 1169 Mather, Betty Bang: The Art of Preluding, 1110; The Classical Woodwind Cadenza, 1066; “Developing Baroque Ornamentation Skills,” 1097; Free Ornamentation…, 1099; Interpretation of French Music…, 1044; “Making Up Your Own Baroque Ornamentation,” 1098 Mathiesen, Aksel H.: “Ein Messungsprojekt,” 590 Mathiesen, Aksel H., 277 Mathiesen, Irmgard: “Ein Messungsprojekt,” 590 Mathiesen, Irmgard, 277 Mathiesen, Penelope: “…Michael Lynn,” 1543;

Index

586

“Nature, Art and Music,” 376; “Woodwinds and Research,” 1520 Matthyszoon, Paulus: Vertoninge…, 923 Matthyszoon, Paulus, 108 Mattran, Donald: A Teacher’s Guide…, 1670 Matyl, Ulrich: “‘Neue Flötentöne,’” 1977 Maunder, Richard: “The Accompaniment of Concertos…,” 1070 Maute, Matthias: “Improvisation über einen Ground,” 1076; “Remember…,” 159; “Rhetorik in der Musik des Barock,” 1113; “Set soli per flauto senza basso,” 2052 Maute, Matthias, 108; Sei soli per flauto senza basso, 2052 Mayer, Christian: Sebastian Virdung “Musica Getutscht,” 881 Mayes, Andrew: “…Piers Adams,” 1326; “…Peter Bowman & Kathryn Bennetts,” 1366; “…Tim Cranmore,” 450; “Carl Dolmetsch…,” 1439–40; “The Dream Flute,” 445; “Frideswide Consort,” 1457; “…Richard Harvey,” 1473; “…Friedrich von Huene,” 465; “Gordon Jacob’s ‘Trifles,’” 2040; “…Annabel Knight and Louise Bradbury,” 1367; “…Nicholas Lander,” 1517; “…Dan Laurin,” 1524; “…Ross Winters,” 1655; “…Markus Zahnhausen,” 1657; 4 Mayes, Andrew, 108 Maynfrank, Claus E. See Hofmann, Klaus Mazel family: garklein recorder by, 216 McAllister, Maureen, 108 McCabe, John, 108 McCauley, Denis: “Playing ‘Chords’ on the Recorder,” 1238 McChesney, Richard, 108 McCreery, Jean, 108 McCulloch, Derek: “Instrumentation and the Recorder…in…Schütz,” 1912 McCutcheon, Mary:

Index

587

“Recorder in the Lives…,” 1982 McGowan, Richard A.: Italian Baroque Solo Sonatas…, 1682, 1767; “The Recorder Sonatas of Giuseppe Sammartini,” 1908 McGrady, Richard: “Corelli’s Violin Sonatas…,” 1100 McGrattan, Alexander: “Solo Trumpet in Scotland…,” 131 McRae, Lee: “Bruce Haynes,” 457; 1487 Meadows, Hilary: “‘Happy Birthday, Whenever That May Be,’” 351 Measurements, 93, 271, 371, 652, 684 –9 Measuring, 344, 682, 684–5, 687 –90 Medforth, Martin: “The Valentines of Leicester,” 1313 Medley, Daphne: “Recorders and Reeds,” 684; “Tuning and Acoustics,” 668 Meech, Michael: Puppet Show, 1698 Meer, John Henry van der: “Nuremberg Instrument Makers…,” 301; 295, 312, 360–61 Meier, Edwin: “…Museum Bellerive in Zürich,” 423 Meierott, Lenz: Die geschichtliche Entwicklung…, 214; 1892 Meijering, Cord: “Die Problematik des Bearbeitens aus kompositorischer Sicht,” 1720 Mellers, Wilfrid, 690 Mellor, Robyn, 690 Melville, Alison, 690 Les ménestriers, 690 Memihin, Yehudi, 48 Mercier, Louis Sébastien: L’an 2440, 280 Merger, Carl E.: “Friedrich von Huene,” 466 Merkl, Stefan, 48 Merryweather, James: “‘York Music,’” 132 Mersenne, Marin: Harmonic universelle, 917–19; p. 218 Mersenne, Marin: Harmonic universelle, 233, 330, 920–21, 1124 Messa di voce, 48 Metcalfe, William C.: “Dolce or Traverso?,” 1938;

Index

588

“…Telemann’s Harmonischer Gottesdienst,” 1918; 113, 1939 Méthode pour apprendre à jouer de la flûte douce (Loulié), 48 Methods (tutors) and treatises historical, 861–1031, 1039, 1764 bibliography, 861–69 English, 937 facsimile editions, 870, 1696 modern, 1271–72, 1274 Metropolitan Museum of Art (New York City): woodwind instruments in, 428–29 Mett, Silke: “Intonation im Ensemblespiel,” 1249 Metzger, Heinz Klaus, 142 Meyer, Jürgen: “Ein ‘Cross-Interview,’” 1454; “Über den spieltechnischen Ausgleich…,” 705; “Zur Intonation bei Blockflöten,” 706 Meynaud, Michel, 142 Meytz, Johann. See Heitz, Johann Mezger, Marianne: “Die aktuellen Interviews,” 2002; “Bearbeitungen für Flageolet…,” 1721; “Die Kilmarnocker Flöte,” 306; “…David Lasocki,” 1521; “Performance Practice…,” 1039; “Henry Purcell,” 1899–1900; “Henry Purcells Chaconne…,” 1898; “Vom Pleasant Companion…,” 937; 42, 1061, p. 647 Michatz, Hans-Dieter: “Facing the Music,” 1135; “You Must Have a Story…,” 1136 Michatz, Hans-Dieter, 142 Michel, Winfried: “Editionskunde,” 1708; “‘Flautissimo,’” 2044; “Vivaldis Konzerte…,” 1950 Michel, Winfried, 142 Michon, Claire: “Petit grande pratique…,” 1287 Microtonality, 142 Middleton, James: “The Conceit Encore…,” 1250; “Frans Brueggen on the Baroque Recorder,” 1383; “Those ‘Buzzing Ears,’” 696; 1777 MIDI wind controllers, 67, 149, 680 Mielich, Hans, 392 Miessen, Marijke, 392 Miles, Marijke:

Index

589

“…Christopher Ball,” 1338 Miles, Rebecca, 392 Miller, Clement A.: “Jerome Cardan…,” 901 Miller Flute Collection, Dayton C. See Dayton C.Miller Flute Collection Milton, John, 33 Minguet é Irol, Pablo: Reglas, y advertencias generales…, 1024–25 Minguet é Irol, Pablo: Reglas, y advertencias generales, 1026, 1085 Mitchell, David: “Anthony Holborne…,” 1735 Mix, Theodore, 723 Mix, Theodore, 723 Modern Music for Recorder (music series), 723 The Modern Musick-Master (Prelleur), 723 The Modern Recorder Player (van Hauwe), 723 Moderne Blockflötentechnik (van Hauwe), 723 Modernization. See Construction and design Modes, medieval: influence on recorder design, 560 Moeck, Hermann Jr.: “Auf Holz geblasen,” 653; “Walter Bergmann,” 1349; “Blockflötenmundstück mit Frequenzregler,” 612; “Frans Brüggen 50,” 1385; “Conflauti dolci,” 1251; “Il flauto dolce,” 58; “Flötensignaturen auf alten Gemälden,” 251; “Friedrich der Grosse fünfzig,” 467; “50 Jahre Blockflötenorchester…,” 1355; “50 Jahre Moeck…,” 495; “Ist die ‘pflegeleichte’ Blockflöte…,” 841; “Der Markt der Blockflöte…,” 498; “Narziß macht den Musen Konkurrenz,” 160; “Ein neue Behindertenflöte von Aulos,” 573; “Recorders: Handmade and Machine-made,” 749; Den singende Knochen, 275; “Ingrid Tietsch,” 1629; Typen europäischer Blockflöten…, 92; “Zur ‘Nachgeschichte’…” 180; “Zum 100. Mal…,” 602; 4, 49, 183, 198, 296, 545, 558, 575, 633, 742, 811 Moeck, Hermann Jr., 235, 601, 603–6; patents by, 611 Moeck, Hermann Sr., 600 Moeck (publisher and manufacturer), 363, 604, 609–11 Moens-Haene, Greta: Das Vibrato…, 1121

Index

590

Möhlmeier, Susi, 611 Mollenhauer, Bernhard: “Der lange Atem,” 505; “Heinz Rössler,” 524; “So long…,” 581 Mollenhauer, Conrad: “Vom Baumstamm zur Blockflöte,” 506 Mollenhauer (recorder manufacturer), 612–6, 671–2, 674, 692 Möller, Dirk: Besetzung und Instrumentation…, 1858 Monin, Claude, 617–9, 746 Monk, Christopher, 746 Monroe, Diane, 159 Monsbourgh, Lazy Ade, 189 Montagu, Jeremy: “As Like as Two Peas,” 553; “The Restored Chapter House…,” 252; “The Sound of Music,” 1063; “What Was the Flauto d’Echo?” 1792; 4, 285, 287, 420, 794, 818 Montéclair, Michel Pignolet de: brunettes by, 1762, 1765 Monteiro, Isabel: “La flauta dulce en Portugal,” 135 Montenari, Francesco: flauto piccolo concerto by, 1864 Montreal: four composers living in, 1982 Moonen, Toon: “Das Umrechnen von Holzblasinstrumenten,” 750 Moore, Timothy: Suite in G, 1698 Moreno, Emilio: “…Frans Brüggen,” 1386 Morgan, Fred: “Echoes Resounding,” 1795; “Old Recorders,” 752; “Old Recorders and New Ones,” 554; “Making Recorders…,” 751; “A Player’s Guide…,” 59; “A Recorder for…van Eyck,” 555; 419 Morgan, Fred, 188, 619–27, 638; Ganassi recorder by, 6, 763–64 Morley, Thomas: Consort Lessons, 1737–38 Morley College (London), 638 Morley College Recorder Consort, 638 Mosand, John: “Ein wenig bekanntes Buch…,” 1013

Index

591

Moser, Roland: Musik zu Pontormo, 1976 Mosser, Thomas R.: The Recorder…in…Telemann, 1920 The Most Pleasant Companion (Banister), 638 Motzkin, Elhanan, 232 Mouth cavity: effects on pitch and tone, 697–98, 716 Mozart, Franz Xaver, 232 Mozart, Wolfgang Amadeus, 232 Muffat, Gottfried, 113 Mühle, Christoph: Untersuchungen über die Resonanzeigenschaften…, 685 Mulgan, Anthony, 113 Müller, Fritz: “Der gegenwärtige Stand…,” 60 Müller-Busch, Franz: “Alessandro Scarlattis Kantaten…,” 1911; “Ricercata sesta von Giovanni Bassano…,” 1820 Müller-Hartmann, Robert: Suite, 1698, 2055 Multiphonics, 113 Multiple recorder: by Manfredo Settala, 384 Mundhenke, Heike: “Blockflöte und Klavier,” 1137 Munkacsi, Joan, 28 Munrow, David: “Is It Authentic?,” 596 Munrow, David, 28 Murphy, Dennis: “Windways Utilizing a Metal Band,” 753 Murray, A.Gregory. See Murray, Dom Gregory Murray, Dom Gregory: “Editions and Arrangements,” 1709; 1776 Murray, Dom Gregory, 28 Murray, Roy, 28 Murrill, Herbert, 28 Murrow, Gene, 28 Musei Civici (Modena): recorders in, 216, 385 Museo degli strumenti musicali (Rome): recorders in, 2105 Museo Stibbert (Florence): Rippert alto recorder in, 374 Muses: and the instrumentation of Morley’s Consort lessons, 1738 The Muses Delight (Sadler), 28

