Modern Repertoire

This bibliography concerns the recorder’s modern repertoire. A more convenient and flexible way of exploring it is via the Zotero citation database underlying this site. The Zotero interface is straightforward to use and allows you to export selected entries in a variety of formats and to create your own citation lists in a range of journal styles. All you need is your web-browser. This will be of particular assistance to students and researchers

  • Alker, Hugo. 1960–1961. Blockflöten-Bibliographie [Recorder Bibliography]. 2 vols vols. Vienna: Universitätsbibliothek.
  • Alker, Hugo. 1984. Blockflöten-Bibliographie [Recorder Bibliography]. Bd. 1: Systematischer Teil [Systematic Part]. Bd. 2: Alphabetischer Teil [Alphabetical Part]. 2 vols. Wilhelmshaven: Heinrichshofen.
  • Alker, Hugo. 1966–1975. “Blockflöten Bibliographie [Recorder Bibliography]. [Bd. 1]: Blockflöten-Bibliographie (1966). Bd. 2: Nachtrag und Gesamtregister [Supplement and Complete Index] (1969). Bd. 3: Nachtrag 1970–1974 (1975).” In . Wilhelmshaven: Heinrichshofen.
  • Arial Juan, Gonzalo. 1998. “Catálogo de obras para flauta dulce de compositores argentinos” [Catalogue of Recorder Works by Argentine Composers].” Revista de flauta de pico 11: 15–19.
  • Arial Juan, Gonzalo. 1998a. “Catálogo de obras para flauta dulce de compositores argentinos” [Catalogue of Recorder Works by Argentine Composers].” Revista de flauta de pico 11: 15–19.
    Arial Juan, Gonzalo. 1998b. “La flauta dulce en Argentina.” Revista de Flauta de Pico 11 (11–14).
    Arial Juan, Gonzalo. 2014a. “Catalogue of Argentinian Music for Recorder.” Windkanal Bonus Material, no. 3. https://www.windkanal.de/images/files/stories/bonusmaterial/The-recorder-in-Argentina-Catalog.pdf.
    Arial Juan, Gonzalo. 2014b. “Die Blockflöte in Argentinien.” Windkanal, no. 3.
    Arial Juan, Gonzalo. 2014c. “The Recorder in Argentina.” Windkanal Bonus Material. https://www.windkanal.de/images/files/stories/bonusmaterial/The-recorder-in-Argentina.pdf.
  • Arnott, Joanne. 2014. “Recorders and Electronics: An Introduction to the Performance of Electronic Music.” Master of Music (Performance), Sydney: Sydney Conservatorium of Music. https://ses.library.usyd.edu.au/bitstream/handle/2123/11504/SID%20306190958%20Joanne%20Arnott%20Thesis.pdf;jsessionid=820A11326390443EE1966CC5503F9579?sequence=1.
  • Arran, Roderick. 1981. “Muziek Voor Altblokfluit—Rob Du Bois.” Recorder & Music 7 (4): 91–94.
  • Bamforth, Dennis A. 1993–1994. “The Recorder Orchestra. Part 1 (the History). Part 2 (the Music).” Recorder Magazine, 13 (2): 50–151; 14 (2): 41–42.
  • Bandt, Ros. 1984. “Original Wind: Ros Bandt, Composer-Performer, Artist in Sound.” Recorder: Journal of the Victorian Recorder Guild, 1: 8–11.
  • Begley, Rachel. 1997. “Premiering Bernstein.” American Recorder 38 (5): 4–5, 38.
  • Bergmann, Walter. 1972. “Further Notes on Hindemith’s Recorder Trio.” American Recorder 13 (1): 17.
  • Bergmann, Walter. 1965. “Michael Tippett: His Recorder Works.” Recorder and Music Magazine 1 (8): 229–31.
  • Beutler, Irmhild. 2000. “Artikulation in Sören Siegs ‘pina ya phala’, oder, Warum wir die Afrikanische Suite Nr. 2 zweimal einspielten . . . [Articulation in Sören Sieg’s ‘pina ya phala’, or, Why we Practiced the African Suite no. 2 Twice . . .].” Tibia 25 (1): i – iv (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/2000-1.pdf.
