There have been a number of attempts to re-design the recorder and extend its capabilities for use in a contemporary context. However, even virtuosi have, for the most part, preferred instruments designed after historical (ie pre-classical) models.
As early as 1636 Mersenne advocated the use of extra chromatic keys on recorders (see Schmidt 1959: 25), a suggestion not explored until the 19th century with the development of what later became the Wiener csakan in about 1820, a recorder in a♭’ with a thumb hole and seven tone-holes, originally with one key, later with up to 11 keys, culminating in the development of the Komplizierte Csakan. Csakans were mainly built in Vienna and Pressburg (modern-day Bratislava) between 1820 and 1860. A smaller version in c” was being made in the Vogtland region as late as c. 1900.
Wiener csakan in c” by an unknown maker, Johann Ziegler model
Peter Thalheimer (2013: 28-29) has described how as the early twentieth-century revival of the recorder gained momentum flautists who began to play the recorder wanted to have an instrument fitted with the familiar keys rather than having to get used to historical forked fingerings. Thus, after c. 1930, several workshops started to offer recorders with between three and six semitone keys, among them German instrument-makers Oscar Adler, Max Hüller, Ludwig Schlosser, Martin Kehr and Karl Hammerschmidt & Söhne.
Soprano recorder in c” with 6 semitone keys by Max Hüller, c. 1938
The German firm Johannes Adler made keyed recorders in c” as late as the 1960s.
Soprano recorder in c” by Johannes Adler (c. 1960) with 6 semitone keys
(auctioned on eBay, 2007)
In 1936, the Gustav Herrnsdorf firm acquired the right to protection of a c”-recorder with a b♭’ key, (D.R.G.M. 1 362 864). This new key operated by the little finger of the uppermost (left) hand and it also made an easy speaking low c#’ possible. The impetus for this came from modern reed instruments, all of which are equipped with downward extensions below the fundamental. However, downward extensions to the recorder’s range were explored in the 16th century, e.g. by Hans Rauch von Schrattenbach and by members of the Bassano family, though this might not have been known in the 1930s. The use of extension keys would be introduced yet again by Joachim Paetzold (1966) and Maarten Helder (1996) and then transferred to the Mollenhaer-Paetzold Tarasov recorder and, more recently, to the Breukink-Bollinger “Eagle” recorder which we will meet below.
Early 20th-century innovations include the addition of a key applied to an otherwise more or less conventional recorder to close the bell of the recorder in order to facilitate the production of certain high notes and to adjust the tuning of others (see Fingering the Recorder). End-stopping of the bell of the recorder had been mentioned by Agricola (1529) and Cardano (1546), so there are historical precedents for its use. In the absence of a bell key, it is hard to do unless the player is seated. A bell key as such was probably first made in 1953 by John W.F. Juritz, a physics lecturer and bassoonist in Cape Town, whose invention was not patented (Waitzman 1968, Thomas 1998). A bell key designed by Carl Dolmetsch in 1957, and first used by him publicly in 1958, involved plugging the bell opening itself and letting a new hole in the side of the foot which was covered by a key operated by the little finger of the lower hand. This side-mounted key was the subject of British Patent #852165, 8th June 1959, based on a 1958 application, although the text of the patent application also mentions the alternative strategy of closing or partially closing the bell opening itself (Thomas 1998, Madgwick and Loretto 1996, Loretto 1998). A less successful Carl Dolmetsch invention was a similar side-mounted closed key operated by the little finger of the uppermost hand which made possible a tongued f#”’, the subject of British Patent #852164, also granted on 8th June 1959 (Thomas 1988). Later, a key was designed by Dolmetsch which covered the bell opening itself and which could be operated by the little finger of the lower hand or, more usefully, by that of the upper hand.
Bell key, by Peter Worrell (for Dolmetsch)
In 1958, Edgar Hunt constructed an experimental long bell key, operated by the little finger of the left hand, like the long F key of the 18th-century keyed flute and modern oboe (Hunt 1961, Waitzman 1968). The left-hand little finger depressed a lever to pull a wire which passed through the bell of the foot joint to pull a key against the hole. Also in 1958, William (not John) Koch of Haverhill, New Hamphsire, USA, was using a bell key to obtain additional notes on his bass recorder (Waitzman 1968, 1969). Tsukumoto (1975) built side-mounted bell-keyed recorders with a lengthened foot which obviates closure of the bell opening itself. This could be made to be operated by the little finger of either hand. The end-mounted bell key was applied to a substantially re-designed recorder which adopted a dramatically different fingering system unsuccessfully championed by the American player Daniel Waitzman (1978).
The ‘OrKon’ or ‘Chromette’, invented in 1941 (US Patent GB2330379, 1943) by Edward Verne Powell (1903-1986), the son of V.Q. Powell the famous New York flute maker), was essentially a modified soprano recorder moulded in bakelite with metal reinforcement rings and fitted with a simplified Boehm system keywork. Its lowest notes could be blown loudly as well as softly with minimal pitch change and the chromatic scale was much facilitated by the keywork. Although the Orkon was intended to be mass produced for use in schools as a preparatory instrument for potential flute players, the venture failed (Huene 1994, Jerome 2002, Burgess 2015: 63).