Index

592

Museum Bellerive (Zurich): recorders in, 423 Museum der Stadt Meran: alto recorder in, 632 Museum musicum theoretico practicum (Majer), 28 Museum of Fine Arts (Boston): recorders in, 1458 Music. See Repertory Music, David W.: “The Recorder in Early America,” 143 Music for a While, 576 Music for Mixed Ensembles (Lehmann), 576 The Music in English Drama (Manifold), 68 Music Minus One, 68 The Music of Edmund Rubbra (Grover), 68 Music Reference and Research Materials (Duckles & Reed), p. 134 Music therapy, 35 Musica Antiqua (Vienna), 35 Musica Dolce, 35 Musica enchiriadis: influence of tetrachord system on recorder design, 560 Musica getutscht (Virdung), 35 Musica instrumentalis deudsch (Agricola), 35 Musical Instruments and Their Symbolism (Winternitz), 260 Musicus autodidaktos (Eisel), 260 Musikhistorisk Museum (Copenhagen): Denner recorders in, 359 Musikhistoriska Museet (Stockholm): Baroque woodwinds in, 421 Musikinstrumentenmuseum (Munich): recorders in, 411 Musikmuseum (Basel): recorders in, 422 Musikwissenschaftliches Instituts der Universität Erlangen-Nürnberg: recorders in, 412 Musima, 283, 440 Muskett, Michael: “On Wetting One’s Whistle,” 829 Musurgia (Luscinius), 440 Muziekkring Obrecht, 440 Muzijkaal Kunst-Woordenboek (Reynvaan), 440 Myers, Arnold: “A Renaissance Recorder in Edinburgh,” 307 Myers, Herbert: “Flutes,” 102; The Practical Acoustics of Early Woodwinds, 556; “Three 17th-Century English Recorder Tutors,” 938

Index

593

Nägeli, 520 Nagle, Sigrid: “…Bernard Krainis,” 1510; “Musical Instruments at the Metropolitan…,” 429; “…Steve Rosenberg,” 1598; “…J.M.Thomson,” 1626; “Daniel Waitzman,” 1644 Nallen, Evelyn: “Peter Holtslag…,” 1486; 199 Nallen, Evelyn, 179 Napolitano-Dardenne, Anne: “Le concerto RV 312…,” 1952 Narcissism, 157 Nastasi, Mirjam: “Frans Brüggen…,” 1387 National Early Music Association, 157 National Portrait Gallery (Yorkshire), 234 Nationalmuseum (Prague): woodwind instruments in, 405 Naudot, Jacques Christophe, 278 Neate, Helen: “The Life and Works of Robert Woodcock,” 1316 Neroda, Joanna, 278 The Netherlands conservatory study in, 144, 154, 1287 makers and instruments, seventeenth-eighteenth centuries, 288, 317–19, 324 recorder music, 1987 Dutch recorders in U.S. collections, 322 recorders in, 321 Dordrecht (the “Dordrecht” recorder), 296, 327, 731 Groningen, collection of Michiel van Bolhuis, 326 the Hague, Gemeentemuseum, 398, 420 Netherlands Recorder Trio: Sourcream, 1382 Neue Klangwelt auf der Blockflöte (Braun), 278 Neueroeffneter theoretisch- und praktischer Music-Saal (Majer), 278 Neuhaus, Fabian: Concerto for Bass Recorder, 2056 Neumeyer, David: “Hindemith’s Recorder Trio,” 2036, p. 646 New and Complete Instructions for the Common Flute, 278 The Newest Method for Learners on the German Flute, 278 The New Flute Master for the Year 1729, 278 The New Grove Dictionary of Music and Musicians, 54 The New Grove Dictionary of Musical Instruments, 54 The New Langwill Index (Waterhouse), 274 New London Consort, 274

Index

594

New York Pro Musica, 274 Newman, Harold, 274 Newman, Joel: “Apt for Recorders,” 1667; “A Commentary on the Directions…,” 962; “Contemporary Music for Recorders,” 1669; “The ‘Easy Recorder’ Myth,” 115; “GBS—Enemy of the Recorder?,” 1609; “Handel’s Use of the Recorder,” 1853; “In Honor of Daniel Purcell,” 1895; “The Lonesome Recorder,” 1673; “The Recorder in Majer’s Museum musicum,” 1009; “Recorders Recommended and Otherwise,” 776; “Score Versus Parts,” 1206; “Stützfingering Un-buttressed,” 1087; “A Walsh Catalog…,” 1668; “The Whole of Holborne,” 1735 Newman, Morris: “Contemporary Music for Recorders,” 1669 A New Musical Grammar (Tans’ur), 274 A New System of the Flute a’bec, (Stanesby Jr.), 274 New York Pro Musica, 274 – New Zealand, 583; recorder music from, 1684 Niagara Falls (N.Y.) High School Recorder Quartet, 200 Nickel, Ekkehart: “Johann Christoph und Jacob Denner,” 358; “Holzblasinstrumentenbau in…Nürnberg,” 302 Nicolucci, Vittorio: Il flauto dolce, 41 Niederländische Blockflöten des 18. Jahrhunderts (van Acht), 411 Niemeyer, Gerhardt: “Conversation at Saratoga,” 1376 Niemöller, Klaus Wolfgang, 411 Nienstedt, Dörte, 411 Niethammer, Marianne Lüthi, 411 “The Nightingale,” 135 Nightingale, John: “Benjamin Thorn,” 1628 Nitka, Arthur, 135 Nitka, Arthur, 135 Nitz, Martin: “G.B.Fontana,” 1848; 1927 Noble, Jeremy, 135 Noble, Richard D.C.: “The New Recorder Sound,” 189; “The Recorder in Pop,” 190; “The Recorder in Twentieth Century Music,” 161; 28 Norman, Janet:

Index

595

“Chris Burgess,” 1397; “I Just Wanted Someone…,” 1597 Nosek, Margaret A.: “The Recorder in the 16th and Early 17th Centuries,” 93 Notation: clefs, historical, 134, 1203; twentieth-century, 1239 Notation der neuen Blockflötenmusik (Schmidt), 135 Notes inégales. See Inequality Noue, Mathurin de la. See La Noue, Mathurin de Nuchelmans, Jan: “Muziek blijft toch een soort schaakspel,” 1388 Nussey, Natalie: “Tips and Maintenance,” 801 Nussey, Peter: “Tips and Maintenance,” 801 Oberlender, Johann Wilhelm I: recorders by, 176, 407, 411, 413, 421, 428; transverse flute with whistle mouthpiece by, 326 Oberlender family, 288 Oberlin Conservatory, 288 Oberlinger, Dorothee, 288 Obizzi collection (Catajo): bass recorders in, 232 Oestreicher, Klaus: “Zur Geschichte der Baßblockflöte,” 233 Ohannesian, David: “I Couldn’t Make an Exact Copy…,” 754; 420, 732 Ohmura, Noriko: “I ‘concerti senza orchestra,’…,” 1940 Oiling, 737 O’Kelly, Eve: “Daniel Brüggen,” 1375; “Mr Recorder,” 1442; “Professional Recorder Players…,” 1320; The Recorder in 20th-century Music, 1209; “Recorder Revival II,” 181; The Recorder Today, 1210, p. 644; 33, 420, 2060, p. 644 O’Kelly, Eve, 737 Oki, Irène, 737 Old English Instruments of Music (Galpin), 119 Oler, Virginia, 425 Oler, Wesley M.: “My Collection of Modern Replicas,” 424; “A Visit to the Kelischek Workshop,” 475; 1009, 1790 Oler, Wesley M.: recorder collection of, 424

Index

596

O’Loughlin, Niall: “The Recorder in 20th-century Music,” 1965 Onderwyzinge hoemen alle de toonen enhalve toonen (Blankenburg), 425 One-handed recorders, 671–3, 676 Ongaro, Giulio: “16th-Century Venetian Wind Instruments…,” 311 On Playing the Flute (Quantz), 676 “On the Cutting Edge,” 159 Oorschot, Guido van, 3 Opera: French Baroque, 1763; seventeenth-century, 1752–53 Opera intitulata Fontegara (Ganassi), 3 Oratorio: seventeenth-century, 1752–53 Das Orchester in den Werken Jean-Baptiste Lullys (Eppelsheim), 3 Orchestra, 3 Orchestra of the 18th Century, 3 Orchestras, recorder, 3. See also Choirs, recorder Organ pipes: compared with the recorder, 689 Orléans, Elizabeth d’, 116 Ornamentation, 27–30, 67, 90 Renaissance, 1088–92 Baroque, 939, 1093–1103 as described in English methods, 940, 1039, 1101, French, 1884, 1894 compared to Japanese flute music, 1102 Italian, 1093 sonatas of Handel (see Handel, George Frideric, solo sonatas) Orpheus Music (publisher), 90 Ortega, María del Valle Martínez. See Del Valle Martínez Ortega, María Ortiz, Diego, 90 Ose, Karsten Erik: “…Dan Laurin,” 90; “…Maurice Steger,” 1617; 4 Osmond, D.W.J: “The Optimum Breath Pressure...,” 703 O’Sullivan, Patricia: “The 1991–1994 Trinity College Examination…,” 1282; “The Recorder in the Universities,” 1278 Otten, Kees, 90 Otten, Kees, 90 Ottenbourgs, Stefaan: “De familie Rottenburgh,” 377 Otterstedt, Annette: “Solange sich die Sache beheben läßt,” 103 Ottoboni, Pietro, 90

Index

597

Paetzold, Herbert, 628 Paetzold, Joachim, 628 Paetzold, Joachim, 149, 629–32; contrabass recorder by, 565; patents by, 611; square-bored recorders by, 163 Paisible, James, 117, 119; and the “echo flute,” 1789–90, 1797–98, 1801 Palanca, Carlo, 343 Pallarés Jiménez, Miguel Angel: “Aportación documental…,” 140 Palme, Natalie: “Elna Sherman,” 1610 Palmer, Frederick, 343 Paolis, Luca de: “Introddución a la ‘Opera intitulata Fontegara,’” 895 Parent, Michiel: recorders by, 326, 431 Paris Conservatoire: recorders in instrument collection of, 406–10 Parkinson, Janice M.: “Dr. Walter Bergmann,” 1350 Parrott, Jasper, 343 Partch, Harry, 159 Pascal, Blaise, 159 Pascual, Beryl Kenyon de. See Kenyon de Pascual, Beryl Pasquale, Marco di: “Gli strumenti musicali…,” 417; 1002 Pasquale, Marco di, 159 Passacaglia (musical group), 159 Passions. See Affections Patavino, Francesco, 257 Patents, 675, 695, 706 –7 Paterson, Scott: “Anthony Burgess,” 2011; A Discography of the Recorder, 1691; “Performing Four Dances by…Holborne,” 1736; “Performing Handel’s Cantata…,” 1863; “Performing Telemann’s Recorder Sonata in D Minor,” 1934; Recorder Care, 802; “…Marion Verbruggen,” 1640; 4 Pedagogy, 32, 35; American Recorder Society Education Program, 1268; bass recorder, 228; intonation, 1185; methods, 1271–72, 1274; in France, 1284–85;