  • Beutler, Irmhild, and Sylvia C. Rosin. 2001. “Mit vier Blockflöten im Symphonie-Orchester: Uraufführung von Unsik Chins Miroirs des temps mit dem Deutschen Symphonie-Orchester Berlin [With Four Recorders in the Symphony Orchestra: First Performance of Unsik Chin’s Miroirs des temps with the Deutsche Symphonie-Orchester Berlin].” Tibia 26 (4): 648–49. http://www.moeck.com/uploads/tx_moecktables/2001-4.pdf.
  • Beutler, Irmhild, and Sylvia C. Rosin. 1999. “‘Da wird selbst die sanfte Blockflöte zum messerscharfen Mord-Instrument . . .’: Ensemble Dreiklang Berlin über Witold Szalonek’s Das Haupt der Medusa [‘The soft recorder itself became a razor-sharp instrument of death . . .’: Ensemble Dreiklang Berlin on Witold Szalonek’s Medusa’s Head].” Tibia 24 (4): 630–31. http://www.moeck.com/uploads/tx_moecktables/1999-4.pdf.
  • Bornefeld, Helmut. 1977. “Das Porträt: Ein Leben mit Bläsern und Orgel [A Life with Winds and Organ].” Tibia 2 (2): 289–93. http://www.moeck.com/uploads/tx_moecktables/1977-2.pdf.
  • Bornstein, Andrea. 2015. “Gardane [A Repository of Music Sites. Includes a Vast Collection of Original Music and Arrangements for Recorder, Together with Information on Their Composers, Titles, Sources, Sound Files, Printable Scores (in English and Italian)].” Accessed October 15. http://www.gardane.info/.
  • Bousted, Donald. 2000. “My Music and the Recorder.” Cinnamon Sticks 1 (1): 14–17.
  • Bowman, Peter. 2000. “The Electro-Acoustic Recorder.” Recorder Magazine 20 [marked 21 in error) (3): 103–4.
  • Braun, Gerhard. 1996. “Ein Schritt vor—zwei zurück. Blockflöte und Avantgarde [One Step Forward, Two Steps Back: The Recorder and the Avant-garde].” In , 3–11. European Recorder Teachers’ Association.
  • Braun, Gerhard. 1999. “Ballast oder Herausforderung—alte Musik unter dem Blickwinkel der Gegenwart [Ballast or Challenge? Early Music from the Perspective of the Present].” SAJM Zeitschrift 27 (4): 3–9.
  • Braun, Gerhard. 1976. “Blockflöte und Avantgarde: Versuch einer Typologie der zeitgenössischen Blockflötenmusik” [The Recorder and the Avant Garde: An Attempt at a Typology of Contemporary Recorder Music].” Tibia 1 (1): 19–25.
  • Braun, Gerhard. 1984. “Ludus juvenalis: Moderne Blockflötenmusik für den Anfang” [Child’s Play: Modern Recorder Music for Beginners].” Tibia 9 (1): 8–12. http://www.moeck.com/uploads/tx_moecktables/1984-1.pdf.
  • Braun, Gerhard. 1995. “‘Das Blockflötenensemble: Einige historische und unhistorische Betrachtungen’ [The Recorder Ensemble: Some Historical and Unhistorical Considerations].” In Vorträge und Dokumentation. Karlsruhe.
  • Braun, Gerhard. 1978. Neue Klangwelt auf der Blockflöte [New Sound World on the Recorder]. Musikpädagogische Bibliothek 16. Wilhelmshaven: Heinrichshofen.
  • Braun, Gerhard. 1978. “mit/gegen sich selbst und andere Schwierigkeiten: Zur Interpretation szenischer Blockflötenmusik am Beispiel einer Komposition von Erhard Karkoschka” [mit/gegen sich selbst (with/against oneself) and Other Difficulties: On the Interpretation of Staged Recorder Music as Exemplified in a Composition by Erhard Karkoschka].” Tibia 3 (3): 162–66. http://www.moeck.com/uploads/tx_moecktables/1978-3.pdf.
  • Braun, Gerhard. 1987. “Das Andere Arkadien: Gedanken Zur Flötenmusik von Helmut Bornefeld [The Other Arcadia: Thoughts on the Flute Music of Helmut Bornefeld].” Tibia 12 (2): 401–5. http://www.moeck.com/uploads/tx_moecktables/1987-2.pdf.