‘Orkon’ by Edward Verne Powell © TJ IMaging
Japanese musical instrument manufacturer Nikkan (acquired by Yamaha in 1970) advertised a keyed recorder in the September 1957 edition of the magazine Ongaku-no-Tomo for which a patent was applied for on 25 February 1960 and issued by the Tokyo Patent Office on 7 February 1963 (record 38-1528). From the illustration this instrument appears to be a recorder with a semitone hole for the little finger of the lowermost hand and two keys operated by the little finger of the uppermost hand, presumably to extend the range downwards (Henseler and Otse 2010: 16).
In 1984, an application for European Patent 0138231 was filed for a fully keyed recorder by the saxophonist Arnfred Rudolf Strathmann of Memsdorf and granted i1987 (see also United States Patent 4664011), Strathmann’s recorder featured the elaborate keywork and fingerings of a saxophone. With the assistance of the Klein company Kiel, a series of Strathmann flutes was developed with many modern features. The body is made of wood or durable plastic, the block height is adjustable with a simple thumbscrew, and the thumb hole is replaced by a key which opens two small holes high up in the head-piece which raises any fingering of the lower register to the octave above. The volume of sound for all notes is stronger than on conventional recorders, and the timbre is said to be between that of a recorder and flute (Huene 1994). These instruments have been made in both soprano and alto models. Now the Klein company has collapsed, Strathmann continues to make these interesting instruments alone, in small quantities. Strathmann flutes have found favour with a number other jazz musicians, amongst them Fiete Felsch, Klaus Doldinger, Herb Geller and Steffen Schorn.
Keyed recorder by Arnfred Strathman
The firm Mollenhauer have recently incorporated in a newly designed alto recorder the adjustable block (ie a tilting windway) patented separately by Strathmann in 1992 (United States Patent 5107740; European Patent #0431344).
In 1996 Strathmann patented a device in the block, operated by the lower lip, which alters the pitch of the recorder by up to 5 cents. The device is based on the principle of the universal semitone key, which was already used on recorders in the 1930s (Moeck 1997, Thalheimer 2013).
It is worth noting that it has long been possible to fix a recorder-like head-joint to a keyed flute. L’Encylopedie (Diderot & D’Allembert 1751-1772) includes a description and illustration for a flûte traversière et à bec which is side-blown and has flute fingerings , with a d# key (8) and an octave hole (1) opened by pressing the upper key:
Surprisingly, a similar keyless instrument appears in a painting made a century earlier by Joos van Craesbeeck (?1605/6 – 1654/61), namely The Mandoline Player, present whereabouts unknown. Here, the ‘mandoline’ is actually a lute.
In the early 1930s the German firm of Carl Kruspe offered a fully keyed Schnabelflöte provided with both flute and recorder head-joints made by Max Hüller (Thalheimer 2013: 44).
Today, specially designed head-joints are made to fit any modern concert flute by Martin Niethammer and any flute or piccolo by Nick Metcalf The result in each case is an inexpensive, fully chromatic instrument which will play with great agility over two or more octaves.
In 1930 Carl Dolmetsch also introduced the echo or piano key operated by the chin or little finger of the left hand which opened a small hole in the block of the recorder by means of a plunger and raised the pitch of instrument a semitone thus making it possible to play very softly with diminished breath pressure as well as facilitating chromatic playing. This method was latter abandoned in favour of a small additional hole in the rear side-wall of the head behind and opposite the main slot in the window. The latter modification was also patented in 1958 (British Patent #852135), though it derives from the echo key of certain eighteenth-century flageolets. A similar device patented by Max King & Sons in Zwota (Patent DRP 671 814, dated 26 January 1937) was fixed to Herwiga ‘Pan’ recorders.
Lip key by Peter Worrell
Moeck offer a modern recorder designed by Dutch maker Adriana Breukink and marketed as the Slide Recorder. This instrument is similar to so-called Ganassi recorders, but incorporates a specially designed slide mouthpiece for the production of dynamics and microtonal playing. In the Breukink/Moeck design, a spring loaded pad operated by the player’s lower lip activates a plunger which opens a hole in the face of the block, a variant of the first of echo/piano keys developed by Dolmetsch in 1930 (see above).
Similarly, Geri Bollinger offers recorders with “le Souffleur”, a hole drilled through the block which can be opened or closed with the player’s lower lip thus permitting a greater dynamic range. Obviously, any make of recorder can be modified in this way. The piano or whisper key has been applied to the Harmonic Tenor Recorder and the Eagle Recorder, both described below.
Carl Dolmetsch also invented the so-called “tone-projector” (British Patent #666602), a wooden wheelbarrow shaped attachment which clipped on to the window of the recorder’s headpiece to focus the tone and project it forward in an attempt to give the recorder more volume. Initially, these were made from rosewood or satinwood by Michael Heale (then an apprentice at Dolmetsch) who manufactured them as overtime work (Cave 2003). The tone-projector, first used publicly by Carl Dolmetsch in 1949, was later replaced by a plastic model in two sizes, one for sopranino and soprano, the other for alto and tenor (Ward 1949).
All of the above innovations leave the recorder essentially unchanged and it can still be played like any other recorder until the player has good reason to bring them into use (see Dolmetsch 1996, Madgwick and Loretto 1996).