Index

598

in Germany, 1275, 1286; in Italy, 1327. See also Colleges and universities Peelers, Vanessa: “De blokfluit in Frankrijk in de 17de eeuw,” 1889 Pehrsson, Clas: “Is the Recorder a Legitimate Instrument…,” 162 Pehrsson, Clas, 503 Peñalver, Guillermo: “El agujero 8,” 622; “…Álvaro Marías,” 1545; “…Mariano Martín,” 1546; 4 Pepusch, Johann Christoph: Six Concerts, op. 8, 131, 1755 Pepys, Samuel, 31, 88, 176 Performance practice, 27, 31–; use of analysis to develop an interpretation, 1134; Frans Brüggen on, 1383; concertos, accompaniment of, 1070; dance suites, 1036; correcting “errors,” 1751; French music, 1042–45, 1056, 1058, 1119; as indicated in historical methods, 861, 863, 941; historical styles, 1035; Italian music, 1046; solo sonatas, 1040; Middle Ages, 72, 1034; Baroque, 1033, 1036, 1042–45, 1111; Classical, 1066; twentieth century, 1999, 2038. See also under specific topics (e.g., Articulation; Authenticity; Fingerings; Ornamentation; etc.) Performance Practice (Jackson), p. 307 Performance Practice (Vinquist & Zaslaw), p. 307 Performing, 307 Peskin, Carolyn, 67 Peter, Hildemarie: “An Introduction to Ganassi’s Treatise,” 898; The Recorder, 31; 896–97 Péteri, Judit: “…Frans Brüggen in Budapest,” 1389 Peterman, Lewis Emanuel, Jr., The Instrumental Chamber Music of…Boismortier, 67 Petri, Michala, 67 Petri, Michala, 156 Pfegl: recorders by, 421 Philidor, Pierre Danican: flute duets, 1894; use of flattement, 1119

Index

599

Phillips, Michael H.: “A Singular Consort,” 1252 The Physics of Musical Instruments (Fletcher & Rossing), 764 Piano with recorder, 764 Piccolo, Flauto. See Newman, Joel Pichler, Isfried Hermann: “Die Elfenbein-Blockflöten…,” 402 Pickett, Philip, 764 Piguet, Michel, 764 Pilon, Daniel, 764 Pinson, Jean-Pierre: “A propos d’un si bémol,” 85 Pitch, 717–23. See also Intonation; Tuning a1=440 as a standard, 633–37 historical, 631–32, 1106 in music of Bach, 628, 1811 effect of breath pressure on, 676, 697–709 inconsistency of, in historical instruments, 627 modern versus historical, 626 of soprano and tenor recorders in Bb, 558 Pitch Standards in the Baroque and Classical Periods (Haynes), 723 Pitfield, Thomas, 723 Piwkowski, Professor, 196 Plachte, Frank L.: “…Erich Katz,” 1500; “…Shirley Robbins,” 1596 Plaikner, Albrecht (or Jakob), 281 Plamqvist, Jonas, 347 Plastic recorders, 347. See also under makers’ names Playing Music for the Dance (Austin), 347 Playing Recorder Sonatas (Rowland-Jones), 347 Poland: Warsaw, 203 Polk, Keith: German Instrumental Music…, 122 Pollmann, Ulrich, 159 Pond, Amanda, 159 Popular music, 182 –5 Pörschmann, Johann: recorder by, 371 Portell, Patricio: “…la musica champêtre,” 1764; “…‘Signore’ Schultzen,” 1913 Portugal, 126 Post, Nora: “An Interview with Friedrich von Huene,” 468

Index

600

Pettier, Laurence: “The Iconography of the Recorder in France…,” 253; Le répertoire de la flûte à bec…, 1765, p. 644; Les 3 méthodes de flûte à bec…, 945; p. 644 Powell, Ardal: “…Flutemaking in the Eighteenth Century,” 722 Powell, Verne Q., 524 Power, Amy: “Kara Cieszki,” 1400 Power, Tushaar: “On the Pitch Dispositions of Bach’s fiauti d’echo…,” 1799; 1800 Powers, Wendy: “Checklist of Historic Recorders…,” 425; “Historic Recorders…,” 426; 287 The Practical Acoustics of Early Wood winds (Myers), 662 A Practical and Historical Source-Book for the Recorder (Schmidt), 31 Practicing, 31 Praetorius, Martin: “Blockflötenbau,” 755; “Elektronische Stimmgeräte,” 1187 Praetorius, Michael: Syntagma musicum, 910–13 Praetorius, Michael examples of bass parts by, 235 music by, 1739 Syntagma musicum, 913 bass recorder in, 232–33, 235 Praetorius Consort, 31 Praetz, Barbara: “…Brian Bonsor,” 1364 Pratt, Bill: “Dr. Hermann Moeck…,” 499 Prattica de musica (Zacconi), 31 Prelleur, Peter: Instructions & Tunes…, 960; The Modern Musick Master, 959, 961 Preluding, 31 Presbycusis: and the recorder player, 770 Prescott, Thomas: “Making Recorders,” 756; 606, 732 Prescott, Thomas, 633–4 Priestman, Brian: “An Introduction to the Loeillets,” 1300 Prieto, Mariano Pérez: “Presencia de la flauta de pico…,” 141 Primus, Constance M.: American Recorder Music, 1689;

Index

601

“The Bass Recorder in Consort,” 235; “Beginning the Bass,” 234; “Erich Katz,” 1501; “…Hans Ulrich Staeps,” 1614 Principes de la flûte (Schickhardt), 634 Principes de la flûte traversière (Hotteterre), 634 Principles of the Flute, Recorder & Oboe (Hotteterre), 634 Pringle, Rosa: “Revival of the Ancient Recorder,” 182 Prior, Roger: The Bassanos, 333 Prior, Susan: “The Difference a Pitch Makes,” 637; “Enjoy Your Practicing…,” 1198; Improve Your Consort Skills, 1253; “In Search of Recorder Music,” 1722; “Notes on Hans-Martin Linde’s Modern Exercises…,” 2048; “Warming Up on the Recorder,” 1199. See also Carduelis, Susan Prior, Susan, 634 Pro Arte (recorder quartet), 634 Probleme und Lesarten historischer Modelle zur Blockflötenliteratur des Spätbarock (Staeps), 634 Problems and Readings of Historical Models (Staeps), 634 Professional Recorder Players in England, 1540–1740 (Lasocki), 119; p. 736 Proosdij, Hanneke van, 736 Prowo, Pierre: Sonata a 3, 1755 Psychoacoustics, 774 Pudewell, Dorothée: “…Michala Petri,” 1583 Puglisi, Filadelfio: “A Firenze un flauto diritto francese,” 374; “The 17th-Century Recorders…,” 416; “Signor Settala’s ‘armonia di flauti,’” 384 Pugnani, Gaetano, 774 Puig, J.: “Time-Domain Modelling 712 Puklický, Milan: “Die Holzblasinstrumente des Nationalmuseums Prag,” 405 Purcell, Daniel, 774 Purcell, Henry, 45; and the affections, 1038; arrangements of works by, 1721; imitation of birdsong in music by, 84; music on his death, 1757; Three Parts upon a Ground, 72, 1902–5; Two in One upon a Ground, 1898; tunes by, printed in The Compleat Flute-Master, 952

Index

602

Pyzik, Kazimierz: Symphonic Triptych, pt. 2, 1970 “Q&A,” 67 Quandt, Reinhold: “Das Amsterdam Loeki Stardust Quartet,” 1331; “Dr. Hermann Moeck…,” 500; “Michala Petri,” 1584 Quantz, Johann Joachim: Essai d’une méthode…, 1021; Essai-méthode, 1022; On Playing the Flute, 1020; trio sonatas, 1907; Versuch…, 1016–19, 1060 Quantz, Johann Joachim, 67 trios sonatas, 1023, 1742, 1754, 1756 Versuch einer Anweisung die Flöte traversiere zu spielen and the passions, 1023 tonguing syllables in, 1053 vibrato in, 1122 Quotations, 87 Rafi, Claude: recorders by, 372 Raisin-Dadre, Denis, 87 Ralph Roister Doister, 87 Rampe, Siegbert: “…Bachs Brandenburgischen Konzerten Nr. 4 und 5,” 1805 Ran’doo, 747 Ranum, Patricia M.: “A Fresh Look…,” 1057; “Étienne Loulié,” 948–49; “French Articulation,” 1056; “A Sweet Servitude,” 121; “Tu-Ru-Tu and Tu-Ru-Tu-Tu,” 1058, p. 647; 946, p. 644 Rasch, Rudi A.: “Some Mid-17th Century Dutch Collections…,” 1769 Rasmussen, Mary: “Some Recorders in…Dutch Paintings,” 254; A Teacher’s Guide…, 1670 Rauch von Schratt, Hans, 346 Raudonikas, F.: “Blown Resonance of Baroque Flute-Traverso,” 704 Rawski, Conrad: Flute, Recorder, and Oboe before 1800, 866 Rawsthorne, Alan: Suite for Recorder and Piano, 2058 Read, Robin:

Index

603

“Discovery of Six Sonatas by Dieupart,” 1826; “Recorder Tone,” 663 Rechberger, Hermann: “Anwendung der Blockflöte…,” 1216; Die Blockflöte in der zeitgenössischen Musik, 1217 Recondo, Ezequiel M., 663 “Recorder”: etymology of, 28, 75–78, 90, 104, 1650 Recorder: general introductions, 28–30, 35, 38, 40, 43–44, 47, 49–50, 52, 56–57, 59, 61, 65. See also under specific topics (e.g., Bibliography; Construction and design; History; Maintenance and repair; Repertory, etc.) The Recorder: A Basic Workshop Manual (Brown), 663 The Recorder: A Handbook of Useful Information (Hunt), 39 The Recorder and Its Music (Hunt), 26; p. 736 Recorder & Music Magazine, 736 The Recorder Book (Wollitz), 28 Recorder Care (Paterson), 28 Recorder choirs, 28 The Recorder Collection of Frans Brüggen, 409 Recorder Home Page (Lander), 63 Recorder Home Page, 64–5 Recorder Humour (King), 266 The Recorder Idiom in the Instrumental Music of Georg Philipp Telemann (Mosser), 266 The Recorder in the Music of Purcell and Handel (Levin), 266 The Recorder in the 17th Century (ed. Lasocki), 107 The Recorder in Twentieth-Century Music (O’Kelly), 107 The Recorder: Its Traditions and Its Tasks (Peter), 31 Recorder music. See Repertory Recorder orchestras, 31 Recorder players, 42, 120, 159. See also under the names of individual players attitude toward the instrument, 1142 biographical dictionaries, 1289 eighteenth-century, 107 in England sixteenth-eighteenth centuries, 123, 126–29, 1291, 1297 in Germany Middle Ages, 122 in Spain eighteenth century, 136 The Recorder Player’s Handbook (Linde), 27 Recorder Profiles (Thomson), 27 Recorder Technique (Rowland-Jones), 27 The Recorder Today (O’Kelly), 27; p. 736 Recorder Tutors of the Seventeenth and Eighteenth Centuries (Vinquist), 736 RECORDERS (musical composition), 736 Redsell, Matthew James:

