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Instrument maker working in Paris known by his recorders, oboes and a tuning pipe.
Recorders by Dupuis
Johann Heinrich Eichentopf (b. ? Stolberg, Harz, 1678; d Leipzig, 1769) is best known for his woodwind instruments, though noted also for brass and even bowed strings. His surviving instruments include recorders, a flute, oboes and bassoons. His stamp includes a device depicting a vase of oak-leaves with acorn, a visual pun on his name.
Recorders by Johann Heinrich Eichentopf
Recorders by Michael Eisenmenger
Johann Benedikt Gahn was admitted as master in the Nuremberg wood turners guild in 1698. The late date was due to the fact that he married the widow of the master to whom he was apprenticed. Specializing in musical instruments, he maintained a workshop in Nuremberg until his death in 1711 at the age of 36. He was buried at the Johannsfriedhof. Gahn was quite wealthy, leaving a substantial fortune to his wife.
About 25 recorders and a few oboes of ivory or boxwood have survived. Some of his recorders feature a carved decoration with acanthus leaves and a mask, a motive, linked to Nuremberg, and appearing on other instruments by other makers. It occurs on peg boxes of viols and on recorders of the famous Nuremberg woodwind maker, Johann Wilhelm Oberlender the Elder (1681–1763).
Adrian Brown notes that many of Ghan's recorders are unlike the more standard designs of the Denners, Schell, Oberlander, and that some of recorders are internally more similar to the Kynseker designs and in this respect, show a connection to early baroque recorders.
Recorders by Johann Benedikt Gahn
Goulding & Co.; Goulding d'Almaine & Co.
London, Great Britain (England, United Kingdom, GB, UK)
English firm of music dealers, publishers and instrument makers founded by George Goulding in ca 1786. They entered into partnership with a number of other makers and Goulding's name was dropped by ca 1836. Between the years 1798 and 1803 the company used the mark GOUDLING & CO./LONDON while trading in St. James Street and Pall Mall. Thomas D'Almaine was associated with Goulding between 1800 and 1836.
The catalog dated 1800 of the London firm, Goulding, Phipps, & D’Almaine, lists transverse flutes with one key to six keys; transverse flutes a second, third, fourth, fifth, sixth, even seventh, and octave higher than normal; and English Flutes, Concerts, plain / Do. do. Seconds and Thirds / Do. do. Fifths, Sixths, and Octaves (Lasocki 2012).
Between 1825 and 1836 the firm traded under the titles 'Goulding, D'Almaine & Co.' and also 'Goulding D'Almaine'. Instruments bearing the name of Goulding include recorders, flageolets, clarinets and bassoons.
Recorders by Goulding & Co.
Formerly, this instruments have been attributed to Barnaba Grassi. Meucci (in Falletti et al., 2009) has demonstrated this to be an error and suggests that the recorders are in fact by Paolo Grassi, a maker of flutes, oboes and recorders.
Maker's marks: GRASSI | IИ MILAИ; GRASSI | [B?]RASSI | [unclear sign]
Recorders by Barnaba Grassi
de Avena Braga (2015:50); Falleti et al. (2009: 166); Heyde (1978); Young (1993: 91-92).
Grece (or Grege)
P. (possibly Pierre)
Maker's mark: P·GRECE (or P·GREGE)
Since little or nothing is known of P. Grece, it has been suggested that he was a craftsman (possibly a flute-maker) employed at the Rafi workshop prior to 1675 (the year of the donation of instruments to the Accademia) in order to complete a consort of recorders of the same model as the two built earlier by Rafi himself.
We cannot rule the above hypothesis out, but another possibility is that P. Grece was the Pierre Rafi documented in 1528-1529 as a brother of Claude Rafi who had also worked in the atelier of his father, Michaud Rafi (d. 1534). What is certain is that if Pierre had been a blood brother of Claude he would have had access to the Rafi mark. If, instead of being a natural child of Michaud Rafi, Pierre was adopted then he would have been required to use a different mark. It may be significant that Grece marked his work with his own name and with a small coat of arms in low relief quite similar to that of Rafi and made with the same technique but, rather unusually, impressed on the foot instead of on the front of the instrument as was customary.