Over a period of 25 years Klaus Grunwald, a painter and art teacher living in Cologne, developed Trichterflöten or “bell recorders”, largely for his own use. He sought a keyless recorder which would project well in large indoor spaces and hold its own with modern instruments. Working largely with simple tools such as files, rasps, drills and hot air guns, Grunwald made some 80 prototypes ranging from sopranino to great bass, at every conceivable pitch, and from a variety of materials. Grunwald’s recorders were similar in appearance to renaissance recorders, with a wide, largely cylindrical bore, a simple external profile, and large single tone holes. The crucial difference was the incorporation of a large, widely flared exponential bell (of wood or metal) similar to that of a clarinet. Another feature was a raised finger hole for the lowest finger, added for ergonomic reasons; this can be seen, too, on the Wiener csakan (c. 1900) illustrated at the top of this page. Grunwald was besieged by orders for his unique instruments but really had no desire to replicate them for commercial sale. Eventually, a contract was signed allowing the Adler-Heinrich firm to produce instruments to Grunwald’s design under his supervision until the firm foundered some years ago.
A novel solution to the problem of recorder dynamics has been suggested by English flute maker Clive Catterall who offered a specially designed notch-flute of cylindrical bore but with recorder fingering. The resulting instrument, similar to the Japanese shakuhachi and the Andean quena, is played by putting the head against the lower lip and chin so that the edge is level with the gap between the lips. Formation of the lip shape, angle of blowing and air pressure must be learned, as with the transverse flute. The thumb hole can be used in the same way as it is on the recorder or the shift between registers can be done with the embouchure alone, it is up to the player. Catterall no longer makes flutes, but it is possible to make such an instrument yourself from a plastic soprano recorder with a single saw-cut.
Another Dolmetsch innovation was the recorder mute, a narrow fold of paper hooked over the labium of the recorder first described by Carl Dolmetsch in Part 3 of The School Recorder Book (Dolmetsch 1974). In fact, these are best made using the smooth soft plastic material of which the recording surface of 5¼-inch floppy diskettes are made (Delong n.d.). An adjustable mute for soprano recorder has been developed and marketed by Italian plastics manufacturer Bonini as Sordinella.
Solutions to the condensation problem
A solution to the perennial problem of condensation in the narrow windway of the recorder and its relatives has long been sought. Both English and French types of flageolets made use of a wind-chamber in which a sponge is placed to absorb moisture from the breath passing through it. This has the added advantage of creating a resistance to the player’s breath. Nineteenth-century csakan makers developed a number of novel approaches (Tarasov 2005). Carl Doke of Linz and Martin Schemmel of Vienna introduced a thin wooden wedge into the windway. Franz Schöllnast of Pressburg and Johan Ziegler & Son of Vienna drilled two small holes into the side of the block, draining into the channels below. Stephan Koch of Vienna adopted a hollowed-out block to collect moisture which drained out via a small tube, the dried air passing into a normal windway.
A 1962 patent application (USA Patent #3178986, German Patent #1235122) was made by Hermann Moeck which shows how the windway was to be lined either completely or in part by stable, moisture-absorbing materials. The final patent registered in 1974 (USA Patent #3988956, German Patent #2432423) used a different design in which an absorbent and very stable artificial chalk-like material was inserted into the floor of a normal wooden block. However, the ceramic material from which the absorbent insert was made eroded in response to the ghastly cocktail of food and alcohol present on the average recorder player’s breath, necessitating expensive repairs. Improving on this line of attack, Mollenhauer introduced Synpor, a synthetic block material which absorbs moisture without changing dimension (Burger and Tarasov 2001).
The American recorder maker Friedrich von Huene fitted a silver sleeve over the labium of some of his early recorders in an attempt to check the buildup of moisture, but this was only partially successful (Burgess 2015: 78), presumably because the problem resides in the windway rather than on the labium of the instrument.
A number of makers have experimented with a system of longitudinal grooves in the wind-way floor to facilitate the flow of condensed moisture away from this sensitive area (Stephenson 1987). The latter idea, inspired by certain Markneukirchen recorders made early in the 20th century, has been implemented in plastic recorders and in soprano and alto instruments designed by Hohner for school use.
Most recently, French recorder-maker Vincent Bernolin has adopted a three-pronged assault on the condensation problem. The blocks of all his instruments are made from cedar treated by an exclusive procedure devised by physicist Arthur Gohin. Furthermore, Bernolin places an expansion joint between the block and the wood of the head with which it comes into contact which absorbs residual moisture. He also offers instruments in which the block is prepared with a more sophisticated treatment of his own devising.
Extreme sizes of recorder
Some makers have experimented with recorders of extreme size. Perhaps the largest recorder ever made is a renaissance-style sub-contrabass recorder in B♭ by Adriana Breukink. The only historic recorder of a comparable size, in the Vleeshuis in Antwerp, made by Rauch von Schrattenbach (c.1535) was, in fact, a contrabass in F with an “extension” to C with keys that have to be played with the little finger and thumb. Mersenne (1636) mentions a recorder with keys that could be played with the feet or by another player. So there appear to have been different versions of this giant!