Index

604

“The Life and Times…,” 522; “Ingeborg von Huene,” 469 Reed, Ida: Music Reference and Research Materials, p. 141 Rees, Helen: “The China Syndrome,” 1592 Rees, Helen, 736 Reggio, Hoste da: madrigal by, depicted in a painting, 271 Reglas, y advertencias generales (Minguet é Irol), 736 Reichenthal, Eugene: “Effective Use of Exceptional Fingering,” 1170; “Partial Venting,” 1189; “…Hans Ulrich Staeps,” 1615; “Teaching Tips,” 1138; 1178, 1190, 1491, 1810 Reidemeister, Peter, 736 Reilly, Edward R.: “Quantz and the Recorder,” 1906; 1020 Reiners, Hans: “Reflections on a Reconstruction…,” 303; “Solange sich die Sache beheben läßt,” 103 Reinhard, Bruno: “Conseils pour le choix…,” 772; “La flûte à bec,” 600 Reinhard, Johnny, 159 Reinhardt, Kay: “Phil Bleazey Winwoods,” 439 Reiss, Scott: “Articulation,” 1059; “Blues, Jazz, Improvisation…,” 191; “Pitch Control,” 1190; 1096–97, 1179 Reiss, Scott, 159 Reiter, Andrea: “The World according to Richie,” 1479 The Reluctant Consort, 159 Le répertoire de la flûte à bec en France à l’époque baroque (musique profane) (Pottier), 159; p. 736 Répertoire international des sources musicales (RISM), 736 Repertory, 26–32, 46, 50, 54, 203, 205. See also under the names of individual composers “authentic,” 1702 bibliography, 1–3, 30, 1661–86 concertos, 1070, 1683 dance music, 1667 sonatas, 1681, 1766 twentieth century, 1209–10, 1671, 1973 unaccompanied solos, 1672–73 Walsh catalog, 1668

Index

605

Christmas, 1704 concertos, 1683, 1746 continuo realization, 1067–68 dance music, 1660 in early printed editions, 1703 editing, 33 editions, desired qualities in, 1705–7 electronic music, 1980 encores, 1250 ensembles, 72, 1244, 1256, 1258, 1267, 1663, 1675 facsimile editions, 33, 1696, 1705 with flute, 1754–56 as suitable for modern flute, 1701 with guitar, 1676–77 high school and college, teacher’s guide, 1670 humorous, 1969 limits of, 156 with lute, 1678 with orchestra, 1700 pastoral music, 1764 with piano, 1137, 1679 play-along publications, 1710 sonatas, 1040 with strings, 1680 transcription and arrangement (see Transcription and arrangement) trios, 1698 unaccompanied, 1695 in vocal works, 1752–53 Middle Ages, 1732 Germany, 122 Renaissance, 95, 99, 1728–33, 1758 Baroque, 36 correcting “errors” in, 1751 chamber music, 1748 concertos, 1746 dance suites, 1036 England, 1721, 1759 France, 1765 Italy, 134, 1766, 1768 the Netherlands, 1769 quartets for three instruments and continuo, 1744 sonatas, 37, 1682, 1745, 1749, 1766–67 bibliography, 1681, 1766 trio sonatas, 1742–43 vocal music, 1750 nineteenth-century, 1960 twentieth-century, 146, 161, 1209–10, 1671, 1961–80 avant-garde, 1209–10, 1962–64, 1970, 1972–76

Index

606

bibliography, 1674 ensembles, 72 juvenile, 1968 notation, 1239 Argentina, 1687 Australia, 1684–86 Great Britain, 1983 Japan, 1984–86 Latin America, 1688 the Netherlands, 1987 New Zealand, 1684 United States, 1689, 1988 Reprise: The Extraordinary Revival of Early Music (Cohen), 205 Research, 205, ch. 31 RESONANS (computer software), 863 Respectable Groove, 179 Restoration, 179; bibliography, p. 267; work of Claire Soubeyran on, 529; of specific instruments, 327, 392, 418 Reutter, Georg, 113 Reviers, Bruno de: “De nouveaux bois pour…,” 654–56 Revival: twentieth century, 28, 46, 50, 52, 58, 172–85, 499, 1435, 1645 Reyne, Hugo: “…Roger Cotte,” 1416; “Les facteurs et fabricants…,” 432; “La flûte à bec,” 65; “Les flûtistes à bec…,” 1322; “Les oeuvres des trois Loeillet…,” 1887; “Quelques notes sur les facteurs…,” 396; “Une rétrospective…,” 786; “…Jean-Claude Veilhan,” 1638 Reynvaan, Joos Verschuere: Muzijkaal kunst-woordenboek, 1030 Reynvaan, Joos Verschuere, 113 Rhetoric: and Baroque music, 1111, 1113 Rhythm: and articulation symbols, 1051; inequality, 1056, 1115 Riccio, Domenico, 260 Riccio, Giovanni Battista, 260 Rice, Albert R.: “The…Collection of…Michiel van Bolhuis,” 326 Rice, Michael:

Index

607

“The Decline,” 592 Richardson, Paul: “Afinación de una flauta de pico,” 856; “El arte del mantenimiento…,” 803; “…Adrian Brown,” 446; “…la flauta Ganassi,” 766; “…Alec Loretto,” 492; “Nuremberg, música…,” 304; “Reposición del hilo…,” 835 Riche, François la. See La Riche, François Richter, Johann Christian, 260 Riehm, Rolf: Weeds in Ophelia’s Hair, 2059 Riemann, Hugo: and performance practice, 2038 Rijkel: recorder by, 403 Rijnvos, Richard: Zahgurim, 1976 Riley, Maurice: “A Tentative Bibliography…,” 867 Ring, Layton: “…Purcell’s 3 Parts upon a Ground,” 1902; 1896 Rippert, Jean-Jacques: recorders by, 374, 407, 411, 655 RISM, 260 Ritchie, Jacqueline: “…Susan Ferguson,” 1452; “Un grand facteur américain,” 470; “…Guido Hulsens,” 472; “…Claude Monin,” 508; “…Annie Sturbois…,” 436 Ritter, Marie, 32 Rivera, Eduardo Valdivia. See Valdivia Rivera, Eduardo Rivers, Lynton: “Dan Laurin…,” 1527; “…Marijke Miessen,” 1557 Robbins, Shirley, 32 Robert, Cécile: XXème siècle et flûte à bec, 183 Roberts, Don “Pixie,” 189 Robertson, Peter: “The Recorder Works of Daryl Runswick,” 2065 Robinson, Andrew: “Leg Technique,” 1178; “Quiet High Notes,” 1159; “Risky Top A,” 1182; 1178 Robinson, M.B., 189

Index

608

Robinson, Trevor: The Amateur Wind Instrument Maker, 757 Rodgers, Gwen: “Evelyn Nallen,” 1567; “Rewards and Challenges,” 189 Rodgers, Gwen, 189 Roessler, Heinz, 609, 636, 638 Roger, Jeanne, 638 Rolin, Étienne, “Un répertoire pour demain,” 638 Rolin, Étienne: Phénix, 1966 Rolling Stones: “Ruby Tuesday,” 190 La romanesca (musical group), 638 Romanino, Girolamo, 245 Rondón, Victor: “Die Blockflöte in Chile,” 196 Roosen, I.: recorders by, 420 Roosendael, Jan Rokus van: Rotations, 2060 Rosado, Francisco: “…Pedro Bonet,” 1363 Rose, Pete: “And Disciple,” 1358; “Avant-Garde Recorder Music,” 1972; “Gerhard Braun…,” 197; “…Richard and Elaine Henzler,” 1480; “Daniel Koschitzki,” 1508; “In Living Color!,” 1171; “…Introduction to Jazz,” 188; “‘The Kid,’” 1324; “Mentor,” 1531; “…Music of Hanneke van Proosdij,” 2057; “‘Nachrichten aus Philadelphia,’” 2061; “New Directions,” 2074; “New Recorder for New Music,” 609; “On the Cutting Edge,” 163; […Helen Rees], 1593; “What Pieces Would I Recommend…,” 1973; “Where in the World has Michael Vetter Been?,” 1642; “Zum Stand…,” 1988; 72, 1158 Rose, Pete, 245; compositions by, 2061 Rosenberg, Cal, 702 Rosenberg, Marvin: “The Efficient Consort Rehearsal,” 1254; 2083 Rosenberg, Steve, 67

Index

609

Rosenberg, Steve, 67; The Recorder Book, 1273 Rosenborg recorders, 239, 348, 661 – Rosenfeld, Randall A.: “Van Eyck’s Der Fluyten Lust-hof,” 1842 Rosin, Sylvia C.: “…Sören Siegs pina ya phala,” 2072; “‘Da wird selbst die sanfte Blockflöte…,’” 2078 Rossing, Thomas D.: The Physics of Musical Instruments, 666, p. 220 Rössler, Heinz, 637; Oberlender model recorder by, 737 Roth, Ruth C.: “Ten or More Ways to Improve…,” 1200 Rothe, Gisela: “…Adriana Breukink,” 444; “Coolsma von AAFABBV,” 448; “…Ensemble Dreiklang Berlin,” 1449; “…Hans-Jürgen Hufeisen,” 1488; “Intonation im Blockflöten-Ensemble,” 1255; “…Volker Leiss,” 1532; “…Nadja Schubert,” 1607; “Eduardo Valdivia Rivera,” 535; “…Matthias Weilenmann,” 1649 Rottenburgh family, 349 Rowe, John, 349 Rowell, Roger M.: “One Way to Keep Wood…,” 657 Rowland-Jones, Anthony: “…the Art of Titian,” 262; “The Baroque Chamber-Music Repertoire,” 1748; “The Baroque Recorder Sonata,” 1749; “The Eighteenth-Century Recorder Concerto,” 1746; “Einige Überlegungen zum Begriff Recorder,” 78; “First Recorder,” 104; “First Steps in Applying French Polish,” 1045; “Flautas de pico renacentistas,” 265; “Die Geschenke der Hirten…,” 259; “Guide to Further Reading,” 5; “Iconography of Two (or Three) Recorders,” 256; “Images of the Recorder on the Web,” 257; “In Defense of ‘Should,’” 1062; “Jesus Christ and the Recorder,” 258; “Nativity Shepherds’ Gifts,” 259; Playing Recorder Sonatas, 1040; “Portrait of a Man with a Recorder,” 260; “Putting the Clock Back,” 1124; “Quantz Dediddled,” 1060;

Index

610

“Recorder & Marriage,” 261; “Recorder Slurring,” 1061; Recorder Technique, 1126; “Recorders and Angels,” 263; “The Recorder’s Medieval and Renaissance Repertoire,” 1732; “Recorders Rising from Ashes,” 264; “Renaissance Recorders,” 265; “Scottish Muses…,” 1738; “Seven at a Blow,” 266; “Short History of Partial Venting,” 1191; “A Slur on Slurring?,” 1146; “Some Trill Fingerings…,” 1184; “The Symbolism…in Rubens’s Version of Titian’s Bacchanal,” 267; “Los tapices de Zaragoza…,” 255; “Technique,” 1139–40; “Three Blind Mice…,” 1183; “Tiziano…,” 262; 4, 1083, 1170, 1190, 1956, p. 85 Rowland-Jones, Anthony, 349 Roxburgh, Edwin: Constellations, 1971 Royal College of Music (London): recorders in, 359, 369 Royal Shakespeare Theatre Wind Band, 349 Rua, Vítor: Duplicator, 1980 Rubbra, Edmund, 66 Rubens, Peter Paul, 256 Rubin Academy (Jerusalem), 398 Rüdiger, Wolfgang: “‘kein geringes im Lande der Affecten,’” 1933 Rudiments of the Flute, Recorder, and Oboe (Hotteterre), 398 Ruëtz, Manfred: “Die Blockflöte bei Bach,” 1772; “Die Blockflöte in der Kirchenmusik…Bachs,” 1806 Ruëtz, Manfred, 398 Ruf, Hugo, 398 Ruffatti, Alessio: “La famiglia Piva-Bassano…,” 339; “Italian Musicians at the Tudor Court,” 340 Ruhland, Konrad: “Blockflöte und geistliche Vokalmusik…,” 1750 Rules for Gracing on the Flute, 398 Runswick, Daryl, 398 Russia: flutes and recorders in a collection in St. Petersburg, 431 Rutherford, David: The Compleat Tutor for ye Flute…, 972 Ryder, Dudley, 398

