| Collection: Abbreviation | Accession | Maker: Abbreviation | Lowest Note | Size | Year Made | Pitch | Pieces | Length | Keys | Body: Material | Mounts: Material | Keys: Material | Notes |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| D-Nuremberg GNM | MI 139 | J Denner | f’ | alto | 1720 | 418 | 3 | 496.5 | box | All 3 sections stamped I.DENNER/I(tree)D. Owner’s stamp: I.A.K. den 23 Sep Ao 1720. Nominal & performance pitch from Haynes (2002: 48). Image & more information (MIMO); CAT image (Germanisches National Museum, Nuremberg 2002). | |||
| D-Nuremberg GNM | MI 140 | J Denner | f’ | alto | 1700-1720 | 421 | 3 | 499.5 | box | ivory beak, ferules & foot | All 3 sections stamped I.DENNER/I(tree)D Nominal & performance pitch from Haynes (2002: 448). CAT image (Germanisches National Museum, Nuremberg 2002). Image & further information from MIMO. | ||
| DK-Copenhagen: Musikhist. Mus. | 34 | J Denner | f’ | alto | 406 | 3 | 500 | box; light brown | unmounted | All 3 sections stamped I.DENNER/I(tree)D. Nominal & performance pitch from Haynes (2002: 447). Image (Heinz Amman 2003). | |||
| xD-Berlin | 2809 | Rykel | f’ | alto | 3 | 505 | ivory | unmounted | This ivory recorder did not survive World War II. It came from the Snoeck collection and is described in his catalogue under No. 809 as: Flûte à bec ou flûte douce (en ivoire), de 3 pièces, modèle ordinaire (Bouterse 2015). | ||||
| GB-London: RCM | 0063 | J Denner | f’ | alto | 18C | 413 | 3 | 498 | ivory | All 3 sections stamped I.C.DENNER/I(fir tree)D (on cartouche). The body plain; the head carved with a band of linked circles above the window, a broad band of fluting above the socket; a band of foliage above that; bell section also carved. Nominal & performance pitch from Haynes (2002: 448). “I.C.DENNER (on cartouche) / I [fir tree mark] D” Image & further details. | |||
| Unknown: ex Giesbert | J Denner | f’ | alto | ivory | |||||||||
| USA-MI-Ann Arbor: U Mich. | 506 | J Denner, Huene | f’ | alto | 430 | 3 | 501 | box | large horn mount at bottom of head joint | Body & foot stamped I.DENNER/I(tree)D An additional head by von Huene making the instrument playable at A415 Hz. | |||
| D-Bavaria: anonymous | J Denner | f’ | alto | 3 | 497 | box | May be the same as D-Bavaria: Bogenhaus 5. | ||||||
| D-Bavaria: anonymous | J Denner | f’ | alto | 3 | 472 | box | May be the same as D-Bavaria: Bogenhaus 4. | ||||||
| D-Oettingen: Heimatmus | J Denner | f’ | alto | 501 | All 3 sections stamped I. DENNER/I(tree)D | ||||||||
| GB-London: Sotheby’s | J Denner | f’ | alto | 415 | 3 | 498 | box | All 3 sections stamped I.DENNER/I(tree)D Ex D-Bavaria: Anonymous. Offered for sale in 1995 & agan in 1996 (unsold). Bouterse (1996)gives some measurements. Nominal & performance pitch from Haynes (2002). | |||||
| B-Brussels | 1026 | J Denner | c’ | tenor | c.1678-1750 | 404 | 3 | 640 | box | All 3 sections stamped I.DENNER/I(tree)D. Listed by both Mahillon(1978) & Young (1967) as by J.C. Denner. Nominal & performance pitch from Haynes (2002: 447). Image & further details. | |||
| xD-Berlin | 224 | J Denner | tenor | 3 | 665 | 1 | box | brass | All 3 sections stamped I. DENNER/I(tree)D. | ||||
| J-Hamamatsu: Museum | A-0007R | J Denner | c’ | tenor | a. 1735 | 414 | 3 | 680 | 1 | box | brass | Stamped I. DENNER/I(tree)D. Ex USA-NY-Scarsdale: Rosenbaum. Perfect condition. Well tuned with support fingering and a rich, clear sound with a fully resonating body. a” = 0 12- 456- works better in tune. Although the pitch is a bit on the high side, c#” is playable with 0 1-3 45-7 (Nozaki 2016). Nominal & performance pitch from Haynes (2002: 448). | |
| I-Modena: Museo | SM 21-1981 | J Denner | d’ | voice flute | 415 | 3 | 632 | box | Stamped I. DENNER/I(tree)D. Nominal and performance pitch from Haynes (2002). | ||||
| D-Nuremberg GNM | MI 211 | J Denner | c’ | tenor | 1720-1740 | 420 | 3 | 663 | 1 | box | brass | All 3 sections stamped (barely legibly) I. DENNER/I(tree)D. Nominal & performance pitch from Haynes (2002: 448). Röntgenaufnahme RB 1404; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 74.; Musikinstrumente aus Bach´scher Zeit. Ausstellung zu Allerheiligen aus Anlaß des 5. Internationalen Bachfestes in Schaffhausen 1957. Schaffhausen, 1957, Nr. 16.; Steglich, Rudolf: Johann Sebastian Bach – Die großen Meister der Musik. Leipzig, 1935, Abb. 86, Nr. 1.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 55-57 (=Bestandskatalog). | |
| GB-London: Sotheby’s | J Denner | c’ | tenor | 410 | 3 | 670 | 1 | box | brass | Ex D-Anonymous. Bouterse (1996) suggests that thumbhole wear indicates the instrument was played with the right hand uppermost; crack in the foot with a horn ring. Nominal & performance pitch from Haynes (2002: 447). Offered for sale in November 1995 & again in November 1996 (unsold). | |||
| D-Eisenach: Bachhaus | 1-98 (115) | JC Denner | c#”+ | soprano | 1682 | 440 | 2 | 321.5 | plum | Stamp on bottom of foot section has been read as ‘I.D. & Felbinger 1682’. Sounding length 281.5 mm. Renaissance-shaped exterior profile. Said to be made of jacaranda wood by Legêne (1995), of plum by Klemisch (2006). Lowest note & performing pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d” at a performance pitch of A=395 Hz. For critical measurements, images & further details see Brown (2005/2023; 2005b: 535), Baines (1966: 80 & fig. 419). Said to be revolutionary because of its conical bore (Klemisch, 2006). | |||
| D-Munich: Deutsches Mus. | 63053 | JC Denner, L Hotteterre | g’ | alto | 3 | 451 | ebony | ivory | Head section stamped I.C. DENNER/D; body & foot stamped fleur de lys/.L./HOTTETERRE. Pottier (1992: 45) gives the lowest note as f’. | ||||
| CH-Basel: Hist. Mus. | 1878 .9 | JD Denner | f’ | alto | 414 | 3 | 515 | box | unmounted | All 3 sections stamped I.C. DENNER/D/I. Maker, nominal & performance pitch from Haynes (2002: 448). | |||
| D-Berlin | 5428 | JC Denner | g’ | alto | 3 | 440 | ivory | All 3 sections stamped I.C. DENNER/D. Ex Collection Giesbert. | |||||
| A-Vienna: Staeps | JC Denner | f’ | alto | 410 | 3 | 495 | box | ivory beak, ferrules & foot ring | All 3 sections stamped I.C. DENNER/D. Image from Heinz Amman (2003). Nominal & performing pitch from Haynes (2002). | ||||
| GB-London: Sotheby’s | JC Denner | f’ | alto | 3 | 475.2 | plum | Head section only. | ||||||
| S-Stockholm | M163 | JC Denner | f’ | alto | 1675-1707 | 3 | 501 | box | Head stamped I.C. DENNER/D/I; body stamped I.DENNER/I (fir tree) D; foot unstamped. Image & further details. (MIMO) | ||||
| D-Bavaria: anonymous | JC Denner | f’ | alto | 3 | 505 | ivory | Head stamped I.C. DENNER/D. Double holes for fingers 6 & 7. May be the same as D-Bavaria: Bogenhaus 2a. | ||||||
| D-Bavaria: anonymous | JC Denner | g’ | alto | 415 | 3 | box | horn | Head & body stamped I.C. DENNER/D. Horn repaired. May be the same as D-Bavaria: Bogenhaus 3. | |||||
| USA: anonymous | JC Denner | f’ | alto | 3 | 499 | box | All 3 sections stamped I.C. DENNER/D/I. | ||||||
| Unknown | Townsend | d” | soprano (sixth flute) | 19C | 2 | Stamped 6/Townsend/ManchR Straight foot, Stanesby-style. Workmanship of the windway is of poor quality. The figure ‘6’ probably refers to the instrument being a sixth-flute. Well-worn and much used. Sold by auction 1990. Blanchfield (1990), MacMillan (2007: 200: 2008: 59). | |||||||
| A-Salzburg: Mus. Car.-Aug. | Geir 247, Birsak 3/13 | JC Denner | f | basset | 479 | 3 | 893 | 1 | box | brass | Head stamped I.C. DENNER/D (unusual scroll). Was edge blown, now bocal enters side of cap. Nominal & performance pitch from Haynes (2002). | ||
| D-Nuremberg GNM | MR 213 | JC Denner | g# | basset | 1697-1797 | 440 | 2 | 828.5 | 1 | box | brass ferule on widcap | brass | Head stamped I.C. DENNER/D (odd scroll). Originally beak-blown; wave profile windcap (not original); foot shape unusual. Lowest note & performance pitch from Brown (2005b). Haynes (2002) gives nominal pitch a’, performance pitch of A=416 Hz. For critical measurements & other details see Kirnbauer (1994), and Adrian Brown’s Renaissance Recorders Database. |
| xD-Leipzig | 1142 | JC Denner | basset | 3 | 1025 | 1 | pear | Lost in the Second World War. | |||||
| D-Leipzig | 1143 | JD Denner | f | basset | 395 | 3 | 1067 | 1 | cherry | brass | All 3 sections stamped I.C. DENNER/D/I Also stamped with ? owner’s monogram DA. Maker, nominal & performance pitch from Haynes (2002). | ||
| NL-Amsterdam: City Mus. | Beukers | c” | soprano | ||||||||||
| I-Foligno | Unknown | sopranino | 17C | 1 | 259.5 | pear | Transitional design. Found in an attic. | ||||||
| NL-Amsterdam: City Mus. | Unknown | bass | |||||||||||
| CH-Basel: Hist. Mus. | Unknown | g’ | alto | 3 | box | ||||||||
| CH-Basel: Hist. Mus. | 1882.123 | Unknown | g’ | alto | 3 | 445.5 | box | Beak carved with fish face; head & foot with acanthus leaves. | |||||
| Unknown | C Schlegel | f’ | alto | Stamped sun device/CHSCHLEGEL (in scroll)/cresent device (horizontal, convex). Ex Chambure. | |||||||||
| CH-Basel: Hist. Mus. | Unknown | f’ | alto | 3 | ivory | ivory or stained wooden beak | |||||||
| CH-Basel: Hist. Mus. | 1956/632 | Schell | f’ | alto | 415 | 3 | 504 | box; light brown | unmounted | All 3 sections stamped H.SCHELL/S/entwined monogram. Monogram on head only. Nominal & performance pitch from Haynes (2002). Image (Heinz Amman 2003). | |||
| CH-Basel: Hist. Mus. | Unknown | e♭’ | alto | 3 | wood | ||||||||
| CH-Basel: Hist. Mus. | Unknown | d’ | voice flute | 3 | Foot very long & slender. | ||||||||
| CH-Basel: Hist. Mus. | 1956.633 | Rippert | d’ | voice flute | 425 | 3 | 580 | box | unmounted | All 3 sections stamped RIPPERT/dolphin. Nominal & performance pitch from Martin Kirnbauer ex David Lasocki (2020, pers. comm.) Haynes (2002) noted this as a tenor in c’ at a performance pitch of A467 Hz. This instrument has been listed as a voice flute (tenor in d’) elsewhere (Marvin 1972; Pottier 1992.) | |||
| CH-Basel: Hist. Mus. | 1879:100 | C Schlegel | g | basset | 3 | 840 | 1 | fruitwood | unmounted | Stamped sun device/CSCHLEGEL (in scroll)/S. Beak-blown. | |||
| CH-Basel: Hist. Mus. | 1879:101 | C Schlegel | f | basset | 3 | 890 | 1 | fruitwood | unmounted | Stamped CHRISTIAN (in scroll)/S, CHSCHLEGEL (in scroll)/S & sun device. Bocal enters at side of cap. | |||
| Unknown | Denner | alto | Offered for sale at Sotheby’s but attracted no bids. | ||||||||||
| Unknown | Beukers | d’ | voice flute | 420 | Offered for sale at Sotheby’s but attracted no bids. Nominal & performance pitch from Haynes (2002: 452). | ||||||||
| D-Munich: Bav. Natl. Mus. | MU 163 | Unknown | c#” | soprano | 440 | 1 | ivory | No maker’s mark. Wave profile head. Sounding length 277 mm. Said by Legêne (1995) to play with Matthysz fingerings. Mate to Bayerisches D-Munich: Bav. Natl. Mus. MU 152. Lowest note and performance pitch from Brown (2005b). Haynes (2003) gives this instrument a nominal pitch of c” at the performance pitch of A=460 Hz. For critical measurement & other details see Adrian Brown’s Renaissance Recorders Database. | |||||
| Unknown | Stanesby Jr | f’ | alto | box (stained) | Sold at Sotheby’s at £24,150. Image (Heinz Amman 2003). | ||||||||
| Unknown | Unknown | Early 18th-century French; heavily charred, especially round the mouth; head badly cracked. Sold for £1,035. | |||||||||||
| D-Munich: Bav. Natl. Mus. | MU 152 | Unknown | c” | soprano | 460 | ivory | Sounding length 277 mm. Mate to Bayerisches Nationalmuseum (Munich) MU 163. Lowest note and performance pitch from Brown (2005b). Haynes (2003) gives this instrument a nominal pitch of c” at the performing pitch of A=460 Hz. For critical measurements and other details see Adrian Brown’s Renaissance Recorders Database & Brown (2005b: 536). | ||||||
| xD-Munich: Bav. Nal. Mus. | Mu 161 | Rippert | f’ | alto | 3 | 440 | Hunt illustrates a Rippert ivory alto from Munich but does not indicate which instrument (the other is D-Munich: Stadtmus BNM Mu 166). | ||||||
| D-Munich: Stadtmus. | BNM Mu 151 | Rippert | f” | sopranino | 462 | 2 | 245 | ivory | unmounted | both sections stamped RIPPERT/dolphin; Hunt mentions one of two such instruments in this museum but does not specify which one. Nominal and Performance Pitch from Haynes (2002). | |||
| D-Munich: Stadtmus. | 180/43 | Schrattenbach | G# | extended contrabass | 440 | 2 | >1603 | 4 | maple | brass | brass | Fontanelle band stamped HANS RAVCH VON SCHRATT. Crook enters at top of cap. An extended recorder: lowest note is G#, with all 10 holes closed. c# is produced by the fingering 0 123 4567. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. Lowest note and performance pitch from Brown (2005b). Brown considers this to be an extended instrument, with extensions to the G# below. Haynes (2002) gives this instrument a nominal pitch of G at A=455 Hz. | |
| D-Munich: Stadtmus. | 41-397 | Koch | f | 837 | 1 | box | brass | walking-stick recorder; 2 round holes at top to blow into; 7 finger holes; 2 more holes further down to emit bell note; stamped S.KOCH/WIEN. | |||||
| A-Graz: Landesmus. | 10.484, A.G.lj | Anciuti | f’ | alto | 1717 | 430 | 3 | 476 | box | Used by Harnancourt (Young 1993: 5). Nominal and performance pitch from Haynes (2002: 452). Head stamped: [lion of Venice] | ANCIVTI | A MILANO | 1717 | II; body stamped: ANCIUTI | A MILANO | I; foot stamped: ANCIUTI | II Photographs, technical drawings, measurements: de Avena Braga (2015: 43, 263-270, figs 1-11). | |||
| I-Bologna: Accad. Fil. | 599 (Puglisi 10; Tiella 7) | Rafi | d’++ | tenor | 440 | plum | Stamped C.·.RAFI / shield with griffin. Sounding length (not original) 497.5 mm. This instrument has been shortened at the foot by ca 25 mm. Damaged by woodworm. Said to work with Jambe de Fer fingerings. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives nominal pitch as c’ and performing pitch as A=456 Hz. Tiella (2005: 132) gives pitch of ca A = 462 Hz. For critical measurements, photo & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536); Tiella (2005: 132). | ||||||
| B-Brussels | Hieronimo de li Flauti | G | contrabass | 16C | 1830 | Stamped HIE.S Not listed in the museum’s database. | |||||||
| B-Brussels | 1040 | Boekhout | f | basset | a.1715 | 405 | 3 | 1100 | 2 | maple, stained dark brown | brass | Stamped T.BOEKHOUT. Bocal (probably not original) enters top of windcap; crutch missing; 2nd key for fingerhole 3. Some notes playable (Bouterse 2001). Nominal and performing pitch from Haynes (2002: 450). Images & further details. | |
| B-Brussels | 2345 | Bassano | f#+ | basset | c.1550 | 440 | 1 | 900 | 1 | figured maple | Stamped !! (ML-J type P) & thus probably by a member of the Bassano family. Key missing. Sounding length 834 mm. Direct-blown, window/labium towards player. Ex Barbieri Collection, Madrid. For critical measurements & other details see Brown (2005/2023; 2005b: 534). Image & further details. | ||
| GB-Oxford: Bate | 109 | Bressan | b♭’ | soprano (fourth flute) | 18C | 424 | 3 | 367 | box | unmounted | Stamped Pul/BRESSAN/rose; all sections marked 4. Ex Collection Edgar Hunt. Image here (from Heinz Amman). | ||
| GB-Oxford: Bate | 112 | Bressan | f’ | alto | 404 | 3 | 504 | box | ivory beak, mounts & foot | Stamped Pul/BRESSAN/rose. Ex Collection Edgar Hunt. At the Bristol Madrigal Society’ s “Ladies Night” in 1931, one member of the audience was so impressed that he lent (and later gave) Hunt four original eighteenth-century recorders “which had been in his Yorkshire family for many years and he had never heard played,” including a particularly fine Bressan alto in f’, now part of the Bate Collection in Oxford (Ehrlich 2021: 31). Image here (from Heinz Amman). Nominal and performance pitch from Haynes (2002). Sound sample here. | |||
| GB-Oxford: Bate | x0 | Bressan, Harris | f’ | alto | 3 | 504 | box | ivory | Body by Bressan, head & foot by Harris; body stamped Pul/BRESSAN/rose. On loan from Anthony Baines. | ||||
| GB-Oxford: Bate | 114 | ? Bressan | basset | c1700 | 395 | maple | ivory | Bressan-style. Ex Collection Edgar Hunt. Maker, nominal and performance pitch from Haynes (2002). | |||||
| GB-Oxford: Bate | 117 | Bassano | f# | bassett | 16C | 440 | 1 | box | brass | Stamped !! !! (ML-J type H) & thus probably by a member of the Bassano family. Sounding length 848 mm. Ex Michael Morrow; presented by the National Art Collections Fund. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||
| D-Berlin | 470 | Anciuti | f” | sopranino | 1733 | c.440 | 2 | box | ivory | Body stamped between fingerholes 3 & 4 [in raised letters] ANCIVTI | O Head (with the date) lost during the war. Cited by Sardelli (2007: 49). Photograph, measurements, sketch (by Friedrich von Huene) & notes (by Steffen Hickel): de Avena Braga (2015: 285, fig. 37). | |||
| D-Berlin | 659 | ? Danner OR Drebs | c#’ | tenor | p. 1634 | 440 | 1 | wood | Stamped HD and with what looks like a trefoil just beneath the window with a left pointing stalk, similar to Brussels M1024. Sounding length 543 mm. For critical measurements & other details see Adrian Brown’s >Renaissance Recorders Database Image & further details here Ref. Brown (2005/2016; 2005b: 535); Lerch (1996). | ||||
| D-Berlin | 660 | ? Danner OR Drebs | c#’ | tenor | p.1634 | 440 | 1 | maple | Stamped HD. Sounding length 546 mm. Voicing: windway, window & blowing side, towards the player. 16-17th century. Originally from Wenzelskirche, Naumburg. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. | ||||
| D-Berlin | 2792 | Beukers | e♭’ | alto | 3 | 500 | box, unstained | Only the foot survives today, with no stamp (Bouterse, 2013). | |||||
| D-Berlin | 2801 | Bressan | f’ | alto | 405 | 3 | 500 | box | ivory | All 3 sections stamped Pul/BRESSAN/rose. Nominal and performance pitch from Haynes (2002). | |||
| D-Berlin | 96 | Bressan | c’ | tenor | 3 | 675 | 1 | box | ivory | silver | Head joint seems to have been lost. See here for photo and other details. | ||
| D-Berlin | 90 | JC Denner | basset | ||||||||||
| D-Berlin | 2824 | Boekhout | f | basset | 410 | 3 | 1052 | 2 | maple, stained brown | brass | Stamped crown/T. BOEKHOUT/Brabant lion. Bocal into side; crutch missing. 2nd key for fingerhole 3. Playable. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 451). | ||
| USA-MA-Boston: MFA | 17.1804 | Neale | d’ | voice flute | c. 1730 | 3 | 615 | pear, varnished blackish-brown | unmounted | Stamped on back of foot: NEALE | [bear with two arrows]; scratched on bottom of foot: NEALE / MAKER Bessaraboff (1941) notes the scratching as NEAVE, but this seems to have been in error. Image. Drawing by Catherine Folkers & Rob Turner (1984) available from the museum. Bessaraboff (1941); Williams (2007). | |||
| B-Brussels | 0434 | JC Denner | a” | sopranino | 17C | 392 | 1 | 235 | ivory | Wave profile. Finger holes in line. Nominal and performing pitch, and attribution to JC Denner from Haynes (2002). Image & further details. | |||
| B-Brussels | 0189 | Schrattenbach | f’ | alto (columnar) | c.1550 | 440 | 1 | 508 | 1 | maple | brass | brass | Stamped with a double trefoil. Brass box covers window. Sounding length of 386.5 mm. Virtual twin of J-Tokyo: Ino; corresponding tenor & bass instruments are at F-Paris, possible soprano at D-Frankfurt. Formerly part of the collection of the Hansa Huis in Antwerp. For critical measurements & other details see Brown (2005/2023). Images & further details. |
| B-Brussels | 1039 | Boekhout | f | basset | a.1715 | 3 | 1100 | 2 | maple, stained brown | brass | Stamped crown/T·BOEKHOUT/lion rampant. Bocal probably not original; crutch missing; 2nd key on fingerhole 3. Bocal enters top of windcap. Unplayable. (Bouterse 2001). Images & further details. | ||
| D-Hamburg: MfHG | 1924.217 | G Walch | g’ | alto | 3 | 410 | maple | unmounted | Stamped in scroll I.G. WALCH. Foot not original. | ||||
| D-Hamburg: MfHG | 1924.206 | Bassano | f# | basset | c1550 | 440 | 1 | 899 | 1 | ? maple | brass | Stamped ! (ML-J type unclassified) & thus probably by a member of the Bassano family. Wooden fontanelle; back-blown. Sounding length 849 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. | |
| GB-London: Horniman | 14.5.47/273 | Unknown (Nuremberg) | a♭” | sopranino | c.1700 | 440 | 1 | 223 | ivory | Stamped D & previously thought to be 17th-century French. Formerly indexed as an 18th-century flageolet of German (Nuremberg) origin! Noted as an early baroque recorder in ab” by Legêne (1995). Sounding length 181 mm. Broken and repaired by insertion of the broken ends in a brass sleeve over tenons formed in the ivory tube. For critical measurements and other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536). Image & further details here. | |||
| GB-London: Horniman | 14.5.47/59 | Unknown, possibly German or Scandanavian | a’ | alto (third flute) | 395 | plum, replacement foot of ? boxwood | Carse Collection. Date of manufacture is controversial. MacMillan (2007: 201; 2008: 76-77). | ||||||
| GB-London: Horniman | 14.5.47/256 | Unknown | f’ | alto | 1700-1750 | 3 | 483 | light brown wood, possibly box | Slim design with flute-like footjoint. Sounding length 423 mm. Carse Collection. Image here. | ||||
| GB-London: Horniman | M10-1983 | Bressan | f’ | alto | 3 | 506 | box | ivory beak, mounts & foot | Stamped Pul/BRESSAN. Purchased by Arnold Dolmetsch in 1905, this instrument was severely modified by him (Meadows 1994). It was lost at Waterloo station after a concert & was later bought by Geoffrey Rendall, a collector of clarinets who returned it to AD some years later (Frances Palmer, pers. comm.) Images & further details here (from Heinz Amman) & there (from GB-London: Horniman). | ||||
| GB-London: Horniman | 14.5.47/203 | Heitz | f’ | alto | 1725-1750 | 413 | 3 | 505 | ivory, with wooden block | Headjoint stamped crown/I.HEITZ/8-petal flower. Sounding length 442 mm. Carse Collection. Nominal and performance pitch from Haynes (2002: 448). Image here. | |||
| GB-London: Horniman | 14.5.47/C.274 | Schuchart | f’ | alto | c. 1731-1753 | 410 | 3 | 506 | box, stained dark | narrow ivory ring at top of foot | Sounding length 436 mm. Stamped Iul/SCHUCHART/2-headed spread eagle. Carse Collection (ex Nettlefold). Nominal and performance pitch from Haynes (2002). Images & further deails here (from Heinz Amman) & there (from GB-London: Horniman). | ||
| GB-London: Horniman | 14.5.47/319 | Stanesby Sr | f’ | alto | c. 1700-1733 | 410 | 3 | 511 | ebony | ivory beak, ferrules & foot | Stamped T/STANESBY/*. Sounding length 448 mm. Block not original and not properly placed. Carse Collection. Nominal and performance pitch from Haynes (2002). Images & further details here (from Heinz Amman) & there (from GB-London: Horniman). | ||
| GB-London: Horniman | 24.3.60/5 | Adler | f | basset | 1 | Not listed in GB-London: Horniman online catalogue (2002). | |||||||
| GB-Chester: Grosvenor Mus. | 507.L.1925a | Bressan | f’ | alto | 410 | 3 | fruitwood | ivory | Stamped Pul/BRESSAN/rose. Double holes for fingers 6 & 7. Revoiced and retuned by Carl Dolmetsch. The instrument seems to have been only partially completed by Bressan himself. Nominal and performance pitch from Haynes (2002). This instrument can be heard on the following ghastly LP: The Chester Recorders, Plant Life PLR 019 (1979). | ||||
| GB-Chester: Grosvenor Mus. | 0.S.25a | Bressan | f’ | alto | 405 | 3 | fruitwood | ivory | Stamped Pul/BRESSAN/rose. Double holes for fingers 6 & 7. Revoiced and retuned by Carl Dolmetsch. The instrument seems to have been only partially completed by Bressan himself. Nominal and performance pitch from Haynes (2002). This instrument can be heard on the following LP: The Chester Recorders, Plant Life PLR 019 (1979). | ||||
| GB-Chester: Grosvenor Mus. | 0.S.25b | Bressan | d’ | voice flute | 405 | 3 | 612 | box | ivory | Double holes for fingers 6 & 7. Revoiced and retuned and anachronistic single key for lowermost holes removed by Carl Dolmetsch. This instrument can be heard on the following ghastly LP: The Chester Recorders, Plant Life PLR 019 (1979). Nominal and performance pitch from Haynes (2002). | |||
| GB-Chester: Grosvenor Mus. | 0.S.25c | Bressan | c’ | tenor | 403 | 3 | 681 | 1 | box | ivory | silver | Stamped Pul/BRESSAN/rose. Revoiced and retuned by Carl Dolmetsch. The instrument seems to have been only partially completed by Bressan himself. This instrument can be heard on the following ghastly LP: The Chester Recorders, Plant Life PLR 019 (1979). Nominal and performance pitch from Haynes (2002). | |
| GB-Chester: Grosvenor Mus. | 0.S.25d | Bressan | f | basset | 409 | 3 | 1133 | 1 | wood | ivory | silver | Stamped Pul/BRESSAN/rose. Bocal enters top of cap. For detailed measurements see Halfpenny (1955). Original crook missing, replaced by Carl Dolmetsch who also tuned and revoiced the instrument which seems to have been only partially completed by Bressan himself. This instrument can be heard on the following LP: The Chester Recorders, Plant Life PLR 019 (1979). | |