  • Braun, Gerhard. 2001. “Männlein im Walde: 12 Variationen über Kinderlieder für Sopranblockflöte solo [The Little Man in the Woods: 12 Variations on Children’s Songs for Solo Soprano recorder].” Tibia 26 (2): xxv – xxviii (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/2001-2.pdf.
  • Braun, Gerhard. 1999. “Ach, wie gut, dass niemand weiß. . . .  Marginalien zu meinem Abbreviaturen für Sopranblockflöte und Klavier [Ah, How Nice that No One Knows. . . .Mmarginalia for my Abbreviaturen for Soprano Recorder and Piano].” Tibia 24 (4): xxxiii – xxxiv (die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/1999-4.pdf.
  • Braun, Gerhard. 2000. “Martin Gümbel: Flötenstories für 3 Blockflöten gleicher Stimmlage, Satz I, III und IV, Edition Moeck Nr. 2504 [Martin Gümbel’s Flötenstories for Three Equal Recorders, Movements 1, 3, and 4: Edition Moeck 2504].” Tibia 25 (2): v – vi (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/2000-2.pdf.
  • Braun, Gerhard. 2000. “‘G’fällt euch das?’: Einige Bemerkungen zu Werner Heiders ‘Gassenhauer’ für Sopranblockflöte (oder Piccoloflöte) und kleine Trommel [‘Did You Like That?’: Remarks on Werner Heider’s ‘Gassenhauer’ for Soprano Recorder (or Piccolo) and Snare Drum].” Tibia 25 (1): 33–36. http://www.moeck.com/uploads/tx_moecktables/2000-1.pdf.
  • Braun, Gerhard. 1983. “‘“—schattenhaft ruhig—grob gekant—”: Anmerkungen zu den Flötenkompositionen von Hans-Joachim Hespos’ [’ghostly quiet—coarsely chewed’: Remarks on the Flute and Recorder Compositions of Hans-Joachim Hespos].” Tibia 8 (3): 418–21. http://www.moeck.com/uploads/tx_moecktables/1983-3.pdf.
  • Braun, Gerhard. 1997. “Traumbilder: Einige Bermerkungen zu den Solostücken für Sopranblockflöte von Konrad Lechner [Dream Images: Some Notes on Konrad Lechner’s Pieces for Solo Soprano Recorder].” Tibia 22 (4): xxxiii – xxxvii (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/1987-4.pdf.
  • Braun, Gerhard. 1994. “Im Grenzbereich: Einige Anmerkungen zu Mathias Spahlingers ‘nah, getrennt’ für Altblockflöte Solo [In the Borderland: Some Remarks on Mathias Spahlinger’s ‘nah, getrennt’ for Solo Alto Recorder].” Tibia 19 (4): 294–98. http://www.moeck.com/uploads/tx_moecktables/1994-4.pdf.
  • Broadstock, Brenton. 1985. “Writing for the Recorder: Aureole 3—a Musical Drama.” Recorder: Journal of the Victorian Recorder Guild 2: 16–18.
  • Brock, John E. 1982. “A Checklist of Music for Unaccompanied Recorder.” American Recorder 23 (3): 103–6.
  • Broege, Tom. 2006. “Anyone out There ‘Raising a Ruckus’?” American Recorder 47 (1): 35.
  • Brüggen, Frans. 1966. “Berio’s ‘Gesti.’” Recorder and Music Magazine 2 (3): 66.
  • Burchette, Ursula. 2015–16. “Bridging the Gap: Symbiosis of Early and Contemporary Music in the Recorder Compositions of Hans-Martin Linde.” Recorder Magazine, 35 (3): 80–88, (4): 124–29; 36 (2): 42–49.
  • Chandelier, Christian. 1988. “A propos du trio de Hindemith” [Concerning Hindemith’s Trio].” Flûte à bec & instruments anciens 26: 18–19.
  • Clark, Paul. 1971. “A Guide to the Sopranino (For Younger Players).” Recorder and Music Magazine 3 (12): 472–74.
  • Coates, Gloria. 1990. “A Cockatoo Will Do.” American Recorder 31 (4): 17–19.
  • Davenport, Mark. 2005. “Recorder Music Center (RIMC), an International Repository & Research Center for Recorder Music.” Regis University, Denver. http://www.regis.edu/About-Regis-University/Centers-and-Institutes/Recorder-Music-Center.aspx.