Index

611

Ryder, James, 398 Rykel: recorders by, 421 Rzewski, Frederic: Les moutons de Panurge, 2066 Sachsteder, Richard: “…Philip Levin,” 485; “On the Application and Misapplication…,” 665; 671, 1373 Sadastan (musical group), 159 Sahlin, Eva: “Blockflöte als Lirenersatz?,” 1880 Salb, Michael: Musikinstrumente, 61 Salkeld, Robert, 159 Salter, Humphrey: The Genteel Companion, 936 Salter, Humphrey: The Genteel Companion, 938 Salvatorelli, Franco, 159 Sammartini, Giuseppe, 159 Die Sammlung historischer Musikinstrumente des Musikwissenschaftlichen Instituts der Universität Erlangen-Nürnberg (Eschler), 392 Sandford, Gordon: “Tielman Susato’s Dances…,” 1740 Sandman, Susan G., 392 Sandner, Erich: “Irrtum bei Blockflöten??,” 558 Sansom, Roy, 392 Santvoort, Dirck, 239 Sanvoisin, Michel, 239 Saperas, Josep María: “Markus Zahnhausen,” 1658 Sardelli, Federico Maria: La musica per flauto di Antonio Vivaldi, 1956 Sattler: recorders by, 421, 427 Saunders, Gordon: “Choosing a Recorder,” 777; “Recorder Care and Playing-in,” 804 Saunders, Joanne: “Reflections of a Recorder Maker,” 526 Saux, Gaston, 239; Quartet in F, 2067 Savage, Alan A.: “On Performing the Handel Recorder Sonatas…,” 1867; 113 Savoldo, Giovanni Girolamo: Portrait of a Man with a Recorder, 260, 268

Index

612

Saxby, Joseph, 239 Sayers, Keith: “Recorders on the Elbe,” 198; “The Roessler Recorder,” 525; 1777 Scaling, 689 Scarlatti, Alessandro, 689 Schafer, Elizabeth D.: “Recorders in Children’s Literature,” 279 Scharapan, Gérard: “Salicionaux de Patrice Sciortino,” 2069 Scharenberg, Sointu: “Sebastian Virdungs ‘Musica getutscht,’” 885 Scheck, Gustav: “A Flautist’s Reminiscences,” 1606; “The Recorder Sonatas of…Telemann,” 1919; “Der Weg zu den Holzblasinstrumenten,” 62 Scheck, Gustav, 689 Schell, Johann, 288; recorders by, 176, 413 Scherer family, 350 –1 Scherliess, Volker: “Alles war hell…,” 268 Schickhardt, Johann Christian: Principles de la flûte…, 1001–2 Schickhardt, Johann Christian, 351; Principes de la flûte, 1003 Schickhardt, Johann-Jakob, 324 Schieffer, Eva: “Jürg Baurs Concerto da Camera,” 1992 Schimmel, Hans: Niederländische Blockflöten…, 420 Schitzer family, 240 Schlägl monastery: ivory recorders in, 401–2 Schlegel, Christian, 352–3; recorders by, 422 Schlegel, Jeremias, 353; recorders by, 407 Schloß Sigmaringen: musical instruments in, 403 Schmaus, Brigitte: “Markus Zahnhausen,” 1659 Schmelzer, Johann: Sonata a 7 flaut, 1747 Schmid, Manfred Hermann: “Die Blockflöten des Musikinstrumentenmuseums München,” 411 Schmidt, Dörte: “Über Möglichkeiten,” 2042

Index Schmidt, Lloyd: “Bach and the Recorder,” 1775; A Practical and Historical Source-Book…, 32 Schmidt, Suzanne: “‘Primitives Instrument voller Rätsel,’” 518 Schmidt, Ursula: Notation…, 1239 Schmitz, Hans-Peter, 353 Schneid, Tobias: “…Johannes Fischer,” 1454 Schneider, Michael: “Am Beispiel van Eyck,” 1699; “Dekor oder Substanz?,” 1817; “50 Jahre Blockflötenspiel,” 164; “Larghetto…von Georg Friedrich Handel,” 1856; “Muster mitWert,” 1876; 1953 Schnitzer family, 288 Schnoll, David: “Choosing Recorders…,” 778 Schnur, Andreas, 826 Schoeneich, Leila: “‘Auf der Suche…,’” 2077 Scholarship, 826, ch. 31 Schölch, R.: “Geeignete Edelhölzer…,” 658 Schöllnast, Franz, 111 Schollum, Robert, 111 Schön, Ludwig, 114 Schöni, Andreas, 640 Schott: manufacture of Concert recorders, 725 Schouten, Marijke: “Bachs triosonates gereconstrueerd,” 1815 Schrade, Leo, 640 Schrader, Stephan: “…Han Tol,” 1631 Schratt, Hans Rauch von: recorders by, 407, 411 Schrattenbach: recorders by, 413 Schubert, Nadja, 640 Schuchart, Johann Just, 324, 354 Schuechbaur: recorders by, 176–77 Schultka, Holger, 354 Schultzen, A.H.: recorder sonatas, 1913 Schuster, Max, 642

613

Index

614

Schütz, Heinrich, 642 Schwarting, Heino: “Zwei Altflötenstimmen…,” 1927 Sciortino, Patrice: Salicionaux, 2069 Scopolamine, 642 Scoring, Structure, and Signification in J.S.Bach’s Brandenburg Concertos (Marissen), 642 Scotland: recorders in, 245, 306–7 Scott, A., 642 Seckendorf, Paul, 642 The Second Book of the Flute Master Improv’d, 958 Seely, Neil, 67 Segal, Danya, 67 Segerman, Ephraim: “Contrasts between String and Woodwind Gracing…,” 1101 Seibert, Peter: “Arranging for Recorder Ensemble,” 1723; “…Erich Katz,” 1502; “Ornamentation for Consort Players,” 1091 Seifert, Herbert: “Die Bläser der kaiserlichen Hofkapelle…,” 119, 1849 Seiler, Jean: “Degree Programs in Early Music…,” 1280; 180 Sela, Bárbara: “…Bart Coen,” 1408; “Seleccíon de tratados y métodos antiguos…,” 67 Selecting an instrument, 27, 54, 56, 67; accommodating hearing loss, 770; plastic, 783–90; wooden instruments, 769, 771–72, 775, 777, 779 Selfridge-Field, Eleanor: “Instrumentation and Genre…,” 1768; “Venetian Instrumentalists in England,” 333; “Vivaldi and the Accademia Filarmonica,” 1294; 128 Selhof, Nicolas: estate auction, 325 Sellner, Joseph, 67 Selma, Bartolomé de, 355 Semmens, Richard: “Étienne Loulié’s ‘Method…,’” 947; “A Translation of Etienne Loulié’s Method…,” 946 Septalius, Manfredus. See Settala, Manfredo Serocki, Kazimierz, 355 “Serpent in the Midst,” 264 Serrano Márquez, Carlos: “Growing World of Wood,” 659

Index

615

Settala, Manfredo, 358; multiple recorder by, 384 Seviour, Madeline: A Discography of Recorder Music, 1692; “The Real Thing?,” 1256 Seymour, Charles, Duke of Somerset, 358 Shakespeare, William, 176; allusions to flutes and recorders, 34, 89–90; “dark lady” of the sonnets, 333 Shapiro, Daniel: “…Frans Brüggen,” 1390 Sharman, Ian G.: “Francesco Barsanti,” 1292; 1818 Sharp, Nan Ellen Orthmann: The Use of Flutes and Recorders…, 1809 Shaw, Bernard, 178 Shaw, Joseph, 124 Shchedrin, Rodion, 124 Sheper, Walter, 124 Sherman, Elna: “Trinity College Recorder Examinations,” 1283 Sherman, Elna, 124 Sherwood, Thomas: “Baroque G Recorders,” 222 Shim, Kunsu: peripatetic exercise, 1976 Shima, Tatsuro: “Physical Properties of Sustained Part…,” 714 Short, Christopher: “Recorded Recorders,” 1690 Short, Michael, 124 Sieg, Sören: pina ya phala, 2072 Siekman, Ella, 411 Sight-reading, 411; alto clef, 1204 Silbiger, Alexander: “Notes on Composing…,” 1229; “The Trio Sonatas of…Telemann,” 1914; 34, 2083 Silva, Lisete da, 411 Silverstein, Steven, 67, 691, 712 Silverstein, Steven, 641 Simmons, Terry: “The Good Oil,” 842 Simpson, Adrienne: “…Paul Clarke,” 1402; “David Coomber…,” 1415; “Making Recorders of Gidgee…,” 493;

Index

616

“Orchestral Recorder,” 1700; “‘Progress Will Be Made,’” 1401; “A Short-Title List…,” 868; “Variety in Consort Playing,” 1257 Simpson, Christopher, 641; The Division-Violist, 1073–74 Sinks, Alfred H., 337 Six Lectures on the Recorder and Other Flutes in Relation to Literature (Welch), 33 Sixth flute, 211, 212 Sizes of recorders, 201–25. See also under specific sizes (e.g., Fourth flute; Tenor recorder; Voice flute; etc.) Skempton, Alec: “The Instrumental Sonatas of the Loeillets,” 1885 Skins, Ron: “First Steps in Consort Playing,” 1258; “Recorder and Piano,” 1679; “The Recorder as Image-Maker,” 86; 281 Slim, H.Colin: “Giovanni Girolamo Savoldo’s Portrait…,” 268 Slurring, 225 Smeyers, David: “Karlheinz Stockhausens ‘In Freundschaft,’” 2076; 2032 Smith, Beverly, 323; 177 Smith, Catherine P., 177 Smith, Fabienne, 109 Smith, Fabienne, 712 Smith, Mark: “J.S.Bach’s ‘Fiauti d’echo,’” 1804 Smith, William C., 712 Snelling, Virginia: “Flûle à bec médiévale,” 758 Sobczak, Alain: “Conseils pous le choix…,” 772 The Social and Religious Designs of J.S.Bach’s Brandenburg Concertos (Marissen), 712 Società Italiana del Flauto Dolce, 195 Society of Recorder Players, 31, 44 – Sokoll, Christa: “Dynamik des Blockflötenspiels,” 1160 Solomon, Jon: “Polyphemus’s Whistle…,” 1855 The Solo Sonatas of Georg Philipp Telemann (Swack), 44, p. 738 Somer, Harry: Twelve Miniatures, 1970 Sonatas. See Repertory Sonaten auf Concertenart, 738 Songs of Mortals, Dialogues of the Gods (Stein), 134 Les sons multiples aux flûtes à bec (Kientzy), 134 Sopranino recorder, 210;

Index

617

eighteenth-century instrument found in Foligno, 309 Soprano recorder, 211–2 Sopranzi, Pietro: “Come e perché…,” 686 Soubeyran, Claire, 641 Sour Cream (musical group), 641 Sources, historical. See Methods (tutors) and treatises South Africa, 197 Souvé: bass recorder by, 427 Soviet Union, 200 “Spagna” tune: improvising on, 1088 Spahlinger, Mathias: nah, getrennt, 2073–74 Spain, 127–34, 309; recorders in, 138; fourteenth century, 236; fifteenth century, 140; seventeenth century, 137, 142; eighteenth century, 141, 328 Sparr, Thea von, 309 Speer, Daniel: Grund-richtiger…, 978 Spiegel, Fritz, 309 Springfels, Mary, 309 Staehelin, Martin: “Neue Quellen zur mehrstimmigen Musik…,” 871 Staeps, Hans Ulrich: Problems and Readings, 1751; “Saratoga Suite,” 309; 309 Staeps, Hans Ulrich, 309 Staiti, Nico: “Satyrs and Shepherds…,” 269 Stanesby, Thomas, Jr.: A New System…,” 1004–5 Stanesby, Thomas, Jr., 359–60; recorders by, 356 Stanesby, Thomas, Sr., 361; recorders by, 388, 407, 584 Stanesby family, 290, 362 Stangenberg, Karl, 362 Stansfield, Norman: “Ornamentation in 18th Century…,” 1102 Staub, Nikolaus, 288; recorders by, 413, 421 Stavenhagen, Andreas: “Bei den Holzblasinstrumenten…,” 607