Bär (1995); Brown & Lasocki (2006: 29); Puglisi (1995), Tiella (2004, 2005).
Recorders by P[ierre] Grece
(Johann) Heinrich (Wilhelm) Grenser (b Lipprechstroda, 1764; d Dresden, 1813) was a member of a German family of wind instrument makers. He was apprenticed to his uncle (Carl) August(in) Grenser from 1779 to 1786 and took over the workshop in 1796. He made flutes, oboes, clarinets (including basset-horns), fagottini and bassoons, and what may have been a csakan (a keyed recorder).
Recorders by Heinrich Grenser
Richard Haka (b London, 1646; d Amsterdam 1705) was the son of Thomas Hakay, later Haca, who made walking sticks in London before moving to Amsterdam around 1652. Richard’s mother Agnes returned to England in 1675. He started work as a woodwind instrument maker ca 1660. In 1676, when living in Kalverstraat, he married the 23-year-old Grietje van den Bogaert; although declaring himself at the time to be aged 30, it seems likely that he was in fact somewhat older. His nephew Coenraad Rijkel and the instrument makers Abraham van Aardenberg and Jan Steenbergen trained with him. He and Rijkel later quarrelled (q.v.). Haka lived 'In de vergulde Basfluyt' (i.e. at the sign of the guilded bass recorder) on the Spui; subsequent addresses were Singel and Keizersgracht. Haka's instruments evidently enjoyed a wide reputation; a 1700 inventory of the Medici Court in Florence lists a consort of 16 recorders by him. Today they are represented in many collections; in addition to recorders, examples of walking-stick recorder, flageolet, alto flute, shawm, altpommer, oboe, tenor oboe, deutsche schalmei and bassoon survive. Notes from Waterhouse (1988) and
Maker's mark: R·HAKA (scrolled) / (fleur-de-lys)
Recorders by Richard Haka
Great Britain (England, United Kingdom, GB, UK)
Benjamin Hallett (b. London, 1713; d. after 1753) was a maker of oboes and recorders, living and working in Stationers Alley (also known as Boyles Head Court), off the N side of The Strand, London. The instrument-maker Thomas Cahusac lived in the same street (possibly the same house) from the mid-1730s to the late 1740s. Payment of rates on Hallet's house were taken over by Cahusac in 1748 when Hallet moved to Stationers Alley to Exeter Court, further to the East, where he stayed until 1753 at which time the rate collector books record that he was poor. He took an apprentice Antony Bigs in 1748 and another, Thomas Ryan, in 1749. It is not known when he died.
Recorders by Benjamin Hallett
Recorders by Harris
Recorders by Sebastian Hartmann
Jan Juriaensz, Albert (Albertus) & Jan
Jan Jurriaannsz van Heerde was the father of
Albertus van Heerde and the grandfather of Jan van
Heerde. He came from Groenlo and moved first to
Naarden and from there about 1670 to Amsterdam.
He became a well known wind instrument maker in
that city, producing recorders, transverse flutes, and oboes. Notes from
A single recorder by Jan Juriaenz. survives, of ivory stamped I.V.H. in a scroll; an ivory sopranino with the same stamp was lost in WW2. Albert probably made most of the surviving recorders. There is a single recorder by Jan who also made flutes and oboes (Bouterse, 2001).
Recorders by Jan Juriaensz., Albert & Jan van Heerde
Johann Heitz (b Kerrenhof, Sachsen-Gotha, 1672; d Berlin, 1737) worked in Berlin from 1702 until his death producing recorders (including echo flutes) and transverse flutes.
Many of Heitz' recorders have the unusual construction of a boxwood body with a tortoiseshell coating and furnished richly with ivory rings. It has been suggested by Kirnbauer & Krickeberg (1987) that Bressan, the only other maker known to have used tortoishell technique, could have been Heitz' teacher. However, I note that an alto recorder by N Hotteterre (stamped */N/HOTTETERRE) formerly in the Rosenbaum Collection in New York (now dispersed) had a tortoiseshell veneer as does an anonymous German alto recorder at F-Paris: E.980.2.84
Maker's marks: (fleur-de-lys / I·HEYTZ; (crown) / I HEYTZ / stylised flower
Schmidt (1986) has supposed that the instruments, marked with fleurs-de-lis, were produced for the French market.
