Articles, catalogues, databases and bibliographies concerning aspects of the recorder worldwide. An ideal springboard for players, students, teachers, makers and researchers alike.
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
Hot of the press, Well-Tempered Woodwinds by Geoffrey Burgess is a timely and highly readable biography of Friedrich von Huene (1929– ), arguably the most important manufacturer of historical woodwinds in the 20th century. Since he began making recorders in 1958, von Huene has exerted a strong influence on the craft of building woodwind instruments and on the study of instrument–making, as he has helped to shape the emerging field of Early Music performance practice. He has remained at the forefront of research and design of historical copies of recorders, flutes, and oboes. In a compelling narrative that combines biography, cultural history, and technical organological enquiry, Geoffrey Burgess explores von Huene’s impact on the craft of historical instrument–making and the role organology has played in the emergence of the Early Music movement in the post-war era
Wild Men of the Seicento’ is Piers Adam’s and David Wright’s new album, to be released to the shops in the Spring but available now in the Red Priest Recordings online shop. The trailblazing musicians of the Seicento – the 17th century – are frequently overlooked in favour of the baroque ‘household names’ who followed, but their music was extraordinary: surprising, expressive, quirky and often demonically virtuosic, making this CD a true recorder and harpsichord spectacular!
Hot of the press, David Lasocki’s new e-book, Marc-Antoine Charpentier and the Flûte: Recorder or Traverso? is now available. Marc-Antoine Charpentier (1643–1702) is now recognized as the greatest French composer of the 17th century. He wrote over 120 works, mostly vocal, in which he called for flûtes, mostly in pairs, as well as about 80 further works in which he might have intended the unmarked treble parts to be played on flûtes. But which instruments did he mean by flûtes? Recorders (and of what sizes)? Renaissance flutes or Baroque traversos (and of what sizes)? Drawing on the latest research by Charpentier scholars, David Lasocki has surveyed the entire corpus of Charpentier’s works written, or possibly written, for flûtes, looking at the characteristics of the parts as well as the circumstances for which the works were written. He has therefore been able to reach more reliable, and more surprising, conclusions about the flûtes than earlier scholars. Marc-Antoine Charpentier and the Flûte: Recorder or Traverso?, is illustrated with almost 50 full-movement examples (160 pages) from Charpentier’s brilliantly varied works that include flûtes. If you love Charpentier, if you play Charpentier, if you want to get to know this wonderful composer’s works better, or if you are interested in the history of the recorder and flute, this book is a MUST HAVE for you. Companion e-books will follow shortly about flûtes in the works of Jean-Baptiste Lully and the development of the Baroque recorder and traverso.