  • Davies, Malcolm. 1999. “The Recorder Music of Gaston Saux (1886–1969).” Recorder Magazine 19 (3): 87–89.
  • Davis, Alan. 1989. “Commissioned Works for the Recorder.” Recorder and Music Magazine 9 (10): 278–81.
  • Dessy, Raymond. 1999. “The Recorder Blues, How to Get Started with Blues Recorder [Brasilian Concert Music for Recorder and Piano: The Broadening of the Repertoire and Organisation of a Catalogue of Works].” Müsica Hodie 6 (2): 10 pages. http://members.iinet.net.au/~nickl/blues.html.
  • Devroop, Chatadari. 1992. “Monologe eines Blockflöten¬spielers: Anmerkungen zu den Kompositionen für Blockflöte solo von Gerhard Braun—zum 60. Geburtstag des Komponisten [Monolog of a recorder player: remarks on the compositions for one recorder by Gerhard Braun—on the composer’s 60th birthday].” Tibia 17 (2): 85–90. http://www.moeck.com/uploads/tx_moecktables/1992-2.pdf.
  • Dirié, Gerardo. 1996. “A Preliminary Listing of Latin American Recorder Music.” Recorder Education Journal 3: 45–48.
  • Dolmetsch, Carl F. 1968. “The Recorder’s 20th-Century Repertoire.” Recorder and Music 2 (8): 247–49.
  • Dolmetsch, Carl F. 1968. “The Recorder’s 20th Century Repertoire.” Recorder and Music Magazine 2 (8): 247–49.
  • Dolmetsch, Carl F. 1960. “An Introduction to the Recorder in Modern British Music.” Consort 17: 47–56.
  • Duhot, Jean-Joël, and Patrice Challulau. 1989. “Un jeune compositeur écrit pour la flûte à bec. Patrice Challulau entretien avec Jean-Joël Duhot [A Young Composer Writes for the Recorder. Patrice Challulau Interviewed by Jean-Joël Duhot].” Flûte à bec & instruments anciens 28: 4–5.
  • Fairhall, Helen. 1990. “Music for the Bird—and for the Adventurous.” Recorder: Journal of the Victorian Recorder Guild 11: 10–12.
  • Farrell, Claire L. 2020. “Contemporary Classical Recorder Music in the Australian Compositional Landscape.” Honours degree, Hobart: University of Tasmania.
  • Feider, Denise. 1994. “Contribution à l’étude de la renaissance de la flûte á bec au XXe siècle [Contribution to the Study of the Twentieth-century Revival of the Recorder].” Master’s dissertation, Lyon: Université Lumière.
  • Feider, Denise, and Marianne Mezger. 1995. “Die aktuellen Interviews: Mit Hans Martin Linde, Werner Heider und Gerhard Braun” [Interviews Now: With Hans Martin Linde, Werner Heider, and Gerhard Braun].” SAJM Zeitschrift 23 (6): 11–23.
  • Figueroa, Evelyn. 1999. “New Language and Verbal Transcriptions.” Smithsonian Institution: Creativity and Resistance: Maroon Cultures in the Americas. http://www.folklife.si.edu/resources/maroon/tour/visit/d3.htm.
  • Flickinger, Tatiana. 2018. “Musi mit Blockflöte und Dirndl [Music with recorder and Dirndl].” Windkanal, no. 4.
  • Flickinger, Tatiana. 2019. “Die Blockflöte in »Harry Potter« [The recorder in ‘Harry Potter’].” Windkanal, no. 3.
  • Franco, Daniela C., and Betiza S. Landim. 2006. “Música Brasileira erudita para flauta doce e piano: ampliação do repertório e organização de catálogo de obras [Brazilian Classical Music for Recorder and Piano: Expanding the Repertoire and Oranising a Catalogue of Works].” Música Hodi 6 (2): 85–94.
  • Geddert, Geesche. 1994. “‘Three’—das Blockflötentrio von John Cage [’Three’: John Cage’s Recorder Trio].” Tibia 19 (1): 40–43.
  • Geddert, Geesche. 1985. “’In Freundschaft’ von Karlheinz Stockhausen jetzt auch für Blockflöte [Karlheinz Stockhausen’s ‘In Freundschaft’ Now Also for Recorder].” Tibia 10 (3): 416–19. http://www.moeck.com/uploads/tx_moecktables/1985-3.pdf.