Recorders by Johann Heitz
Hieronimo de li flauti
Instruments variously stamped HIE·S, HIER·S, HIERO·S and HIERS have been attributed to this maker who, according to Fiabane Armando (ex Francesco Li-Virghi, pers. commm. 2012) was Hieronymus Salombron (Hironimo de piffari or Hieronimo de li flauti). Salombron's workshop was located in the same district where 60 years earlier Hieronimo Bassano worked. Fiabane suggests that it could perhaps be one and the same premises. Had the maker with the mark HIE·S or HIER·S had been active in the first half of the century, surely Ganassi should have reported it.
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 Hieronymus or Hieronimo lived in or near Venice during the sixteenth century: Hieronimo de Udine and Jheronimo Geroldi. Two of the cornetts 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. See Lyndon-Jones (1996).
Brown & Lasocki (2006) suggest that the maker of recorders stamped HIE·S and HIER·S may have been Jeronimo Bassano, who flourished in the early 16th century, rather than the Hieronimo de li flauti from the latter part of the century.
Brown (pers. comm., 2007) reports that the HIER·S· basset in Sibiu was made using the same reamer as the HIERS· and HIE·S bassets in Vienna (SAM 160 & 161), and that the Sibiu bass also looks pretty similar to one of the HIES basses in Vienna.
Maker's mark: (double eagle) / HIER S·; (double eagle / HIER·S; HIE·S; and possibly HIER·S·
Recorders by Hieronimo de li flauti
Nicolas [Colin] (ii) [
le jeune, le cadet
Nicolas Hotteterre (ii) (b La Couture-Boussy, baptized 1653; d 1727, Paris) was a member of a French family of woodwind instrument makers, instrumentalists and composers. His three surviving instruments comprise an oboe and two recorders. He occupied the post of
hautbois et violons du Roi
from 1667 until his death.
Son of the eldest Nicolas Hotteterre (d. 1693). Brother of Louis Hotteterre.
Recorders by Nicolas Hotteterre
Rue des Arcis, Paris, France
Louis Hotteterre (b. La-Couture Busy, 1647; d. Ivry, 1716) was a member of a French family of woodwind instrument makers, instrumentalists and composers. He worked with his father the eldest Nicolas (d. 1693) and younger brother Nicolas (ii) as an instrument maker in Paris where he occupied the post of
saquebout et basse de violon de la chambre et grande Ecurie du Roi
between 1665 and 1714.
Recorders by Louis Hotteterre
Family (no initial)
mid 17c - mid 18c
French family of woodwind instrument makers, instrumentalists and composers who are sometimes credited with many important changes that took place in the construction of woodwind instruments during the mid- to late-17th century, amongst them the development of the three-jointed recorder from that in one piece. Instruments stamped Hotteterre are difficult to attribute to particular members of the family.
Recorders by Members of the Hotteterre family
Frederich (Alexander) von (Hoyningen-)
United States of America (USA)
Maker of recorders and flutes, born Breslau (1929). Huene grew up on a farm in Mecklenburg, and emigrated to the USA in 1948. Following service in a US Air Force band he attended Bowdoin College in Brunswick, Maine, and received his BA in music there in 1956. From 1956 to 1960 he worked in the shop of Verne Q. Powell, flute maker, in Boston, and spent his spare time experimenting with the construction of recorders. In 1960 he opened his own shop, first in Waltham, Massachusetts, and later in Brookline, Massachusetts. In 1966–7 he held a Guggenheim Fellowship to study instruments built in the 16th, 17th and 18th centuries, preserved in various museums. Von Huene was one of the first modern makers of recorders to base his instruments on historic designs. He also designed recorders for mass production, notably a model based on the work of Jean-Hyacinth-Joseph Rottenburgh (1672–1756), manufactured and distributed by Moeck in Celle, and a model based on the work of Bressan, manufactured and distributed by Zen-On in Japan. He has also designed and built recorders with modern keywork.
Recorders by Frederich von Huene
Jan Juriansz. & Fredrik
Father and son.
Recorders by Jan Juriansz. & Fredrik de Jager
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