Index

618

Stearns Collection (Ann Arbor, Mich.): recorders in, 359, 427 Steenbergen, A.van: “Transitoire d’attaque des instruments…,” 718 Steenbergen, Jan, 363; recorders by, 390, 421 Steenhoven, Karel van: “Die Blockflöte im 21. Jahrhundert,” 165 Steenwijck, Harmen, 240 Steger, Maurice, 240 Steger, Maurice, 240 Stein, Louise K.: Songs of Mortals, Dialogues of the Gods, 142 Steinauer, Mathias, 240 Steinkopf, Otto: Zur Akustik der Blasinstrumente, 687 Steinmann, Conrad: “…Konzertes für Bassblockflöte…von Fabian Neuhaus,” 2056; 1953 Steinmann, Conrad, 240 Steppuhn, Diether, 240 Stern, Claudio: “A Brief Workshop Manual…,” 805 Stern, Nina, 240 Sterne, Colin C.: “Quavering, Quivering, and J.J.Quantz,” 1122; 30, 2083 St. George Tucker, Tui, 159 Stichting Blokfluit, 159, p. 738 Stieber, Ernst, 642 –3 Stiegler, Helge: “Immer nur Buchs?,” 660; “Konstruktionsmerkmale von Blockflöten,” 559; 1084 Stiegler, Helge, 614, 644 Stilz, Manfred, 644 Stockhausen, Karlheinz, 644 Stockmeier, Wolfgang: “Günther Höller,” 1483 St. Peter Hungate (Norwich): Bressan bass recorder in, 348 Stradner, Gerhardt: “Das Blasinstrumenten in einem Inventar…,” 404; Spielpraxis und Instrumentarium um 1500, 644 Stratford, Michael: “Daniel Demoivre,” 1825 Strathmann, Arnfred: “Flöte,” 603 Strathmann, Arnfred: adjustable block patented by, 458, 611–13; keyed recorder by, 603

Index

619

Strebel, Hartmut, 644 Strings with recorder, 644 Strode, Rosamund: “Benjamin Britten and the Recorder,” 2004 Stroesser, Nicolas, 644 Struck, Annette: “Konrad Hünteler,” 1494 Gli strumenti musicali del Rinascimento (Bornstein), 93 Strungk, Nicolaus Adam, 93 Strupp, Anne J.M., 267 Stuart, Charles: “‘Dolmetscherie’ Today,” 453 Study of Acoustical Aspects of the Recorder…(Martin), 786 A Study of the Acoustical Properties of a…Fipple Flute (Recorder) (Turicchi), 802 Sturbois, Annie, 448 Styles: historical, 1035 Suppan, Wolfgang: “The Use of Wind Instruments…,” 1850 Support: hand and body position, 1129 Susato, Tielman Danserye, 448 Sutherland, Enid: The Secret, 163 Swack, Jeanne R.: “On the Origins 1930; The Solo Sonatas of…Telemann, 1926, p. 646; p. 644 Swaine, N.: The Young Musician, 1031 Swainson, Dorothy, 448 Sweden: Baroque woodwinds in the Musikhistoriska Museet (Stockholm), 421 Sweet Pipes, 448 Switzerland: makers, 538; recorders in, 422–23 Sylva sylvarum (Bacon), 759 Symbolism: 61, 79–86, 122, 137, 243, 245, 260; birds, 81, 84; love, sex, and marriage, 65, 82–83, 261, 267 Synpor, 755 Syntagma musicum (Praetorius), 755 Syntagma musicum (musical group), 755 Synthetics of a Recorder Tone-color (Driscoll), 842 Szalonek, Witold: Auf der Suche nach dem verlorenen Kleinen Prinzen, 2077; Das Haupt der Medusa, 2078

Index

620

Tada, Ichiro: “The Recorder in Japan,” 202 Taiwan, 842 Talbot, James, 842 Talbot, Michael: Benedetto Vinaccesi, 1315; “Vivaldi and Rome,” 1943 Tanguay, James, 67 Tansman, Alexandre: Suite, 1698 Tans’ur, William: The Elements of Musick Display’d, 1015; A New Musical Grammar…, 1014 Tarasov, Nikolaj: “The Classic Buskers,” 1404; “Dazumal und heute noch,” 519; “Der gläserne Blockflötenspieler,” 688; “Gyula Foky-Gruber,” 454; “Mozart und die Blockflöte,” 1893; “…Musikmuseum, Basel,” 422; “Neues von Beethoven,” 1959; “New Flautino Concerto by Vivaldi?,” 1953; “Orgel & Blockflöte,” 689; “…Kees Often,” 1577; “…Joachim Paetzold,” 520; “…Michala Petri,” 1583; “Stationen,” 614; “Synpor,” 661; “Tip: ‘Originalmusik des 20. Jahrhunderts für Blockflöte solo,’” 1674; “Vivaldis 4. Flautinokonzert?,” 1953; 434, p. 647 Tarasov, Nikolaj: modernized recorder designed by, 459, 609, 1999 Tarr, Edward H.: “Bismantova’s Compendio musicale.” 931 Taruskin, Richard, 67; p. 307, 739 Tattersall, Malcolm: “Australian Music for the Recorder,” 1685; “…Lance Eccles,” 1448; “Echoes Resounding,” 1795; “Peggy Glanville-Hicks,” 1463; “…David Lasocki,” 1522; “The Recorder in the Twenty-First Century,” 166; “Traveller’s Tales,” 1553; “When Is a Slur Not a Slur?,” 1147; “Wider Horizons,” 1686 Taylor, Christine, 739 Taylor, Christopher, 739

Index

621

Taylor, Dale: “Putting Recorders…,” 858 Taylor, Laurence: “Recorder Literature,” 1701 Taylor, Paul Arden, 739 Taylor, Ralph: “Cook Glassgold,” 1464 Taylor, Richard, 739 Taylor, Stanley: “Balancing the Brandenburgs,” 1785 Taylor, Stanley, 739 The Taylor Consort, 739 A Teacher’s Guide to the Literature of Woodwind Instruments (Rasmussen & Mattran), 739 Teaching. See Pedagogy Technique, 27–8; avant-garde, 1209–40. See also specific topics (e.g., Articulation; Breathing; Fingering; Multiphonics; etc.) Telemann, Georg Philipp, 28; p. 738 bibliography, 1915 cantatas, unpublished, 1928 concertos, 1929 for recorder and flute in E minor, 1754, 1756 Essercizii musici, 1923 Fantasia no. 1 (TWV 40:2), 1935 Der getreue Music-Meister, 1917, 1924, 1931 Der harmonischer Gottes-Dienst, 1918, 1922 high notes in works by, 1084 Die kleine Cammer-Music, 1290 quartet sonatas, 1744, 1754, 1756, 1932 Sonaten auf Concertenart, 1930 sonatas, 1040, 1919, 1926 in D minor (TWV 41:d4), 1111, 1190, 1934 in F minor (TWV 41:f1), 72, 1114, 1933 Sonatinen (TWV 41:a4 & 41:c2), 1926–27 Tafelmusik, 1395 trio sonatas, 1742, 1914, 1931–32 Tellier, Michèle: L’enseignement de la flûte à bec…,” 1285; “Museé Instrumental du Conservatoire de Paris,” 409–10 Temperament, 66–7, 717–8, 767 Tenor recorder, 204, 216–8; key work for, 581; plea for by Stanesby Jr., 1005 Tenta, Philipp: “‘Bruder Jacob’ auf Chinesisch?,” 1288; “‘From Me To You With Love,’” 1064; “Plädoyer für das musikalische Dilettantentum,” 167 Terminology:

Index

622

used to refer to the recorder, 71, 79–80. See also Etymology Terton, Engelbert: recorders by, 322, 392, 420 Teske-Spellerberg, Ulrike: “Der unbekannte Telemann,” 1928 Teutscher, Marieke: “Amsterdam als centrum van ‘fluytenmakers’…,” 318 Thaler, Alan: “Der getreue Music-Meister,” 1917 Thalheimer, Peter: “Aspekte zur Geschichte…,” 216; “Beobachtungen zum Überblasverhalten…,” 604; “…Helmut Bornefeld,” 1365; “Csakan-Musik,” 1960; “…Johann Nepomuk David,” 2020; “Jacob Denner,” 357; “‘Flautino’ und ‘Flasolet’…,” 1951; “Der flauto piccolo bei…Bach,” 1808; “‘Fünf kleine Suiten…,’” 1999; “Hindemith heute,” 2038; “In Quinten und Quarten,” 215; “Neue Blockflötenmusik vor 1950,” 1978; “Spurensuche im Repertoire für ‘flauto piccolo,’” 1864; “Traversflöten, Csakan- und Flageolettmusik…,” 1724; “Ein weiteres Flautino-Konzert von Vivaldi?,” 1954; 1950 Thalheimer, Peter, 218 Theater, English: sixteenth-seventeenth centuries, 74, 130 A Thematic Catalog of the Works of Robert Valentine (Young), 218 Thibault de Chambure, Geneviève, 383 Thiede, Christiane: “Ich fühle mich…,” 1540 Thiem, Jon: “A Note on the Recorder…,” 280 Thieme, Ulrich: “Die Blockflöte,” 168; “Die Blockflöte in Kantate…,” 1752–53; “Capriccio und Ständchen,” 1371; “Fantasie mit Phantasie,” 1935; “Fingerzeige ausdem Kloster,” 1029; “Ein Hermannsdenkmal,” 500; “Hans María Kneihs,” 1507; “David Lasocki,” 1518; “Hans-Martin Linde wird 60,” 1541; “Winfried Michel,” 1556; “Original und Bearbeitung,” 1725; “Was Bilder erzählen,” 270; 4, 49

Index

623

Thomas, Denis: “Bell Key Acoustics,” 624; “DIY Square C Bass,” 759; “Further Modifications to a Plastic Bass,” 814; “Harmonics and Fingering,” 711; “High Notes and Harmonics,” 623; “Modernising a Plastic Bass,” 813; 611 Thomas, Jean W.: “A Practical Guide to Recorder Method Books…,” 1272 Thomason, Geoffrey: “An Innovative Concerto,” 2024 Thomé, Gilles: “Promenade baroque,” 294 Thompson, Richard: “The Anachronistic Recorder,” 362 Thompson, Susan E.: “Friedrich von Huene Celebrates 70,” 471 Thomson, J.M.: “Michael Arno,” 1336; “Christopher Ball…,” 1339; “Walter Bergmann,” 1351–52; “Frans Brueggen…,” 1392; “Frans Brüggen,” 1391; The Cambridge Companion…, 33, p. 645; “René Clemencic,” 1406; “Ferdinand Conrad,” 1413; “LaNoue Davenport,” 1420; “Did Shaw Play the Recorder?,” 1609; “Freda Dinn,” 1427; “Carl Dolmetsch,” 1443; “Erudition and Entertainment,” 1562; “Il flauto dolce at Pamparato,” 1591; “Edgar Hunt,” 1492; “An Introduction to the Loeillets…,” 1301; “Ricardo Kanji,” 1497; “Bernard Krainis,” 1511; “Hans-Martin Linde,” 1542; “David Munrow,” 1561; “Kees Otten,” 1578; Recorder Profiles, 1321; “Recorder Revival I,” 184; “Robert Salkeld,” 1601; “Christopher Taylor,” 1620; “The Taylor Consort,” 1622; “Michael Vetter,” 1643; “Jeannette van Wingerden,” 1654; Your Book of the Recorder, 43; 285 Thomson, J.M., 383

