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Articles, catalogues, databases and bibliographies concerning aspects  of the recorder worldwide. An ideal springboard for players, students, teachers, makers and researchers alike.

Ave atque vale Franciscus (‘Frans’) Jozef Brüggen
30 October 1934 – 13 August 2014

About the Webmaster

Nicholas S. Lander

My interest in music of the distant past has centred largely on the recorder, though I have played a number of renaissance wind instruments as well as the trombone. In the past I have taught recorder at several tertiary institutions. Occasionally I teach private students who have exhausted other local resources.

The Word on the Street

  • Behold a remarkable demonstration, never suspected by the inventor, from which it will become clear how vast secrets often lie hidden in common objects. Yet the eyes of the multitude, viewing things superficially rather than radically, will never see through to their reason and foundation.

    Utriusque Cosmi … metaphysica, physica atque technica Historia, &c (1617), Robert Fludd
  • But all her singing was in vain
    To be compared, in sothness [truth],
    Unto the excellent sweetness
    Of this Floyte melodious,
    By force of which Mercurius
    Made Argus slepe.

    Reason and Sensuality (1407), John Lydgate
  • The recorder of his kynde the meane dothe desyre
    Manifolde fyngerynge & stoppes bryngithe hy from his tunes clere.
    Who lyst to handill an instrument so goode
    Must se in his many fyngerynge that he kepe tyme stop and moode.

    Proverbis in the garet at the New lodge in the parke of lekinfelde (1500)
  • [Bilney, who gave his life at the stake for his opinions] could abide no swaring nor singing … and when Dr Thurlby, afterwards bishop, the scholar living in the chamber underneath him [at Trinity Hall, Cambridge] would play upon his recorder (as he would often do) he would resort strait to his prayer.

    Actes and Monuments [Book of Martyrs] (1563), John Fox
  • .. and thinke it not a smalle thinge to have lerned to playe on the pype or the recorder.

    Flouers for Latine Spekyng selected out of Terence, from Virgil’s Bucolics, Nicholas Udall (1534)
  • In a little room, a little plot, a little lifetime,
    Hark, the shrill recorders after meat: the Elizabethan
    Mayflies in a sliver web which dangled over chaos,
    Twirling round and round,
    Waited for the silent headsman, countering his silence
    With arabesques of sound.

    Suite for recorders, Louis MacNeice (1950)
  • I still can’t imagine a father who is happy when his daughter comes home with a recorder player …

    On receiving the Prins Bernhard Cultuur Fonds Music Prize, Walter van Hauwe (2002)
  • A merrie recorder of London mistaking the name of one Pepper, call’d him Piper: wherunto the partie excepting, and saying: Sir, you mistake, my name is Pepper, not Piper; hee answered: why, what difference is there (I pray thee) between Piper in Latin and Pepper in English; is it not all one? No, Sir, (reply’d the other) there is even as much difference betweene them, as is between a pipe and a recorder.

    Wits Fittes and Fancies, Anthony Copley (1595)
  • Cymbals, Pipes, and filthy songs are the very pomps and hodgpotch of the Devil. If a stage player, be it a man or woman, a Chariotor, gladiator, race-runner, a fencer, a practiser of the Olympian games, a fluteplayer, a fidler, a harper, a dancer, an alehouse-keeper, come to turne Christian; either let him give over these professions, or else be rejected.

    Histriomastix: The Player’s Scourge, or Actor’s Tragedy (1632), William Prynne
  • And to come nearer to our own times, it may be remembered by many now living, that a flute was the pocket companion of many who wished to be  thought fine gentlemen. The use of it was to entertain ladies, and such as had a liking for no better  music than a song-tune, or such little airs as were  then composed for that instrument; and he that  could play a solo of Schickhard of Hamburg, or  Robert Valentine of Rome, was held a complete  master of the instrument. A description of the mutual compliments that attended a request to one  of these accomplished gentlemen to perform, or  a recital of the forms of entreaty or excuse, with a relation of the apologies, the bows, the congees  that passed upon such an occasion, might furnish matter for a diverting scene in a comedy.

    A General History of the Science and Practice of Music, Sir John Hawkins (1776)

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