| USA-MA-Boston: MFA | 17.1805 | Unknown & Galpin | g’ | alto | before 1945 | 1 | 450 | pear, stained dark brown | Made in London, finished by Canon Galpin; playable renaissance style reproduction. Image here. Galpin (1910) Bessaraboff (1941) MacMillan (2007: 199; 2008: 37) | ||||
| USA-MA-Boston: MFA | 17.1806 | Unknown & Galpin | d’ | tenor | before 1945 | 1 | 643 | pear, stained light brown | Made in London, finished by Canon Galpin; playable renaissance style reproduction. Image here Galpin (1910) Bessaraboff (1941) MacMillan (2007: 199; 2008: 37-38) | ||||
| USA-MA-Boston: MFA | 17.1807 | Unknown & Galpin | g | basset | 20C | 2 | 921 | 1 | walnut, stained dark reddish-brown | brass ferrules | brass | Direct blown; fontanelle; playable renaissance-style reproduction. Image here. Galpin (1910) Bessaraboff (1941) MacMillan (2007: 199; 2008: 38) | |
| USA-MA-Boston: MFA | 17.1808 | Unknown & Galpin | c | bass | 19C | 2 | 1330 | 1 | walnut, stained dark reddish-brown | brass ferrules on head and foot; brass bocal | brass | Bocal blown; fontanelle; playable renaissance-style reproduciton. Image here. Galpin (1910) Bessaraboff (1941) MacMillan (2007: 199; 2008: 38) | |
| USA-MA-Boston: MFA | 17.1809 | Unknown | g’ | alto | 18C | 3 | 0435 | ivory | Carved; each section made of several pieces joined by screw threads; beak in the form of a fish head. Probably German. Centre piece looks different from head and foot. Image and further details. | ||||
| GB-Edinburgh: Univ. | 1037 | Haka | c” | soprano | c1680 | 440 | 1 | 336.5 | ivory | Stamped R·HAKA (in scoll)/device, a double fleur-de-lys or a sheaf of wheat, similar to Rykel (see Waterhouse 1993). Sounding length 297 mm. Early baroque style instrument; beak separated from body by an incised ring; foot with decorative rings and beading. Unplayable due to damaged labium. On loan from C.H. Brackenbury Memorial Collection. Lowest note and performing pitch from Brown (2005). Haynes (2002: 450) gives a nominal pitch of c” and a performing pitch of A=443 Hz for this instrument. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535); Bouterse (2001). Images & further information here and there. Purchased by H.I. Brackenbury in Salzburg in June 1928. | |||
| GB-Edinburgh: Univ. | 2941 | Bressan | f’ | alto | dark ?fruitwood | Body only, 209 mm long, excluding tenons. Stamped Pul/BRESSAN/rose. Image & further information here. | |||||||
| GB-Edinburgh: Univ. | 257 | Heerde | f’ | alto | c1720 | 416 | 3 | 499 | box; stained brown | Stamped crown/VAN HEERDE. Playable, slightly higher than A415. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). Previously owned by Geoffrey Rendall Image here. Workshop drawing by M. Wenner and J.-F. Beaudin published by GB-Edinburgh: Univ. (1986). | |||
| GB-Edinburgh: Univ. | 2491 | Bradbury | d’ | voice flute | p. 1689, probably early 18C | 405 | 3 | 594 | box | Stamped on all sections Jo/BRADBURY/crown. Prior to auction in 1983 it was found in an attic in Driffield, North Humberside, together with a flute and an oboe by Milhouse of Newark. Image & further details here. | |||
| D-Nuremberg GNM | MI 98 | Kynseker | d” | soprano | c. 1675 | 440 | 2 | 318 | plum | horn | Stamped Hieronimus & HF. Wave profile. Sounding length 276 mm. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d” and a performance pitch of A=421 Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. Images and information here and there. CAT image available from Germanisches National Museum, Nuremberg (2002). | ||
| D-Nuremberg GNM | MIR 208 | JC Denner | d’ | voice flute | 1690-1710 | 415 | 3 | 583.5 | plum | Head stamped I.C. DENNER/D/1, but attributed to J.D. Denner by Haynes (2002). Nominal and performance pitch from Haynes (loc. cit.) Röntgenaufnahme RB 357, 824; Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 425.; van der Meer, John Henry: Musikinstrumente von der Antike bis zur Gegenwart. München, 1983, S. 130 Abb. 130, Abb. 222.; Young, Philip T.: Twenty-Five Hundred Historical Woodwind Instruments. An Inventory of the Major Collections. New York, 1982, S. 20.; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 48.; Nickel, Ekkehart: Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg. München, 1971, S. 220.; Talsma, Wilhelm Retze: De Muziekinstrumentenverzameling te Neurenberg. In: Meus en Melodie H. 9 (1969), S. 266.; van der Meer, John Henry: Denner Revisited. In: Galpin Society journal H. 21 (1968), S. 208.; MGG, Art. Denner, Johann Christoph, Abb. 2.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 46-47 (=Bestandskatalog). CAT image available from Germanisches National Museum, Nuremberg (2002). Photographic image & further information here. | |||
| D-Nuremberg GNM | MIR 200 | Eichentopf | f’ | alto | 1715-1735 | 429 | 3 | 483.4 | box | all three joints stamped with a device with acorns & leaves and iheicentopf. nominal and performance pitch from haynes (2002: 448). schallplattenaufnahme von franz brüggen 17 blockflöten. das alte werk – telefunken sma 25073.; röntgenaufnahme rb 1046; kirnbauer, martin: historische holzblasinstrumente in der sammlung des germanischen nationalmuseum. in: tibia, 14. Jg. (1989), s. 426.; kirnbauer, martin und dieter krickeberg: untersuchungen an nürnberger blockflöten der zeit zwischen 1650 und 1750. in: anzeiger der germanischen nationalmuseums 1987. nürnberg, 1988, passim.; heyde, herbert: musikinstrumentenbau. leipzig, 1986, s. 184.; prinz, ulrich (hrsg.): 300 jahre johann sebastian bach. sein werk in handschriften und dokumenten. musikinstrumente seiner zeit. seine zeitgenossen (= ausstellungs-katalog der staatsgalerie stuttgart). tutzing, 1985, s. 293.; van der meer, john henry: wegweiser durch die sammlung historischer musikinstrumente des gnm. nürnberg, 3/1982, s. 49.; young, philip t.: twenty-five hundred historical woodwind instruments. an inventory of the major collections. new york, 1982, s. 26.; langwill, lyndesay g.: musical wind-instrument makers. edinburgh, 6/1980, s. 46 und 277.; young, philip t.: inventories of instruments: j.h. eichentopf, poerschmann, sattler, a. and h. grenser, grundmann. in: galpin society journal h. 31 (1978), s. 111.; kirnbauer, martin: verzeichnis der europäischen musikinstrumente im germanischen nationalmuseum nürnberg. band 2. flöten- und rohrblattinstrumente bis 1750. wilhelmshaven 1994, s. 40-41 (=bestandskatalog). image & further information here. | |||
| D-Nuremberg GNM | MI 99 | Kynseker | d” | soprano | c. 1675 | 440 | 2 | 317 | plum | horn | Stamped Hieronimus & HF. Wave profile. Sounding length 276 mm. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d’ at a performance pitch of A=421 Hz. For critical measurements & details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). Images & information here. Computer tomography: Martius & Raquet (2005). | ||
| D-Nuremberg GNM | MI 100 | Kynseker | g’ | alto | c1675 | 440 | 448 | plum | horn | Stamped Hieronimus & HF. Wave profile. Sounding length 398 mm. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of g’ at a performance pitch of A=421 Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. Images & information here. | |||
| D-Nuremberg GNM | MI 101 | Kynseker | g’ | alto | c1675 | 440 | 2 | 448 | plum | horn | Stamped Hieronimus & HF. Wave profile. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of g’ at a performance pitch of A=421 Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). CAT image available from Germanisches National Museum, Nuremberg (2002). Images & information here. | ||
| D-Nuremberg GNM | MI 102 | Kynseker | d’ | tenor | c1675 | 440 | 2 | 590.5 | 1 | plum | horn | brass | Stamped Hieronimus/Franciscus/Kynseker. Sounding length 533 mm. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d’ at a performance pitch of A=421 Hz. Wave profile. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). CAT image available from Germanisches National Museum, Nuremberg (2002). Image and information here. |
| D-Nuremberg GNM | MI 103 | Kynseker | d’ | tenor | c. 1675 | 440 | 2 | 590.5 | 1 | plum | horn | brass | Stamped HF. Wave profile. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d’ at a performance pitch of A=421 Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. Image and information here. |
| D-Nuremberg GNM | MI 104 | Kynseker | g | basset | c1675 | 440 | 905 | 1 | plum | horn, brass | brass | stamped hf/hieronimus/franciscus/kynseker/nürnberg. windcap with wave profile. Sounding length 821.5 mm. lowest note and performance pitch from brown (2005b). haynes (2002) gives this instrument a nominal pitch of g at a performance pitch of a=421 hz. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 535). cat image available from germanisches national museum, nuremberg (2002). image and information here. | |
| D-Nuremberg GNM | MIR 201 | Oberlender I | f | alto | c1730 | 415 | 3 | 500 | box | Nominal and performance pitch from Haynes (2002). CAT image available from Germanisches National Museum, Nuremberg (2002). | |||
| NL-Dordrecht | 4001.000.008 (formerly NL-Hague: Ea x -1950) | Unknown | c” | soprano | before 1418 | c” | 1 | 275 | fruitwood | the dordrecht instrument was the first more or less complete medieval recorder discovered. it was found in 1940 in the excavation of a well amongst the ruins of the huis te merwede (house on the merwede) about 3 km east of the town of dordrecht,. subsequently, it was loaned to the haags gemeentemuseum in 1941, where it remained until 2009, with the exception of a few years during the war. in 2009 it was moved to nl-dordrecht. currently, it is on permanent display at het hof van nederland. the dordrecht recorder is a small instrument, probably made of fruitwood. a ct examination was performed in 2015. the Sounding length is 275 mm, measured over the external curve of the instrument; and the internal bore is 12.3 mm at the most. the tonal distance between the two bottom finger holes is a semitone. the voicing is comparable to that of a tin whistle, wherein the lower range of the instrument is weak, and the higher octave is stronger. the block projects some distance into the bore, and the instrument displays signs of an unsatisfactory attempt at repair, possibly the reason for it being discarded. hendriksz. (2015), hijmans et al. (2015), loretto 1998). | |||
| D-Göttingen: Musikinstrumentensammlung | Inv.-Nr. L-131 | Unknown | soprano | 14C | 1 | 256 | fruitwood (Prunus) | On loan from D-Göttingen: Stadtarchäologie, Inv.-Nr. 5984. For photograph see Hakelberg (2003), Klangschaften im archäologischen Befund? One of several surviving medieval recorders. | |||||
| NL-Hague | Ea 581-1933 | Aardenberg | f” | sopranino | 418 | 2 | 260 | stained box | silver ring at end of foot | Stamped deer/AARDENBERG (in scroll)/fleur de lys. Left-hand fingerhole 7 plugged with wax. Labium damaged, but playable. Performance pitch from Bouterse (2004: 22). Haynes (2002: 450) gives this instrument a performance pitch of A=402 Hz. | |||
| NL-Amsterdam: Rijksmuseum (Collection Boers) | BK-NM-11430-98 | Aardenberg | c” | soprano | 415 | 3 | 358 | European boxwood, stained brown | On loan to NL-Hague from 1952 to 2010 as Ea 29-X-1952. All 3 sections stamped deer/AARDEN?BERG (in scroll)/fleur de lys. Playable. Two repaired cracks in the foot joint. Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 450) gives a performance pitch for this instrument of A=402 Hz. Image & details here. | ||||
| GB-London: Sotheby’s | Stanesby Jr | f’ | alto | 410 | 3 | 497.8 | box, stained dark brown | Slightly curved. Auctioned Nov. 1996. Nominal and performance pitch from Haynes (2002). | |||||
| D-Bavaria: anonymous | JC Denner | f | basset | 3 | 1029 | 1 | cherry | brass | Head stamped I.C. DENNER/ID. Height with bocal 1078 mm; bocal enters at top of cap. May be the same as D-Bavaria: Bogenhaus 14b (awaiting confirmation from Bruce Haynes). | ||||
| D-Bavaria: anonymous | JC Denner | f | basset | 3 | 1019 | 1 | cherry | brass | Head stamped I.C. DENNER/D. Height with bocal 1071 mm; bocal enters at top of cap. May be the same as D-Bavaria: Bogenhaus 14b (awaiting confirmation from Bruce Haynes). | ||||
| D-Nuremberg GNM | MI 88 | JC Denner | f | basset | c1700 | 401 | 3 | 953 | 1 | plum | brass | Head stamped I.C. DENNER/D. Bocal (missing) enters at top of cap. Nominal and performance pitch from Haynes (2002). CAT image available from Germanisches National Museum, Nuremberg (2002). | |
| D-Nuremberg GNM | MIR 214 | JC Denner | f | basset | 1690-1710 | 472 | 3 | 892 | 1 | plum | 1 brass ferule on windcap | brass | head stamped i.c. denner/d. bocal (missing) enters at back of windcap. nominal and performance pitch from haynes (2002). kirnbauer, martin und dieter krickeberg: untersuchungen an nürnberger blockflöten der zeit zwischen 1650 und 1750. in: anzeiger der germanischen nationalmuseums 1987. nürnberg, 1988, passim.; young, philip t.: twenty-five hundred historical woodwind instruments. an inventory of the major collections. new york, 1982, s. 21.; nickel, ekkehart: der holzblasinstrumentenbau in der freien reichsstadt nürnberg. münchen, 1971, s. 225.; talsma, wilhelm retze: de muziekinstrumentenverzameling te neurenberg. in: meus en melodie h. 9 (1969), s. 266.; young, philip t.: woodwind instruments by the denners of nürnberg. in: galpin society journal h. 20 (1967), s. 10 u. abb. iii b.; mgg, bd. 3, abb. sp. 193 nr. 1, mittleres instrument; kirnbauer, martin: verzeichnis der Europäischen musikinstrumente im germanischen nationalmuseum nürnberg. band 2. flöten- und rohrblattinstrumente bis 1750. wilhelmshaven 1994, s. 71-72 (=bestandskatalog). image & further information here. |
| D-Munich: Stadtmus. | BNM Mu 173 K30 | JC Denner | g | basset | 409 | 3 | 870 | 1 | ivory | brass | Head stamped with an entwined, reversed monogram ICD/D. Bocal enters at side of ivory cap. transferred from D-Munich: Bav. Natl. Mus. Nominal and performance pitch from Haynes (2002: 447). | ||
| D-Munich: Stadtmus. | BNM Mu 175 | JC Denner | f | basset | 472 | 3 | 901 | 1 | plum | brass | Head stamped D/I.C. DENNER. Edge-blown. Transferred from D-Munich: Bav. Natl. Mus. An early instrument by this maker, with a swallow-tail key mounted in two rounded rings. Nominal and performance pitch from Haynes (2002). | ||
| D-Munich: Stadtmus. | BNM Mu 179 | JC Denner | f | basset | 405 | 3 | 1033 | 1 | cherry | brass | Head stamped I.C. DENNER/D. Bocal (modern replacement) enters at top of cap. Transferred from D-Munich: Bav. Natl. Mus. A late instrument by this maker. Nominal and performance pitch from Haynes (2002: 447). | ||
| D-Berlin | 92 | JC Denner | basset | 410 | 3 | 1018 | 1 | box | brass | Head stamped I.C. DENNER/D. Bocal (missing) enters at top of cap. Nominal and performance pitch from Haynes (2002). Baines (1966: 80 & fig. 424). Photo & more details here | |||
| D-Brunswick | 84 | JC Denner | basset | 3 | 1020 | 1 | box | brass | Brass ferule of head stamped I.C. DENNER/D. Bocal (missing) enters at side of cap. | ||||
| A-Linz: Schlossmus | W 156, Mu 8 | JC Denner | f | basset | 450 | 3 | 890 | 1 | plum | brass | Head stamped I.C. DENNER/D. Bocal (missing) enters at side of cap. Nominal and performance pitch from Haynes (2002). | ||
| A-Linz: Schlossmus | Mu 9 (W 157) | JC Denner | f | basset | 405 | 3 | 985 | 1 | maple | brass | Stamped I.C. DENNER/D. Bocal (missing) enters at side of cap. Nominal and performing pitch from Haynes (2002). | ||
| A-Linz: Schlossmus | W 158, Mu 116 | JD Denner | f | basset | 406 | 3 | 1040 | 1 | maple | brass | All 3 sections stamped I.C. DENNER/D/I. Bocal (modern replacement) enters at top of cap. Maker, nominal and performance pitch from Haynes (2002: 447). | ||
| A-Göttweig Abbey | JC Denner | basset | 3 | 931 | 1 | wood | brass | All 3 sections stamped I.C. DENNER/D/1. Bocal (missing) enters at top of cap. | |||||
| NL-Hague | 1933-0713 (formerly Ea 713-1933) | JC Denner | f | basset | 418 | 3 | 996 | 1 | maple | brass ring on head joint | brass | Head stamped I.C. DENNER/D. Bocal (missing) enters top of cap. Playable. Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 447) gives the performance pitch of this instrument as A=410 Hz. | |
| F-Paris | E.1516 (C.1388) | JC Denner | f | basset | 17C | 458 | 3 | 910 | 1 | ?plum | 2 brass ferrules on windcap & centre-joint. | brass | Head stamped I.C. DENNER/D. Bocal (brass) enters top of windcap. Ex Collection Eugène de Bricqueville. Nominal and performance pitch from Haynes (2002). Further details here. |
| F-Paris | E.1641(C.1511) | JC Denner | f | basset | 18C | 392 | 3 | 978 | 1 | wood | brass | Head-joint stamped I.C. DENNER/D. Bocal enters top of windcap. Performance pitch from Haynes (2002) who does not give the nominal pitch. Further details here. | |
| Russia-St. Petersburg | 407 | JC Denner | basset | 3 | 90 | 1 | maple | brass | Head carved (rather than stamped) I.C. DENNER/D. Bocal & cap; black lacquered. | ||||
| A-Göttweig Abbey | JC Denner | basset | 3 | 931 | 1 | wood | brass | All 3 sections stamped I.C. DENNER/D/I. Bocal enters at top of cap. | |||||
| USA-MA-Boston: MFA | MFA 1987.550 | JC Denner | basset | 3 | 968 | 1 | box | brass ferrule on windcap; brass bocal + ivory mpc | brass | Stamped I.C. DENNER/D/I. Bocal enters top of cap; ivory mouthpiece; bought in Cremona. Photo in MAMIS 6 (1988). Image here. | |||
| D-Eisenach: Bachhaus | L-1 | JC Denner | f | basset | 410 | 3 | 1017 | 1 | box | brass | Stamped I.C. DENNER/D. Bocal (missing) enters top of cap; missing key & head band. Performing pitch from Haynes (2002) who does not give the nominal pitch. | ||
| NL-Hague | 1952×0030 (formerly Ea 30-X-1952) | JC Denner | f | basset | 3 | 883 | 1 | plum | brass | Bocal (missing) enters at side of cap. Not playable, leaking. | |||
| D-anonymous | J Denner | f’ | alto | 3 | 498 | box | All 3 sections stamped I. DENNER/(tree)D. Some repairs. | ||||||
| D-Frankfurt/O: Mus. Vladrina | JC Denner | basset | 940 | 1 | box | brass | All 3 joints stamped I.C. DENNER/D/I. Head cap & crook missing; 2 brass bands & 1 new silver band are repairs. | ||||||
| I-Venice: Conservatorio | 28 | JC Denner | basset | 3 | ivory | brass | Attribution by Conservatory very doubtful. Bocal enters top of cap. Foot missing, replaced with a wooden one by Pietro Verado. Montague (1985: 47). | ||||||
| I-Venice: Conservatorio | 29 | JC Denner | f | basset | 427 | 3 | 100.7 | 1 | box | brass | Head stamped I.C. DENNER/D. Bocal (missing) enters top of cap. Enormous thumbhole, 14.5 × 12.5 mm.) Montague (1985: 47). | ||
| USA-SD-Vermillion: National Music Museum | 3605 | JC Denner | g | basset | 410 | 3 | 103.5 | 1 | fruitwood | brass | brass | Stamped on head & foot I.C. DENNER (within a scroll)/D. Bocal (missing) enters top of cap. Head cap detachable, encircled with a brass band. Key with a flat, square cover (corners cut) & a typical, round touchpiece for the left little finger, on the foot (the spring attached to the wood). A crack in the main joint has been repaired with two small pieces of wood that match that of the body set across the crack to hold it together. Ex. coll. de Bricqueville, Versailles. Nominal and performance pitch from Haynes (2002: 447). | |
| D-Leipzig | J14 | JC Denner | basset | 3 | 994 | 1 | box | brass | All 3 sections stamped I.C.DENNER/D. Bocal (missing) enters side of cap. Key with odd touch design. | ||||
| I-Florence: Mus. Stibbert | 14289 | Rippert | f’ | alto | 1701 | 392 | 523 | grenadilla | ivory | Kaltenbach. Nominal and performing pitch from Haynes (2002). | |||
| I-Florence: Museo Bardini | 365-157 | JC Denner | basset | 3 | 105 | 1 | nutwood | brass | Bocal enters top of cap. | ||||
| D-Bonn: Beethovenhaus | 13a | JC Denner | basset | 3 | 626 | nutwood | Stamped I.C. DENNER/D. Head only, foot & cap missing. Formerly in the Collection of Josef Zimmermann, Düren, Germany (D-Düren: Zimmermann). | ||||||
| D-anonymous | JC Denner | c | bass | 3 | 1 | ivory | brass | Young (1993: 60) notes that this instrument is very much like a Denner basset recorder, also in ivory, at D-Munich: Stadtmus. BNM Mu 173. | |||||
| F-Paris | E.368 (C.368) | Dupuis | f’ | alto | 17C | 416 | 3 | 499 | box | ivory | Stamped DVPVIS (in cartouche) surrounded by 4 fleurs-de-lys. Mottled finish on box; black dots around largest of 5 ivory rings. Further details here. Nominal and Performance Pitch from Haynes (2002). A plan prepared by Jean-Françrois Beaudin is available (Pottier, 1992: 44). | ||
| D-anonymous | III | Dupuis | c’ | tenor | 3 | 664 | box | ivory | Ebony studs placed irregularly around ivory mounts. | ||||
| Unknown | Dupuis | basset | ebony | ivory (carved) | Crutch, a few cracks, crook missing, windway perfect; auctioned by Phillips, January 1989; Early Music 17(3): 405 (1989). | ||||||||
| NL-Amsterdam: Rijksmuseum | BK-NM-11086 | Aardenberg | c” | soprano | 414 | 3 | 358 | box, stained brown | On loan from 1952 to 2010 to Gemeentemuseum Den Haag, no. Ea 29a-x-1952. All 3 sections stamped deer/AARDEN?BERG (in scroll)/fleur de lys. Playable. Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 450) gives a performance pitch for this instrument of A=402 Hz. Image and other details here. | ||||
| NL-Amsterdam: Rijkmuseum (Collection Boers) | BK-NM-11430-92 | Aardenberg | f’ | alto | 418 | 3 | 495 | box, stained | On loan from 1952 to 2010 to Gemeentemuseum Den Haag as Ea 23-x-1952. All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys/2 fleurs de lys. Hardly playable due to problems with the block. Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 451) gave this instrument a performance pitch of A=415 Hz. | ||||
| NL-Hague | 1952×0024 (formerly Ea 24-X-1952) | Aardenberg | f’ | alto | 419 | 3 | 505 | box, stained brown | On loan from 1952 to 2010 to Gemeentemuseum Den Haag as Ea 24-X-1952. All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys. Playable. Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 451) gives a performance pitch for this instrument of A=415 Hz. | ||||
| NL-Hague | Aardenberg | f’ | alto | 419 | 3 | 508 | box, stained brown | silver | On loan from 1952-2019 to Gemeentemuseum Den Haag as Ea 32-x-1952. All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys. Thin silver-plated bands added to head & foot. Playable. Nominal and performance pitch from Bouterse (2004: 25). Haynes (2002: 451) gives the peformance pitch of this instrument as A=410 Hz. | ||||
| NL-Hague | 1933-0278 (formerly Ea 278-1933) | Beukers | c” | soprano | 412 | 2 | 349 | box, stained brown | Stamped W. BEUKERS/sheaf of wheat. Has alternative hole for the lowermost finger, plugged with wax. Playable. Nominal and performance pitch from Haynes (2002: 450). Image here (from Heinz Amman). | ||||
| NL-Amsterdam: Rijksmuseum (Collection Boers) | BK-NM-11430-87 | Beukers | c” | soprano | 395 | 2 | 349 | box, stained brown | On loan from 1952-2010 to Gemeentemuseum Den Haag as Ea 25-X-1952. Stamped W. BEUKERS/sheaf of wheat. Has alternative hole for the lowermost finger plugged with wax. Playable. Nominal and performing pitch from Bouterse (2004: 23). Haynes (2002: 450) gives a performance pitch for this instrument of A=392 Hz. Image & details here. | ||||
| NL-Amsterdam: Rijksmuseum (Collection Boers) | BK-NM-11430-96 | Beukers | f’ | alto | 411 | 3 | 510 | box, stained brown | On loan from 1950-2010 to NL-Hague as Ea 26-x-1952. Stamped 3-prong crown/W:BEUKERS. Labium damaged, but playable. Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 450) gave a performance pitch for this instrument of A=400 Hz. Image & details here. | ||||
| NL-Amsterdam: Rijksmuseum (Collection Boers) | BK-NM-11430-93 | Boekhout | f’ | alto | 396 | 3 | 510 | ebony | ivory ferules | On loan from 1952 to 2010 to Rijksmuseum Amsterdam as Ea 27-x-1952. Stamped T.BOEKHOUT (rather vague). Windway shortened and block is repaired. Playable. See Bouterse (2001; 2004). Nominal and performing pitch from Bouterse (2004: 24). Haynes (2002: 450) gives a performance pitch for this instrument of A=398 Hz. Image & details here. | |||
| NL-Amsterdam: Rijksmuseum (Boers Collection) | BK-NM-11430-95 | Heerde | f’ | alto | 426 | 3 | 495 | box, stained brown | On loan to NL-Hague from 1952 to 2010 as Ea 33-x-1952. Stamped crown/VAN HEERDE. Once had a foot by Boekhout, but original now restored. Playable, two cracks in foot. See Bouterse (2001; 2004). Image & details here. | ||||
| ? NL-Amsterdam: Rijkmuseum | Boekhout | f’ | alto | box, stained brown | on loan from 1952 (foot) and 1993 (middle joint) to 2010 to the Gemeentemuseum Den Haag as Ea 21-x-1993. Only the middle joint (244 mm long) and foot survive. The part that was visible is 202 mm long. Stamped BOEKHOVT (Bouterse 2004: 25 & 2013). | ||||||||