  • Gordon, David. 1998. “The Improvising Recorder Consort: Jazz.” Recorder Education Journal 4: 16–18.
  • Gordon, David. 1997. “Die Blockflöte—die beste Freundin eines Komponisten [The Recorder: A Composer’s Best Friend].” Windkanal, no. 1: 4–7.
  • Grant, Dinah. 1964. “Playing: R. Müller-Hartmann: Suite.” Recorder and Music Magazine 1 (5): 157–58.
  • Hamel, Peter M. 1987. “Zwischen Keltentum und Avantgarde: Der irische Komponist John Buckley [Between Celticity and Avant Garde: The Irish Composer John Buckley].” Musik Texte: Zeitschrift für neue Musik 29: 19–25.
  • Hand, Colin. 1975. “The Composer Writes: PLAINT for Tenor Recorder and Harpsichord (or Piano).” Recorder & Music 5 (3): 89.
  • Haug, Hermann. 2004. Bibliographie und Diskographie fur Soloblasinstrumente und Orchester [Bibliography and Discography of Music for Solo Wind Instruments and Orchestra] Vol. 1: Blockflöte, Flöte [Recorder, Flute]. Weisbanden: Breiktopf & Härtel.
  • Hauwe, Walter van. 1988–1989. “Jan Rokus van Roosendael’s ‘Rotations.’” Key Notes 25: 45–47.
  • Hauwe, Walter van, Paul Leenhouts, and Jorge Isaac. 1998–2016. “Catalogue of Contemporary Blockflute Music.” Stichting Blokfluit. http://www.blokfluit.org/modern/.
  • Heidecker, Martin. 2013. “Neueste Blockflötenwerke von gerhard Braun.” Windkanal, no. 2: 22–24. http://www.windkanal.de/images/stories/PDF/2013-2/Windkanal_2013-2.pdf.
  • Heidecker, Martin. 2015. “[A concert for recorder and wind orchestra by Viktor Fortin].” Windkanal, no. 2.
  • Henseler, Ewald. 1984. “Neue Blockflötenmusik in Japan [New Recorder Music in Japan].” Tibia 21 (2): 96–105. http://www.moeck.com/uploads/tx_moecktables/1984-2.pdf.
  • Henseler, Ewald, and Yoshie Tokimitsu. 1995. “Recorder Music by Japanese Composers.” Music Library Association Japan Newsletter 16 (1): 1–7.
  • Higbee, Dale. 1969. “Notes on Hindemith’s ‘Trio for Recorders.’” American Recorder 10 (2): 39.
  • Highcock, Robert, and Peter Robertson. 1995. “The Recorder Works of Daryl Runswick.” Recorder Magazine 15 (1): 13–14.
  • Höffer-von Winterfeld, Linde, and Harald Kunz. 1959. Handbuch der Blockflöten‑Literatur [Handbook of recorder literature]. Berlin: Bock & Bock.
  • Horn, Nick. 1998. “Recorders in Borderland: The Recorder and World Music in Australia.” Recorder and Early Music [Australia] 22: 11–17. http://members.iinet.net.au/~nickl/fusion.html.
  • Horner, Keith. 1974. “Frans Brueggen on Contemporary Music for the Recorder.” Recorder and Music Magazine 4 (10): 352–54.
  • Hosoda, Tsutomu. 1987. A Descriptive Catalogue of Recorder Music. Tokyo: Academia Musica.
  • Hunt, Edgar H. 1980. “Quartet Sonatas.” Recorder & Music 6 (9): 277.
  • Hunt, Edgar H. 1968. “Recorder  and Flute.” Recorder and Music Magazine 2 (8): 244–45.
  • Hunt, Edgar H. 2002. The Recorder and Its Music. Revised and enlarged. Hebden Bridge: Peacock Press.
  • Hunt, Edgar H. 1976. “The Recorder and the Avant Garde.” Recorder and Music 5 (6): 195–96.
  • Hunt, Edgar H. 1987. “Obituary: Dr Hans Gál OBE.” Recorder and Music Magazine 9 (4): 102.
  • Hunt, Edgar H. 1986. “Obituary: Dr. Edmund Rubbra.” Recorder and Music Magazine 8 (9): 277–79.
  • Hunt, Edgar H. 1986. “The Recorder Music of Edmund Rubbra.” Recorder and Music Magazine 8 (10): 296–97.