At the other end of the spectrum, Frans von Twaalfhoven‘s ‘piccolino’ recorder in f”’ (an octave above the sopranino) is probably the smallest fully functional recorder ever made. To make it playable, the finger holes for each hand are on a separate axis. It has a thumb hole. Although the player’s fingers are effectively interleaved, the expected patterns for each hand still apply.
Even smaller recorders, made as novelty items or jewellery by Kobliczeck and by Mollenhauer, can actually be sounded; when she was a child, my daughter was able to coax simple tunes from one of the latter, much to my astonishment.
In the early 1970’s, Gyula Foky-Gruber in Vienna developed the ‘Silberton’, an all-metal soprano recorder made entirely of nickel-plated brass, and an alto made of rosewood with a metal head-joint and two keys for the lowermost finger hole. Both featured a system of adjustable voicing achieved by altering the position of the block and the height of the windway. Both had a cylindrical bore. Later, the German firm Amati produced a look-alike ‘Silbertonflöte’. Similarly, Hopf continues to produce metal instruments which are offered as ‘Gruber System’ recorders in sopranino, soprano, and alto models. Today, Foky-Gruber is making them again by himself as signed handmade recorders in small series, also in pure silver.
Recently, an all metal (aluminium) recorder has been made by USAmerican instrument maker John Orth.
Plastic has been used for hand-made recorders as well as for production models. Loretto (1993) relates an apocryphal tale to the effect that one of the pioneers of the German recorder revival, Ferdinand Conrad succeeded in convincing Martin Skowroneck to make a plastic instrument for him. Skowroneck, anxious that such a recorder not be played in public, made it of a violent blue-coloured plastic, a feature that would be considered a virtue by today’s players! Indeed coloured recorders are now made by the firm Mollenhauer, amongst others. Vincent Bernolin offers exceptional quality hand-finished recorders after Stanesby Senior made in resin with a cedar block. Colourless recorders in transparent plexiglass have been made by Thomas C. Boehm, Pietro Sopranzi, and Frans van Twaalfhoven.
Yamaha recently introduced their 400 series recorders which are identical in acoustical design to their 300 series but made of a new ecologically friendly composite material named Ecodear, which consists of 70% ABS plastic resin and 30% PLA resin derived from plants – all previous models have been made of 100% ABS plastic. These new instruments are yellow in color and similar to boxwood in appearance, with white imitation ivory trim similar to that in the 300 series instruments.
Francesco Li Virghi and Marco Piga have made ceramic-headed recorders after Stanesby. An enterprising amateur maker, Joseph S. Wisniewski, has experimented with glass – not that this is new: the inventory of Vittoria Vellia dated 1 November 1615 in Rome included two recorders made of purple glass Lasocki 2005: 500).
A number of makers have made recorders from composite materials. In 1933, Rudolf Otto in Markneukirchen patented a recorder with an ebonite beak and block and, in the same year, Wilhelm Jan in Zwota patented a recorder with a one-piece celluloid beak (Thalheimer 2013: 122). Recorders with Acolit (phenolic resin) head-joints and wooden bodies were made as early as 1940 by the Markneukirchen firm of Oscar Adler, namely their “Sonora” model soprano (Thalheimer (2013: 121). Today, Mollenhauer makes a ‘Prima’ recorder with a plastic head and a wooden body which has found favour amongst players interested in popular music, eg Jean-François Rousson (France), Evelyn Nallen (UK). A similar model is offered by Moeck as their Flauto 1 Plus model. Hohner market a Melody model with a plastic head and pearwood body.
The neo-renaissance ‘Dream’ recorders designed by Adriana Breukink and manufactured and marketed by Mollenhauer are available in brightly coloured wood stained red, blue and green, primarily to appeal to children, as well as in a natural finish.
Recorders for children
Several makers have modified the recorder to render it more suitable for children. Thus Joachim Kunath, has designed 5-tone and 7-tone pentatonic recorders, diatonic recorders and special soprano recorders for use in Waldorf (Steiner) schools.
Diatonic soprano recorder ,by Joachim Kunath
Similarly, Choroi Instruments offer diatonic, pentatonic recorders and so-called interval flutes with only one finger hole and two notes each. Moeck offer a pentatonic recorder, their Flauto Penta. The Suzuki Precorder PRE-1 is a two-piece plastic recorder with raised tone holes for pre-school use, rather like the American Tonette.
Precorder, by Suzuki
American recorder maker William F. Koch (1892-1970), whose instrument-making business was founded in 1934, manufactured a basset recorder with a unique horizontal windway, presumably in order to render it direct-blown with improved response and to shorten the instrument.
English recorder player and maker Robin Read (1966) carried out a number of experiments in the early 1960s resulting in a tone generation assembly of cedar constructed as a separate entity with the windway floor formed from a conventional plug. Advantages of this innovation include more accurate control of windway dimensions and better resistance to condensation (from twice the normal surface area of cedar. This novel windway design was coupled with a separate tongue which was adjusted before fixing in place, thus reversing the normal voicing procedure.