| NL-Hague | Ea 279-1933 | Unknown / Jager | f’ | alto | 3 | 500 | wood | Body only stamped sun/D’JAGER/Brabant lion, probably shortened, fingerholes enlarged. Foot unstamped and possibly not original. The head of an alto recorder, stamped MONDON added at one time to the other joints was removed in 1991. Not playable. See Bouterse (2001; 2004: 21; 2013). | |||||
| GB-Bradford | 2215 | Mondon | g’ | alto | 3 | Head carved with two fishes, acanthus leaves & a turk’s head. Formerly the property of Lord Astor of Hever & sold in Sotheby’s as part of the Hever Castle Collection. Sold by the Early Music Shop for £12,000. | |||||||
| A-Vienna | SAM 134 (C 145, KK 8521) | Unknown | g’ | alto | 16C | 440 | 438.4 | box | Foot stamped CS. Sounding length 385.2 mm. Plays with van Eyck/Jambe de Fer fingerings, according to Adrian Brown. Said by Lêgene (1995) to play with Matthyz fingerings. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 534); Darmstädter & Brown (2006: 161-163 & colour photographs). | ||||
| A-Vienna | SAM 135 (C 146, KK 8522) | Bassano | g#’ | alto | 16C | 440 | 427.4 | box | Foot stamped !! (ML-J type A) & thus probably by a member of the Bassano family, possibly Jeronimo Bassano (d. ca 1545). Sounding length 380.3 mm. One of the Catajo recorders. The basis for modern reconstructions of the so-called ‘Ganassi’ recorder. For critical measurements & other details see: Brown 2005/2023); Schlosser (1920: 77); Marvin (1972: 32); Lyndon-Jones (1987: 59; 1998); Loretto (1986: 64 f.); Bär (2002: 315, 341); Darmstädter (2004/5: 170 f.); Brown (2005b: 533); Darmstädter & Brown (2006: 164-166 & colour photographs); Bali (2007: colour plate). A case (SAM 171) in A-Vienna made for soprano, 2 altos and a tenor recorders has the same variation of the maker’s mark which is also found on 3 tenors in A-Vienna (SAM 146, 149, 150). Thus the famous ‘Ganassi’ recorder (SAM 135) may not have been a solo instrument, but part of a consort. Image. | ||||
| A-Vienna | C.166, E. 98/C. 390 | Bressan | f’ | alto | 410 | 3 | 470 | box | Stamped Pul/BRESSAN/rose. Double holes for vents 3, 6 & 7. The exterior turnings are not Bressan’s usual shapes but more closely resemble J.C. Denner (Rob Turner, 2002). von Huene has suggested that this instrument is in fact a fake (Ehlert & Haase-Moeck, 1999; Nozaki, 2016). Nominal and performance pitch from Haynes (2002). | ||||
| A-Vienna | Bressan | f | basset | c. 1596 | 955 | Ex Schloss Ambrass. | |||||||
| A-Vienna | Unknown | f’ | alto | Covered in tortoishell & gold-pique. | |||||||||
| I-Milan: Conservatorio | 146 (MTS-FD/02) | Anciuti | b’ | soprano | 1725 | 430 | 3 | 377 | stained (marbelled) box | Head stamped: [lion of Venice] | ANCIVTI | A’ MILANO | 1725; body stamped: ANCIUTI A ‘ | MILAN; foot stamped: ANCIUTI Image here. Haynes (2002: 452); Sardelli (2007: 49) Photograph, measurements and notes (by Renato Meucci): de Avena Braga (2015: 286, fig. 38). | |||
| Russia-St. Petersburg | 404 | Bizey | tenor | 3 | 674 | 1 | box, lacquered black | ivory beak & foot ring | brass | Stamped fleur de lys/BIZEY/A PARIS/*. Key hinged from lower end. See Jürisalu (1980), Pottier (1992: 44). | |||
| Russia-St. Petersburg | 405 | Hotteterre | tenor | 3 | 680 | 1 | box | brass | Stamped HAUTERRE & HOTETERRE/fleur-de-lys (Young 1980: 724, pl. 55). See Jürisalu (1980). | ||||
| Russia-St. Petersburg | 408 | Boekhout | f | basset | 415 | 3 | 1009 | 2 | box, stained dark brown | brass | Stamped crown/BOEKHOUT. Brass bocal (original) enters into top of cap (original); 2nd key for finger-hole 3; crutch, in two pieces (original). Playable at slightly lower than A415. See Bouterse (2001). | ||
| I-Foligno | Unknown | sopranino | 17th C | 1 | 250.5 | pear | |||||||
| A-Vienna | SAM 154 | Unknown | g’ | alto | 415 | 3 | 435.5 | stained box | Double holes for lowest finger. Adrian Brown comments that this instrument is by the same hand as SAM 155 and SAM 154 and that its turning is similar to that of instruments from Nuremberg. Photograph and measurements (by Adrian Brown): de Avena Braga (2015: 360-361, figs 159-161). | ||||
| USA-DC-Washington: DCM | DCM 1259 (stolen) | Unknown | f” | sopranino | 18C | 442 | 2 | 249 | ivory | Engraved with spiral design of birds, lion, horse, deer, snake, a man playing double pipes, & a grape-vine. Purchased from Rudall, Carte & Co., London (1935). One of two instruments stolen from the Library of Congress a number of years ago. Further details and photo here. Photographs, measurements & technical drawings (by Laura Beha): de Avena Braga (2015: 350-351, figs 139-142). | |||
| USA-DC-Washington: DCM | DM 1257/5 | Beukers | d” | soprano (sixth flute) | c1704 | 424 | 3 | 307 | ivory | Stamped on body crown/W. BEUKERS/sheaf of wheat. Head & foot carved. The head joint appears to be an unstable piece of ivory having numerous cracks at both ends with a portion of the beak directly above the window broken off but mostly present. Ivory loss inside head joint socket. Body joint lower tenon appears to have been broken and/or slightly shortened. Foot joint ivory loss inside socket. The head and foot joints are elaborately decorated with fluting and ornamental lathe turning décor. Foot joint lower end of bore has a pair of channels carved about 180 degrees apart and to a depth of about 8 millimeters (along inside bore), purpose uncertain. However, this may have been a means of mounting the joint between lathe centers, one of which may have had shallow wings to ensure motion to withstand the forces exerted by the ornamental turning attachments. Acquired from Walter J. Ford, Upper Darby, Pennsylvania (1935). Nominal and performance pitch from Haynes (2002: 451). Further details & image here. | |||
| USA-DC-Washington: DCM | DCM 1214 | Stanesby Sr | d” | soprano (sixth flute) | 410 | 3 | 303 | ivory | unmounted | Stamped on all sections T/STANESBY/* (sunburst); foot also with 6. Bought from W. Howard Head, London (1934). Beak and foot joint large bottom bead chipped (losses). Nominal and performance pitch from Haynes (2002). Further details & image here. | |||
| USA-DC-Washington: DCM | DM 1360 | Otto | d” | soprano (sixth flute) | 1938 | 440 | 2 | 298 | pear | nickel silver ferrule on head | Stamped on head RUDOLF OTTO’S / CHORFLÖTE. Bought from A.V. Ebblewhite, London (1938). Seyfrit (1982: 10). Photo Seyfrit (1982: 10 & pl. 2). Further details and image here. | ||
| USA-DC-Washington: DCM | DM 0663 | L Walch II | c” | soprano | 440 | 3 | 341 | box | 1 horn ferrule; 1 black-painted metal ferrule | Stamped on head (5-petalled flower) / LORENZ WALCH / BERCHTESGADEN / C. Head joint block likely a replacement. Bottom joint cracked at socket, horn ferrule replaced with metal ferrule, and painted with black lacquer. Bought from Sigmund Koch, Munich, Germany (1926). This instrument has the characteristic profile of the Berchtesgadner Fleitl. Further details & image here. Baines (1966: 81 & fig. 432) MacMillan (2007: 200; 2008: 61). | |||
| USA-DC-Washington: DCM | DM 1387 | AdlerJ | c” | soprano | c.1939 | 440 | 2 | 320 | 1 | pear | silver(-coloured) metal | Ex G. Schirmer, New York (1939). Harlan fingering. Further details and image here. | |
| USA-DC-Washington: DCM | DM 1317 | RL & Co | c” | soprano | b1937 | 440 | 2 | 327 | rosewood | 1 nickel siver ferrule | Stamped on head SOP. C. // IMPORTÉ a’ALLEMAGNE. Stamped on body R. L. & C°. Bought from Pierre Schneider, Paris (1937) Seyfritt (1982: 8). Further details and image here. | ||
| USA-DC-Washington: DCM | DM 1253 | Bärenreiter | a’ | soprano | 1935 | 440 | 2 | 391 | rosewood | metal ferrules | Bought from Helmluth G. Arendt, Quantico, Va., USA (1935). Further details and image here. | ||
| USA-DC-Washington: DCM | DM 1055 (s.12) | Bizey | f’ | alto | 18C | 390 | 3 | 525 | box stained reddish brown | Stamped fleur de lys/BIZEY/, on head body and foot. Purchased from H. Manière, Paris (1931). Crack in head joint nearly full length. Two cracks in body, nearly full length. Further details and image here. Nominal and performance pitch from Haynes (2002). A plan of this instrument was prepared by Fred Morgan (Pottier (1992: 44). | |||
| USA-DC-Washington: DCM | DM 0127 (S.13) | Bressan | f’ | alto | 415 | 3 | 502 | box stained brown | ivory beak and ferrules | Stamped Pul/BRESSAN/rose. Bought from John Finn, Essex, UK (1920), ex Dr Thomas Lea Southgate Collection, London, SC 13. Nominal and performance pitch from Haynes (2002). Further information and image here. Baines (1966: 81 & fig. 431). | |||
| USA-DC-Washington: DCM | DM 1181 (S.14) | Bressan | f’ | alto | 418 | 3 | 508 | box (stained dark brown) | ivory | Stamped Pul/BRESSAN/rose. Beak chipped and crudely repaired, time and place unknown. Fingerholes 1, 3 may have been altered. Edge is damaged and shows evidence of alteration. Foot joint, lower ferrules, large decorative terminating bead, cracked circumferentially and detached nearly 320 degrees and broken into 3 pieces. Gift of C.G. Herbert, Altadena CA, USA (1933)? ex Southgate Collection 14. Ref. Postcard: Library of Congress (1979), as Miller No. 127. Nominal and performance pitch from Haynes (2002). Further details & image here. | |||
| USA-DC-Washington: DCM | DM 0945 | Gahn | f’ | alto | 6 | 485 | ivory | Stamped I.B. [GA, unreadable, surmounted by crown? or other design] HN (in scroll) / IBG (decorative monogram). Some sections are multi-part & screw together. Engraved with spiral design of leaves, flowers, fruit & birds. None of the 3 (or 2) machine threaded devices is still workable, the male sections having both shrunk and broken off to some extent. The edge is chipped and damaged, but still somewhat playable. However, the head joint upper section was clearly split into 2 large portions which were rejoined temporarily by Robert Sheldon using the acrylic adhesive B72 (for exhibition purposes). Ivory chips missing at beak. This instrument was included in the Music Division exhibition, In Praise of Music, in 1992 and was treated cosmetically at that time. The middle portion of the foot joint was curiously missing a slab of ivory not broken away but intentionally removed, creating a flat surface as the result of a saw cut, purpose unknown. A portion of ivory was added by Robert Sheldon using an alophatic adhesive and left slightly oversize to be further finished or worked as desired, or removed. Highly carved and filled with black ink. Carved with floral design, fruit, leaves, and birds. This recorder is unusual in that the head joint is made of 2 sections, which are joined with machine threads and likewise the foot joint is comprised of 3 sections, the middle and lower 2 of which are also joined with machine threads. However, the foot joint upper section, which contains the little finger tonehole, may have originally contained the female threads joining it to the middle portion in the same way. However, if so, the threading may have been damaged and altered to its present state which is a tenon and socket (tenon on middle section) which is lapped with thread or twine. Further details & image here. | |||||
| USA-DC-Washington: DCM | DCM 0720 | Heitz | f’ | alto | c1724 | 3 | 507 | box, covered with tortoise shell | ivory | stamped fleur de lys/i.heytz. both the head and foot joints are made in 2 separate box parts to allow for the installation of tortoise shell veneer in tapered tubing or ferrule sections plus extra mid-joint ivory ferrules. all of the necessary and decorative components are then glued together to form a completed joint. see the detail of the foot joint. the large ivory bottom ferrule may be original or the restoration work of dcm. the smaller tortoise shell and ivory ferrules are replacements made by robert e. sheldon and rob turner (charlottesville, virginia), respectively. breakage and shrinkage of the head joint (box core) plus ivory and tortoise shell losses, mostly affecting the body and foot joints. the foot veneer has a curious alteration or addition in the form of a tortoise shell patch or inlay (roughly oval, approx. 31 × 20 mm.), unlikely the work of the maker. the purpose is unknown and not mentioned by miller. it was added either as a repair for major tortoise shell loss in that area, or perhaps to replace an owner’s name plaque inlay of unknown material. aside from whatever adhesive may have been used, the patch is secured with 4 wooden (box?) dowels which are visible at the bore and have each been disguised on the exterior with an inlaid dot of tortoise shell. bought from harold reeves, london (1927) ex c. van raalte collection. further details & image here. | |||
| USA-DC-Washington: DCM | DCM 1359 (S.19) | Palanca & Castel | f’ | alto | c. 1775 | 410 | 3 | 503 | box, stained brown | ivory beak, ferrules & thumb-bush; silver ferrules | Head stamped: Ð. | CASTEL. | [lion (or griffin) rampant]; body & foot stamped: CARLO | PALANCA Ivory thumb bush. Lower section flute shaped. Head joint socket wooden spacer ferrule broken & missing about 90°. Aspects of this instrument are untypical. From the markings it is a combination of two instruments. The head & foot joint socket & ferrule construction is unusual: well-executed, but poor design & likely an alteration. The original appears to have included the normal practice of turning (cutting away) material (box) back to a shoulder to receive a fairly long ornate ferrule (ivory) glued in place. However, both have been turned a second time removing nearly a third of the ivory ferrule & replacing it with a fragile wooden one as a spacer covered with a well-made, turned silver ferrule. The silver ferrules are pronged on the interior for better retention similar to modern woodwind instrument ferrules. The addition of the ferrules is not without logic, but cutting away seemingly stable material (ivory) to apply them is a mystery. Neither socket is cracked & the apparent ferrule revisions seem not to have concerned any repairs. Perhaps the most unusual aspect is the foot exterior design. In place of the typical flared, false bell bottom, the foot tapers down similar to the traverso foot joint design(s) of the period, and the bottom ivory ferrule appears to be original, or period, or at least very skillfully applied if later. Nominal and performance pitch from Haynes (2002: 452). Photographs & measurements here; de Avena Braga (2015: 314-315, figs. 77-80). | ||
| Unknown | Anciuti | sopranino | 18C | 2 | 218 | ivory | silver | Carved decoration, silver ferrule at head-joint. Formely in the collection of Barons Nathaniel and Albert von Rothschild (Rothschild Inv. No. AR1384). Auctioned (and sold) by Christies, Sale 6179, 8 July 1999, Lot 40 (see here). de Avena Braga (2015: 31, footnote 119). | |||||
| USA-DC-Washington: DCM | DCM 327 | Panormo | f’ | alto | c. 1750 | c. 420 | 3 | 487 | ivory | All sections stamped: IOAN: | PANORM: Unplayable. Head joint severely cracked into 3 pieces with other cracks and losses. Purchased from Sumner Healey, New York (1923). Ex Tolbecque. MacMillan (1983: 492) attributes this to James Panormo (ca 1820-1830), in error. Further details, photographs, measurements & technical drawings: here; de Avena Braga (2015: 53-54, 334-337, figs 110-117). | |||
| USA-DC-Washington: DCM | DCM 0658 (S.21) | Schell | f’ | alto | 404 | 3 | 503 | box (stained light brown) | unmounted | All 3 sections stamped H.SCHELL (in scroll)/s/js (entwined monogram), the monogram on the head only. Bought from Sigmund Koch, Munich, Germany (1926). Nominal and performance pitch from Haynes (2002: 447). Ref. Postcard: Library of Congress (1979), as Miller 658. Further details here. | |||
| USA-DC-Washington: DCM | DM 0328 (S.22) | Schuechbauer | f’ | alto | 18C | 461 | 3 | 449 | ivory | unmounted | Stamped on all sections flower/S/SCHVECHBAVR. Minor shrinkage at each mechanical joint. Foot joint center section bead just below upper thread chipped and missing about 170 degrees in circumference. Lower thread same section chipped. Missing portions but still functional. In the usual 3 joints, head, body, foot, except that the sections are joined with machine threads; 2 for head joint, 3 for foot joint, similar to DCM 945. Bought from Sumner Healey, New York (1923) ex Tolbecque Collection. Nominal and performance pitch from Haynes (2002: 449). Further details & image here. | ||
| USA-DC-Washington: DCM | DCM 1159 | Smart | f’ | alto | 18C | 3 | 499 | boxwood, stained | Stamped on all sections SMART /. Head joint edge damaged and slightly shortened. Beak and block chipped and broken at the top. Head joint cracked from socket to window. Body joint wood naturally checked and possibly further damaged at the thumbhole. Foot joint cracked at socket. Fingerhole 7 very crudely altered. Bought from W. Howard Head, London (1932). Seyfrit (1982: 25); MacMillan (2008: 94). Further details & image here. | ||||
| B-Brussels | 1038 | Terton | f’ | alto | 1710-1752 | 400 | 3 | 520 | box; stained brown | 2 ivory ferrules | All 3 sections stamped 3-pronged crown/E:TERTON (definitely no lion). Pitch slightly under A415 (Bouterse 2001). Nominal and performance pitch from Haynes (2002: 450). Images and further details. | ||
| NL-Hague | 1933-0374 (formerly Ea 374-1933) | Terton | c” | soprano | 409 | 2 | 349 | stained box, faded brown | silver | Stamped 3-prong crown/E:Terton/Brabant lion. Luxuriously made with finely wrought silver mounts at the lower foot ring, the socket bulge of the head and covering the beak. Additional (left-hand) hole for 7th finger is plugged with wax, a feature normally associated with renaissance recorders. Crack in head glued, labium damaged. Playable. See Bouterse (2001; 2004: 22). The … soprano recorder by E. Terton, has the full Baroque recorder compass of c″ – d″″, together with a firm clear tone. The windway and labium are of normal width, but the sides of the window are much higher than usual due to the very thick walls of this instrument. The increased wall height gives a full and edgy quality to the sound (Morgan) Nominal and performance pitch from Bouterse (2005: 22). Haynes (2002: 450) gives performance pitch of A=399 Hz. Image here (from Heinz Amman). A video recording of Frans Brüggen playing this instrument can found here. | |||
| NL-Hague | 1933-0978 (formerly Ea 978-1933) | Terton | f’ | alto | 419 | 3 | 497 | box; stained brown | Stamped 3-pronged crown/E:TERTON/Brabant lion. Playable. Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 451) gives the performance pitch of this instrument as A=407 Hz. | ||||
| NL-Hague | 1952×00323 (formerly Ea 323-1933) | Wyne (Wijne) | a’ | alto (third flute) | 18C | 456 | 3 | 411 | stained box | unmounted | Head & body stamped crown/R.WYNE/two-headed eagle & also crown/NYMEGEN (in scroll)/2-headed eagle; foot stamped with a 2-headed eagle. Hardly playable. See Bouterse (2001; 2004: 21). Nominal and performance pitch from Bouterse (2004: 21). Haynes (2002: 451) gives a nominal pitch of g’ at A=386 MHz. | ||
| NL-Hague | 1993-0363 (formerly Ea 363-1933) | Debey | f’ | alto | 412 | 3 | 501 | stained box | Stamped DEBEY. Playable, but large crack in head and damage to the mouldings. On long-term loan to University Instituut voor Muziekwetenschap, Utrecht, Netherlands. Nominal and performance pitch from Bouterse (2005: 22). Haynes (2002: 451) gives performance pitch of A=405 Hz. | ||||
| USA-DC-Washington: DCM | DCM 0871 (S.24) | Terton | f’ | alto | 397 | 3 | 507 | box, stained mid-brown | ivory beak and ferrules | Stamped 3-pronged crown/E:TERTON/Brabant lion. Head joint warped. Beak damaged at tip, both ivory and wooden block. Foot joint cracked at socket with ivory loss at edge of fingerhole. Chips missing from decorative turnings. Bought from G. Hanken & Zoon, Rottterdam, Holland (1929). Playable only with difficulty. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). Ref. Postcard: Library of Congress (1979), as Miller No. 871). Further details here. | |||
| USA-DC-Washington: DCM | 835 | Unknown | f’ | alto | early 19C | 424 | 3 | 482 | boxwood | Bought from Henning Oppermann, Basel Swizerland (1929). Not a sophisticated instrument. MacMillan (2007: 202; 2008: 86-87) | |||
| USA-DC-Washington: DCM | 1351 | Unknown | f’ | alto | 18C | 415 | 3 | 505 | ivory | Bought from Harold Reeves, London (1927), ex Taphouse Collection. Seyfrit (1982: 29). Acquired from W. Howard Head, London (1938). Foot joint constructed in 2 parts joined with machine threads. Two surface cracks in head joint. Random chips missing from decorative turning. Further details and image. Photographs, measurements & technical drawings (by Bob Marvin, Mark Gaydos): de Avena Braga (2015: 356-359, figs. 152-158). | |||
| USA-DC-Washington: DCM | 1388 | AdlerJ | f’ | alto | c.1939 | 440 | 3 | 485 | 2 | pear | silver(-coloured) metal | Stamped Johannes Adler (surrounded by a partial oval with an arrow) // MADE IN GERMANY. German fingering. Purchased from G. Schirmer, New York (1939). Further details and image. | |
| USA-DC-Washington: DCM | DCM 1179 | Dolmetsch | f’ | alto | <1932 | 415 | 3 | 504 | cocus | ivory beak & ferrules | Stamped on head, body & foot DOLMETSCH (cross) (circle shape) / 316 (in circle). Purchased from Harold Reeves, London (1935). Further details & image | ||
| USA-DC-Washington: DCM | DCM 0989 (S.31) | Bressan | d’ | voice flute | 405 | 3 | 606.5 | box | ivory ferrules | Stamped on all sections Pul/BRESSAN/rose. Head joint edge slightly damaged but still playable. The area of the thumbhole has been crudely indented for player convenience. Foot joint upper ferrule slightly cracked. Foot joint lower ferrule large decorative bottom bead missing about 150° circumference material. Chips missing on wood near bottom ferrule. The ferrule is also cracked starting outward but not out to edge. Purchased from W. Howard Head, London (1929). Further details & image. Nominal and performance pitch from Haynes (2002). | |||
| USA-DC-Washington: DCM | 834 | Unknown, Bressan | d’ | voice flute | 3 | 573 | maple, stained dark brown | ivory ferrules | Parts mismatched: head stamped Pul/BRESSAN/rose surrounded by 3 small dots; body & foot unstamped, different wood. Purchased from Henning Oppermann, Basel, Switzerland (1929). The foot joint is cracked in 2 places at the socket, and has 2 twisted wire repairs. The head joint socket is cracked and missing a little over 100° of its ivory ferrule. The edge is badly altered and distorted, and the block possibly not original. Partly missing its beak, and missing a small area due to wood rot. This instrument is a composite of a likely original head joint with body and foot joints later manufactured. As is, given its present dimensions, the instrument would seem to be a voice flute in D, so-called. However, its original body and foot joints may have been adequately longer to yield a tenor in C, similar to DCM 1321. Further details & image. | ||||
| USA-DC-Washington: DCM | DCM 1262 | Cahusac | d’ | voice flute | 18C | 390 | 3 | 623 | maple, stained | ivory | Stamped on head ?rose/CAHUSAC/LONDON. Bought from Rudall, Carte & Co., London (1953). This instrument is a composite of original, altered, and unoriginal parts. The head joint may be in original condition, unless its socket was cut deeper to take an abnormally long tenon, resulting at the upper end of the body joint when it was drastically shortened. The lower end of the body joint may also have been shortened, and all or some toneholes enlarged. The foot joint is a replacement and not typical although turned by a competent craftsman. Nominal and performance pitch from Haynes (2002). Further details & image. | ||
| USA-DC-Washington: DCM | DCM 1240, cat. 35 | Bassano | c#’ | tenor | 16C | 440 | 1 | 630 | maple, stained reddish brown | Stamped !! (ML-J type B) & thus probably by a member of the the Bassano family. Purchased from Harold Reeves, London (1935), ex Ellinger Collection. Back-blown. The labium edge is damaged and partially missing and at that the instrument still plays curiously well. Further details & images. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||
| USA-DC-Washington: DCM | 325 | Unknown | c’ | tenor | unknown | 3 | 710 | 1 | box, stained brown | ivory ferrules | brass | Stamped on all sections with a ? trefoil. Purchased from Sumner Healey, New York (1923); formerly in the Tolbecque collection. In Baroque or pseudo-Baroque style, portions of it (2 of the ivory ferrules) appearing quite old, with other aspects of the instrument leading one to believe it may be a replica. The one key on the foot joint has a double touch piece for right or left hand usage, although not well-fitted. Furthermore, on the open-standing key on the foot joint, the upper fulcrum key block is unnecessarily deep-cut so as to create a lateral opening (and consequently a leak) into the foot joint socket. As is, this instrument seems to be in B♭ at modern pitch, and therefore could be a tenor in that key as such. However, it could also be in A at high pitch, or in C at very low baroque pitch. MacMillan notes the marked external similarity to Tolbecque’s copy of a Hotteterre tenor in F-Paris. Further details & image. MacMillan (2008: 99). | |