Index

624

Thorby, Philip, 383 Thorby, Philip, 383 Thorn, Benjamin: “Don’t Be Afraid of Modern Sounds,” 1218; “‘New’ Sounds from Old Pipes,” 1219; “Selling Recorder Music…,” 1981; “Will the Real Recorder…,” 1065 Thorn, Benjamin, 383; Pipistrelli gialli, 163; The Voice of the Crocodile, 163 Thorn, Chris: “Getting the Most…,” 1273; “Susato’s ‘Danserye,’” 1741; “What is Right for the Recorder,” 1702 Thorne, J.O.: “Hans Gal,” 2021 Thornowitz, Henry: Sonata da camera in F Major, 1032 Thouvenot, Frédérique, 383 Thumbhole: reinforcement of, 808 Thumbrests, 383 Thumb technique, 383 Tidhar, Shlomo: “Blockflötenspiel in Israel,” 200 Tietsch, Ingrid, 383 Tijdschrift voor oude muziek, p. 307 Tippett, Michael: “Walter Bergmann,” 1352 Tippett, Michael, 307 Titian, 236, 245, 252, 256 Toffano, Giovanni: “Le composizioni di Vivaldi…,” 1955; “Il flauto dolce in compact disc,” 1693 Toffolo, Stefano: Antichi strumenti Veneziani…, 312; “Lacostruzione degli strumeni musicali,” 313; “La diffusione degli strumenti musicali,” 314 Tokimitsu, Yoshie: “Recorder Music by Japanese Composers,” 1985; 1984 Tol, Han: “Letter from Holland,” 1703 Tol, Han, 256 Tomalin, Miles: “Early Days,” 1632 Tomalin, Miles, 256 Tombleson, Louise, 256 Tone and Intonation on the Recorder (Kottick), 256

Index

625

Tone quality, 663; acoustical studies, 714–15, 717; effect of carvings on, 567; of historical Dutch recorders, 319; improving, 843–44; physiology of, 688; in relation to type of wood, 72, 643 Tonguing. See Articulation Tons de ma flute (Huygens), 663 Topham, William, 663 Torralba, Antonio: “Reflexiones…sobre las flautas en la Edad Media,” 105 Torre, Barbara: “Alcune note su uno sconosciuto ritratto…,” 271 Touchin, Colin: Antifonia, 1971 Townsend, John: sixth flute by, 393 Toyama, Nobuo, 644 –6 Toyama Musical Instrument Company, 644 Transcription and arrangement, 154; music of Bach, 1776, 1784; choral music, 1246, 1726; controversy over, 1711, 1719–20; ensembles, 1723; English music, seventeenth-eighteenth centuries, 1721; Handel vocal works, 1860; suitable repertory for, 114, 1712–15 Trantow, Rüdiger: “Thea von Sparr,” 1612 Traumflöte (Breukink/Mollenhauer), 472 Treatises. See Methods (tutors) and treatises Tremmel, Erich: “Kriterien zur ‘Instrumentation’…,” 1734 Tremolo, 472 Trichet, Pierre: Traité d’instruments, 922 Trichterflöte, 703, 705 Trills, 67 Trinity College of Music (London): recorder examinations, 1281–83 Trio Basiliensis, 67 Trio Il Flauto Dolce, 67 Trio Passaggio, 67 Trio sonatas, 67 Trio Tagarela, 67 Troman, Robin: “Flûte à bec contemporaine,” 1222;

Index

626

“Souffle,” 1221; “Technique contemporaine…,” 1220; 75 Trowell, Brian: “King Henry IV…,” 75 Tsukamoto, Takashi: “Another Bell Key,” 621; “A One-handed Recorder,” 574 Tsukamoto, Takashi: one-handed recorder designed by, 571, 574, 621 Tacker, Tui St. George, 159 Tuners, electronic, 159 Tuning, 720, See also Intonation; Temperament Turicchi, Thomas E.: A Study of the Acoustical Properties…, 690 Turner, John: “…Michael Ball,” 1989; “…Alan Bullard,” 2010; “…Anthony Gilbert,” 2025; “…John Joubert,” 2041; “…John McCabe,” 2053; “…Wilfrid Mellers,” 2054; “Pills to Purge Melancholy,” 1564; “Thomas Pitfield,” 1588; “Rawsthorne’s Recorder Suite,” 2058; “Writing for the Recorder,” 1230; 4, 161, 1127, 1563 Turner, John: 159; Four Diversions, 163 Tuschner, Wolfram: “Die frühen Holzblasinstrumente…,” 560 Tutors. See Methods (tutors) and treatises Tutto il bisognevole, 159 Twaalfhoven, 149 Twenty-five Hundred Historical Woodwind Instruments (Young), 275 Tyler, James, 275 Typen europäischer Blockflöten in Vorzeit, Geschichte und Volksüberlieferung (Moeck), 90 Tyson, John: “Making Your Own Music,” 1077; 1125 Tyson, John, 159 Uffenbach, Wilhelm von, 159 ’t Uitnement kabinet, 159 Underwood, T.Jervis: “Consider the Recorder,” 63 United States, 199 degree programs in early music, 1280 Niagara Falls High School recorder quartet, 207

Index

627

recorders in collections, 425–26 Ann Arbor, Mich., Stearns Collection, 359, 427 Boston, Mass., Museum of Fine Arts, 1458 Cincinnati, Ohio, Art Museum, 382 New York City, Metropolitan Museum of Art, 428–29 Vermillion, S.D., Shrine to Music Museum, 426, 430 Washington, D.C., Dayton C.Miller Flute Collection, 365 repertory, twentieth-century, 1988 seventeenth-eighteenth centuries, 143 twentieth-century revival, 172 Untersuchungen über die Resonanzeigen-schaften der Blockflöte (Mühle), 794 Unton, Henry: painting of wedding of, 1737–38 Unwin, Robert: “‘An English Writer about Music,’ “1312 Updike, John: “The Man Who Became a Soprano,” 281 Urquhart, 660 The Use of Flutes and Recorders in the Church Cantatas of Johann Sebastian Bach (Sharp), 660 The Use of Wind Instruments in Seventeenth-Century Instrumental Music (Lewis), 660 Uzbekhian oak, 262 A Vade Mecum (Hudgebut), 262 Valdivia Rivera, Eduardo, 647 Valentine, Robert, 647; 647 Valentine family, 647 Valleau, Douglas: “A Conversation with Steve Silverstein…,” 528; “…Carl Dolmetsch,” 1444; “Of Woods and Reeds…,” 485 Valle Martínez Ortega, María del. See Del Valle Martínez Ortega, María Vallès, Carles, 647 van Aardenberg, Abraham. See Aardenberg, Abraham van van Acht, Rob. See Acht, Rob van van Assendelft, Leen. See Assendelft, Leen van van Baak Griffioen, Ruth. See Griffioen, Ruth van Baak van Brekelenkam, Quiringh Gerritszoon. See Brekelenkam, Quiringh Gerritszoon van van den Ende, Vincent. See Ende, Vincent van den van den Hul, Dick. See Hul, Dick van den van der Heide, Geert Jan. See Heide, Geert Jan van der van der Meer, John Henry. See Meer, John Henry van der van Dijk, Jan. See Dijk, Jan van van Eyck, Jacob. See Eyck, Jacob van van Hauwe, Walter. See Hauwe, Walter van van Heel, S.A.C.Dudok. See Heel, S.A.C.Dudok van van Heerde, Jan Jurriaenszoon. See Heerde, Jan Jurriaenszoon van Vargas, Eduardo, 647 Vasseur, Dominique:

Index

628

“Der Zauber der Neugier,” 64 Vasseur, Dominique, 60 Vaucanson, Jacques de: Le mécanisme du fluteur automate, p. 218 Vega, Lope de: recorder in plays by, 142 Veilhan, Jean-Claude: “La flûte à bec…,” 65; “Les flûtistes à bec…,” 1322 Veilhan, Jean-Claude, 60 Ventzke, Karl: “Blockflöten-Schulwerke…,” 1274; 730 Verbruggen, Marion, 60 Verge, Marc-Pierre: Aeroacoustics of Confined Jets, 691; “Linear Analysis of the Initial Transient…,” 719; “A Physical Model of Recorder-like Instruments,” 692; “Sound Production…,” 693, 713 La veritable maniere (Freillon-Poncein), 981–82 Vernon, Margaret: recorder in coat of arms of, 98 Vernon, William, 94 Versuch einer Anweisung die Flöte traversiere zu spielen (Quantz), 94 Vertoninge en onderwyzinge op de hand-fluit (Matthyszoon), 94 Vertue, George, 94 Verzeichnis der Europäischen Musikinstrumente…(Kirnbauer), 396 Vester, Frans: p. 738 Vetter, Michael: “Apropos Blockflöte” 1231; “The Challenge of New Music,” 1223; Il flauto dolce ed acerbo, 1211; “Leistungsmöglichkeiten der Blockflöte…,” 169; “New Recorder Music from Holland,” 1987; “Recorder Works by Jürg Baur,” 1991 Vetter, Michael, 159 Vibrato, 710 Das Vibrato in der Musik des Barock (Moens-Haenen), 710 Victoria and Albert Museum (London): Bressan bass recorder in, 348 Victorian Recorder Guild, 710 Vinaccesi, Benedetto, 710 Vinaccesi, Fortunate, 710 XXème siècle et flûte à bec (Robert), 177 Vinquist, Mary: Performance Practice, p. 325; Recorder Tutors…863, p. 280 Vio, Gastone: “La diffusione degli strumenti musical…,” 314

Index

629

Virdung, Sebastian: Musica getutscht…, 872–75 Virdung, Sebastian Musica getutscht, 879–85 bass recorder in, 232–33, 235 Virghi, Francesco Li. See Li Virghi, Francesco Virgiliano, Aurelio: “Il dolcimelo,” 907–9 Virgiliano, Aurelio: Il dolcimelo, 909 Visser, Hendrik: patent by, 599 Vissing, Heida: “Eine Werkcollage…,” 1979 Vitz, Carol: “Frans Brueggen,” 1393 Vivaldi, Antonio, 177 – and the alto in G, 221 influence on Bach, 1813 bibliography, 1938–39 chamber concertos, 1940–41 concertos, 1947, 1952–54 Il Cardellino, 84 “flauto” and “flautino” problem, 1539, 1937–39, 1942, 1945, 1947, 1950–51 The Four Seasons, 1638 Il pastor fido, 1944, 1946 sonatas, 1767 trio sonatas, 1742, 1949 Vlaardingerbroek, Kees: “…de drie blokfluitsonates van Unico Wilhelm van Wassenaer,” 1957 Vleeshuis (Antwerp): great bass recorder in, 232 Vliet, Hendrick Corneliszoon von, 255 Vogg, Herbert: “Hans Ulrich Staeps,” 1616 Voice flute, 67, 204, 211, 215 –6 Voicing, 67, 662, 727–9, 777 Vois, Pieter de, 777 Volkhardt, Ulrike, 777 von Everard, Ferdinand. See Everard, Ferdinand von von Gleich, Clemens. See Gleich, Clemens von von Huene, Friedrich. See Huene, Friedrich von von Huene, Ingeborg. See Huene, Ingeborg von von Huene, Nikolaus. See Huene, Nikolaus von von Lüpke, Arndt. See Lüpke, Arndt von Waechter, Wolfram: “Klingendes Sperrholz,” 565;