New Zealand maker, the late Alec Loretto, designed a rotating head with a chamber containing a selection of windways much like the chamber of a six-shooter rotates into position. And the same maker built recorders with a large slot instead of a windway into which prefabricated windways couild be fitted, all with identical exterior dimensions, but each containing its own windway optimised for the pitch of the notes being played (Madgwick and Loretto 1996: 41-42). He also experimented with an adjustable labium on a contrabass recorder in F, allowing changes to made to the distance of the labium from the windway, the position of the labium in the airstream, the angle of the labium in the airstream (Loretto 1970).
An innovation from Hohner is a recorder with a wooden body and head but with a plastic insert which forms the upper windway and cutting edge of the labium. Some of the Australian Pan recorders (made by a young Fred Morgan working with ‘Lazy’ Ade Monsbourgh and Don ‘Pixie’ Roberts) featured a combined block and windway which slid in and out of the beak as a single unit, probably so it could be cleaned.
Italian maker Giacomo Andreola offers recorders with a specially constructed beak (which he says he copied from an idea of the recorder maker Claude Monin) which allows the player to change the windway as needed, either to vary the voicing of the instrument or in order to overcome condensation problems.
Head joint of alto recorder, by Giacomo Andreola, showing details of removable beak
The Mollenhauer/Helder Harmonic recorder incorporates a removable windway system, a lip-operated mechanism which can raise or lower the floor of the windway during playing, an adjustable block which slightly alters the depth of the windway exit and the height of the windway roof above the labium. The result enables extensive experimentation with the sound produced by the instrument.
In a sense, these experiments with adjustable blocks were anticipated by French organ builder Aristide Cavaillé-Coll (1840) who suggested that the historic recorder could have been improved by a sliding bevel operated by a system of keywork (Reinhardt 1984).
Swedish maker Ragnar Arvidsson offers novel recorders of his own construction and design with a unique bore derived from his engineering experience of microwave waveguide systems in radar and telecommunication equipment. They have the sound of renaissance recorders but are played with neo-baroque fingering. They have a full chromatic range of 2 octaves, plus some extra high notes (Hulthèn 1997).
A study of certain pre-war German recorders with unhistorically long bores and the characteristic that over-blowing the bottom or second note produced a true set of harmonics drawn to his attention by recorder player Nikolai Tarasov, has led the American maker Friedrich von Huene to explore the use of additional keywork to close fairly large tone holes far down the instrument out of reach of the little finger thereby extending the range downwards and creating many new fingering possibilities for higher notes. A tenor recorder made along these lines has a range of two octaves and a sixth from b to g#”, the same as a modern oboe.
Tarasov collaborated with Maarten Helder to construct a recorder with harmonics tuned in such a way as to make it possible to play very strong and stable low notes with a tone quality matching that of its higher registers. Indeed their so-called Harmonic Tenor Recorder boasts a range of three octaves from b-c””’, with 4 keys and an optional piano key. It also implements the adjustable block patented by Strathmann, though here it can be adjusted by a twist of the hand, even during a short pause, allowing the player to alter the voicing for maximum tone quality or special sound effects.
The Harmonic Alto Recorder, a companion instrument to the Harmonic Tenor Recorder, with similar range, features, and performance characteristics, is now available. Like its predecessor, this unique and radically new instrument is a collaborative effort between the Dutch recorder maker Maarten Helder and Mollenhauer. A novel feature of this instrument is the inclusion of a number of interchangeable wind-canals. These may be of different materials or different shapes. Like the Harmonic Tenor Recorder, the Harmonic Alto Recorder also includes an adjustable block, and a sophisticated keywork for the lower tone holes.
Tarasov has also collaborated with Joachim Paetzold to create the Paetzold-Tarasov Modern Alto Recorder with a range of two and a half fully chromatic octaves from f’ to c”’. This has been further developed and refined in the Mollenhauer workshop. This instrument has a full, resonant, and uniform tone quality throughout its range with outstanding projection and response, is ideal for performing music of the late 18th century and 19th centuries, and contrasts well with historical or modern pianos. It can be heard on Tarasov’s CD, The Modern Alto Recorder and is played by a number of the world’s leading recorder virtuosi, notably Michala Petri.
How ironic it is to note that the hitherto scorned work of the German recorder makers of the 1920s and 1930s should actually have provided the springboard for what may well prove to be the most significant developments in the recorder’s history since the seventeenth century!
Adriana Breukink and Geri Bollinger together with Küng have developed a striking new instrument they call the Eagle Recorder which combines many of the innovations in recorder design made over the past decade or so. The Eagle alto recorder, launched in 2013, combines equally strong low and high registers, flexible dynamics and an extended range (e’– c””). It features a wide bore, a metal labium (as found certain renaissance recorders), a triple foot-key and an octave key.
The Eagle recorder can also be fitted with a chin-operated slide mechanism to further control volume and intonation.
Joachim Paetzold experimented with a large square-profile recorder built on the principle of a cranked organ pipe from plywood which was patented and further developed by his nephew Herbert Paetzold in 1975, and now made by Joachim Kunath. The result is a range of instruments which are significantly cheaper to construct than conventional ones. Their tone is impressively strong in the lower register and speaks easily over two octaves.