| USA-DC-Washington: DCM | DCM 1321 (S.33) | Palanca | c’ | tenor | 438 | 3 | 611 | box, fruitwood | Stamped on all 3 sections: CARLO | PALANCA. Purchased from Alex Hodson, Lavenham, Surrey, England (1937). Beak slightly chipped. Foot joint cracked at both ends. Upper end poorly repaired with brass ferrule, partially set in approximately 1 mm. B Nominal and performance pitch from Haynes (2002: 452). Further details & image. Saunders (2010: 13-14) gives a detailed plan of this instrument. She notes that the pitch is A=440 Hz. She also reports that the head and foot are made from second-class material with a wavy, knotty grain, and that the windway entrance is almost closed giving the recorder a very soft sound. Photographs by DCM, measurements, technical drawings by Joanne Saunders: de Avena Braga (2015: 51-53, 328-333, figs 95-109). | ||||
| USA-DC-Washington: DCM | 1389 | AdlerJ | c’ | tenor | c.1939 | 440 | 3 | 643 | 1 | pear | nickel silver | Stamped Johannes Adler (surrounded by a partial oval with an arrow) // MADE IN GERMANY. Purchased from G. Schirmer, New York (1939). German fingering. Further details and image. | |
| USA-DC-Washington: DCM | 1225 | Bärenreiter | a | tenor | 1935 | 440 | 3 | 757 | 1 | maple | metal | metalferrules & thumbrest | Bought from Helmuth G. Arendt, Quantico, VA, USA (1935). |
| USA-DC-Washington: DCM | DCM 0860, cat. 38 | Unknown | g# | basset | 19C | 440 | 2 | 813 | 1 | maple | brass, horn | brass | Stamped (5-pointed star) / .. (or, 2 small holes). Windcap cracked. Main body slightly warped and cracked at block. Fontanelle cracked in 6 places. Lower portion of key missing. Bottom bell ferrule of animal horn broken into 3 remaining pieces. Currently replaced with painted laminated paper for exhibit use, 1992. Of questionable origin, portions of which may be 17th century parts. Most of this instrument was probably crafted in the 19th century for decorative sales purposes. The fingerhole groupings and placement appear to have been drilled for that purpose and perhaps from a fanciful iconography source. See DCM 907. Bought from G. Hanken & Zoon, Rotterdam, Holland (1929). Further details & image here. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database Brown (2005b: 534) MacMillan (2008: 98) |
| USA-DC-Washington: DCM | DCM 800 (S.37) | Rippert | f | basset | c1701 | 392 | 3 | 1178 | 1 | maple, stained | ivory | brass | Stamped RIPPERT / (dolphin?). Brass bocal enters at top of cap. Foot bulbous with perforations; crutch missing. Middle joint slightly warped. Random chips missing from turnings and ivory ferrules (which look like bone). Bocal and mouthpiece are replicas. Bought from Henning Oppermann, Basel, Switzerland (1928). Further details & image here. Nominal and Performance Pitch from Haynes (2002). |
| USA-DC-Washington: DCM | 907 | Unknown | f | basset | 19C | 440 | 3 | 937 | 1 | maple, stained | brass | brass ferrules | Bocal & mouthpiece (inserted through windcap) missing; ferrules probably not original. Chips of wood missing from various wood turning beaded elements. A wooden mouthpiece similar to that of DCM 860 exists, but may in fact be another mouthpiece for DCM 860. The current low F key touchpiece and saddle are obviously replacements even if the instrument is as late as turn of the 20th century. Bought from Henning Oppermann, Basel, Switzerland (193?). Further details & image here. MacMillan (2008: 98-99) |
| USA-DC-Washington: DCM | 1390 | AdlerJ | f | basset | c.1939 | 440 | 3 | 963 | 3 | pear | nickel silver and bocal | Stamped Johannes Adler (surrounded by a partial oval with an arrow) / F BASS // MADE IN GERMANY. Bocal-blown with plastic mouthpiece. Bought from G. Shirmer, New York (1939). Further details and image here. | |
| USA-NY-New York: MMA | 89.4.2695 | Mahillon | c#” | soprano | 520 | 2 | 318 | plum | horn | Stamped Hieronimus [and] HF, but probably a copy by V.C. Mahillon of one of the seven instruments by Hieronimus Kynseker at D-Nuremberg: GNM. The maker’s mark is inconsistent with that of Kynseker, and flat windway is not found on authentic instruments by that maker. Image here. Brown (1902) van der Meer (1976) von Huene (1977) Hellwig (1978) MacMillan (2007: 202; 2008: 79-80) | |||
| USA-NY-New York: MMA | 89.4.912 | Boekhout | c” | soprano | 406 | 3 | 346 | ebony | ivory beak, upper ferrule & foot | Stamped crown/T. BOEKHOUT/Brabant lion. Block probably new. Playable. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). Image here. | |||
| USA-NY-New York: MMA | 1976.51 | Bradbury | f’ | alto | 403 | 3 | 520.5 | box | ivory (beak, ferrules, foot) | Nominal and performance pitch from Haynes (2002). Image here | |||
| USA-NY-New York: MMA | 89.4.2208 | Oberlender I | g’ | alto | 387 | 3 | 441 | box | horn ferrules | http://www.metmuseum.org/toah/images/h2/h2_89.4.22 | Stamped I.W.OBERLENDER/O in tilted scroll. Nominal and performance pitch from Haynes (2002). Image here | ||
| USA-NY-New York: MMA | 89.4.2646 | Unknown, ? Scandinavian | alto | 19C | 445 | mahogany (head & foot), fruitwood (foot) | 2 horn rings, horn beak, antler inlaid dots | Made in Scandanavia. 3 unmatched sections. MacMillan doubts the provenance of this instrument stating that no recorder activity is described in that region before ca 1830. However, the recorder has more or less continuous history of use and manufacture in Scandanavia throughout the 19th-century until the present day (e.g. the Norwegian Sjøfløyte), and the description from the collection catalogue makes it sound very much like a folk instrument. Image here. MacMillan (2007: 202; 2008: 78) | |||||
| USA-NY-New York: MMA | 89.4.2663 | Mahillon | f#’ | alto | 520 | 2 | 449 | plum | horn | Stamped Hieronimus [and] HF, but probably a copy by V.C. Mahillon of one of the seven instruments by Hieronimus Kynseker at D-Nuremberg: GNM. The maker’s mark is inconsistent with that of Kynseker, and flat windway is not found on authentic instruments by that maker. Image here Brown (1902) van der Meer (1976) von Huene (1977) Hellwig (1978) MacMillan (2007: 202; 2008: 79-80) | |||
| USA-NY-New York: MMA | 89.4.1511 | Unknown, ? English or German | f’ | alto | 19C | 3 | 475 | boxwood | 3 horn ferrules & beak | MacMillan (2007: 202; 2008: 78) | |||
| USA-NY-New York: MMA | 89.4.909 | Gahn | f’ | alto | 6 | 488 | ivory | Stamped I.B. GAHN. 6 carved sections (foot not original), some of which screw together; engraved with spiral design of leaves, flowers, fruit & birds. | |||||
| USA-NY-New York: MMA | 89.4.908 | Gahn | f’ | alto | 18C | 6 | ivory | German-made. 6 sections. Image here | |||||
| USA-NY-New York: MMA | 89.4.910 | Unknown | f’ | alto | late 18C | 3 | box (head), stained pine (body & foot) | 2 ivory ferrules | ? English- or German-made. Centre & foot not original. | ||||
| USA-NY-New York: MMA | 53.56.15 | Unknown | f’ | alto | 18C | 3 | ebony | ivory beak & ferrules | |||||
| USA-NY-New York: MMA | 89.4.3133 | Unknown | c#’ | tenor | 440 | 565 | maple | Possibly German-made. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536). For image see here. A plan of this instrument can be found in Saunders (2010: 15-16) who notes that there is a crack through to the windway along the length of the beak, and two deep burn marks remain around the circumference of the beak where hot wires have been wound to try and secure the crack. | |||||
| USA-NY-New York: MMA | 89.4.2644 | Mahillon | c#’ | tenor | 19C | 520 | 2 | 591 | plum | horn | Stamped Hieronimus [and] HF, but probably a copy by V.C. Mahillon of one of the seven instruments by Hieronimus Kynseker at D-Nuremberg: GNM. The maker’s mark is inconsistent with that of Kynseker, and flat windway is not found on authentic instruments by that maker. Image here Brown (1902) van der Meer (1976) von Huene (1977) Hellwig (1978) MacMillan (2007: 202; 2008: 79-80) | ||
| USA-NY-New York: MMA | 53.56.14 | Unknown | d’ | voice flute | late 18C | 415 | 3 | maple (stained) | Stamped with a 5-pointed star; German-made. | ||||
| USA-NY-New York: MMA | 89.4.2926 | Unknown | b | tenor | 19C | 2 | 697 | 1 | stained maple | brass ferrules | brass | Renaissance style with a perforated fontanelle. Brown (1902) MacMillan (2007: 202; 2008: 81) | |
| USA-NY-New York: MMA | 89.4.907 | Unknown | c’ | tenor | 18C | 3 | 699 mm | 1 | box | ivory ferrules | brass | Stamped with a fleur de lys; German-made. Image here | |
| USA-NY-New York: MMA | 89.4.2045 | Unknown | g | basset | 19C | 2 | 938 | 1 | box | brass | 3 brass ferrules | Renaissance-style with a cap & perforated fontanelle. Described in the collection catalogue as a reproduciton obtained via Frederico Vellani, then director of the Museo Liceo Musicale in Bologna. Image here Brown (1902) MacMillan (2007: 202; 2008: 81) | |
| USA-NY-New York: MMA | 89.4.906 | Unknown | f | basset | 18C | 3 | 1083 mm | 1 | maple | 1 brass & 22 ivory ferrules | brass | Stamped with 3 5-pointed stars; German-made. Windcap & brass bocal. Image here | |
| USA-NY-New York: MMA | 89.4.2352 | Unknown | d | bass | 19C | 2 | 1505 | 3 | maple | brass | brass | ? French made reproduction in renaissance-style with a perforated fontanelle & brass bocal. Image here Brown (1902) MacMIllan (2007: 202; 2008: 82) | |
| USA-NY-New York: MMA | 89.4.682 | Mahillon | D | extended contrabass | 19C | 3 | 2602 | 4 | maple | 3 brass ferrules | brass | Belgian made after Hans Rauch von Schratt[enbach], possibly by V. Mahillon. Stamped with a trefoil, but inconsistent with that used by Rauch von Schrattenbach. Renaissance-style instrument with a windcap, perforated fontanelle & brass bocal. Described in the collection catalogue as a reproduction acquired via Baron de Vinck de Winnezeale, then director of the Musée d’Antiquities du Steen, Antwerp, now B-Antwerp: Vleeshuis. If the lowest note is D, with all 10 holes closed, then G is produced by the fingering 0 123 4567. Image here Brown (1902) MacMillan (2007: 202) | |
| F-Paris | E. 683.4 (C.392) | J Schlegel | f” | sopranino | c1750 | 425 | 3 | 274 | ivory | unmounted | Stamped 2/SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Further details here. Performance pitch from Haynes (2002: 252). Baines (80 & fig. 423) | ||
| F-Paris | E. 683.3 (C.392) | J Schlegel | f” | sopranino | c1750 | 430 | 3 | 374 | ivory | unmounted | Stamped SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Further details here. Performance pitch from Haynes (2002: 252). Baines (80 & fig. 423) | ||
| F-Paris | E. 683.2 (C.392) | J Schlegel | f’ | alto | c1750 | 425 | 3 | 516 | ivory | unmounted | Stamped 2/SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Further details here. Nominal and performance pitch from Haynes (2002: 252). Baines (80 & fig. 423) | ||
| F-Paris | E. 683.1 (C.392) | J Schlegel | f’ | alto | c1750 | 427 | 3 | 516 | ivory | Stamped SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Further details here. Nominal and performance pitch from Haynes (2002: 252). Baines (80 & fig. 423) | |||
| F-Paris | E.986.14.1 | Naust | c | soprano | 18C | 405 | box | Head piece only; 153.6 mm long. Stamped lion? Horse?/NAUST/A PARIS/lion? Horse? (lion or horse on all fours walking to right side). Possibly a flageolet. Further details here. Image and further details here | |||||
| F-Paris | E.1935 | Bassano | e’ | tenor | 440 | 525 | ivory | Stamped !! (ML-J type unclassified) & thus probably by a member of the Bassano family. Partner to F-Paris 2330. Sounding length 466 mm. Bell flared. Head covered with leather and fleur de lys motifs. Said to play with Ganassi fingerings. Could be an alto in g’ at 370Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). | |||||
| F-Paris | E.979.2.8 | M Hotteterre | g’ | alto | early 18C | 395 | 3 | 476 | ivory | Stamped HOTTETERRE/anchor. Further details here. A plan of this instrument prepared by Jean-François Beaudin is avaiable (Pottier 1992: 44). Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre. | |||
| F-Paris | E.1515 (C.1387) | Rippert | f’ | alto | 18C | 456 | 3 | 457 | box | ivory beak, foot & ferrules | Head & body stamped shield/RIPPERT/dolphin; foot stamped RIPPERT/dolphin/shield. Ex Collection Eugène de Bricqueville. Further details here. Nominal and performing pitch from Haynes (2002). A plan of this instrument prepared by Jean-Fançois Beaudin is available (Pottier, 1992: 46). | ||
| F-Paris | E.98 (C.390) | Oberlender I | f’ | alto | 18C | 3 | 498 | ivory | Beak carved as a fish-head; remainder of head & foot carved with acanthus leaves. Collection Chouquet; Collection Soulage; Collection Louis Clapisson. Described by Pottier (1992: 43) as being Anonymous French with the beak carved in the form of a human head, but described in the on-line catalogue to the Cité de la Musique collection as being by Oberlender I. Further details here. | ||||
| F-Paris | E.283 (C394 ) | Bressan | f’ | alto | 18C | 402 | 3 | 527 | wood, covered in tortoiseshell | ivory beak, ferrules & foot | Stamped Pul/BRESSAN. Ex Collection Louis Clapisson. Image and further details here. Nominal and performance pitch from Haynes (2002). | ||
| F-Paris | E.980.2.83 | Carandet | f’ | alto | late 18C | 405 | 3 | 510 | stained box | ivory beak, 2 ferrules & foot | Ex Collection Geneviève Thibault de Chambure. Further details here. Cited by Pottier (1992: 44). | ||
| F-Paris | E. 284 (C. 393) | Heitz | f’ | alto | 18C | 3 | 528 | box | ivory beak, foot & ferrules | Stamped crown/I.HEYTZ/5-petaled flower. Finished in polished tortoise shell (cracked). Ex Collection Louis Clapisson. Further details here. | |||
| F-Paris | E. 195 (C.399) | J Denner, Rykel | f’ | alto | c1700 | 415 | 3 | 495 | box; stained brown | Head stamped C.RYKEL (in scroll)/device; body & foot stamped I.DENNER. Ex Collection Louis Clapisson. Further details here and Bouterse (2001). | |||
| F-Paris | E.980.2.82 | Stanesby Jr | f’ | alto | 18C | 406 | 3 | 505 | box (ebonised) | Stamped STANESBY/dolphin. Formerly attributed to Stanesby Jr, and still is by F-Paris. Ex Collection Geneviève Thibault de Chambure. Further details here. Image here. Nominal and performance pitch from Haynes (2002) | |||
| F-Paris | E.590 (C.402) | M Hotteterre | c’ | tenor | 18C | 401 | 3 | 681 | 1 | maple | ivory beak, 2 ivory ferrules, ivory foot ring | brass | Stamped on each section HOTTETERRE/anchor. Ex Collection Julien Fau. Further details here. Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre. Note that Haynes cites the accession number as 509, in error. |
| F-Paris | E.980.2.86 | Stanesby Jr | c’ | tenor | 18C | 407 | 4 | box | Double holes for finger 7 (equal sized). Flute-style ornamentation around joints copied by Stanesby’s apprentices, Cahusac (Library of Congress, Washington) & Goulding (V&A, London). Ex Collection Geneviève Thibault de Chambure. Nominal and performance pitch from Haynes (2002). Philippe Bolton reports: The double holes on this recorder are bored in such a way that they converge into one single hole. This seems to combine the advantages of both single and double holes. The single hole on the inside probably favours the airstream when one or both small holes are open. Experiments on copies of this recorder give loud and stable low c#’, d’, d#’ and e’. The original is a fantastic recorder with an amazing sound. It may well be the instrument Stanesby described as being the ‘True Concert Flute’, capable of playing with the traverso and the oboe, and also able to play their music. Image and further details here | ||||
| F-Paris | E.589 (C.413) | M Hotteterre | f | basset | 18C | 399 | 3 | 1040 | 1 | maple or fruitwood, ebonised | 3 ivory ferrules | brass | All 3 parts stamped HOTTETERRE/anchor. Brass bocal entering at the side of the windcap (not original). Foot bulbous, side-opening. Ex Collection Julien Fau. Further details here. Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre. Pottier (1992: 45) suggests this instrument is by Nicolas le hotteterre (m. ?1694). Baines (1966: 81 & fig. 430). |
| F-Paris | E.691 | Schrattenbach | a#+ | basset (columnar) | 440 | 1 | 716 | 4 | maple | brass | brass | Stamped with a double trefoil. Has three additional keys & fingerholes on the back-bore, in the manner of a bassoon). Brass bocal enters via an ornamental medallion on back.Corresponding alto instrument at Brussels. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Baines (1966: 81 & fig. 428-429); Brown (2005b: 534). Postel (1974) considers the Saeulenblockfloete Frankfurt 4260. He cites the well-known passage about the Oosters Huys by Burney (p. 146) and comes to the conclusion that that instrument and those in Paris were the instruments from Antwerp mentioned by Burney (p. 150). | |
| F-Paris | E.127 | Schrattenbach | d#+ | bass (columnar) | 440 | 1006 | 4 | maple | brass | brass | Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. A columnar recorder with extension (three additional keys & fingerholes & a back-bore, in the manner of a bassoon). Corresponding alto instrument at Brussels. Postel (1974) considers the Saeulenblockfloete Frankfurt 4260. He cites the well-known passage about the Oosters Huys by Burney (p. 146) and comes to the conclusion that that instrument and those in Paris were the instruments from Antwerp mentioned by Burney (p. 150). For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Baines (1966: 81 & fig. 425-427; Brown (2005b: 534). | ||
| F-Paris | E.2139 | Kynseker | f# | basset | 1630 | 440 | 2 | 930 | 1 | box | brass ferrules on windcap & fontanelle | brass | Head stamped HF/1630. Wave-profile head. Foot turned on eccentric lathe and carved in the form of tree roots with indentations, rows of concentric scallops, etc, Key with fontanelle. Sounding length 852 mm. Ex Collection Paul Cesbron. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a performance pitch of A=430 Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). |
| J-Tokyo: Musashino | A723 | Boekhout | sopranino | 419 | 3 | box, stained brown | ivory rings | Stamped crown/T. BOEKHOUT (indecipherable). One of 2 identical instruments.The pitch of both is rather high, about 50 cents above 415 Hz. See Bouterse (2001). Performance pitch from Haynes (2002: 451) who does not give the nominal pitch. | |||||
| J-Tokyo: Musashino | A724 | Boekhout | sopranino | 419 | 3 | box, stained brown | ivory rings | Stamped crown/T. BOEKHOUT (indecipherable). One of 2 identical instruments. The pitch of both is rather high, about 50 cents above 415 Hz. See Bouterse (2001). Performance pitch from Haynes (2002: 451) who does not give the nominal pitch. | |||||
| DK-Copenhagen: Rosenborg | 1.75 | Unknown | c#”+ | soprano | 440 | 1 | narwahl ivory | one of the 2 so-called ‘rosenborg’ recorders. Sounding length 265.5 mm. plays with van eyck/jambe de fer fingerings, according to adrian brown. said to play with matthysz fingerings by eva legêne (1995). lowest note and performance pitch from brown (2005b). for critical measurements & other details see adrian brown’s renaissance recorders database. haynes (2002) gives a nominal pitch of c” at the performance pitch of a=488 hz for one of the rosenborg instruments, but doesn’t say which one! | |||||
| DK-Copenhagen: Rosenborg | 1.74 | Unknown | c#”+ | soprano | 440 | 1 | narwhal ivory | one of the 2 so-called ‘rosenborg’ recorders. Sounding length 270 mm. plays with van eyck/jambe de fer fingerings, according to adrian brown. said to play with matthysz fingerings by eva legêne (1995). lowest note and performance pitch from brown (2005b). for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 536). haynes (2002) gives a nominal pitch of c” at the performance pitch of a=488 hz for one of the rosenborg instruments, but doesn’t say which one! | |||||
| GB-London: RCM | 96 | Oberlender I | f’ | alto | 18C | 3 | 501 | box, stained brown | Body stamped I.W. OBERLENDER/O (on cartouche). Head & foot elaborately carved, the beak with a moustached face, the remainder with scales & foliage. Image here. | ||||
| GB-London: RCM | 67 | Villars | f’ | alto | 18C | 387 | 3 | 518 | 1 | ivory | Touch decorated with mother of pearl | Head & body stamped fleur de lys/VILLARS. Slim design. Head carved with a narrow band of beads above the window; body & bell with wider bands of formal design. Nominal and performance pitch from Haynes (2002). Image here. | |
| GB-London: RCM | 88 | Unknown, ? Hotteterre | tenor | late 19C | 3 | 710 | 1 | wood, stained dark brown | 2 ivory mounts & bell rim | brass | Stamped with a mark suggestive of a 5-pointed star. Loretto (1973) suggested this instrument may have been made by Hoteterre, but Hunt (1974) felt that the evidence for this was unconvincing. Museum staff consider this recorder to be of 19th century origin. MacMillan (1983: 491; 2007: 202; 2008: 95-96). | ||
| S-Stockholm | F173 | Bressan | f’ | alto | 3 | 508 | ebony | ivory beak, ferrules & foot | All 3 sections stamped Pul/BRESSAN/rose. Image here. | ||||
| GB-London: V&A | 7469-1861 | Anciuti | f’ | alto | 1740 | 440 | 3 | 475 | ivory | Head stamped: [lion of Venice] | ANCIVTI | A MILAN |1740 Body octagonal. Beak + 2 sockets with lightly carved foliage in low relief and rings of pellets. The base of the head has been slightly shortened. Sounding length 420 mm. Now at GB-London: Horniman. Nominal and performance pitch from Haynes (2002: 252). Images & further details here; Baines (1998: 86 & pl.) Photographs and measurements: de Avena Braga (2015: 279-282, figs. 25-33). | |||
| F-Paris | E.681 | Unknown | f’ | alto | 18C | 3 | 443 | ivory | Body cylindrical; head & foot heavily carved with musical instruments, including a recorder not unlike the one it ornaments. Bought in the sale of Rossini’s belongings. Thibault et al. (1973: 122 & pl. 74) Further details here. | ||||
| GB-London: V&A | Unknown | alto | ivory | English; dark rings on head & foot. | |||||||||
| GB-London: V&A | 1124-1869 | Unknown (Naples) | f’ | alto | 1730-1750 | 3 | 512 | fruitwood | ivory beak, ferules & foot | Covered in turtle shell & gold-piqué, silver & with mother-of-pearl inlay. Before the museum acquired this intrument, it formed part of a decorative trophy of old wind instruments that hung on a wall of the Paris apartment of Gioacchino Antonio Rossini (1782-1868), the great Italian composer of light opera. Leighton (1870); Hunt (1977: 94); Smith (2014). Photo: Thomson (1968). Image & further deails here. Photographs, measurements and technical drawings (by Fumitaka Saito): de Avena Braga (2015: 352-355, figs 144-151). | |||
| GB-London: V&A | 287-1882 | Schuchart | f’ | alto | c. 1730 | 3 | 486 | box | ivory | Stamped Iul/SCHUCHART. The main joint has been cut down by about 14 mm, evidently with the intention of sharpening the instrument by about a semitone. Images & further details here. | |||
| GB-London: V&A | 285-1882 | Goulding | tenor | c. 1786-1834 | 3 | 660 | stained boxwood | Stamped GOULDING & CO. The foot-joint is in the style of a transverse flute, first seen on recorders by Thomas Stanesby, jr (1692-1745). The bulbous (beehive-shaped) shaped windcap forms a sponge chamber with a centrally placed embouchure. A hole has been crudely pierced in the cap, the purpose of which appears to permit the attachment of a thin membrane to produce a buzzing sound when the instrument is played, mimicking the sound of a mirliton. No longer in playing condition. Engel (1874: 122) Chappell (1855-1859) Welch (1911: 103-127) MacMillian (2007: 199; 2008: 40-43) Image & further details here. | |||||
| GB-London: V&A | V&A 293-1882 | Bressan | f | basset | 3 | 1080 | 1 | stained fruitwood | ivory | brass | Stamped Pul/BRESSAN/rose. Brass bocal enters top of cap. Foot with lateral vent hole & socket for crutch. Halfpenny (1955) gives a detailed description, with measurements. Images & further details here. | ||
| I-Bologna: Accad. Fil. | Unknown | C | subcontrabass | 2800 | Formerly I-Verona: Biblioteca Capitolare, but returned to the Academia Filarmonica in 1969. However, the latter say that they do not have the instrument. However, Simone Zaniol saw it in the Biblioteca Capitolare in the 1980s so it cannot have been returned to the Accademia by then. It would appear that this unique instrument has either been lost or stolen (Francis Firth, pers. comm., 2003). | ||||||||
| B-Antwerp: Vleeshuis | 134 (VH2111) | Schrattenbach | F#+ | extended contrabass | 16C | 440 | 2620 | 4 | maple | brass | brass | Stamped with a trefoil. Bocal enters at side; all metal parts, fontanelle & head joint cap are replacements. Sounding length is 2433 mm. An extended recorder (lowest note is C#, with all 10 holes closed; F# is produced by the fingering 0 123 4567). One of the keys is at the back. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). Baines (1966: 80 & fig. 414) | |
