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

    for details and to order see here
  • Inês de Avena Braga’s recemt doctoral thesis, “Dolce Napoli : Approaches for Performance – Recorders for the Neapolitan Baroque Repertoire, 1695-1759” has now been published online. It examines two previously neglected topics, Baroque Italian recorders and the Neapolitan Baroque repertoire for the recorder. It presents data on all Italian Baroque recorders currently known, including biographical references about the makers of these recorders, as well as technical drawings, measurements and photographs. The Baroque repertoire composed in Naples for the recorder was researched, uncovering a rich and forgotten corpus of music written and copied between 1695 and 1759. These works were also listed with a brief analysis and further commentary in order to connect them with the instruments that might have once been used to play them. Conclusions on performance practice reflect her findings are presented in the context of the social and  cultural atmosphere of early 18th-century Naples. The artistic outcome of this study has brought together the two main aspects of the research in performances and in her recent CD Dolce Napoli recorded with La Cicala Baroque Ensemble.

    to download and read Inês’ thesis see here

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