Paetzold square-profile bass recorder, by Joachim Kunath
In fact, Joachim Paetzold was anticipated by New Zealand maker Alec Loretto who in 1967 built a prototype square-profile bass recorder, an illustration of which was published in 1970 (Madgwick and Loretto 1996), though it lacked the characteristic key flaps of the Paetzold instrument. Dolmetsch have also adapted the square profile approach to a new range of bass recorders. A further development of the square bass recorder is the compact design contrabass in F designed by Denis Thomas (2004), reminiscent of the so-called columnar recorders of the sixteenth century. It is as well to remind ourselves that square-profile recorders are not such a recent invention: an anonymous 15th-century manuscript (F Lm 391, f. 28) depicts a man in what looks like a bowler hat playing a duct flute which is decidedly square in cross-section (repr. Boragno 1998: 12)!
15th-century square-profile recorder, F Lm 391, f. 28)
The American composer and recorder player Tui St George Tucker (1924-2004) employed a system of alternative recorder fingerings for the purpose of executing quarter tones (Tucker, undated). She is also said to have developed a recorder with extra finger holes for this purpose (Wikipedia 2013).
Under the auspices of the Centre for New Musical Instruments (CNMI) at London’s Guildhall University, Lewis Jones (London Metropolitan University) together with David Armitage (London Guildhall University) have designed and built recorders which facilitate the performance of microtonal music (or other music composed in alternative tuning systems) and as a new form of expression. Their recorder, based on wide-bored renaissance models, has five small keys operated by the two little fingers. A fingering chart has been devised, yielding additional cross-fingering (Barnes, 2002). They are currently developing a 19-division equally tempered tenor recorder.
Microtonal recorders, by Lewis Jones & David Armitage
Fajardo (1970) described fitting an alto recorder with a microphone and reverberation unit, but this innovation long remained an isolated case. French recorder maker Philippe Bolton has developed an electro-acoustical recorder for contemporary music, jazz etc. (patent pending) which can be amplified, or played without amplification. There is a hole in the side of the bore at the top of the head joint into which a microphone can be screwed. This can be connected to a PA system, giving the musician the possibility of having a louder instrument for playing in difficult conditions, or in ensemble with loud instruments (jazz for example), without having to stay rivetted a few centimetres in front of an external microphone.
Electro-acoustic recorder, by Philippe Bolton
The electro-acoustical recorder can also be connected to an effects processor, giving a very wide palette of sounds for use in contemporary music, or any other contexts in which such effects can be useful. For complete freedom of movement, a wireless system can replace the traditional cable leading to the amplifier. When no amplification is required a special plug can be screwed into the instrument instead of the microphone, converting it into a normal recorder. For a review of the use of microphones with recorders see Dessy and Dessy (2001).
Japanese recorder maker Yukio Yamada has made an electronic device that will transpose the recorder two or three octaves above the pitch you play (Epstein 1988: 8). This facility is also available on the Bolton electro-acoustic recorder attached to an effects processor or MIDI device.
More recently, Nikolkaj Tarasov in conjunction with Mollenhauer have developed an electronic and acoustic recorder marketed as ‘Elody’. Like the Bolton electro-acoustic recorder, the ‘Elody’ is fitted with a specially designed internal pickup which, coupled with a computer or effects unit, gives access to an infinite range of timbres and effects. Unlike the usual cylindrical external profile the ‘Elody’ is flattened and angular in cross-section for more comfortable handling and is available in a range of brightly coloured designs.
Similarly, the American Michael Barker, who teaches at the Royal Conservatory in The Hague, has developed a system linking a square Paetzold contrabass recorder in F to two computer-controlled synthesisers. This system, which Barker terms an Interactive MIDI Performance System, or ‘midified blockflute’, enables him to mix ‘real’ and synthesised sounds as he plays.
The system developed by Barker has been further extended by Peruvian recorder player and teacher Cesar Villavicencio. This new instrument consists of a Paetzold contrabass recorder with many sensors installed on it:
- mouth pressure sensor, measures the pressure generated by the player’s breath
- HALL-Generators, detects magnetic fields produced by closing and opening the keys
- 6 buttons, mainly for changing or turning on/off effects
- 2 pressure sensors, triggered by the player’s thumb, not only turns on and off but controls the amount of effects
- 1 fader, controls the output volume of the effects
- The Bird Cage, a stand that allows the instrument to move like a “joystick” equipped with a potentiometer activated by the torsion of the contrabass, and an accelerometer ADXL202 sensitive to the speed of the movement and inclination of the instrument. All sensors produce signals which are received by a 32 analog input device called MUX MICROLAB developed and built at the Sonology Department at the Royal Conservatory in The Hague. This device converts the signals to MIDI which is then routed to a Mac PowerBook running a program called MAX-MSP which is responsible for the sound processing.
Towards the end of his life, the Australian/American composer Percy Grainger became interested in electrical and mechanical musical instruments designed for use in the context of his so-called ‘free music’. A number of ‘free music machines’ capable of playing continuous gliding tones were developed with a US collaborator, Burnett Cross, and included both electronic and air-blown instruments. Amongst the latter, a machine from 1950 survives in the Grainger Museum, Melbourne, in which a Swanee whistle and two recorders (an alto and tenor given to Grainger by Arnold Dolmetsch) are operated by a roll of paper perforated with holes and slits cut by hand (Davis 1984).