| B-Antwerp: Vleeshuis | 136 | Bressan | f | basset | 3 | 1090 | 1 | wood | Stamped Pul/Bressan/rose. Bocal enters top of windcap. No crutch. | ||||
| USA-SD-Vermillion: National Music Museum | 4202 | Haka | c” | soprano | c1680 | 417 | 2 | 344 | ebony | ivory beak & ferrules | Stamped on both joints R·HAKA (in scroll)/fleur-de-lys. Original, fitted, tooled (brown & gilt) leather-covered case. Playable, a little higher than A415. the block may not be original. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). | ||
| USA-SD-Vermillion: National Music Museum | 4826 | ?Schell | b♭’ | fourth flute (soprano in Bb) | c. 1730 | 402 | 3 | 349 | box | ivory | Stamped Master S on all 3 joints. Ex. Archibald Nettlefold, Collection, Kent, England; ex Philip Bate Collection, London; ex Higbee-Abbott-Zylstra Collection (1989). Maker, nominal and performance pitch from Haynes (2002). | ||
| USA-SD-Vermillion: National Music Museum | 4825 | Hallett | c” | soprano | <1760 | 396 | 3 | 368 | box | Stamped on all three joints, 4/HALLET. Ex Fritz Spiegl Collection, Liverpool, England; ex Higbee-Abbott-Zylstra Collection, 1989; possibly the instrument referred to by Anonymous (1957) found in the Warwickshire village of Chadshunt, once belonging to the church band there. Nominal and performance pitch from Haynes (2002). | |||
| USA-SD-Vermillion: National Music Museum | 3978 | Aardenberg | f’ | alto | 415 | 3 | 550 | box (stained) | all 3 sections stamped aardenberg (in scroll)/fleur de lys/2 fleurs de lys & an animal above (possibly the profile of a bird standing upright). usa-sd-vermillion: shrine give length as 504, which probably represents Sounding length. nominal and performance pitch from haynes (2002: 451). | ||||
| USA-SD-Vermillion: National Music Museum | 4142 | Gahn | f’ | alto | <1711 | 420 | 3 | 500 | box | Stamped at the top of the body I. B. GAHN in a scroll with monogram below, all of it now nearly illegible. Head carved in the shape of an anthropomorphic fish; foot carved with leaf patterns. Nominal and performance pitch from Haynes (2002: 448). | |||
| USA-SD-Vermillion: National Music Museum | 4504 | Heerde | f’ | alto | c. 1670 | 440 | 1 | 465 | ivory | Stamped just below the window, I.V.H. in a scroll, & thus possibly by Jan van Heerde. Duplicate hole for the bottom hand little finger is plugged. The lowest note sharp by c. 75 cents. Plays with baroque fingering. Early baroque style instrument. Head separated from body by an incised ring. Foot decorated with incised rings and beading. Sounding length 413.6 mm. See Bouterse (2001, 2015). Nominal and performance pitch from Haynes (2002: 451) and Brown (2005b: 535). Image here (from USA-SD-Vermillion: Shrine). | |||
| USA-SD-Vermillion: National Music Museum | 4564 | Troup | alto | 3 | box | Stamped on head & body W.G. TROUP; foot missing. Ex Arne B. Larson Estate (1988). | |||||||
| USA-SD-Vermillion: National Music Museum | 4879 | J-H or J-H-J Rottenburgh | tenor | c1700 | 403 | 3 | 675 | 1 | box (stained) | ivory | brass | Stamped on all three joints, I.H./ROTTENBURGH above a star. Ex. coll. Laurent Kaltenbach, Paris. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. | |
| USA-SD-Vermillion: National Music Museum | 4827 | Bressan | d’ | voice flute | <1730 | 401 | 3 | 609.5 | box (stained dark brown) | All three joints stamped PUI/BRESSAN/cinquefoil rose. Thumbhole is to the right of the centre, which suggests that the instrument was made for a left-handed player. Ex. coll. Fritz Spiegl, Liverpool, England; ex Higbee-Abbott-Zylstra Collection (1989). Nominal and performance pitch from Haynes (2002). | |||
| USA-SD-Vermillion: National Music Museum | 3606 | Rozmberk | f# | basset | c1550 | 440 | 1 | 918 | 1 | box | brass | brass | One of a set of instruments built for use by the Rožmberk Court Band at Rožmberk Castle in Ceský Krumlov, Bohemia, an ensemble established in 1552 and enlarged during the years up to 1599, when a surviving inventory of the Hofkapelle was taken. At that time, most instruments played in Bohemia came from German and Italian makers. Sounding length 827 mm. This instrument has been attributed to Azarius or Hans Schnitzer, Munich or Nüremberg. However, it is stamped with Ãà (quite different to the mark on Schnitzer instruments). Key with swallowtail touchpiece & a flat, round cover with a sewn-on pad, a heavy brass spring attached to the wood, covered with a perforated fontanelle. Haynes (2002: 252) gives the nominal performance pitch of this instrument as f at the performance pitch of A=466 Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). For images, see here. |
| GB-Warwick | M14 | Bressan, Stanesby Sr | f | alto | 3 | 498.2 | box | Centre and foot joints tamed T/STANESBY/8 pointed star Head by Bressan; body & foot by Stanesby Sr (G. Cook (pers. comm.) – Stanesby Jr according to Young (1993: 37, 221); ex Halfpenny; ex Galpin. For a black & white photo see Recorder Magazine 24(1): 32 (2004). Colour photo, sound clip and other details here. | |||||
| GB-Warwick | M15 | Stanesby Sr | alto | box | Measurements by Mary Kirkpatrick & by Tim Cranmore (G. Cook, pers. comm.). Probably the instrument Young (1993) refers to as by Stanesby Sr. For a black & white photo see Recorder Magazine 24(1): 32 (2004). Colour photo, sound clip and other details here. | ||||||||
| GB-Warwick | M16 | Stanesby Sr | f | basset | 405 | 3 | 897.5 | 1 | maple | brass ferrule on windcap; brass bocal | brass | Bocal enters top of windcap. For a black & white photo see Recorder Magazine 24(1): 32 (2004). Colour photo here. Nominal and performance pitch from Haynes (2002). | |
| GB-Bury St. Edmonds: Moyse’s Hall | Bressan | d’ | voice flute | 396 | 3 | box | Slight damage to one side of the windway roof exit; original block; plays well (Gary Cook pers. comm.) Nominal and performance pitch from Haynes (2002). | ||||||
| CH-Zurich: Mus. Bellerive | 1963-60-128 | Boekhout | f’ | alto | 399 | 3 | 518 | box, stained light brown | Stamped T.BOEKHOUT. Warped but playable. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 450). Image (from Heinz Amman). | ||||
| D-Munich: Deutsches Mus. | 10226 | Boekhout | f | basset | 3 | 1015 | 1 | box, stained | brass | brass | Stamped crown/BOEKHOVT. Bocal (not original) enters into side of windcap; no crutch. See Bouterse (2001). | ||
| D-Munich: Deutsches Mus. | 818 | Eisenmenger | f’ | alto | 3 | 492 | box | Unfinished (no finger holes). | |||||
| D-Munich: Deutsches Mus. | 819 | Unknown | f’ | alto | 3 | 492 | box | Unfinished (no finger holes). | |||||
| J-Tokyo: Toho Gakuen | Bradbury | ?f’ | alto | 409 | 3 | 503 | box | All 3 sections stamped 90/BRADBURY/crown. Nominal and performance pitch from Haynes (2002). | |||||
| J-Tokyo: Toho School | Unknown | alto | 3 | 501 | fruitwood | ivory | |||||||
| D-Quedlinburg | Unknown | a’ | alto | 17C | 440 | 1 | Stamped ‘S’; made in Nuremberg; one of a set of 5 recorders. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives a performance pitch for this instrument of A=489 Hz, though he does not give the nominal pitch. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536); Herrmann (2003). Image here | ||||||
| D-Quedlinburg | Unknown | a’ | alto | 17c | 440 | 1 | Stamped ‘S’; made in Nuremberg; one of a set of 5 recorders. See Kirnbauer (1995). Sounding length 343 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorder Database; Brown (2005b: 536); Herrmann (2003). Image here | ||||||
| D-Quedlinburg | ? Schell | e’ | tenor | 440 | 1 | Stamped ‘S’; made in Nuremberg; one of a set of 5 recorders. See Kirnbauer (1995). Sounding length 463 mm. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d’ at a performance pitch of A=489 Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. Image here | |||||||
| D-Quedlinburg | ? Schell | e’ | tenor | 440 | 1 | Marked ‘S’; made in Nuremberg; one of a set of 5 recorders. Souinding length 464 mm. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d’ at a performance pitch of A=489 Hz. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536); Herrmann (2003). Image here | |||||||
| D-Quedlinburg | ? Schell | a | basset | 440 | 2 | 1 | Stamped ‘S’; made in Nuremberg; one of a set of 5 recorders; key covered by a fontanelle. See Kirnbauer (1995). Sounding length 701 mm. Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives the performance pitch of this instrument as A=489 Hz, but does not give the nominal pitch. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535); Herrmann (2003). Image here | ||||||
| D-Leipzig | 1112 | Hartmann or M Herbst or J Herbst or Heuschkel | g#” | sopranino | 1600-1626 | 440 | 1 | 224 | ivory | stamped h. Sounding length 193 mm. finely turned with a dramatic wave profile head and foot. attributed by heyde (1978) to sebastian hartmann, but thought by kirnbauer (1995) to be of nuremberg origin, possibly by one of the herbsts or christoph heuschkel. lowest note and performance pitch from brown (2005b: 535) who designates this instrument a garklein flutlein. haynes (2002) gives a nominal pitch of g” at a performance pitch of a=461 hz for this instrument and designates it a soprano recorder. legêne (1995) notes that this instrument is pitched in c”. for critical measurements and other details see adrian brown’s renaissance recorders database; brown (2005b: 535). herbert heyde: flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 33.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 12. image & further information here. | |||
| D-Leipzig | 1130 | Bressan | alto | 3 | 515 | box sheathed with tortoise-shell | ivory ferules & foot | only the foot joint survives (5.15 cm), the rest of the instrument is lost. stamped pui b[r]es[s]an. see herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 44.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 18. image & further information here. | |||||
| NL-Amsterdam: Rijksmuseum | BK-NM-11430-91 | Bressan | c’ | tenor | 415 | 680 | 1 | box | ivory | brass | On loan from 1952-2010 to NL-Hague as Ea 28-X-1952. Stamped Pul/BRESSAN/rose. Playable, labium damaged. Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002) gives a performance pitch for this instrument of A=404 Hz. Image & details here. | ||
| D-Berlin | Hotteterre | f | 392 | Size not given by Beaudin (1998). | |||||||||
| S-Stockholm | M165 | Eichentopf | c’ | tenor | 1698-1769 | 410 | 3 | 665 | box, dark-stained | ivory | Stamped (vase with oak-leaves & acorns) H. EICHENTOPF/*. Key in ring. Nominal and performance pitch from Haynes (2002: 499). Image & further information here. | ||
| USA-Greenville: Sigal Music Museum | 1997.13 | Eichentopf | f’ | alto | c.1725 | 3 | 485 | boxwood | Maker’s mark: (flowerpot with acorns) / I H EICHENTOPF/ (star) on head, body and foot. Sold for £12,650, 17/12/1997. Early Music 26(3): 423 – col., 428 – b&w (1998); Rice (2015: 75 & pl.; 2021). | ||||
| NL-Amsterdam: Brüggen | XI | Bressan | f’ | alto | ?399 | 3 | 510 | box | ivory beak, head joint, ferrule & foot ring | all 3 sections stamped pul/bressan/rose. ex e. salaman, uk. nominal and performance pitch from haynes (2002). however, it is not clear which of the two bressan altos in this collection is referred to. a video recording of frans Brüggen playing one of his bressan altos is available here. | |||
| NL-Amsterdam: Brüggen | XII | Gahn | g’ | alto | 431 | 6 | 438 | ivory | Stamped I.B. GAHN. Highly carved with a fish-face beak & acanthus leaves elsewhere on the head & foot. Pieces of different diameters screwed together. Nominal and performance pitch from Haynes (2002: 449). | ||||
| NL-Amsterdam: Brüggen | IV | Bressan | d’ | voice flute | 417 | 3 | 613 | box | ivory beak, joints & foot ring | All 3 sections stamped Pul/BRESSAN/rose. Purchased from Wesley Oler. Nominal and performance pitch from Haynes (2002). | |||
| NL-Amsterdam: Brüggen | V | Bressan | d’ | voice flute | 405 | 3 | 612 | maple | ivory beak, joints & foot ring | All 3 sections stamped Pul/BRESSAN/rose. Purchased from Wesley Oler. Nominal and performance pitch from Haynes (2002). | |||
| NL-Amsterdam: Brüggen | VI | JC Denner | d’ | voice flute | 418 | 3 | 576.5 | plum | unmounted | Head-joint stamped I.C. DENNER/D/I. Morgan gives length as 612 mm. Haynes (2002: 448) attributes this instrument to J.D. Denner. Nominal and performance pitch from Haynes (loc. cit) | |||
| xA-Salzburg: Mus. Car.-Aug. | J Denner | tenor | 650 | plum | Stolen. | ||||||||
| NL-Amsterdam: Brüggen | III | Dupuis | c’ | tenor | 393 | 3 | 664 | box | ivory beak, joints & foot ring | stamped dvpvis (in cartouche) surrounded by 4 fleurs-de-lys. ebony studs placed irregularly around ivory mounts. nominal and performing pitch from haynes (2002). saunders (2010:10) reports that this instsrument has a very out of tune low c’ and that frans Brüggen thinks that at least part of the foot has been replaced. the instrument hardly sounds. a detailed plan of this instrument was prepared by morgan (1981). | |||
| CH-Basel: Hist. Mus. | 1956.630.0 | Johann Carl Denner | sopranino | 420 | 2 | 299.5 | ivory | Stamped D below the window, & attributed to Johann Christoph Denner. However, Kirnbauer (1992) has argued that this mark is more likely to have belonged to Johann Carl, a brother of JC Denner. Performance pitch from Haynes (2002) who does not give the nominal pitch. | |||||
| J-Hamamatsu: Museum | A-0127R | JD Denner | f’ | alto | 435 | 3 | 475.2 | plum | Head stamped I.C.DENNER/D/I. Ex USA-NY-Scarsdale: Rosenbaum. br>Soft but attractive sound with a fully resonating instrument. Playable even with the badly damaged labium. Two large cracks on both sides of the foot joint. Fine tuned with support fingering. d#”=0 1-3 4-6- is extremely low, Loulié’s alternative, 0 1-3 4/6- works well. Maker, nominal and performance pitch from Haynes (2002: 449), but (Nozaki (2016) gives the instrument’s pitch as 445 Hz or 396 Hz as an alto in g’, and gives the maker as J.Ch. Denner. | ||||
| S-Stockholm | M1005 | JC Denner | tenor | 1670-1707 | 3 | 650 | plum | ivory ferrules | Head & foot stamped I.C. DENNER/D/I. Images & further information here. | ||||
| D-Sigmaringen: Schloss | 304 | J Denner, Rykel, Haka | g’ | alto | 415 | 3 | 498 | box, stained | Body stamped C.RYKEL/fleur-de-lys; head stamped I·DENNER/I/tree; foot double-stamped RYKEL (in scroll)/R·HAKA (in scroll)/fleur-de-lys. Playable, but not easily, at slightly under A415. See Bouterse (2001). | ||||
| USA-MD-Silver Spring: Burchuk | Collier | box | Head only, 123 mm long; windway curved. Stamped T. COLLIER/Brabant lion, which Maurice Byrne suggests may indicate that instruments so marked were made for Collier by another maker — see Galpin Society Journal 17: 96. | ||||||||||
| D-Celle: Moeck | Cahusac | g’ | alto (second-flute) | 448 | 3 | 455 | box | However, this instrument is marked with a 2, indicating that it is a second-flute, ie recorder in g’ (Nik Tarasov, pers comm. 2004). Haynes (2002) gives the nominal pitch of this instrument as f’ and its performance pitch as A=423 Hz). | |||||
| Private Collection. | Cahusac | alto | 3 | 450 | fruitwood | Attributed to Cahusac. Formerly USA-PA-Philadelphia: Oster. | |||||||
| GB-Leamington Spa: Byrne | Bressan | alto | 3 | 504 | fruitwood | ivory | |||||||
| CS-Prague: Natl. Mus. | 1369E | Bressan | f’ | alto | 400 | box | ivory | Maker, nominal and performance pitch from Haynes (2002). | |||||
| GB-London: Greene | Unknown | alto | 3 | 505 | fruitwood | ivory | |||||||
| NL-Amsterdam: Brüggen | X | Bressan | f’ | alto | ?399 | 3 | 510 | box | ivory beak head joint, ferrule & foot ring | all 3 sections stamped pul/bressan/rose. ex collection fritz spiegel, liverpool. nominal and performance pitch from haynes (2002). however, it is not clear which of the two bressan altos in this collection is referred to. a video recording of frans Brüggen playing one of his bressan altos is available here. | |||
| GB-London: Uridge | Bressan | alto | ivory | ||||||||||
| xD-Leipzig | 1130 | Bressan | f’ | alto | 3 | 515 | box | ivory | |||||
| Unknown | Bressan | alto | ivory | Stamped Pul/Bressan/rose. Sale reported Early Music 10/79. | |||||||||
| USA: anonymous | Bressan | alto | 505 | box | ivory | Stamped Pul/BRESSAN/rose. | |||||||
| J-Tokyo: Iino | Bressan | f’ | alto | 400 | 508 | stained | Stamped Pul/BRESSAN/rose. One of a matched pair in original box. Waterhouse (1993) describes the case in detail with photographs. Nominal and performance pitch from Haynes (2002). | ||||||
| GB-Chester: Grosvenor Mus. | 507.L.1925b | Bressan | ?f’ | alto | 410 | 3 | 572 | box | ivory | Double holes for fingers 6 & 7. Revoiced and retuned by Carl Dolmetsch. The instrument seems to have been only partially completed by Bressan himself. Nominal and performance pitch from Haynes (2002). This instrument can be heard on the following LP: The Chester Recorders, Plant Life PLR 019 (1979). | |||
| GB-Oxford: Bate | Bressan | d’ | voice flute | 410 | 3 | 608 | box | ivory | Nominal and performance pitch from Haynes (2002). | ||||
| J-Tokyo: Iino | Bressan | d’ | voice flute | 405 | 3 | 605 | fruitwood | ivory | Collection, nominal and performance pitch from Haynes (2002). | ||||
| USA: anonymous | Bressan | d’ | voice flute | 408 | 3 | 608 | box | ivory | Stamped Pul/BRESSAN/rose. | ||||
| I-Bologna: Museo | 1825 | Bressan | d’ | voice flute | 408 | 3 | box | Nominal and performance pitch from Tarasov 2004â4, 16â17. Haynes (2002) gives performance pitch of 400 Hz. Tarasov futher comments: “The probably swollen block sits too high, the channel is far too low, so that the flute is not freely playable already at low breath pressure; in the higher register it buzzes uncomfortably, is unresponsive and, in a nutshell, is entirely clogged.” Sound clip here (Tarasov (2004). Image & further details here. | |||||
| I-Bologna: Museo | 1834 | Bressan | d’ | voice flute | 1725 | 412 | 3 | 60.4 | box, stained black | ivory ferules & foot | Stamped Pul/BRESSAN/rose. Nominal and performance pitch from Tarasov (2004â4), 16â17. Haynes (2002) gives pitch as 400 Hz. Tarasov further comments that this instruments plays over two octaves plus a minor third, including the f#”’. Sound clip here (Tarasov 2004). Image & further details here. | ||
| D-Brunswick | 80 (Ck 107) | Bressan | c’ | tenor | 405 | 3 | 680 | 1 | box | ivory | silver | Key in ring. Nominal and performance pitch from Haynes (2002). | |
| GB-London: Oldham | Bressan, Huene | c’ | tenor | 3 | 697 | 1 | box | Head & body stamped Pul/BRESSAN/rose; foot a replacement by von Huene. | |||||
| J-Private Collection; formerly GB-London: Avery | Bressan | tenor | 3 | 686 | 1 | stained fruitwood | ivory beak, ferrules and foot ring | silver | Purchased in a Chichester Antique Market during the 1960s for £5 10s; sold by Sotheby’s, 12 November 1986, Lot 202, for £22,000 to a Japanese collector. Stamped P.I.Bressan / Tudor rose. Key for c/c#. Played for a live recording for a BBC 1 programme in 1986, by Graham Wells the expert of Sotheby’s. Exhibited in the Galpin Society 40th Anniversary Exhibition, August 1986. See catalogue Made for Music No. 48. | ||||
| I-Milan: Castello Sforzesco | 316 | Attributed to Bressan | c’ | tenor | 412 | 3 | 675 | 1 | ivory | Unstamped. Key missing. Nominal and performance pitch from Haynes (2002). | |||
| DK-Copenhagen: Musikhist. Mus. | E.129 | Bressan | c’ | tenor | 3 | 698 | 1 | stained box | ivory | brass | Stamped Pul/BRESSAN/rose. The key is a replacement. A detailed plan is given by Saunders (2010: 12). | ||
| USA: anonymous | Bressan | c’ | tenor | 3 | 675 | 1 | sycamore | ivory | silver | ||||
| GB-Norwich: Strangers Hall Mus. | NWHCM : 1942.94 : S | Bressan | f | basset | c. 1720 | 405 | 3 | 1092 | 1 | box | ivory | silver | Measurements in Halfpenny (1955). Foot without crutch. Nominal and performance pitch from Haynes (2002). |
| CS-Prague: Natl. Mus. | 370E | Bressan | f | basset | 3 | 1 | wood | ivory | Stamped Pl/BRESSAN/rose. Bocal enters at top of windcap. Foot with crutch. | ||||
| J-Tokyo: Iino | Bressan | f | basset | 3 | 1079 | 1 | pear | ivory | silver | Stamped Pul/BRESSAN/rose. Foot with missing crutch. Ex Boydell. | |||
| Unknown | Bressan | alto | Cut down to raise its pitch. Sale reported Early Music 10(2): 233 (1982). | ||||||||||
| Unknown | Bressan | alto | box | Photo Early Music 10(3): 368 (1982). | |||||||||
| Unknown | Bressan | basset | 1079 | 3 | stained fruitwood | ivory windcap, ferrules & crutch | brass | Stamped P.I. Bressan / Tudor Rose. Brass bocal (? not original); foot with side-vent and crutch. Photo Early Music 15(1): 78 (1987). Sold at Sotheby’s, 12 November 1986, Lot 206, for £31,900. Discovered in St. Johns, Newfoundland, Canada, early 20th century; illustrated and described by Barra Boydell, Galpin Society Journal XXXII (May 1979). Exhibited Galpin Society 40th Anniversary, August 1986. | |||||
| Unknown | Bressan | voice flute | Labium repaired. Offered for sale at Sotheby’s, April 1987; reported Early Music 15(4): 529 (1987). | ||||||||||
| Unknown | Bressan | voice flute | Labium repaired; foot ferrule replaced. Offered for sale at Sothby’s, November 1988; reported Early Music 18(2): 231 (1989). | ||||||||||
| E-?: Wailes | Bradbury | alto | 3 | 440.5 | pear | Stamped BRADBURY/crown. | |||||||
| GB-Shipston-on-Stour: Bennet | Bradbury | alto | 3 | ||||||||||
| J-Tokyo: Iino | Borkens | c” | soprano | 415 | 3 | 350 | 1 | box; stained brown | Stamped crown/P BORKENS/Brabant lion. Very playable, slightly lower than A415. See Bouterse (2001). | ||||
| D-Celle: Moeck | Boekhout | f’ | alto | 399 | 3 | 508 | box (light brown) | Stamped BOEKHOUT. Thumbhole bushed. Block not original. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). | |||||
| GB-London: Oldham | Boekhout | f’ | alto | 410 | 3 | box, stained brown | Stamped crown/T.BOEKHOUT. Lower tenon of middle joint not original. Foot not original, recently made. Nominal and performing pitch from Haynes (2002: 450). | ||||||
| USA-MA-Boston: private coll. | Beukers, Boekhout | alto | box | Head & body by Beukers; foot by Boekhout. Ex Ferguson. | |||||||||
| GB-London: Bingham | Boekhout | f | basset | 410 | 3 | 965 | 1 | maple | brass | Stamped crown/T. BOEKHOUT/Brabant lion. Bocal enters at side of windcap; foot without crutch. This may be identical to the instrument referred to by Bouterse (2001). Nominal and performance pitch from Haynes (2002: 451). | |||
| NL-Blaricum: Ferguson | Beukers | basset | |||||||||||
| Unknown | Boekhout | basset | 1000 | ex Snoeck 822. | |||||||||
| USA: anonymous | Boekhout | f | basset | 3 | 1045 | 2 | maple; stained dark brown | brass | brass | Stamped crown/T. BOEKHOUT/Brabant lion. Bocal (missing) enters top of windcap. Foot with missing crutch. Second key is for fingerhole 3. Playable. See Bouterse (2001). | |||
| GB-London: Bingham | Boekhout | f | basset | 3 | 1006 | 1 | maple | brass | brass | Stamped crown/T. BOEKHOUT. Bocal (original but repaired) enters side of windcap (probably original but in a different wood). Block is new. Foot without crutch. Playable. Formerly in the collection of Baron Van Zuylen. See Bouterse (2002). | |||
| F-Angers: École de Musique | 002.119.1 | Bizey | basset | p. 1716 | 5 | 1 | boxwood | ivory | brass | Each piece marked Fleur de lis / Bizey / 4 points underscore | |||
| NL-Utrecht: private coll. | Beukers | d’ | voice flute | 430 | 3 | box, stained brown | Nominal and performance pitch from Haynes (2002: 451). This instrument was stolen some years ago. | ||||||
| D-Halle: Handelhaus | MS-327 | Bauer/Bauermann | f | basset | c1690 | box | Stamped acorn spray/monogram. Head a later replacement. | ||||||
| Unknown | Anciuti | f’ | alto | 1729 | Sold by GB-Bradford: Early Music Shop in 1978. This could be the instrument now in the Moeck Collection. de Avena Braga (2015: 43). | ||||||||
| D-Celle: Moeck | Anciuti | f’ | alto | 1729 | 422 | 3 | 484 | box | Head stamped: [lion of Venice] | ANCIVTI | A MILANO | 1729; body stamped: ANCIVTI | A MILAN | I; foot stamped: ANCIVTI | III This could be the instrument sold in 1978 by the Early Music Shop Nominal and performance pitch from Haynes (2002: 452). Photographs, measurements, technical drawings: de Avena Braga (2015: 43, 274-277, figs 18-23). | ||||
| NL-Geldrop: private coll. | Aardenberg | d” | soprano (sixth flute) | 401 | 2 | box | Nominal and performance pitch from Haynes (2002: 450). | ||||||
| D-Celle: Moeck | Aardenberg | f’ | alto | 408 | 3 | 502 | box | All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys. Ex de Vries. Nominal and performance pitch from Haynes (2002: 451). | |||||
| NL-Zwolle: Klemisch | 8001 | Aardenberg | f’ | alto | 415 | 3 | 500 | box | ivory (ferrules) | All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys. Beak shortened. Nominal and performance pitch from Haynes (2002: 451). | |||