Index

630

“Kommerz, Kind oder Kunst?,” 1275 Waits, of York, 124 Waitzman, Daniel: The Art of Playing the Recorder, 1127; “The Bell Key,” 618; “Bell-Key Probe,” 619; “The Decline of the Recorder…,” 113; “A Plan to Promote the Development…,” 598; “The Requirements…,” 620; 774, 1211, 1229 Waitzman, Daniel, 124 Wakefield, J.Homer, 124 Walch: recorders by, 176 Walch family, 281 Waldbaur, Thekla, 281 Waldo, Andrew: “So You Want to Blow the Audience Away,” 1092 Waldo, Andrew, 159 Walker, Diane Parr: p. 738 Walker, Paul: p. 738 Walsh, John, 738; print of Handel op. 1 sonatas, 1869–70 Ward, Leslie, 493 Ward, Stuart: “Composing…,” 1232 Warner, Robert Austin: “The Baroque Recorders in the Stearns Collection,” 427; “A Jacob Denner Recorder…,” 359 Warner, Thomas E.: An Annotated Bibliography…, 862; Indications of Performance Practice…, 861 Wassenaer, Unico Wilhelm van, 493; recorder sonatas, 1957 Waterhouse, William: “A Case of Flutes by Mr Bressan,” 352; The New Langwill Index, 286; 287, p. 644 Waterman, Rodney: “The Lure of Jacob van Eyck,” 1840; “…Frederick G.Morgan,” 514–16; “Recorders…and All That Jazz,” 194; “Recorders—Relatively Speaking,” 630; “With the Recorder in Italy,” 1646 Waterman, Rodney, 187 Weber, Carl Maria von, 174 Weber, Rainer: “Dokumentation von Schäden…,” 816; “Der Flauto Harmonico,” 385; “Die Instrumentensammlung…,” 418;

Index

631

“Recorder Finds from the Middle Ages,” 327; “Säulenblockflöten…,” 373; “Some Researches into Pitch…,” 631; “Zur Vermessung…,” 591 Weber, Rainer, 208, 701 Weber, Rhoda: “Martha Bixler,” 1357 Wehlte, Adrian, 701 Weigel, 223 Weighill, Margaret: “The Trio Basiliensis,” 1633 Weilenmann, Matthias: “Aspecte—Anmerkungen zur Rolle…,” 170; “Die Blockflöte,” 171; “Walter van Hauwe,” 1477; “Voraussetzungen und Ziele…,” 1276; 1125 Weilenmann, Matthias, 223 Weineck, Isolde María: “Blockflötenchöre und Kantoreipraxis,” 1259 Welch, Christopher: “Hamlet and the Recorder,” 89; “Literature Relating to the Recorder,” 66; Six Lectures on the Recorder…, 34 Welch, Christopher, 178 Wells, Peter: “Affect and the Recorder,” 1114; “‘Giving the Fingers,’” 1172, 1240 Wenner, Martin: “Blockflötenkauf ist Vertrauenssache,” 536; “Ein ‘Flauto Curvo,’” 397; “Eine Terton-Blockflöte auf der Intensivstation,” 392 Wenner, Martin, 364 Wenzinger, August, 364 Westminster Abbey: recorder in wall paintings, 252 Wetting one’s whistle, 364 Whaley, Judith I., 364 White, Beverly: “Frans Brüggen’s Visit…,” 1394; “Consensus Musicus…,” 1260; “Discovering the Tenor Recorder,” 226; “The Human Lineage of the Fipple Flute,” 87 Whiting, B.C.: “…Arnold Cooke,” 2019 Whitney, Maurice C.: “Adapting Choral Music…,” 1726; “The Magnamusic Story,” 1559; “Recorders for Everyone,” 185

Index

632

Whitney, Steven T., 67 Whittington Mary K., 67 Whybrow, Julia: “…Weeds in Ophelia’s Hair…,” 2059 Whybrow, Julia, 159 Wijnands, A.P.J.: “Sound Production…,” 693; “Transitoire d’attaque des instruments…,” 718 Wijne, Robert, 366; recorders by, 420 Wilby, Philip, 366; Breakdance, 163 Wilkinson, Ruth, 366 Willan, John, 366 Willet, William C.: “…Steve Rosenberg,” 1599 Williams, Peter F., 366 Williams, William, 366; Sonata in Imitation of Birds, 84 Willman, John, 66 Willman, John, 648 Willoughby, Andrew: “Das Intonieren von Blockflöten,” 638 Wind, Thiemo: “Bigaglia’s Sonata in A Minor,” 1821; “Chain Variations…,” 1831; “Jacob van Eyck…,” 1830, 1843; Jacob van Eyck Quarterly, 1844; “Jacob van Eyck’s Der Fluyten Lusthof,” 1839; “‘Je ne puis éviter,’” 1770; “New Facts Concerning Bigaglia’s Sonata…,” 1822; “Die Psalm-Variationen Jacob van Eycks,” 1835; “‘Some Mistakes or Errors,’” 1836; “‘Stemme Nova,’” 1837; “Why the Duets…,” 1841; 1911, p. 644 Windway, 67 Wingerden, Jeanette van, 67 Winternitz, Emanuel: Musical Instruments and Their Symbolism…, 272 Winters, Leslie: “Benjamin Britten: Scherzo,” 2005; “The Making of a Recorder Consort,” 1261 Winters, Ross: “Frans Brüggen,” 1395; “The Dolmetsch Legacy,” 1445; “Historical Source Material,” 1041; 71, 626, 1125 Winters, Ross, 67 Witt, Christian Friedrich, 67

Index

633

Witteler, Rolf: “…Michel Meynaud,” 1454 Wittgenstein, Ludwig, 67 Woehl, Waldemar, 142 Wogram, Klaus: “Über den spieltechnischen Ausgleich…,” 705; “Zur Intonation bei Blockflöten,” 706 Woledge, Henry: “A Great Consort,” 724 Wollitz, Kenneth: “…Suzanne Bloch,” 1359; “…LaNoue Davenport,” 1421–22; “Ensemble Playing,” 1262; “…Arnold Grayson,” 1466; “An Introduction to Baroque Ornamentation,” 1103; “Learning to Read the Staff…,” 1207; “…Paul Leenhouts and Han Tol,” 1528; “…Eva Legêne,” 1529; “…Harold Newman,” 1568; “…Michala Petri,” 1585; The Recorder Book, 30; “Some Random Thoughts on Practicing,” 1201; “…Marion Verbruggen,” 1639;1142 Wood, Francis: “Christopher Taylor,” 1620 Wood, Gordon, 142 Woodcock, Robert, 45 Woods, Brian, 757 Woods, Timothy: “Recorder Voicing Structures,” 639 Woods, 149, 731–57; boxwood, 292, 649, 660; cedar, 647; chemical treatment of, 644, 657; chemistry of, 645; cocobolo, 640; coconut, 656; of La Couture Boussey, 292; dictionary of, 662; effect of direction of grain, 652; kingwood, 648; used by Alec Loretto, 493; from the Maldive islands, 654; plywood, used for a contrabass recorder, 565; effect on tone quality, 72, 557, 643, 645–46, 651, 653; ran’doo, 655; synthetic substitutes, 661. See also Oiling

Index

634

World Wide Web: resources on the recorder, 55, 68–70, 88, 101, 249, 283–84, 504, 1517, 1671, 1684, 1690 Worrall, David: “Composing…,” 757 Worrall, David: Silhouettes, 1233 Wright, Daniel: The Compleat Tutor…, 964 Wright, Laurence: “The Music of the Renaissance,” 1733; “The Recorder Consort in the Renaissance,” 106; “Sebastian Virdung,” 882; 77 Wyatt, Theo: “Am I Too Loud?” 1263; “Arranging,” 1727; “…Walter Bergmann,” 1354; “Frans Brueggen…,” 1392; “Chamber Music v Massed Playing,” 1264; “Choosing an Instrument,” 779; “Is the Grass Greener…,” 2081; “Ken Kenworthy,” 1504; “Measuring Breath Pressure,” 707; “My Complimentary Recorder,” 708; “A Note on Intonation,” 859; “On Being Your Own Teacher,” 1143; “On Tuning Up,” 1265; “The Perfect Instrument,” 780; “Pioneering Days,” 2085; “Playing the Tenor and Bass,” 227; “A Question of Temperament,” 1108; “Recorder Surgery,” 806; “The Techniques of Consort Playing,” 1266; “Treble Chance,” 781; “Tuning Your Own Recorder,” 860; “The Unnatural Descant,” 1155; “The Well-Tempered Consort,” 1267; “Which Recorder?,” 787–90; 824, 1321, 1493, 1776 Wyndham, John: “Bargain from Brunswick,” 282 Yamaha: Rottenburgh alto, 784 Yates, Thomas: “Obituary: Edwin Alton,” 1328 “York Music”: The Story of a City’s Music from 1304 to 1896 (Merry-weather), 124 York Waits, 124 Yoshizawa, Minoru: Japanese Music for Recorder, 1986 Young, Gayle:

Index

635

“Arcana Ensemble,” 1334 Young, J.Bradford: A Thematic Catalog of the Works of Robert Valentine, 1936 Young, La Monte, 159 Young, Philip T.: 4900 Historical Wood-wind Instruments, 287; “The Scherers of Butzbach,” 379; “Some Further Instruments…,” 361; “Woodwind Instruments by the Denners…,” 360; p. 644 The Young Musician, or the Science of Music (Swaine), 159 Your Book of the Recorder (Thomson), 42 Zacconi, Lodovico: Prattica de musica…, 905–6 Zadro, Michael G.: “Aspects on the Restoration…,” 817; “Guide to the Restoration…,” 818; “Woods Used for Woodwind Instruments…,” 662 Zahnhausen, Markus, 42 Zaniol, Angelo: “A chaque musique…,” 561; “Copying Old Recorders,” 760; “Il flauto dolce,” 67, 73; “The NF Treble Recorder…,” 632; “Update on the ‘Ganassi’ Recorder,” 765;638, 662 Zapf, Michael: “…Bachs Brandenburgischen Konzerten Nr. 4 und 5,” 1805 Zaslaw, Neal: Performance Practice, p. 325 Zayda, Martín, inventory after death of, 132 Zeitschrift für Instrumentenbau: editors’ 1884 petition on pitch, 636 Zelenka, Johann Dismas, 132 Zelinsky, Beate: “Karlheinz Stockhausens ‘In Freundschaft,’” 2076 Zellbell, Ferdinand, 132 Zen-On Bressan alto, 737, 784 redrilling holes to match Baroque fingering, 729 Zetzmann, Liz: “…Susanne Ehrhardt,” 1446 Zick: recorders by, 413 Zick family, 288 Ziegler, Johann: keyed recorder by, 395 Zielinski, Tadeusz A.:

Index

636

“Anmerkungen zu ‘Arrangements’…,” 2071; “‘Concerto alla cadenza’…,” 2070 Zimmermann, Ines: “Ricercata sesta von Giovanni Bassano…,” 1820 Zimmermann, Manfredo: “Atem(führung) und Stütze,” 709; “Differenzierte, nicht temperierte Intonation,” 1192; “Messa divoce…,” 1123 Zoffany, John, 235 Zohn, Steven David: “Ensemble Sonatas of…Telemann,” 1932, p. 646; p. 644 Zukerman, Pinchas, 235 Zur Akustik der Blasinstrumente (Steinkopf), 797 Zur Geschichte der Blockflöte in den germanischen Ländern (Degen), 36