Free Music Machine incorporating a Swanee whistle & two recorders,
by Percy Grainger & Burnett Cross, Grainer Museum, Melbourne
Perhaps the inevitable outcome of the mechanisation of the recorder commenced by Percy Grainger in the 1950s (see above) is the development of musician robots capable of playing the recorder. This has been achieved in the ground-breaking research of Makoto Kajitani and his colleagues of a MUBOT that comprises a computer-driven mechanism which plays an unmodified recorder (Kajitani 1989, 1992, 1999, Kapur 2005).
Recorder-playing Mubot, by Makoto Kajitani
In the recorder-playing MUBOT, blowing is generated by converting air supplies from an air compressor at a predetermined pressure into at the optimal flow for each tone by a current-to-pneumatic converter. Vibrato is created by delicately changing the value of the flow instruction to the pneumatic converter. Articulation is achieved by opening and closing an air valve at the entrance to the recorder wind-way. Rubber finger tips are placed over each vent of the recorder and driven by an air cylinder of the pencil type. The octaving vent is so designed that it can be half or fully opened and fully closed. The recorder-playing MUBOT can join with other MUBOT musicians playing violin, cello and guitar in performing ensembles. All that is wanting is an audience of robotic listeners. What a jolly prospect!
RePRo (Recorder Performance Robot) in action, playing Kimi no Shiranai Monogatari,
see Kato et al. (2011), Masuda et al. (2012)
Electronic wind instruments
Until recently, the only purely electronic ‘recorders’ as such were made by Innovations Fm7 and Suzuki. Fm7’s MIDIWIND MW-1 was described as a recorder paradigm instrument designed specifically for the elementary education market. The controller was sized to work well with both children and adult-sized hands. The unit was slaved to a sound module (called the “Player Station”) which provided built-in sounds MIDI output. The Player Station could accept up to four MIDIWIND controllers simultaneously and was designed to be used in a classroom music lab. The Suzuki SRW-100 Recorder Wind Controller was an electronic input device for use with MIDI instruments. It used standard recorder fingerings, was equipped with pressure sensitive finger holes, and required traditional breath control.
Other Electronic Wind Instruments (EWI) are made by Akai, Casio and Yamaha, amongst others. They are all breath-controlled and variously equipped with pressure sensitive finger holes, keys or pads. They can be programmed to produce the sound of almost any instrument, including the recorder. They are capable of glissando, portamento, chords, “timbre attack” (a type of chorusing) and other effects. Some can be programmed to play with the fingerings of a variety of acoustic instruments. Most EWIs are designed to be used with a synthesizer.
Akai EWI USB
References cited on this page
- Boragno, Pierre. 1998. “Flûtes du moyen age: éléments de recherche” [Members of the Flute Family of the Middle Ages: Elements of Research].” Les cahiers de musique médiévale 2: 6–20.
- Burger, Hans-Joachim, and Nik Tarasov. 2001. “Synpor – oder die Kunst des Erfindens” [Synpor – or the Art of Invention]. Windkanal, no. 2: 14–18.
- Burgess, Geoffrey. 2015. Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World. Bloomington & Indianapolis: University Press.
- Cave, Penelope. 2003. “Michael Heale: Memories of the First Indentured Apprentice at Arnold Dolmetsch Ltd.” The Consort 59: 889–95.
- Davis, Hugh. 1984. “Cross-Grainger Free Music Machine.” In The New GROVE Dictionary of Musical Instruments, edited by Stanley J. Sadie, 1, A to F:517–18. London: Macmillan.
- Delong, Anne. 2015. “Make Your Own Recorder Mute – and Recycle Too!” Accessed September 26.
- Dessy, Raymond, and Lee Dessy. 2001. “Sound-off: Recorder Mikes: What Sounds Good, Is Good!”
Diderot, Dennis, and Jean le Rond d’Alembert. 1751. Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers … [Encyclopedia or Analytical Dictionary of the Sciences, Arts, and Trades]. 17 vols. Paris (vols 1-7) & Neufchâtel ( vols. 8-17): Briasson & Faulche.
- Dolmetsch, Carl F. 1974. The School Recorder Book. Revised Edition. 3. Leeds: E.J. Arnold & Son.
- Dolmetsch, Carl F. 1996. “The Recorder in Evolution.” Recorder Magazine 16 (2): 56–57.
- Epstein, Jan. 1988. “An Interview with Frans Brüggen.” Recorder: Journal of the Victorian Recorder Guild 8: 8–10.
- Fajardo, Raoul J. 1970. “Enhancing the Recorder Sound.” Recorder and Music Magazine 3 (5): 172–74.
- Henseler, Ewald, and M. Otse. 2010. “How the Recorder Came to Japan.” American Recorder 51 (1): 9–22.
- Huene, Friedrich von. 1994. “Efforts to Modernize the Recorder.” Recorder Magazine 15 (4): 135–37.
- Hulthèn, A.L. 1997. “Ragnar blandar tekniken med musiken = Ragnar Blends Technology with Music.” Kontakt
- Hunt, Edgar H. 1961. “Recorder Fingerings.” Galpin Society Journal 14: 75–76.
Jerome, Ted. 2002. “Orkon.” Last accessed September 2016.