| NL-Nieuwegein: Havelaax | Aardenberg | f’ | alto | 407 | 3 | box | Foot not original. Nominal and performance pitch from Haynes (2002: 451). | ||||||
| CH-Zurich: Burger | Gahn | d” | soprano | 440 | 3 | 307 | ivory | ivory | Head and foot joints highly carved. Images here and there (from Heinz Amman). | ||||
| Unknown | Gahn | soprano | ivory | ex MacGillivray. | |||||||||
| D-Leipzig | 1126 | Gahn | f’ | alto | 1698-1711 | 410 | 6 | 502 | ivory | stamped i.b. gahn/ibg (in script). pieces of different diameter screwed together. ex col. paul de witt 446. made between 1698 and 1711. nominal and performance pitch from haynes (2002: 447). herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 42-43.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 16. images & further infromation here & there. | |||
| DK-Copenhagen: Musikhist. Mus. | E.95 | Gahn | f’ | alto | 3 | 501 | ivory | Stamped I.B. GAHN/IBG (in script). Highly carved. | |||||
| GB-London: Oldham | Gahn | f’ | alto | 4 | 507 | ivory | body stamped I.B. GAHN/IBG (in script). Highly carved. Pieces of different diameter screwed together – head socket unscrews. | ||||||
| CH-Zurich: Burger | Gahn | g’ | alto | 6 | 435 | ivory | Stamped I.B GAHN. Highly carved. Pieces of different diameters screwed together – both head & foot sockets & foot end-ring unscrew. | ||||||
| D-Leipzig | 3243 | Gahn | f’ | alto | 466 | 3 | 444 | ivory | Stamped I.B. GAHN/IBG (in script). Hugely bulbous head-joint looks like a recent replacement. Thumbhole has been narrowed with a bush in the style of a 19th-century csakan. Nominal and performance pitch from Haynes (2002: 449). Bali (2007: colour plate) | ||||
| D-Leipzig | 3022 | attributed to Gahn | f’ | alto | 1698-1711 | 474 | 3 | 436 | box | unstamped. highly carved with acanthus leaves on the head and foot, and a fish head on the beak; body a later replacement. Bali (2007: colour plate); herbert heyde: flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 37; rueger (1982, pl. 108). image & further information here. | |||
| D-Munich: Bav. Natl. Mus. | 177 | attributed to Gahn | f’ | alto | 3 | 504 | box | Unstamped. Highly carved. ? Lost. | |||||
| D-Cologne: Hünerbein | Gahn | g’ | alto | 425 | 446 | ivory | Ex Sotheby’s (1995) ex Giesbert. Nominal and performance pitch from Haynes (2002: 449). | ||||||
| B-St Hubert: Ganty | Gahn, Haka, Unknown | f’ | alto | 3 | 511 | box | Head stamped I.B. GAHN/crown; body stamped R·HAKA (in scroll)/fleur-de-lys; foot unstamped, possibly by Gahn. See Bouterse (2001). | ||||||
| D-Nuremberg GNM | MIR 204 | Gahn | f’ | alto | 1690-1710 | 425 | 3 | 500 | ivory | Stamped I.B. GAHN (or I. GAHN). In a case. Nominal and performance pitch from Haynes (2002: 449). Image & further information here. | |||
| D-Nuremberg GNM | MI 138 | ? Gahn, ? Oberlender circle | f’ | alto | 1710-1730 | 408 | 3 | 505.5 | box | stamped i w. oberlender in a curved banner. highly carved. nominal and performance pitch from haynes (2002: 447). röntgenaufnahme rb 330; kirnbauer, martin: historische holzblasinstrumente in der sammlung des germanischen nationalmuseum. in: tibia, 14. Jg. (1989), s. 425.; kirnbauer, martin und dieter krickeberg: untersuchungen an nürnberger blockflöten der zeit zwischen 1650 und 1750. in: anzeiger der germanischen nationalmuseums 1987. nürnberg, 1988, passim.; young, philip t.: twenty-five hundred historical woodwind instruments. an inventory of the major collections. new york, 1982, s. 93.; van der meer, john henry: wegweiser durch die sammlung historischer musikinstrumente des gnm. nürnberg, 3/1982, s 74.; nickel, ekkehart: der holzblasinstrumentenbau in der freien reichsstadt nürnberg. münchen, 1971, s. 293.; kirnbauer, martin: verzeichnis der eeuropäischen musikinstrumente im germanischen nationalmuseum nürnberg. band 2. flöten- und rohrblattinstrumente bis 1750. wilhelmshaven 1994, s. 35-36 (=bestandskatalog). image & further information here. | |||
| USA: anonymous | Gahn | f’ | alto | 3 | 504 | box | Stamped I.B. GAHN/IBG (in script). Highly carved. | ||||||
| D-Sigmaringen: Schloss | 306B | Gahn | alto | 3 | 402 | maple | Stamped I.B. GAHN/IBG (in script). | ||||||
| J-Tokyo: Iino | Gahn | f’ | alto | 6 | ivory | Stamped I.B. GAHN/IBG (in script). Foot missing. 403 mm long. ex Willms. | |||||||
| F-Paris | E.979.2.11 | Unknown | f’ | alto | 18C | 417 | 6 | 490 | ivory | Stamped I.W. GAHN. Pieces of ivory of different diameters screwed together. Ex Collection Geneviève Thibault de Chambure. Nominal and performance pitch from Haynes (2002). Further details here. Cited by Pottier (1992: 43). | |||
| J-Tokyo: Iino | Gahn | tenor | 643 | ivory | Stamped I.B. GAHN/IBG (in script). | ||||||||
| J-Tokyo: Iino | Gahn | basset | 1008 | ivory | Stamped I.B. GAHN/IBG (in script). Bocal missing. | ||||||||
| J-Tokyo: Iino | Gahn | f’ | alto | 499 | ivory | Stamped I.B. GAHN/IBG (in script). | |||||||
| J-Tokyo: Iino | Goulding | g’ | alto | c. 1786-1834 | 405 | 3 | 455 | box | Stamped GOULDING & CO/LONDON/2. The foot-joint is in the style of a transverse flute, first seen on recorders by Thomas Stanesby, jr (1692-1745). Nominal and performance pitch from Haynes (2002). MacMillan (2007: 199; 2008: 40) | ||||
| D-Leipzig | 1113 | Grassi | f” | sopranino | 18C | 440 | 3 | 252 | box | horn rings at bottom of head joint and top of foot | Body stamped GRASSI [B?]RASSI [unclear sign]. The sign looks like ·[star]· Performance pitch from Haynes (2002: 252). However, MacMillan gives the pitch as g” and its size as an ‘exilent’. Ralf Netsch says c. 440 Hz and Fumitaka Saito calculates c. 425 Hz (both reported by de Avena Braga (2015: 50) Bali (2007: colour plate) MacMillan (2007: 202: 2008: 84). Photographs, measurements, technical drawings (by D-Leipzig & Ralf Netsch): de Avena Braga (2015: 50, 317-321, figs. 82-88). | ||
| D-Nuremberg: GNM | MI 142 | Haka | f” | sopranino | 1 | 250 | ivory | Early baroque style instrument. Stamped R.HAKA (in scroll)/device (a double fleur-de-lys or a sheaf of wheat, similar to Rykel (see Waterhouse 1993). The beak is separated from the body of the instrument by an incised ring. Sounding length 212 mm. See Bouterse (2001). | |||||
| xD-Berlin | 2810 | Grenser | e’ | alto | 19C | 3 | 570 | 3 | box | ivory | brass | Stamped crown/H. GRENSER/DRESDEN. Ring & blocks; keys for d’, e & f#’; clarinet-like bell. Possibly a csakan, though the instrument was made in Dresden. Lost during World War I. Waterhouse (1993) Young (1993 MacMillan (2007: 202; 2008: 84-95) | |
| D-Potsdam | 81/634V | Haka | f” | sopranino | 440 | 1 | 249 | ivory | Stamped R·HAKA (in a scroll), lacking the fleur-de-lys underneath. Early baroque style. Foot flared, with decorative rings and beads. Sounding length 212 mm. Hardly playable. Formerly in the Germanisches Nationalmuseum, Nuremberg, with the inventory number MI 142. Nominal and performing pitch from Haynes (2002), Brown (2005) & Bouterse (2005). For critical measurements and other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535); Bouterse (2001, 2005). | ||||
| D-Berlin | 1883 | Haka | f” | sopranino | 2 | box; coloured light brown | Stamped R·HAKA (in scroll)/fleur-de-lys. Head missing. Body 156.5 mm long.The foot is turned with the same characteristic profile as other baroque recorders of Haka. The lower footring is turned separately and may represent a repair. See Bouterse (2001). | ||||||
| xD-Berlin | 2784 | Haka | e♭” | soprano | 2 | 315 | box | brass | Stamped R·HAKA (in scroll)/device – a double fleur-de-lys or a sheaf of wheat, similar to Rykel (see Waterhouse 1993). | ||||
| D-Leipzig | 1115 | Haka | c” | soprano | 404 | 2 | 343 | box | ivory beak, headjoint ferrule & foot ring | Stamped R·HAKA (in scoll)/fleur-de-lys. Alternative holes for lowermost finger, a feature normally associated with renaissance recorders! Repaired. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). Bali (2007: colour photograph). Image and further details here. | |||
| NL-Amsterdam: Brüggen | Haka | c” | soprano | 410 | 2 | 350 | ebony | ivory beak & mounts | Stamped R·HAKA (in scroll)/fleur-de-lys. Luxuriously made. Head and 1-piece body/foot joint. Playable, but not well. See Bouterse (2001). >Nominal and performing pitch from Haynes (2002: 450). | ||||
| xD-Berlin | 2786 | Haka | b♭’ | soprano (fourth flute) | 1 | 360 | box | Stamped R·HAKA (in scoll)/? device (Sach’s catalogue doesn’t mention the usual device). Beak onion-shaped. | |||||
| D-Berlin | 2798 | Haka | f’ | alto | 415 | 3 | 495 | box | ivory ferrule | Only the foot survives WWII. Stamped R·HAKA (in scroll)/fleur-de-lys. Short description and measurements in Sachs (1922). See Bouterse (2002). | |||
| USA: anonymous | Haka | box | unmounted | Body only. Stamped R·HAKA (in scroll)/device – double fleur-de-lys or a sheaf of wheat, similar to Rykel (see Waterhouse 1993). | |||||||||
| J-Tokyo: Iino | Haka | c | tenor | 398 | 3 | 660 | box; light brown | Stamped R·HAKA (in scroll)/fleur-de-lys. Ex van Zuylen, sold Christie’s in London (26 October 1987). Playable at slightly under A415. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). | |||||
| J-Tokyo: Ueno Gakuen | 56 | Haka | c’ | tenor | 422 | 3 | 645.3 | ebony | ivory beak and ferrules | Stamped R·HAKA (in scroll)/fleur-de-lys. Probably the same instrument sold by Sotheby Parke Bernet & Co (8 July 1978). Playable slightly higher than A415 with a newly made head. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). | |||
| S-Göteborg: Historiska Mus. | GM 3894 | Haka | f | basset | 410 | 3 | 1020 | 1 | box; light brown, possibly unstained | brass | Head stamped R·HAKA (in scroll)/fleur-de-lys. Bocal (lost) entered side of windcap (missing). Seems to be altered. Partially playable. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). | ||
| NL-Hague | Ea 532-1933 | Haka | g’ | alto | 415 | 1 | 957 | plum; coloured brown | ivory (cap) | Walking-stick recorder. Stamped R·HAKA (in scroll)/fleur-de-lys. Such instruments were also made ca 1700 by J.C. Denner & Rippert (none survive). 5 tuning holes at end of bore. Playable. See Bouterse (2001). | |||
| D-Leipzig | 1134 | Valiani | b’ | tenor | c1500 | 440 | 2 | 668 | 1 | box | brass rings on fontanelle | brass | stamped valiani or vabani. Sounding length 597 mm. ex alessandro kraus 774. step bore. for critical measurements & other details see adrian brown’s renaissance recorders database. on the basis of his examination of this instrument and an anonymous g alto in vienna, klemisch (1997) concludes that the recorder around 1500 favoured the high register, had a wide range and a brilliant, powerful timbre. heyghen (2005: 314); brown (2005b: 536); baines (1966: 80 & fig. 421); bali (2007: colour photograph); herbert heyde: flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 45-47.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 19. image & further information here. |
| D-Leipzig | Reka | walking-stick | c. 1900 | 2 | 2 | wood | brass | brass | Probably made in Markneukirchen. | ||||
| D-Leipzig | Unknown | walking-stick | c. 1820 | 4 | 4 | ebony | ivory | ?silver | |||||
| DK-Copenhagen: Musikhist. Mus. | CL 417 | Poerschman | f’ | alto | 404 | 3 | box | stamped i.poerschman. the bore appeared to have features unknown in other baroque recorders: a tapered narrowing course in the head of the recorder, combined with an outgoing [that is, expanding] step at the transition from the head to the middle piece Bergstrøm (1998). nominal and performance pitch from haynes (2002: 447). drawing available in malz++kassner cad format Bergstrøm (1999). | |||||
| NL-Hague: Jonxis | Heerde | f’ | alto | 405 | 3 | box; stained brown | Owned by the grandaughter of Mr Jonxis, a Grongingen doctor who was a descendant of Michiel van Bolhuis (d. 1764), probably the first owner of the instrument. Stamped Brabant lion/VAN HEERDE. Playable, slightly under A415. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 451). | ||||||
| I-Bologna: Accad. Fil. | 595 (Puglisi 1; Tiella 3) | Grece | d’+ | tenor | 17C | 440 | 1 | plum | Stamped P·GRECE Sounding length 525 mm. Said to work with Jambe de Fer fingerings. For critical measurements, photo & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b:535); Tiella (2005:131). | ||||
| A-Vienna | SAM 151 (C 162, KK 8538) | Bassano | c#’ | tenor | 16C | 440 | 1 | 623 | box | Stamped !! !! (ML-J type unclassified) below the window/labium & !! on the foot, and thus probably by a member of the Bassano family. Sounding length 556.5 mm. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 72); Marvin (1972: 32); Lyndon-Jones (1987: 60); Brown (2005b: 534); Darmstädter (2004/5: 170-178); Darmstädter & Brown (2006: 212-214 & colour photographs). | |||
| A-Vienna | Hieronimo de li Flauti | 17 instruments stamped HIER.S; conceived especially for ensemble playing; the identify of this maker has been established thanks to …. Armando Fiablane (Zaniol); these are the Catajo recorders; 2s, 4S, 4A, 4T, 4b, 2B, 1C. | |||||||||||
| I-Rome: Museo dSM | 716 | Schrattenbach | d#’ | tenor | 440 | 545 | box or Cornelian cherry | Stamped with a double trefoil below windway and on foot. Sounding length 494 mm. Head cracked from top to windway; labium chipped. Originally from Gorga Collection. For critical measurements and/or other details see Adrian Brown’s Renaissance Recorders Database. Image here (lhs). | |||||
| S-Stockholm | M164 | Heerde | f’ | alto | 1670-1679 | 415 | 3 | 1 | box; stained brown | ferules in a different wood | Stamped crown/VAN HEERDE. The foot is not by van Heerde. The head and foot have ferrules in another wood (repairs). Hardly playable. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 452). Images & further information here. | ||
| D-Leipzig | 3244 | Heerde | f’ | alto | 402 | 3 | 510 | box; stained brown | Stamped crown/VAN HEERDE. Longer with a wider bore than other instruments by Heerde. Plays well with a beautiful sound, slightly under A415. See Bouterse (2001). Bali (2007: colour plate) Nominal and performance pitch from Haynes (2002: 450). Image and further details here. | ||||
| F-Paris | E.980.2 526 | Heerde | f | basset | 18C | 405 | 3 | 1010 | 1 | maple; coloured black | brass | stamped crown/van heerde. bocal (missing) entered at side of windcap. ex collection Geneviève thibault de chambure. playable, slightly below a415. see bouterse (2001). performance pitch from haynes (2002: 451). further details here. | |
| D-Eisenach: Bachhaus | I 99 | Heitz | f’ | alto | 405 | 3 | 496.5 | box | Stamped 8-petal flower/IOH HEITZ. Nominal and performance pitch from Haynes (2002: 447). | ||||
| D-Leipzig | 1129 | Heitz | f’ | alto | 402 | 3 | 512.5 | ebony | ivory beak, mounts and foot ring | Body not original (Zapf); originally coupled with D-Leipzig 1128 to form an ‘echo flute’. Bali (2007: colour plate) | |||
| D-Leipzig | 1128 | Heitz | f’ | alto | 402 | 3 | 510 | ebony | ivory beak, mounts and foot ring | Stamped fleur de lys/I.HEYTZ; originally coupled with D-Leipzig 1129 to form an ‘echo flute’. Nominal and performance pitch from Haynes (2002). Bali (2007: colour plate) | |||
| D-Halle: Handelhaus | MS 320 | Heitz | f’ | alto | 4 | 512 | box with tortoise-shell veneer | ivory | Stamped fleur de lys/I.HEYTZ. Image here. | ||||
| NL-Amsterdam: Brüggen | IX | Heitz | f’ | alto | 398 | 3 | 512 | box with tortoise-shell veneer | ivory beak, decorative rings, ferrules & foot ring | Stamped crown/I.HEITZ/*. Detailed description of tortoise-shell technique shown in F.G. Morgan’s drawing. Nominal and performance pitch from Haynes (2002). | |||
| A-Vienna | AR 1396 | Heitz | f’ | alto | 397 | 3 | 515 | box with tortoise-shell veneer | ivory; plain gold plaque on footjoint | Stamped star/I.HEITZ. Nominal and performance pitch from Haynes (2002). Christie’s, London: The Collection of Barons Nathaniel and Albert von Rothschild, 8 July 1999, Lot 42 (Estimate: $ 6,240 – $ 9,360). | |||
| D-Munich: Stadtmus. | BNM Mu 155/8 | Heitz | f’ | alto | 400 | 3 | 509 | box with tortoise-shell veneer | ivory | Stamped fleur de lys/I.Heytz. Nominal and performance pitch from Haynes (2002). | |||
| D-Munich: Stadtmus. | BNM Mu 159 | Heitz | f’ | alto | 400 | 3 | 511.5 | box with tortoise-shell veneer | ivory | Stamped fleur de lys/I.HEYTZ. Nominal and performance pitch from Haynes (2002). | |||
| D-Leipzig | 1124 | Heitz | f’ | alto | 1700-1750 | 3 | 505 | box with tortoise-shell veneer | 3 ivory ferrules | Stamped ?/I.HEYTZ. Only the foot survives; rest lost WW2. See Bali (2007: colour plate). Image & further information here. | |||
| D-Berlin | 2807 | Heitz | f’ | alto | 3 | 510 | box | ivory | Stamped ?/I.HEYTZ. | ||||
| D-Darmstadt: Hess.Mus. | Kg 67 122a | attributed to Heitz | f’ | alto | 4 | 510 | box with tortoise-shell veneer | ivory | Unstamped. See Kirnbauer & Krickeberg (1987). | ||||
| D-Darmstadt: Hess.Mus. | Kg 67 122b | attributed to Heitz | f’ | alto | 4 | 509.5 | box with tortoise-shell veneer | ivory | unstamped. See Kirnbauer & Krickeberg (1987). | ||||
| B-Antwerp: Vleeshuis | 135 | Heitz | f | basset | 3 | 1020 | apple | Stamped ?/I.HEYTZ. Bocal & windcap missing. | |||||
| F-Paris | E.979.2.9 | M Hotteterre | c’ | tenor | 18C | 401 | 3 | 710 | 1 | maple or fruitwood, dark stained | ivory ferrules and foot ring | brass | Foot stamped HOTTETERRE/anchor. Ex Collection André Rossignol; Collection Georges Le Cerf; Collection Geneviéve Thibault de Chambure. Further details here. Detailed drawing by Saunders (2010: 7). Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre. |
| NL-Amsterdam: Brüggen | M Hotteterre | c’ | tenor | 403 | 3 | 688 | 1 | ebony | ivory beak, mounts & foot ring | silver | Stamped HOTTETERRE/anchor. Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre. Saunders (2010: 10) gives the pitch as A415. | ||
| USA-DC-Washington: DCM | 326 (S.18) | L Hotteterre | f’ | alto | 18C | 390 | 3 | 525 | box, stained reddish brown | ivory beak & ferrules | Stamped on all sections fleur de lys/L/HOTTETERRE. Body joint possibly shortened at lower (end) or both ends. Head joint edge damaged, partly missing, but still working. DCM ledger: Broken clear in two, the 3rd hole from top, and splintered. Had been repaired. Body joint cracked and broken, restored with modern adhesive filler, likely Seyfrit. Foot joint bottom ferrule cracked both radially and circumferentially. Bought from Sumner Healey, New York (1923) ex Tolbecque Collection. Further details & image here. Nominal and performing pitch from Haynes (2002). A plan of this instrument prepared by Frederick von Huene is available (Pottier, 1992: 45). | ||
| D-Nordenham: Ritz | L Hotteterre | f’ | alto | 3 | 497 | box | Head stamped HAVTETERRE; foot stamped LH. | ||||||
| J-Hamamatsu: Museum | A-00015R | N Hotteterre | f’ | alto | 390 | 3 | 510 | box with tortoise-shell veneer | Stamped */N/HOTTETERRE. Ex USA-NY-Scarsdale: Rosenbaum. Nominal and performance pitch from Haynes (2002: 444) The middle joint is shortened and finger-holes 012345 are waxed. Labium is damaged and fixed with some plastic material. New block was fitted by F. von Huene. Tuned without support finger. f’ is extremely low Nozaki (2016). Nominal and performing pitch from Haynes (2002). Nozaki (loc. cit.) gives this instrument’s pitch as c. 395 Hz. | ||||
| F-Blois: ex Petit | N Hotteterre | c’ | tenor | Stamped */N/HOTTETERRE. May now be owned by the Bousquet-Leroux family (Young 1993: 126; Pottier 1992: 45). | |||||||||
| J-Tokyo: Iino | N Hotteterre | f | basset | 398 | 3 | 108.5 | 1 | maple | ivory, 3 brass ferrules (one on windcap) | brass | All sections stamped */N/HOTTETERRE. Brass Bocal enters top of windcap. Two ferrules are probably repairs. Nominal and performing pitch and material – body from Haynes (2002). | ||
| F-Paris | E.979.2.10 | N Hotteterre | f | basset | 18C | 404 | 3 | 1001 | 1 | maple or fruitwood, ebonised | 3 ivory ferrules | brass | Stamped */N/HOTTETERRE. Brass bocal enters top of windcap, originally into side. Ex Collection Léon Savoye; Collection Georges Le Cerf; Collection Geneviéve Thibault de Chambure. Further details here. Nominal and performing pitch from Haynes (2002). A plan of this instrument prepared by Jean-François Beaudin is available (Pottier, 1992: 45). |
| A-Salzburg: Mus. Car.-Aug. | 3/7 (G238) | Kenigsperger (Königsberger) | c’ | tenor | 395 | 3 | 675 | 1 | maple | brass | Stamped .I.W./.KENIGSPERGER./fleur de lys. Key-flap of characteristic design. Nominal and performance pitch from Haynes (2002: 499). | ||
| D-Munich: Deutsches Mus. | 17233 | Kenigsperger (Königsberger) | c’ | tenor | 461 | 3 | 696 | 1 | maple | brass | Stamped .I.W./.KENIGSPERGER. Key flap of characteristic design. Nominal and performance pitch from Haynes (2002: 449). | ||
| Russia-St. Petersburg | 401 | T Lot | f | alto | 3 | 500 | box | Stamped OT star LOT star/fdl or stylized cross. See Jürisalu (1980). | |||||
| NL-Amsterdam: Misset-Oudheusden | Klenig | g’ | alto | 3 | ivory | This is in a private collection. | |||||||
| xD-Leipzig | 1172 | Koch | czakan | 460 | 1 | ivory | horn | silver | Stamped S.KOCH. | ||||
| D-Berlin | 2829 | Koch | a | 3 | 7 | box | ivory | brass | Stamped eagle/S.KOCH/WIEN. A csakan. Keys with dome flaps, block-mounted. | ||||
| D-Leipzig | 3246 | Koch | a♭ | 1815-1828 | 3 | 475 | 7 | box | 2 ivory ferules | brass | stamped eagle/s.koch/wien. a csakan. keys with domed flap, block-mounted. additional (?tuning) hole near foot. herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 60-61. image & further information here. | ||
| D-Brunswick | 82 | Kress | f | basset | 3 | 960 | 1 | plum | brass | brass | Stamped W.KRESS. Edge blown. Key flaps square. Elaborately turned. | ||
| USA-MA-Boston: von Huene | Lissieu | c” | soprano | 410 | 2 | 337 | box | Body/foot section stamped LISSIEV, between holes 3 & 4. Collection, Nominal and Performance Pitch from Haynes (2002). | |||||
| F-Versailles: King’s Library | T Lot | soprano | First of 2 such instruments. | ||||||||||
| F-Versailles: King’s Library | T Lot | soprano | Second of 2 such instruments. | ||||||||||
| F-Paris: Anonymous | T Lot | f | alto | 3 | 506 | box | ivory | Stamped T star LOT/Brabant lion. | |||||
| J-Tokyo: Iino | Naust | f’ | alto | 1724 | 390 | 3 | 531 | box | Stamped NAUST/Brabant lion (lion only on head joint). Dated in ink on body, probably by early owner. Performance Pitch from Haynes (2002), who does not give a nominal pitch. | ||||
| NL-Hague | Ea 277-1933 | Oberlender I | f” | sopranino | 422 | 3 | 260 | ivory | Stamped I.W.OBERLENDER/O in tilted scroll. Playable, two long cracks (not open) in head. Peformance pitch from Haynes (2002) who does not give the nominal pitch. | ||||
| I-Rome: Museo dSM | 2211 | Oberlender I | f | alto | 500 | box | |||||||
| A-Vienna: GdM | 110 | Oberlender I | g’ | alto | 390 | 3 | 500 | box | ivory | Nominal and performance pitch from Haynes (2002). | |||
| F-Paris | E192 (C398) | Oberlender II | f’ | alto | 18C | 3 | 503 | box | Stamped I.W.OBERLENDER/O in tilted scroll. Ex Collection Louis Clapisson. Further details here. | ||||
| F-Paris | E.373 (C397) | Oberlender I | g’ | alto | 18C | 387 | 3 | 495 | box | horn ferrules | Ex Collection Georges Kastner. Nominal and performance pitch from Haynes (2002). Further details here. | ||
| F-Paris | E.980.2.81 | Oberlender I | f’ | alto | 18C | 410 | 3 | 500 | box | Ex Collection Geneviève Thibault de Chambure. Stamped I.W.OBERLENDER/O in tilted scroll. Nominal and performance pitch from Haynes (2002: 447). Further details here. | |||
| F-Paris | E.980.2.76 | Oberlender I | f’ | alto | 430 | 3 | 485 | ivory | ex collection Geneviève thibault de chambure. nominal and performance pitch from haynes (2002: 449). further details here. | ||||
| NL-Hague | 193300276 (formerly Ea 276-1933) | Oberlender I | f’ | alto | 18C | 422 | 3 | 502 | ivory | Stamped I.W.OBERLENDER/O in tilted scroll. Playable. One crack (not open) in head. Nominal and performance pitch from Haynes (2002: 448). | |||
| DK-Copenhagen: Musikhist. Mus. | 418 | Oberlender I | g’ | alto | 410 | 3 | 445 | box | unmounted | Stamped I.W.OBERLENDER/O in tilted scroll. Bad crack pinned & filled. Nominal and performance pitch from Haynes (2002: 448). | |||
| DK-Copenhagen: Musikhist. Mus. | E.101 | Oberlender I | f’ | alto | 3 | 500 | ivory | unmounted | Stamped I.W.OBERLENDER/O in tilted scroll. | ||||
| D-Munich: Stadtmus. | BNM Mu 162 | Oberlender I | f’ | alto | 475 | 3 | 450 | ivory | unmounted | Head stamped I.W.OBERLENDER/O in tilted scroll. Nominal and performance pitch from Haynes (2002: 449). | |||
| D-Bonn: Beethovenhaus | 11 | Oberlender I | f’ | alto | 466 | 3 | 441 | ivory | unmounted | Stamped (oddly, similar to bass recorder & oboe) I.W.OBERLENDER/O in tilted scroll (the letters OB & D run together). formerly in the collection of Josef Zimmermann, Düren, Germany (D-Düren: zimmermann). nominal and performance pitch from Haynes (2002: 449). | |||