  • Hunt, Edgar H. 1970. “Gaston Saux: Quartet in F.” Recorder and Music Magazine 3 (6): 201.
  • Izquierdo, Jan. 1996. “La flauta de pico y la música de vanguardia [The Recorder and the Music of the Avant Garde].” Revista de flauta de pico 5: 13–14.
  • Izquierdo, Joan. 1999. “Contando ovejas: Reflexiones después de una realización de ‘Les moutons de Panurge’ de Frederic Rzewsky [Counting Sheep: Reflections Following a Performance of ‘Panurge’s Sheep’ by Frederic Rzewski].” Revista de flauta de pico 14: 23–24.
  • Jacobson, Silke. 2000. “Das Phänomen der Zeitlosigkeit: Werner Heider zum 70. Geburtstag [The Phenomenon of Timelessness: Werner Heider on his Seventieth Birthday].” Tibia 25 (1): 37.
  • Arial Juan, Gonzalo. 2014. “Argentinian Music for Recorder.” http://members.iinet.net.au/~nickl/argcomps.html.
  • Kelber, Sebastian. 1976. “Werner Heiders Katalog für einen Blockflötenspieler: Eine Analyse [Werner Heider’s Katalog für einen Blockflötenspieler (Catalog for a Recorder Player): An Analysis].” Tibia 1 (3): 145–48. http://www.moeck.com/uploads/tx_moecktables/1976-3.pdf.
  • Kenworthy, C. 1965. “Michael Tippett: An Appreciation.” Recorder and Music Magazine 1 (8): 229.
  • Kerwin, Michael. 1988. “Musica Nova: 20th-Century Music for Historical Instruments.” Continuo 12 (1): 5–10.
  • Kinsell, David. 1976. “J.C. Bridge and the Recorder.” Recorder and Music 5 (5): 157–60.
  • Kumpf, Hans. 1984. “Das Porträt: Hans-Joachim Hespos.” Tibia 9 (1): 33–35. http://www.moeck.com/uploads/tx_moecktables/1984-1.pdf.
  • Kneihs, Hans M. 2001. “Nicht nur zur Weihnachtszeit: Sechs polnische Weihnachtslieder dreistimmig für Blockflöten oder andere Instrumente gesetzt von Witold Lutosławski  [Not only at Christmas: Six Polish Christmas songs in three parts for recorders or other instruments, set by Lutosławski ].” Tibia 36 (4): xxxvii – xl (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/2001-4.pdf.
  • Lasocki, David R.G. 1974. “Flute and Recorder in Combination: Recent Additions to the Baroque Repertoire.” Recorder & Music 4 (11): 391–95.
  • Lasocki, David R.G. 1991. “More on Echo Flutes.” Recorder: Journal of the Victorian Recorder Guild 13: 14–16.
  • Lasocki, David R.G. 2000. “A Short History of the Recorder Ensemble.” In The Finishing Touch of Ensemble Playing, edited by Bart Spanhove, 53–62. Peer: Alamire.
  • Lasocki, David R.G. 1989. “The Third Recorder Age of Bernhard Heiden.” American Recorder 30 (3): 109–12.
  • Lasocki, David R.G. 2001. “Recorder.” In The New GROVE Dictionary of Music and Musicians, edited by Stanley J. Sadie and John Tyrell. Basingstoke: Macmillan. http://www.oxfordmusiconline.com.
  • Lechner, Konrad. 1976. “Das Porträt: Konrad Lechner über sich selbst” [Konrad Lechner on Himself].” Tibia 1 (2): 89–93. http://www.moeck.com/uploads/tx_moecktables/1976-2.pdf.
  • Lehmann, Jenniver W. 1990. Music for Mixed Ensembles. American Recorder Society Chapter Information Packet 3. Littleton, CO: ARS Education Committee.
  • Letteron, Claude. 1982. “Répertoire partitions: Flûte à bec et guitare” [Printed Repertory: Recorder and Guitar].” Flute à bec 2: 25–32.
  • Letteron, Claude. 1989. Catalogue général: musique pour flûte à bec 1989 = General Katalog: Musik für Blockflöte = General Catalogue: Music for Recorder = Catálogo general: Música para flauta dulce. Paris: Éditions Aug. Zurfluh.