- Kapur, Ajay. 2005. “A History of Robotic Musical Instruments.” In Proceedings, International Computer Music Conference. Barcelona.
- Kajitani, Makoto. 1989. “Development of Musician Robots.” Journal of Robotics and Mechatronics 1: 254–55.
- Kajitani, Makoto. 1999. “Development of Musican Robots in Japan.”
- Kajitani, Makoto. 1992. “Simulation of Musical Performances.” Journal of Robotics and Mechatronics 4 (6): 462–65.
- Kato, Tomonori, Yoshiyuki Kawamura, Kenji Kawashima, and Toshiharu Kangawa. 2011. “Control of Blown Air for a Soprano-Recorder-Playing Robot Using Unsteady Flow Rate Measurements and Control Techniques.” In Proceedings of the 8th JFPS International Symposium on Fluid Power, 626–32. Okinawa: Journal of the Fluid Power Society.
- Lasocki, David R.G. 2005. “A Listing of Inventories and Purchases of Flutes, Recorders, Flageolets, and Tabor Pipes, 1388-1630.” In Musique de Joye: Proceedings of the International Symposium on the Renassiance Flute and Recorder Consort. Utrecht 2003, 419–511. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
- Loretto, Alec V. 1970. “Adjustable Lip on the Recorder.” Recorder and Music Magazine 3 (8): 278–79.
- Loretto, Alec V. 1993. “Plastic Recorders.” Recorder Magazine 13 (1): 3–4.
- Loretto, Alec V. 1998. “Letters to the Editor: Bell Keys.” Recorder Magazine 18 (4): 156–57.
- Madgwick, Paul, and Alec V. Loretto. 1996. Communication 1486: “Old Recorders for New (Recorder Patents).” FoMRHI Quarterly 85: 35–44.
- Masuda, Hiromo, Tomonori Kato, and Toshiharu Kagawa. 2012. “Development of a Recorder-Playing Robot Using Unsteady Flow Rate Control Technique.” In Proceedings of SICE Annual Conference, 1319–24. Gakujutsu Kōenkai: Society of Instrumentation and Control Engineers.
- Mersenne, Marin. 1636. Harmonie universelle, contenant la théorie et la pratique de la musique, où il est traité de la nature des sons, et des mouvemens, des consonances, des dissonances, des generes, des modes, de la composition, de la voix, des chants, et de toutes sortes d’instruments 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.
- Moeck, Hermann A. 1997. “Blockflötenmundstück mit Frequenzregler” [Recorder Windways with Turbulence Regulators]. Tibia 22 (3): 525.
- Reinhardt, Bruno. 1984. “La flûte à bec: des clés pour le futur! [The Recorder, Keys for the Future].” Flûte à bec & instruments anciens 15: 2–3.
Schmidt, Lloyd J. 1959. “A Practical and Historical Source-Book for the Recorder.” Ph.D dissertation, Evanston: Northwestern University. Oak Grove Library Center.
- Sela, Bárbara, and Guido Peñalver. 1996. “Fabricantes de flautas de pico en el siglo XX.” Revista de flauta de pico.
- Stephenson, N. 1987. “Memo from Wales: Lecturers Hit the Right Note with Spit-Free Recorder.” The Recorder: Australia’s Journal of Recorder & Early Music 6: 34.
- Tarasov, Nik. 2005. “Historischer Blockflötenbau: Bahn frei! Kreative Blocckonstruktionen in 19 Jahrhundert” [Historical Recorder Making: Make way! Creative Block Construction in the 19th Century]. Windkanal, no. 4: 14–17.
Thalheimer, Peter. 2013. Vergessen und wiederentdeckt : die Blockflöte: 200 Instrumente der Jahre 1926 bis 1945 aus vogtländischen Werkstätten = Forgotten and Rediscovered : The Recorder : 200 Instruments Made in the Vogtland Region Between 1926 and 1945. Vol. 3. Meisterleistungen deutscher Instrumentenbaukunst = Masterpieces of German Instrument Making. Markneukirchen: Verein der Freunde und Förderer des Musikinstrumenten-Museums Markneukirchen e. V.
- Thomas, Denis. 2004. “A Novel Compact F Contra[bass].” Recorder and Music 24 (4): 120–22.
- Thomas, Denis. 1998. “‘Letters to the Editor: Bell Key Patent.” Recorder Magazine 18 (2): 73.
- Tsukumoto, Takashi. 1975. “Another Bell Key.” Recorder and Music Magazine 5 (2): 45–57.
- Waitzman, Daniel. 1978. The Art of Playing the Recorder. New York: AMS Press.
- Waitzman, Daniel. 1968. “The Bell Key.” Recorder and Music Magazine 2 (10): 324–27.
- Waitzman, Daniel. 1969. “Bell-Key Probe.” Recorder and Music Magazine 3 (3): 86.
- Ward, C. Leslie C. 1949. The Dolmetsch Workshops. Revised 1954-1961. Haslemere: Arnold Dolmetsch Ltd.
Cite this article as: Lander, Nicholas S. 1996–2019. Recorder Home Page: History: Innovations. Last accessed 23 January 2019. http://www.recorderhomepage.net/history/