| D-Bavaria: anonymous | Oberlender I, H. Schell | f | alto | 3 | 499 | box | unmounted | Stamped I.W.OBERLENDER/O in tilted scroll (nearly illegible). Body by H. Schell. | |||||
| D-Leipzig | 1123 | Oberlender I | f’ | alto | 418 | 3 | 496 | box | unmounted | Stamped I.W.OBERLENDER/O in tilted scroll. Head and foot intricately carved with Acanthus leaves; beak carvedw ith a grotesque face. Nominal and performance pitch from Haynes (2002: 449). Bali (2007: colour plate); Rueger (1982, pl. 108-col.) | |||
| D-Leipzig | 1131 | Oberlender I | f’ | alto | 395 | 3 | 520 | box | unmounted | Stamped I.W.OBERLENDER/O in tilted scroll. Nominal and performance pitch from Haynes (2002). | |||
| xD-Berlin | 2788 | Oberlender I | f# | alto | 3 | 440 | ivory | unmounted | Stamped I.W.OBERLENDER (Sachs 1922). | ||||
| xD-Berlin | 2808 | Oberlender I | alto | 515 | box | unmounted | Stamped I.W.OBERLENDER/O in scroll. | ||||||
| S-Stockholm: Nordiska | N39218 | Oberlender I | alto | 1750-1756 | 3 | box | Horn repair. Images & further information here. | ||||||
| H-Budapest: Natl. Mus. | 1860.3 | Oberlender I | f’ | alto | 421 | 3 | 503 | box | unmounted | Head stamped with a Scroll above an ‘O’. Bali (2007: colour photograph). | |||
| I-Modena: Museo | SM 22-1981 (15) | Oberlender I | f’ | alto | 420 | 3 | 502 | box | unmounted | Stamped I.W.OBERLENDER/O in tilted scroll. Performance pitch from Haynes (2002: 448). | |||
| GB-Meopham: Benn | Oberlender I | alto | 3 | 496 | box | unmounted | Stamped I.W.OBERLENDER/O in tilted scroll. | ||||||
| D-Munich: Stadtmus. | 57-94 (57/94) | Oberlender I | f’ | alto | 475 | 3 | 445 | ivory | unmounted | Head stamped I.W.OBERLENDER/O in tilted scroll. Nominal and performance pitch from Haynes (2002: 449). | |||
| F-Paris | E.980.2.80 | Oberlender II | f’ | alto | 18C | 417 | 3 | 505 | box | All 3 sections stamped I.W.OBERLENDER/O in tilted scroll. Beak damaged. Nominal and performance pitch from Haynes (2002). Further details here. | |||
| D-Berlin | 5341 | Oberlender I | f’ | alto | 417 | 3 | 491 | ivory | unmounted | Head & foot stamped I.W.OBERLENDER/O in tilted scroll. Nominal and performance pitch from Haynes (2002: 448). | |||
| I-Rome: Museo dSM | 114 | Oberlender I | alto | box | |||||||||
| J-Nara-Ikoma: Wakabayaski | Oberlender I | f | alto | 3 | 495 | box | unmounted | ||||||
| D-anonymous | Oberlender I | f | alto | 3 | 495 | box | unmounted | All 3 sections stamped I.W.OBERLENDER/O in tilted scroll. | |||||
| D-Nuremberg GNM | MI 96 | Oberlender I | f | basset | 1710-1730 | 399 | 3 | 1021 | 1 | plum | 1 brass ferule on windcap | brass | Stamped (oddly, similar to an alto from the same maker at D-Bonn: Beethovenhaus 11) I.W.OBERLENDER/O in tilted scroll. Bocal enters top of windcap. Image, details & extensive references here. Nominal and performance pitch from Haynes (2002). |
| A-Salzburg: Mus. Car.-Aug. | Mar. 14 (3/14) | Oberlender I | f | basset | 425 | 3 | 1020 | 1 | apple | brass | brass | Stamped I.W.OBERLENDER/O in tilted scroll. Bocal enters top of windcap. Nominal and performance pitch from Haynes (2002: 449). | |
| F-Paris | E.0640 | Oberlender II | f | basset | 18C | 415 | 3 | 920 | 1 | plum | 1 brass ferrule on windcap | brass | Stamped I.W.OBERLENDER/O in tilted scroll. Bocal missing, entered top of windcap. Further details here. |
| xUSA-NY-Scarsdale: Rosenbaum | 2 | Oberlender I | alto | 3 | 500 | box | unmounted | Stamped fir tree/(in scroll)I.W.OBERLENDER/O. Highly carved. | |||||
| I-Fontanelle: V. Gilardone | Palanca | tenor | box | Stamped: CARLO | PALANCA Exhibited Bologna, January 1984. Bernardini (1995) mentions the owner to be in Sardegna, and refers to Paolo Pollastri who spotted it. However from the catalogue of an exhibition in Bologna in January 1984 where Pollastri probably saw it, one reads the owner is in Piemonte. Leydi & Guizzi (1985: 322); de Avena Braga (2015). | |||||||||
| DK-Copenhagen: Musikhist. Mus. | E.86 | Palanca | f’ | alto | 426-430 | 535 | box | ivory | all three joints stamped: carlo | palanca | [sun, star or flower] foot has of flute form. this unique instrument is an alto recorder with a flageolet wind-cap which houses a sponge. photographs, measurements & technical drawings (by ture Bergstrøm): de avena braga (2015: 325-326, figs 95-100). | ||||
| Russia-St. Petersburg | 403 | Parent | f’ | alto | 397 | 3 | 507 | ebony | ivory beak, ferrules and foot | stamped fleur-de-lys (large)/m.parent (very vague). very worn and damaged; block worm-eaten. playable, considerably under a415. see Jürislau (1980), bouterse (2001). nominal and performing pitch from haynes (2002: 450). | |||
| I-Bologna: Accad. Fil. | 601 (Puglisi 11; Tiella Bs4) | Rafi | g+ | basset | 440 | plum | stamped c.·.rafi / shield & griffin. Sounding length 775 mm. said to work with jambe de fer fingerings. a roughly cut groove has been added parallel to the windway slit-opening in order to make the positioning of the lip on the top of the recorder more comfortable. split from top to window. lowest note and performance pitch from brown (2005b). tiella (2005) gives the performance pitch as ca a=425 hz. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 536). tiella (2004: 9 & 2005: 134), gives this instrument the inventory number 602, in error! | ||||||
| D-Eisenach: Bachhaus | 1-100 | Rafi | b | basset | 440 | 707.5 | plum | brass | Stamped RAFI / shield with griffin. Windway, window & blowing side are towards the player. Sounding length 640.2 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536). | ||||
| B-Bruges: Gruuthuse | M37 | Rafi | a | basset | 440 | 1 | 753 | 1 | box | brass | Stamped with a shield and an unidentified animal, possibly the Brabant Lion, radically different from the shield & griffin found on instruments with additional Rafi mark. Sounding length 705 mm. Other recorders iwth the same mark are B-Brussels: M2646 & M2647. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005a: 97); Brown (2005b: 536). | ||
| D-Frankfurt: M: Hist. Mus. | X 4260 (121) | Schrattenbach | c”+ | soprano (columnar) | 440 | 3 | 532 | maple | brass | Stamped with a double trefoil & thus probaby by a member of the Schrattenbach family. Columnar recorder (lowest finger-hole gives the bottom note). The plinth & windcap are missing, replaced by a later bell & cap. Keywork & covers not original. Sounding length 269.5 mm. For critical measurements & other details see Andrew Brown’s Renaissance Recorders Database; Brown (2005b: 534). Postel (1974) considers the Saeulenblockfloete Frankfurt 4260. He cites the well-known passage about the Oosters Huys by Burney (p. 146) and comes to the conclusion that this instrument and those in Paris were the instruments from Antwerp mentioned by Burney (p. 150). | |||
| J-Tokyo: Iino | Schrattenbach | f’ | alto (columnar) | 440 | 1 | 511 | 1 | maple | brass | brass | Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. A brass box covers the window. Formerly part of the van Zuylen Collection, sold at Christies sale, March 1988. A virtual twin of B-Brussels 189; corresponding tenor & bass instruments at F-Paris, possible soprano at D-Frankfurt a M: Hist. Mus. For critical measurements & further details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). | ||
| I-Merano: Landfl. Burg. | 6852 | Schrattenbach | a# | basset | 440 | 1 | 720 | 1 | ? cornelian cherry (Cornus mas) | brass | brass | Stamped with a double trefoil & thus probably by a member of the Schrattenback family. Direct blow (no windcap); windway arched. Well-preserved & playable (Young 1993). Sounding length of 656.3 mm. Almost identical to I-Merano: Landfl. Burg. 6853, apart from sewn-on key-pad. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (200b: 534). Small image here. | |
| I-Merano: Landfl. Burg. | 6853 | Schrattenbach | a# | basset | 440 | 1 | 718 | 1 | ? cornelian cherry (Cornus mas) | brass | brass | Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. Sounding length 655 mm. Almost identical to I-Merano: Landfl. Burg. 6852, apart from glued-on key-pad. See Journal Galpin Society (1979) for photo. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). Small image here. | |
| F-Paris | E.303 (C.404) | Schrattenbach | a# | basset | 16C | 440 | 1 | 720 | 1 | maple or fruitwood | brass | brass | Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. Direct blown (no windcap). Sewn-on key-pad; bell rim pared down. Ex Collection Louis Clapisson. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). |
| A-Salzburg: Mus. Car.-Aug. | 3/12 (M244) | Schrattenbach | g# | basset | 1535 | 440 | 2 | 840 | 1 | ? cornelian cherry (Cornus mas) | brass | brass | Stamped with a double trefoil with a right-pointing tail; windcap band stamped HANS RAVCH VON SCHRATT; fontanelle band stamped IHESUS MARIA ANNA 1535, the same year Ganassi published his tutor (Brown & Lasocki, 2006: 26). For critical measurements & other details see: Brown (2005/2023); 2005b: 534). |
| D-Nuremberg GNM | MIR 212 | Schrattenbach | g# | basset | 1725-1745 | 440 | 2 | 855 | 1 | ? box | brass | brass | stamped with a double trefoil, probably by a schrattenbach family member. nominal & performance pitch from Brown (2005b: 534). haynes (2002) gives a nominal pitch of g at a=459 hz). for critical measurements & other details see adrian brown’s renaissance recorders database. röntgenaufnahme rb 1410, 1482, 1483; kirnbauer, martin: historische holzblasinstrumente in der sammlung des germanischen nationalmuseum. in: tibia, 14. jg. (1989), s. 425.; kirnbauer, martin und dieter krickeberg: untersuchungen an nürnberger blockflöten der zeit zwischen 1650 und 1750. in: anzeiger der germanischen nationalmuseums 1987. nürnberg, 1988, passim mit abb. s. 277.; van der meer, john henry: wegweiser durch die sammlung historischer musikinstrumente des gnm. nürnberg, 3/1982, s. 9; marvin, bob: recorders & english flutes in european collections. in: galpin society journal h. 25 (1972), s. 33.; kirnbauer, martin: verzeichnis der europäischen musikinstrumente im germanischen nationalmuseum nürnberg. band 2. flöten- und rohrblattinstrumente bis 1750. wilhelmshaven 1994, s. 58-59 (=bestandskatalog); Brown (2005b: 534). cat image available from germanisches national museum, nuremberg (2002). photographic image & further information here. |
| I-Modena: Museo | SM 24-1981 | Schrattenbach | g# | basset | 440 | 2 | 848 | 1 | maple | brass | Stamped with a double trefoil & thus probably by a member of the Shrattenbach family. Key missing. Sounding length 746.5 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). | ||
| D-Munich: Stadtmus. | BNM MU 174/37 | Schrattenbach | c# | bass | 440 | 1 | 1260 | 1 | maple | brass | brass | windcap band engraved hans ravch von schratt & a double trefoil with a right-pointing tail; similar to salzburg basset m244. Sounding length 1087 mm. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 534). brown (loc. cit.) considers this to be a non-extended recorder in c (at modern pitch); haynes (2002) gives the nominal pitch for this instrument as g. given the considerably shorter Sounding length of 1087 cm compared to 1603 for the extended contra-bass recorder in the munich collection (mu 180) i have accepted brown’s observations in this instance. | |
| B-Brussels | 0188 | Schrattenbach | c# | bass | c.1540 | 440 | 1 | 1250 | 1 | ? Cornelian cherry (Cornus mas) | 2 brass ferules on fontanelle, 1 on windcap | brass | Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. Sounding length is 1138 mm. Key arrangement has been modified with a slab of wood now filling the space under the fontanelle. Cap, fontanelle, key and crook are all replacements. Bocal enters top of windcap. This instrument was originally part of the collection of the Hansa Huis in Antwerp. For critical measurements & other details see Brown (2005/2023; 2005b: 535); Baines (1966: 80 & fig. 420). Images & further details. |
| I-Verona: Accad. Fil. | 13.242 | Bassano | F# | contrabass | <440 | 1 | plum | brass | brass | Stamped !! (ML-J type G) & thus probably by a member of the Bassano family. Sounding length 1740.5 mm. Similar in workmanship to 13.253, but has a much larger bore and is badly out of tune. Finger-holes three and six are heavily angled towards the foot of the recorder. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||
| I-Verona: Accad. Fil. | 13.248 | Schrattenbach | c# | bass | 440 | 1214 | 1 | plum | brass | brass | Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. Cap, crook and fontanelle are all replacements. Sounding length 1116 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Databasse; Brown (2005b: 534). | ||
| D-Celle: Moeck | Schrattenbach Family | c’+ | tenor | 1535 | 440 | 1 | 614 | 1 | ivory | gold pl. | silver | stamped with a single trefoil & thus probably by a member of the schrattenbach family. Sounding length 570.5 mm. the block is also made of ivory. for critical measurements & other details see adrian brown’s renaissance recorders database. for images see here a video recording of daniel brüggen playing this instrument is available here. | |
| D-Munich: Stadtmus. | BNM Mu 164 | Rippert | f” | sopranino | 462 | 2 | 244 | ivory | unmounted | Both sections stamped RIPPERT/dolphin. Performance pitch from Haynes (2002) who doesn’t give the nominal pitch. Hunt mentions 1 of 2 such instruments at D-Munich Stadtmus. but does not identify which of these he refers to. | |||
| D-Munich: Stadtmus. | BNM Mu 166 [? 151/4] | Rippert | f’ | alto | 462 | 3 | 460 | ivory | unmounted | All 3 sections stamped RIPPERT/dolphin. Hunt illustrates a Rippert ivory alto from Munich but does not indicate which instrument he refers to (the other is D-Munich: Bav. Natl. Mus. Mu 161). Accession Number, nominal and performance pitch from Haynes (2002). | |||
| F-Paris | E.2136 | Rippert | f’ | alto | 18C | 464 | 3 | 525 | box | ivory beak, foot & ferrules | Stamped RIPPERT/dolphin. Ex Collection Paul Cesbron. Further details here. Nominal and performance pitch from Haynes (2002). | ||
| C-BC-Vancouver: private collection | Rippert | alto | |||||||||||
| J-Tokyo: Iino | Rippert | f’ | alto | 387 | 3 | 520 | box | ivory | All 3 sections stamped RIPPERT/dolphin. Nominal and performance pitch from Haynes (2002). | ||||
| xD-Berlin | 2803 | Rippert | e | alto | 3 | 520 | box | ivory | |||||
| F-Paris: L.Kaltenback | Rippert | f’ | alto | c1700 | 395 | 3 | 630.9 | bowood, acid- stained orange-brown | ivory beak and ferrules | Plays well with Hotteterre fingerings (Baudin) Technical drawing by Jean-Francois Beaudin (1986) here | |||
| D-Munich: Stadtmus. | 57-95 (ex BNM) [? 160/13] | Rippert | c’ | tenor | 460 | 3 | 613 | 1 | ivory | unmounted | silver | All 3 sections stamped RIPPERT/dolphin. Key with ornate swallowtail touch. Hunt illustrates 1 of 2 such instruments in Munich but does not specify which one he refers to (the other is D-Munich: Bav. Natl. Mus.) Marvin (1972) and Pottier (1992: 46) refer to such an instrument with Accession No. 160/13. Nominal and performance pitch from Haynes (2002). | |
| xD-Munich: Bav. Nal. Mus. | Rippert | tenor | 600 | 1 | ivory | unmounted | silver | Hunt illustrates 1 of 2 such instruments in Munich but does not specify which one (the other is D-Munich: Stadtmus 57-95). | |||||
| D-Celle: Moeck | Rippert | c’ | tenor | 392 | 3 | 709 | 1 | ebony | ivory | silver | Nominal and Performance Pitch from Haynes (2002). | ||
| xGB-Edinburgh: Glen | Rippert | tenor | Not at the Kelvingrove Art Gallery & Museum (1982). Pottier (1992: 46) gives this instrument a pitch of Fa, citing Schmidt (1959: 509). The Glen Collection has now been dispersed. This instrument is not listed in the on-line catalogue of GB-Edinburgh: Univ. | ||||||||||
| xD-Munich: Bav. Nal. Mus. | Mu 157 | Rippert | f | basset | 3 | 960 | 1 | ivory | ? | ||||
| F-Paris | C.412, E.247 | Rippert | f | basset | 18C | 405 | 3 | 1135 | 1 | fruitwood, stained | 1 ferrule in ivory, 1 in brass, 2 in horn | brass | All 3 sections stamped RIPPERT/dolphin. Brass bocal missing, entered top of windcap. Foot bulbous, ? side-opening. Further details here. Nominal and performing pitch from Haynes (2002). |
| F-Paris | C.411, E.185 | Rippert | f | basset | 18C | 398 | 3 | 1100 | 1 | maple or fruitwood | 1 brass ferrule below windcap | brass | All 3 sections stamped RIPPERT/dolphin. Brass bocal enters at top of windcap. Foot bulbous, ? side-opening. Further details here. Nominal and performance pitch from Haynes (2002). |
| xGB-Edinburgh: Glen | Rippert | f | basset | Not at Kelvingrove Museum & Art Gallery (1982). Pottier (1992: 46) gives this instrument a pitch of Fa, citing Schmidt (1959: 509). The Glen Collection has now been dispersed. This instrument is not listed in the on-line catalogue of GB-Edinburgh: Univ. | |||||||||
| F-Troyes: Musée | 0.971 | Rippert | basset | 1696-1716 | 3 | 1080 | 1 | wood | Bocal missing. Foot with bulbous stand. Image here. | ||||
| D-Leipzig | 1132 | attributed to G-A Rottenburgh | tenor | 3 | 575 | box | unmounted | Stamp obliterated. See Heyde (1978). Very well preserved and of excellent musical quality. Although it is outwardly similar to some instruments by J. Chr. Denner, it is more probably of Italian origin (Blezinger, 2002). Image and further details here. | |||||
| D-Berlin | 2799 | J-H or J-H-J Rottenburgh | f’ | alto | 403 | 3 | 505 | box | ivory | Stamped I.H./ROTTENBURGH/star. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. | |||
| B-Brussels | 1036 | J-H or J-H-J Rottenburgh | f’ | alto | 18C | 398 | 3 | 503 | box, stained | 2 ivory ferules | Stamped I.H./ROTTENBURGH/star. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. Image & further details. | ||
| B-Brussels | 1027 | J-H or J-H-J Rottenburgh | f’ | alto | c.1726-1775 | 396 | 3 | 502 | box | ivory | Stamped I.H./ROTTENBURGH/star. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. Image & further details. | ||
| B-Brussels | 2643-01 | J-H or J-H-J Rottenburgh | f’ | alto | c.1750 | 404 | 3 | 504 | plum | unmounted | Stamped I.H./ROTTENBURGH/star. One of an identical pair. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. Images & further details. | ||
| B-Brussels | 2643-02 | J-H or J-H-J Rottenburgh | f’ | alto | c.1750 | 3 | 504 | plum | unmounted | Stamped I.H./ROTTENBURGH/star. One of an identical pair. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. Images & further details. | |||
| B-Brussels | 2644 | J-H or J-H-J Rottenburgh | f’ | alto | 1700-1775 | 395 | 3 | 510 | box | unmounted | Stamped I.H./ROTTENBURGH/star. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. Images & further details. | ||
| B-Antwerp: Vleeshuis | 2644 (VH67.I.248) | J-H or J-H-J Rottenburgh | f’ | alto | 3 | box | Stamped I.H./ROTTENBURGH/star. Head section only, ca 195 mm long. | ||||||
| B-Gooik: Kuijken | J-H or J-H-J Rottenburgh | f’ | alto | 3 | box | Stamped I.H./ROTTENBURGH/star. Foot section only, <103 mm long. | |||||||
| D-Berlin | 2814 | J-H or J-H-J Rottenburgh | d’ | tenor | 398 | 3 | 599 | box | unmounted | Stamped I.H./ROTTENBURGH/star. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. | |||
| NL-Hague | 1933-0401 (formerly Ea 401-1933) | J-H Rottenburgh | f | basset | 398 | 993 | 2 | stained maple | unmounted | brass | Stamped I.H./ROTTENBURGH/star. Bocal missing, but entered top of windcap. Hardly playable; some of the foot moulding damaged. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. | ||
| B-Bruges: Gruuthuse | 0.24.XXVIII | J-H or J-H-J Rottenburgh | f | basset | 398 | 3 | 994 | 2 | maple | brass | brass | Stamped I.H./ROTTENBURGH/star. Bocal enters top of windcap. Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh. | |
| B-Brussels | 0438 | Rouge | f’ | alto | 1701-1750 | 405 | 3 | 505 | rosewood | ivory beak, ferules & foot | All 3 sections stamped ROVGE. Nominal and performance pitch from Haynes (2002). Images & further details. | ||
| S-Stockholm | N21979 | Rykel | f’ | alto | 418 | 3 | 475 | ivory | Stamped C.RYKEL/fleur-de-lys. Beak unusually shaped with thick bead, probably to repair two longitudinal cracks above the windway. Playable but soft, at slightly above A415. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 451). Image here. | ||||
| S-Stockholm | M159 | JCE Sattler | soprano | 3 | 336 | box | unmounted | Stamped 3-prong crown/I.C.E.SATTLER/S. | |||||
| S-Stockholm | M161 | JCE Sattler | f’ | alto | 17-18-1745 | 3 | 488 | box | unmounted | Stamped 3-prong crown/I.C.E. SATTLER/S. Images & further information here. | |||
| S-Stockholm | M162 | JCE Sattler | f’ | alto | 410 | 3 | 495 | box | ivory | Stamped 3-prong crown/I.C.E. SATTLER/S. Nominal and performance pitch from Haynes (2002: 448). | |||
| USA-MI-Ann Arbor: U Mich. | 505 | JCE Sattler | f’ | alto | 3 | 495 | box | unmounted | Stamped 3-prong crown/I.C.E. SATTLER/S. | ||||
| A-Linz: Schlossmus | W 152, Mu 7 | Schell | f’ | alto | 394 | 3 | 500 | box | unmounted | Head stamped H.SCHELL/entwined monogram Nominal and performance pitch from Haynes (2002). | |||
| GB-London: Oldham | Schell | f’ | alto | 405 | 3 | 501.5 | ivory | unmounted | Head stamped H.SCHELL/entwined monogram. Nominal and performance pitch from Haynes (2002: 447). | ||||
| A-Salzburg: Mozarteum | Schell | alto | |||||||||||
| CH-Geneva: Mus. Instr. | 114 | Schell | f | alto | 3 | 495 | box | horn | One brass ring is a repair. | ||||
| A-Innsbruck: Mus Ferdinadeum | 2.85 | Schell | f | alto | 3 | box | |||||||
| I-Bologna: Museo | 1769 | Schell | g’ | alto | 385 | 3 | box | ivory | Nominal and performance pitch from Haynes (2002). | ||||
| D-Bavaria: anonymous | Schell, Oberlender I | f’ | alto | 3 | box | Stamped H.SCHELL/S. Body by Schell; head & foot by J.W. Oberlender. | |||||||
| F-Paris | E.193 (C.400) | Schell | a’ | alto | 401 | 3 | 508 | box | unmounted | Head only stamped H.SCHELL/S entwined monogram. Formerly thought to be by Oberlender I (Young 1993: 206). Nominal and performance pitch from Haynes (2002: 448) who has a bob each way and gives two entries for this instrument, once as an alto in a’ by Schell at 401 Hz (F-Paris C.400), and again as an alto in f’ by Oberlender at 410 Hz (F-Paris E.193)! Further details here. | |||
| D-Munich: Deutsches Mus. | 10197 | Schell | f’ | alto | 3 | 505 | plum | unmounted | Stamped H.SCHELL/S entwined monogram. | ||||
| A-Innsbruck: Mus Ferdinadeum | Schell | c’ | tenor | 405 | 3 | 649 | box | Nominal and performance pitch from Haynes (2002: 447). | |||||
| I-Rome: Museo dSM | 2203 & 883 | Schell | tenor | 18C | 3 | 654 | box | Stamped H. SCHELL Belonged to Alessandro and Benedetto Marcello (Li Virghi, 2012). Images here (second from rhs) and there. | |||||
| A-Linz: Schlossmus | 159, Mu 10 | Schell | f | basset | 406 | 3 | 990 | 1 | maple | unmounted | brass | Head stamped H.SCHELL/S/entwined monogram; body & foot stamped H.SCHELL/S. Bocal enters top of windcap. Nominal and performance pitch from Haynes (2002: 447). | |
| A-Linz: Schlossmus | W 160, Mu 11 | Schell | f | basset | 408 | 3 | 990 | 1 | maple | unmounted | brass | Head stamped H.SCHELL/S/ entwined monogram; body & foot stamped H.SCHELL/S. Nominal and performance pitch from Haynes (2002: 447). | |
| D-Nuremberg GNM | MI 95 | Schell | f | basset | 1690-1710 | 403 | 3 | 990 | 1 | box | 1 brass ferule on windcap | brass | Stamped H.SCHELL/S/ entwined monogram. Bocal enters top of windcap. Marked ‘J. Denner corrigirt’. Nominal & performance pitch from Haynes (2002). CAT image available from Germanisches National Museum, Nuremberg (2002). Images & further information here. |
| F-Paris | E.2140 | Schell | f | basset | 387 | 3 | 1080 | 1 | plum | brass ferrule on bulbous windcap | brass | Head stamped H.SCHELL/S/entwined monogram. Bocal missing, entered side of cap. Foot without crutch. Nominal and performance pitch from Haynes (2002). For further details see here. Image here (from Heinz Amman). | |
| USA-MA-Boston: von Huene | G Scherer | f’ | alto | 410 | 3 | 511 | ivory | unmounted | Stamped on all 3 sections: 2/SCHERER/fleur de lys. Nominal and performance pitch from Haynes (2002: 449). | ||||
| D-Leipzig | 1145 | Scherer | f | basset | 1735-1745 | 410 | 3 | 1041 | 1 | walnut | horn | brass | stamped scherer/illegible device. the horn mount is on the top of the foot only & may be a repair. bocal (missing) enters back of windcap. nominal and performance pitch from haynes (2002: 499). Bali (2007: colour plate);herbert heyde: flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 52.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 23. image & further information here. |
| CH-Basel: Hist. Mus. | 1950:89 | C Schlegel | f’ | alto | 427 | 3 | 515.5 | box | unmounted | Stamped CHRISTIAN in scroll/S (Küng’s Stamp 4). Nominal and performance pitch from Haynes (2002: 252). | |||
