Compiled by Nicholas S. Lander

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 privately and at several tertiary institutions.

The Word on the Street

  • Not Just the Alto: Sizes and Types of Recorder in the Baroque and Classical Periods, by David Lasocki (2020)

    According to the standard history of the recorder, the consort went out of fashion in the early seventeenth century, the alto (British: treble) became the almost exclusive size of the Baroque period, with the solo sonata as its main vehicle (apart from a handful of concertos for smaller sizes), and the instrument virtually disappeared around 1740. In the last 20 years, however, copious evidence has been uncovered, by David Lasocki and other researchers, that creates a new view of recorder history, which recognizes that between 1600 and 1800 many sizes of recorder were employed in a rich and broad repertoire of instrumental and vocal music. This is the territory that David explores in his latest book, drawing on written evidence (inventories, advertisements, sales, purchases, and employment records) and the surviving repertoire. The book aims to raise consciousness about what Hans Oskar Koch called ‘special forms’ of the recorder by demonstrating that they were not as special as both he and we have supposed. A must-read for all lovers of the recorder as well as anyone interested in early woodwind instruments and their music. Over 400 pages, including an introductory summary chapter, and index of terms and 15 musical examples.

    Available as a PDF at US$14.99 from David here or in print at $24.99 there
  • Thoughts on the Recorder — essential reading for all players

    This inspiring book by Geert Van Gele, founder of the Flanders Recorder Quartet, deserves a place by every recorder player’s side. It distills a life-time of experience performing and teaching and explores many aspects of recorder choice, care, maintenance, technique, interpretation and musicianship which will prove invaluable to the serious amateur or pre-professional student. Available in printed form or downloadable in iBook (EPUB) and PDF formats, this 400-page book is linked to a series of 36 freely accessible YouTube videos which summarise and illustrate each chapter.

    Purchase and find more information here
  • The great German recorder epidemic, reinventing the recorder, 1925–1950, by Paul Ehrlich (2021)

    In this Essay, Robert Ehrlich examines the origins, spread, and consequences of the “recorder epidemic” in 1930s Germany. In the final years of the Weimar Republic, the recorder was reinvented as a simplified, “organic” instrument suitable for mass-production, then marketed as a Volksblockflöte, or “people’s recorder,” after the Nazis’ rise to power in 1933. By the end of the decade, inexpensive school recorders had emerged “triumphal” as a familiar symbol of the indoctrination of children in the Hitler Youth. Several passionate advocates of the recorder, forced into exile as Jewish refugees, brought their dedication to the instrument with them. Thus redeemed from association with the horrors of the “Third Reich,” the school soprano recorder came to be adopted internationally after the War in elementary music education.

    Available in digital format for US$4.99 from Instant Harmony, here
  • Prof. George Halford’s ‘flute boy’


    On a shelf in a storage room beneath the University of Melbourne’s Harry Brookes Allen Museum of Anatomy and Physiology, a deformed skeleton, a little over 70 cm tall,  sits playing his wooden recorder. He has done so for some 200 years!

    Read the story, by ABC Reporter Belinda Smith here
  • Outstanding New Recording: Twelve fantasias for solo recorder by Rodney Waterman (Australia)

    Each fantasia – 10 for recorder, 2 for Swedish folk flute – seeks to imagine/recall, with the help of carefully selected digital reverb, the atmosphere and ambience of a particular venue where Rodney has performed and/or experienced. His 12 fantasias were recorded at home in Melbourne (Australia) between 13–23 October 2020, at a time of significant restriction on movement and association due to Covid-19 regulations. One new fantasia was recorded each day for 12 consecutive days, using 12 different instruments, six of them by the late Fred Morgan.


    Listen and purchase CD or Digital Album here

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