  • Levine, Joel, and Pete Rose. 1965. “The Recorder Player’s Introduction to Jazz.” American Recorder 36 (3): 6–12.
  • Linde, Hans-Martin. 1968. “The Simultaneous Use of Recorder and Flute by Baroque Composers.” Recorder and Music Magazine 2 (9): 281–82.
  • Linde, Hans-Martin. 1967. “Neue Musik für alte Instrumente” [New Music for Old Instruments].” In Alte Musik: Praxis und Reflexion. Sonderband der Reihe “Basler Jahrbuch für Historische Musikpraxis” zum 50. Jubiläum der Schola Cantorum Basiliensis, edited by Peter Reidemeister and Veronika Gutman, 395–404. Winterthur: Amadeus.
  • Linde, Hans-Martin. 1995. “Zwei Ensemblewerke zu Lassos ‘Sybillinum’ [Two Ensemble Works Based on Lasso’s ‘Prophetiae Sybyllarum’].” In Vorträge und Dokumentation. Karlsruhe: ERTA Kongress.
  • Lünenbürger, Gerd. 1996. “Zur Rolle der Blockflöte in der zeitgenössischen Musik [The Role of the Recorder in Contemporary Music].” Tibia 21 (3): 182–90. http://www.moeck.com/uploads/tx_moecktables/1996-3.pdf.
  • Martin, Anne. 2002. Musician for a While: A Biography of Walter Bergmann. Hebden Bridge: Peacock Press.
  • Martin, John. 1986. “Playing the Recorder Tongue-in-Cheek.” Recorder: Journal of the Victorian Recorder Guild 5: 12–15.
  • Marx, Karl. 1978. “Begegnungen mit der Blockflöte [Encounters with the Recorder].” Tibia 3 (1): 30–32.
  • Matyl, Ulrich. 1998. “‘Neue Flötentöne’—ein ungewöhnliches Konzertprojekt [‘New Flute Sounds’—An Unusual Concert Project].” Tibia 23 (3): 208–9. http://www.moeck.com/uploads/tx_moecktables/1998-3.pdf.
  • Maute, Matthias. 2001. “Sei soli per flauto senza basso: Ein Zeitgenosse im Barock” [Six Solos for Unaccompanied Recorder: A Contemporary Composer in the Baroque].” Windkanal, no. 1: 12–17. http://www.windkanal.de/images/stories/PDF/2001-1/0101-SeiSoli.pdf.
  • Mayes, Andrew. 2000. “Carl Dolmetsch and the Recorder Repertory in the 20th Century.” The Consort 56: 52–55.
  • Mayes, Andrew. 2001. “Carl Dolmetsch and the Recorder Repertoire of the Twentieth Century.” Cinnamon Sticks 2 (2): 10–15.
  • Mayes, Andrew. 2013. Carl Dolmetsch and The 20th-Century Recorder Repertoire. Aldershot and Burlington, VT: Ashgate.
  • Mayes, Andrew. 2000. “Gordon Jacob’s ‘Trifles.’” Recorder Magazine 20 [marked 21] (4): 136–39.
  • Mayes, Andrew. 2017. “‘I’ve Written Too Much for the Recorder!’ The Late Recorder Works of Colin Hand.” Recorder  Magazine 37 (3): 84–88.
  • McCutcheon, Mary. 1990. “Recorder in the Lives of Four Montreal Composers.” American Recorder 31 (4): 10–16.
  • Michel, Winfried. 1998. “‘Flautissimo’: Wie der Frankfurter Komponist Lothar Lämmer spät, aber erfreulich radikal die Blockflöte seinem Schaffen einverleibt ‘Flautissimo’: How the Frankfurt composer Lothar Lämmer Incorporated the Recorder, Late in his Life but Delightfully Radically, into his Works].” Tibia 23 (3): ix – xi (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/1998-3.pdf.
  • Moeck, Hermann A. 1994. “Con flauti dolci: Zur Historie des Blockflötenzusammen-spiels [With Recorders: On the History of Recorder Ensembles].” Tibia 19 (3): 179–85. http://www.moeck.com/uploads/tx_moecktables/1994-3.pdf.
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Cite this article as: Lander, Nicholas S. 1996–2022. Recorder Home Page: Repertoire: Modern Repertoire. Last accessed 20 May 2022. https://www.recorderhomepage.net/repertoire/modern-repertoire/