| CH-Zollikon: Mangold | C Schlegel | bass | 3 | ||||||||||
| F-Paris | E.2396 | C Schlegel | f | basset | 18C | 412 | 3 | 1000 | 1 | fruit wood, stained | 1 brass ferrule | brass | Stamped sun device/CHSCHLEGEL/S. Bocal enters side of windcap. F-Paris give maker as Jérémias Schlegel! Ex Collection Paul Cesbron. Further details here. Nominal and performance pitch from Haynes (2002: 252). |
| GB-Brighton: Municipal Mus. | Schuchart | alto | box | ivory | Stamped Iul/SCHUCHART/2-headed spread eagle. Formerly GB-Brighton: Spencer. | ||||||||
| USA-NY-New York: MMA | Schuchart | alto | One of 2. | ||||||||||
| USA-NY-New York: MMA | Schuchart | alto | Two of 2. | ||||||||||
| USA-OH-Cincinnati: Art Mus. | Schuchart | soprano | c1750 | Stamped IuI/SCHUCHART/2-headed spread eagle. Ex Taphouse collection. | |||||||||
| GB-London: Christies’ | Schuchart | alto | 3 | 502 | fruitwood | unmounted | Head & foot stamped IuI/SCHUCHART. | ||||||
| USA-OH-Cincinnati: Art Mus. | Schuchart | alto | |||||||||||
| D-Bavaria: anonymous | Schuechbaur | g’ | alto | 3 | 439 | ivory | unmounted | Stamped flower/S/SCHVECHBAVR. May be the same as D-Bavaria: Bogenhaus 6a (awaiting confirmation from Bruce Haynes). | |||||
| D-Nuremberg GNM | MIR 210 | Schuechbauer | d’ | voice flute | 1710-1730 | 461 | 3 | 611.5 | 1 | maple | brass | all 3 sections stamped schvechbavr. nominal and performance pitch from haynes (2002: 449). röntgenaufnahme rb 1479; kirnbauer, martin: historische holzblasinstrumente in der sammlung des germanischen nationalmuseum. in: tibia, 14. Jg. (1989), s. 426.; kirnbauer, martin und dieter krickeberg: untersuchungen an nürnberger blockflöten der zeit zwischen 1650 und 1750. in: anzeiger der germanischen nationalmuseums 1987. nürnberg, 1988, passim.; musikinstrumente aus bachächscher zeit. ausstellung zu allerheiligen aus anals des 5. internationalen bachfestes in schaffhausen 1957. schaffhausen, 1957, nr. 16.; kirnbauer, martin: verzeichnis der europäischen musikinstrumente im germanischen nationalmuseum nürnberg. band 2. flöten- und rohrblattinstrumente bis 1750. wilhelmshaven 1994, s. 48-49 (=bestandskatalog). image & further details here. | |
| NL-Amsterdam: Brüggen | VIII | Stanesby Sr | f’ | alto | 403 | 3 | 518 | box | unmounted | Stamped T/STANESBY/*. Purchased from GB-London: Bingham. Nominal and performance pitch from Haynes (2002). | |||
| GB-London: Horniman | M40-1982 | Stanesby Sr | f’ | alto | 1691-1733 | 411 | 3 | 500 | box | ivory ferrules | Stamped T/STANESBY/*. Dolmetsch Collection. Nominal and performance pitch from Haynes (2002). Images & further details here (from Heinz Amman) & there (from GB-London: Horniman). Young et al. (1997) give the length as 49.5 cm. | ||
| GB-Ilford: Halfpenny | Stanesby Sr | alto | 3 | pear | unmounted | ||||||||
| GB-London: Liebrecht | Stanesby Sr, Harris | alto | ivory | Head & foot by Denner; body by Harris. | |||||||||
| xD-Berlin | 2806 | Stanesby Sr | alto | 500 | box | unmounted | |||||||
| CH-Geneva: Piguet | Stanesby Sr | f’ | alto | 404 | 3 | 503 | box | unmounted | All 3 sections stamped STANESBY/dolphin. Nominal and performance pitch from Haynes (2002) who notes that this instrument is no longer owned by Piguet. I would welcome information about its present whereabouts. | ||||
| ex GB-Upper Bourne End: Lefkovitch | Sothebys Sale LO8251, Lot 149 (7 October 2008) | Stanesby Sr | d’ | voice flute | 3 | 600 | unmounted | Stamped T. Stanesby – eight-pointed star Currently offered for sale, estimate GBP 8,000â15000. Recorded by Young (1981: 219). | |||||
| NZ-Wellington: Castle | Stanesby Sr | c’ | tenor | 409 | Stamped with a single star and the name T. Stanesby. Acquired by Zillah Castle from a Wellington music teacher, Miss D.B. Heath whose father brought it out from England. The instrument had belong to her father’s uncle who came from Tamworth in Stafffordshire. See Recorder News, New Series 12: 5 (1955). Nominal and performance pitch from Haynes (2002). | ||||||||
| NL-Amsterdam: Brügen | Stanesby Jr | d” | soprano (sixth flute) | 429 | 3 | 308 | ivory | unmounted | Stamped STANESBY/IUNIOT/F; cherub’s head engraved on mouthpiece; grapevine engraved on body. Ex Collection Edgar Hunt. Nominal and performance pitch from Haynes (2002). Image here. | ||||
| A-Vienna: Clemencic | Stanesby Jr | c” | soprano | ivory | unmounted | ex Baines, ex Galpin. | |||||||
| J-Tokyo: Iino | Stanesby Jr | c” | soprano | 3 | ivory | gold | Stamped STANESBY/IUNIOR/6. Gold points inlaid in ivory, on all 3 sections. | ||||||
| USA: anonymous | Stanesby Jr | b♭’ | soprano | box | unmounted | Head only. Stamped STANESBY/IUNIOR/4. | |||||||
| GB-Shipston-on-Stour: Bennet | Stanesby Jr | f’ | alto | 3 | Stamped dagger/STANESBY/IUNIOR. | ||||||||
| GB-London: Horniman | 14.5.47/275 | Stanesby Jr | f’ | alto | 1734-1754 | 3 | 500 | box (stained brown) | Stamped STANESBY/IUNIOR. Sounding length 432 mm. Carse Collection. The labium is badly damaged. Images & further details here (from Heinz Amman) & there (from GB-London: Horniman). | ||||
| USA-NY-New York: MMA | 1982.39 | Stanesby Jr | f’ | alto | 410 | 3 | 496.5 | box | unmounted | Stamped STANESBY/IUNIOR. Foot with flute-like profile. Nominal and performance pitch from Haynes (2002). Image here. | |||
| GB-Peebles: Dodman | Stanesby Jr | alto | ivory | ||||||||||
| USA: anonymous | Stanesby Jr | f’ | alto | 3 | 503 | box | unmounted | Stamped STANESBY/IUNIOR. Sotheby’s – New York Early Musical Instruments Auction Date: 4 November 1998 Lot 217 Estimate: $ 13,577 – $ 20,365; £ 8,000 – £ 12,000 | |||||
| GB-Sudbury: Raymond | Stanesby Jr | alto | |||||||||||
| J-Tokyo: Iino | Stanesby Jr | f’ | alto | ivory | unmounted | Stamped STANESBY/IUNIOR. | |||||||
| NL-Amsterdam: Brüggen | Stanesby Jr | b♭ | tenor (fourth flute) | 403 | 3 | 730 | 1 | stained box | unmounted | brass | Stamped dolphin/Stanesby/Junior/4. ex collection Walter Bergmann. Nominal and performance pitch from Haynes (2002). According to Brüggen, the block is original (saunders 2010: 10). | ||
| GB-Royston: Harding | Stanesby Jr | b♭’ | tenor | ||||||||||
| GB-Cambridge: Lobban | Stanesby Jr | tenor | |||||||||||
| xD-Berlin | 2785 | Steenbergen | b♭’ | fourth flute (soprano) | 2 | 350 | box | unmounted | sachs’ catalogue of the berlin collection lists two steenbergen recorders (nos. 2785 and 2787): a 2-piece quartflöte in bâ (a soprano fourth flute) made of reddish boxwood, and a 3-piece, brown-stained diskantflã¶te in g ‘in boxwood, with an ivory ring. the quartflöte, which according to sachs was 35 cm long, was probably a soprano recorder in c”. the other was 42 cm long, approximately the same length as robbert wijne’s third flute (recorder in a♭, gemeentemuseum den haag ea 323-1933), meaning that it was probably two tones higher than the ordinary alto recorder in f’. unfortunately both of the steenbergen recorders listed by sachs were lost in berlin during or shortly after world war ii. ref. bouterse (2015). | ||||
| xD-Berlin | 2787 | Steenbergen | g’ | alto | 3 | 425 | box | ivory | sachs’ catalogue of the berlin collection lists two steenbergen recorders (nos. 2785 and 2787): a 2-piece quartflöte in bâ (a soprano fourth flute) made of reddish boxwood, and a 3-piece, brown-stained diskantflã¶te in g ‘in boxwood, with an ivory ring. the quartflöte, which according to sachs was 35 cm long, was probably a soprano recorder in c”. the other was 42 cm long, approximately the same length as robbert wijne’s third flute (recorder in a♭, gemeentemuseum den haag ea 323-1933), meaning that it was probably two tones higher than the ordinary alto recorder in f’. unfortunately both of the steenbergen recorders listed by sachs were lost in berlin during or shortly after world war ii. ref. bouterse (2015). | ||||
| S-Stockholm | M160 | Steenbergen | d” | sixth flute (soprano) | 413 | 3 | 312 | box; stained dark brown | horn | Stamped I:STEENBERGEN (in scroll)/fleur-de-lys. Plays badly, mainly because the surface of the block is rather rough. The socket bulge of the head joint is cracked and is repaired by a ring of horn. See Bourterse (1998, 2001). Performance pitch from Haynes (2002: 451). Images & further information here | |||
| NL-Amsterdam: Brügen | Steenbergen | c” | soprano | 410 | 2 | 312 | box; probably unstained | unmounted | Stamped I:STEENBERGEN (in scroll)/fleur-de-lys. Sounding length 299.5 mm. Block may not be original. Playable. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 451). Image here. | ||||
| NL-Amsterdam: Brügen | VII | Steenbergen | f’ | alto | 407 | 3 | 503.8 | box; stained brown | ivory beak, ferrules & foot ring | Stamped I:STEENBERGEN (in scroll)/fleur-de-lys. Sounding length 444.6 mm. Block by Ricardo Kanji. In perfect playing condition. See Bouterse (1998, 2001). Nominal and performance pitch from Haynes (2002: 451). Image here. | |||
| NL-Ketelhaven:Scheepsarchaelogmus | OH-43-208 | Steenbergen | c” | soprano | 410 | 3 | box | Stamped I:STEENBERGEN/fleur-de-lys. Found in the excavation of a shipwreck which sunk 1888 in bad weather near Ketelhaven when this area was still covered by the sea. The foot is a dummy without a finger-hole, crudely carved in beech, and not original. See Bouterse (1998, 2001). Nominal and performance pitch from Haynes (2002: 451). | |||||
| D-Darmstadt: Hess.Mus. | HMkg 67:126 | Steenbergen | f | basset | 405 | 3 | 1010 | 1 | pear | brass | brass | Stamped I:STEENBERGEN (in scroll)/fleur-de-lys. Bocal (missing) enters side of windcap. Restored by Rainer Weber. Block of Cedrela ? odorata is probably not original. Playable, slightly under A415. See Bouterse (1998, 2001). Nominal and performance pitch from Haynes (2002: 451). | |
| NL-Uithuizen: Menkemaborg | 597 | Steenbergen | f’ | alto | 408 | 3 | box; stained borwn | unmounted | Menkemabourg is in Uithuizen, a province of Groningen. Bouterse considers that the two altos from Groningen mentioned by Young refer to this instrument which was part of a collection moved to Menkemabourg Castle. Stamped I:Steenbergen (in scroll)/fleur-de-lys. Playable. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 451). In a note to Brian Blood, Charles Fischer notes that an ivory alto from this collection is now to be found in the Shrine to Music Museum, Vermillion (USA). | ||||
| NL-Amsterdam: Rijksmuseum (Boers Collection) | BK-NM-11430-94 | Terton | f’ | alto | 417 | 3 | 498 | box; stained brown | unmounted | On loan from 1952 to 2-10 to NL-Hague as Ea 31-X-1952. ,br>Stamped 3-pronged crown/E:TERTON/Brabant lion. Playable. Long crack in head joint, leaking air. ,br>Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 451) gives the performance pitch of this instrument as A=407 Hz. | |||
| NL-Hague | Ea 323-1933 | Terton | f’ | alto | 415 | 3 | 497 | box; stained brown | unmounted | Stamped 3-pronged crown/E:TERTON/Brabant lion. Playable, slightly under A415. See Bouterse (2001). | |||
| USA-CA-Ventura: Lendertse | Terton | f’ | alto | 415 | 3 | box | ivory beak and ferrules | Stamped 3-pronged crown/E:TERTON/Brabant lion. Labium repaired. Middle joint may have been altered. See Bouterse (2001). | |||||
| NL-Apeldoorn | Terton | f’ | alto | 407 | 3 | ivory | Formerly located in Zaandam. Very badly damaged but now restored by Martin Wenner (Singen, Germany). Stamped crown/E:TERTON/Brabant lion. See Bouterse (2001). Nominal and peformance pitch from Haynes (2002: 251). | ||||||
| NL-Hazerswoude-Dorp | Terton | f’ | alto | 410 | 3 | box; stained brown (faded) | ivory ferrules | Brutally altered: the labium excised and replaced by a piece of wood, the beak shortened, the block replaced with a piece of broomstick, and wood removed from windway ceiling. Stamped 3-pronged crown/E:TERTON. Nominal and performance pitch from Haynes (2002: 451). | |||||
| D-Bonn: Beethovenhaus | 6 | A Walch | g” | sopranino | 387 | 265 | ivory | Stamped in scroll a:walch. formerly in the collection of Josef Zimmermann, Düren, Germany (D-Düren: Zimmermann). nominal and performance pitch from haynes (2002). | |||||
| GB-London: Lumsden | A Walch | f’ | alto | ||||||||||
| D-Nuremberg GNM | MIR 209 | G Walch | c’ | tenor | c. 1716 | 399 | 3 | 649.5 | plum | unmounted | Stamped in scroll G.Walch/shell. nominal and performance pitch from Haynes (2002). van der Meer, John Henry: Wegweiser durch die Sammlung Historischer Musikinstrumente des GNM. Nürnberg, 3/1982, s. 49.; van der Meer, John Henry: Berchtesgadener Holzblasinstrumente in Nürnberg. in: Tibia, 4. Jg. (1979), S. 441.; Zimmermann, Josef: Von Zinken, Flöten und Schalmeien. Düren, 1967, S. 5.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, s. 53-54 (=bestandskatalog). image & further information here. | ||
| A-Salzburg: Mus. Car.-Aug. | 3-Oct | G Walch | b♭ | tenor | 3 | 771 | 1 | cherry | horn | brass | Stamped (in scroll) G.WALCH/shell. Brass bocal & mouthpiece. | ||
| A-Salzburg: Mus. Car.-Aug. | 3-Sep | G Walch | b♭ | tenor | 1 | 725 | 1 | cherry | unmounted | brass | Stamped (in scroll) G.WALCH/shell. | ||
| A-Salzburg: Mus. Car.-Aug. | 3-Nov | G Walch | b♭ | tenor | 3 | 710 | 1 | cherry | horn | brass | Stamped (in scroll) G.WALCH/shell. Brass crook & mouthpiece. | ||
| F-Paris | E.980.2.92 | G Walch | c’ | soprano | 18C | 395 | 3 | 354 | fruitwood | unmounted | Foot not orignal. ex collection Geneviève Thibault de Chambure. Further details here. nominal and performing pitch from Haynes (2002). | ||
| A-Salzburg: Mus. Car.-Aug. | 3-Apr | IG Walch | g’ | alto | 420 | plum | horn | Stamped in scroll L:WALCH/shell. | |||||
| D-Munich: Bav. Natl. Mus. | 25961 | L Walch II | d” | soprano (sixth flute) | 3 | 300 | plum | unmounted | Stamped LORENZ WALCH/BERCHTESGADEN/D. MacMillan (2007: 200). A Berchtesgadner Fleitl. The ‘D’ in the mark is a pitch mark. MacMillan (2008: 59) | ||||
| A-Salzburg: Mus. Car.-Aug. | 3-Mar | L Walch II | c” | soprano | 3 | 335 | box | horn rings | Stamped C/LORENZ WALCH/BERCHTESGADEN beneath a pitch mark ‘C’. A high-quality recorder with a bright, clear timbre and a compass of two octaves with good intonation. Marvin (1972); MacMillan (2007: 200; 2008: 59-60). | ||||
| D-Bonn: Beethovenhaus | 8 | L Walch II | d” | soprano (sixth flute) | c. 1880 | 3 | 300 | plum | unmounted | Stamped (5-petal flower)/Lorenz Walch/berchtesgaden/d. formerly in the collection of Josef Zimmermann, Düren, germany (D-Düren: Zimmermann). Macmillan (2007: 200; 2008: 62) | |||
| D-Berchtesgaden: Heimat Mus. | 1074 | L Walch II | c” | soprano | 19C | 338 | palisander | ivory | Stamped ‘C’, indicating the pitch. Bruckner (1978) Young (1993) MacMillan (2007: 200; 2008: 62) | ||||
| D-Berchtesgaden: Heimat Mus. | 1079 | L Walch II | ab’ | soprano (third flute) | 19C | 419 | plum | unmounted | Stamped LORENZ WALCH/BERCHTESGADEN/(clover leaf) Bears the mark ‘RW’ on the head, as does an alto by Goulding in USA-New York. Also bears the letter ‘A’, indicating pitch. Bruckner (1978) Young (1993) MacMillan (2007: 200; 2008: 62-63) | ||||
| D-Stuttgart: Hase | L Walch II | soprano | 19C | MacMillan (2007: 200; 2008: 63) | |||||||||
| D-Nuremberg GNM | MIR 194 | L Walch II | c” | soprano | c. 1855 | 340 | plum | Stamped (flower)/Lorenz Walch/Berchtesgaden The museum dates this instrument ca 1855, ex Rück young (1993) Macmillan (2007: 200; 2008: 63) | |||||
| A-Salzburg: Mus. Car.-Aug. | 3-Jan | P Walch | d” | soprano (sixth flute) | 3 | 300 | rosewood | ivory | Stamped (8-petal flower)/PAUL WALCH/BERCHTESDADEN/(8-petal flower)/D The ‘D’ indicates the pitch. In poor condition, but the timbre is bright and similar to the soprano by Lorenz Walch II in the same collection. Young (1993); MacMillan (2009: 63-64) | ||||
| D-Nuremberg GNM | MIR 195 | P Walch | c” | soprano | 3 | 336 | box | horn | Stamped (flower)PAUL WALCH/BERCHTESGADEN/C, the ‘C’ an indication of pitch. Young (1993) MacMillan (2007: 200; 2008: 64) Image here. | ||||
| D-Nuremberg GNM | MIR 196 | P Walch | c” | soprano | c. 1845 | 3 | 338 | box | 2 horn ferules | Stamped (flower)PAUL WALCH/BERCTESGADEN/C, the ‘C’ an indication of pitch. Young (1993; MacMillan (2007: 200; 2008: 64)) Images & further information here and there. | |||
| D-Bremen: Müller | P Walch | c” | soprano | 19C | 3 | 334 | box | horn | MacMillan (2007: 201; 2008: 65) | ||||
| PL-Jasna Góra Monastery | 110 | Weigel | f | basset | c.1730 | 3 | 2000 | 1 | brass | Stamped crown/(in scroll) H.WEIGEL/W. Listed in error by Young (2003) as being at PL-Poznan: Museum, see Madry & Franksowsi (2012: 190-191 & fig. 1). | |||
| GB-Oxford: Bate | 111 | Wyne | f’ | alto | 408 | 3 | 420 | box; stained brown | unmounted | Stamped crown/R.WYNE/2-headed eagle. Foot missing, recently replaced by a new foot in a diferent style. The block may have been lowered. Ex Collection Edgar Hunt. Playable with some problems at ca A408. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 452). | |||
| NL-Amsterdam: Brüggen | XIII | Wyne | c” | soprano | 400 | 2 | 339.5 | box; stained brown | unmounted | Stamped crown/R.WYNE (in scroll)/2-headed eagle. Ex Friedrich Schmidtmann, Mönchengladbach. Restored by von Huene who inserted a new labium. Playable a little under A415. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 451). | |||
| GB-Edinburgh: Univ. | 3921 | Bassano | c#’ | tenor | 440 | 1 | 611 | 1 | ivory with gold inlay | brass ferules on fontanelle. | brass | Stamped !! (ml-j type unclassified) & thus probably by a member of the bassano family. ivory with a gold strip protective inlay at the beak. foot with fontanelle. Sounding length 557 mm. ex Schloss Baden-baden & GB: Tony Bingham. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 534). Image & further details here. | |
| A-Salzburg: Mus. Car.-Aug | 17-Mar | L Walch I | g’ | alto | 420 | plum | horn | Stamped (in scroll) L-Walch/shell. | |||||
| D-Bavaria: anonymous | L Walch I | f’ | alto | 18-19C | 508 | plum | Stamped (in scroll) L.WALCH/shell Young notes that this instument was in the possession of an old Nüremberg family until ca 1850 and used for amateur music-making. It then passed into the hands of the Bogenhauser Künstlerkapelle. Young (1993) MacMillan (2007: 202) | ||||||
| D-Sondershausen: Schloss | 3.2 Mu 34 | JC Denner | basset | 3 | 990 | 1 | box | brass (windcap only) | brass | Windcap & body stamped I.C. DENNER. Brass bocal enters at top of windcap. Restored 1993. | |||
| D-Sondershausen: Schloss | 3.1 Mu6 | Unknown | basset | 3 | 1018 | 1 | plum | brass (on windcap only) | brass | Bocal enters top of windcap. Restored 1988. | |||
| D-Sondershausen: Schloss | 3.3 Mu35 | Unknown | basset | 3 | 989 | 1 | maple | brass (windcap only) | brass | Bocal enters top of windcap. Restored 1993. | |||
| NL-Utrecht: Mus. | Debey | alto | Copy made by Margaret Löbner. | ||||||||||
| USA-Claremont: Fiske | W1 | W Koch | soprano | p1934 | |||||||||
| USA-Claremont: Fiske | W2 | W Koch | soprano | p1934 | |||||||||
| USA-Claremont: Fiske | W3 | Unknown | soprano | 1930 | |||||||||
| USA-Claremont: Fiske | W5 | W Koch | alto | p1934 | |||||||||
| USA-Claremont: Fiske | W6 | Unknown | alto | 1930 | |||||||||
| USA-Claremont: Fiske | W7 | W Koch | tenor | p1934 | |||||||||
| USA-Claremont: Fiske | W229 | Mollenhauer | soprano | 1950 | |||||||||
| D-Nuremberg GNM | MI 642 | Kynseker | c”’ | piccolo (garklein flutlein) | 1650-1670 | 1 | 178 | ivory | stamped hf. Bär, frank p.: neuerwerbsbericht. in: anzeiger des germanischen nationalmuseums 1998. nürnberg 1999, s. 246. image & further information here. | ||||
| D-Nuremberg GNM | MI 197 | Schin | d” | soprano (sixth-flute) | c. 1840 | 3 | 320 | box | 1 horn ferule | The letter ‘D’ appears on the body of the instruments: such pitch marks are often found on Bavarian and Austrian instruments, sometimes incorporated in the maker’s mark. MacMillan (2007: 200; 2008: 56)) Image here and there. | |||
| D-Nuremberg GNM | MI 569 | Ziemann-Molitor | c” | soprano | c. 1935 | 6 | No thumbhole. There is a similar alto with the same accession number. System Ziemann-Molitor recorders were designed for use in Waldorf schools. | ||||||
| D-Nuremberg GNM | MI 598 | Schuster | soprano | c. 1930 | schneidersche Schulflöte.. | ||||||||
| D-Nuremberg GNM | MI 635 | Mollenhauer | c” | soprano | 1996 | plastic | Model ‘Swing’. | ||||||
| D-Nuremberg GNM | MI 636 | Mollenhauer | c” | soprano | 1996 | 2 | 320 | plastic (head) & wood (body) | Model ‘Prima’. Image & further information here. | ||||
| D-Nuremberg GNM | MI 569 | Ziemann-Molitor | f’ | alto | c. 1935 | 6 | No thumbhole. There is a similar soprano with the same accession number. System Ziemann-Molitor recorders were designed for use in Waldorf schools. | ||||||
| D-Nuremberg GNM | MI 599 | Otto | f’ | alto | c1935 | 3 | 496 | 6 | grenadilla (head & body), ?rosewood (foot) | 2 silver-coloured metal | silver-coloured metal | appears to have been made for a physically challenged player. philipp, michael: neuerwerbsbericht. in: anzeiger des germanischen nationalmuseums 1994. Nürnberg 1994, s. 222. image & further information here. | |
| D-Nuremberg GNM | MI 622 | Schell | f’ | alto | 1690-1710 | 3 | 482 | box | head stamped below the window/labium m schell in a banner above an entwined monogram. krickeberg, dieter: neuerwerbsbericht. in: anzeiger des germanischen nationalmuseums 1996. Nürnberg 1996, s. 228-229. image & further information here. | ||||
| D-Nuremberg GNM | 638 | c1730 | Made in Nuremberg. On loan from Christine Schmidtner. | ||||||||||
| D-Nuremberg GNM | MIR 203 | Egl | f’ | alto | early 18C | 399 | plum | Nominal and performance pitch from Haynes (2002), who gives the maker’s surname as Eggl. | |||||
| D-Nuremberg GNM | MIR 202 | Fische | f’ | alto | 18C | 414 | 3 | 502 | plum | stamped ni:fische in a banner. nominal and performance pitch from haynes (2002: 448). musikinstrumente aus Bachächscher zeit. ausstellung zu allerheiligen aus anlaã des 5. internationalen bachfestes in schaffhausen 1957. schaffhausen, 1957, nr. 15.; kirnbauer, martin: verzeichnis der europäischen musikinstrumente im germanischen nationalmuseum nürnberg. band 2. flöten- und rohrblattinstrumente bis 1750. wilhelmshaven 1994, s. 42-43. image & further information here. | |||
| D-Nuremberg GNM | MIR 211 | Unknown | c’ | 18C | 1 | box, stained red-brown | Made in Nuremberg. | ||||||
| D-Nuremberg GNM | MI 594 | Harlan | d’ | tenor | 1930-1940 | 3 | 574 | 1 | grenadilla | 2 silver-coloured metal ferules + 1 on windcap | silver-coloured metal | Two heads, one normal, the other with a windcap and brass bocal! Image & further information here. | |
| D-Nuremberg GNM | MI 595 | Harlan | c’ | tenor | 1920-1940 | 3 | 632 | 1 | light-coloured wood (? maple) | 2 brass ferules | brass | Philipp, Michael: Neuerwerbsbericht. in: Anzeiger des Germanischen Nationalmuseums 1994. Nürnberg 1994, s. 222. Image & further information here. | |
| D-Nuremberg GNM | MI 229 | Zick | f | basset | 1700-1720 | 3 | 1035 | 1 | plum | brass ferule on windcap | stamped i.g.zick. bocal (missing) enters at top of windcap. kirnbauer, martin: historische holzblasinstrumente in der sammlung des germanischen nationalmuseum. in: tibia, 14. Jg. (1989), s. 425.; kirnbauer, martin und dieter krickeberg: untersuchungen an nürnberger blockflöten der zeit zwischen 1650 und 1750. in: anzeiger der germanischen nationalmuseums 1987. nürnberg, 1988, passim.; van der meer, john henry: wegweiser durch die sammlung historischer musikinstrumente des gnm. nürnberg, 3/1982, s. 49.; van der meer, john henry: germanisches nationalmuseum nürnberg. geschichte seiner musikinstrumentensammlung. in: jahrbuch des staatlichen instituts für musikforschung preußischer kulturbesitze 1979/80. hrsg. von dagmar droysen. berlin, 1981, s. 39.; langwill, lyndesay g.: musical wind-instrument makers. edinburgh, 6/1980, s. 195.; nickel, ekkehart: der holzblasinstrumentenbau in der freien reichsstadt nürnberg. müchen, 1971, s. 286.; kirnbauer, martin: verzeichnis der europäischen musikinstrumente im germanischen nationalmuseum nürnberg. band 2. flöten- und rohrblattinstrumente bis 1750. wilhelmshaven 1994, s. 76-77 (=bestandskatalog). image & further information here. | ||
| D-Nuremberg GNM | MIR 217 | Unknown | f | basset | 1715-1735 | 3 | 962 | 1 | plum | 2 brass ferules, 1 on windcap, 1 on head | Brass bocal enters at top of windcap. Musikinstrumente aus Bachächscher Zeit. ausstellung zu Zllerheiligen aus anlaã des 5. internationalen Bachfestes in Schaffhausen 1957. Schaffhausen, 1957, nr. 17.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, s. 81-82 (=bestandskatalog). image & further information here. | ||
| D-Nuremberg GNM | MIR 216 | Unknown | basset | late 18C | 3 | 1 | dark brown wood | 3 brass ferules | brass | Made up of fragments of ? French and German origin. Brass bocal entering at rear of windcap. Images & further information here. | |||
| D-Nuremberg GNM | MI 93 | Unknown | f | basset | 1760-1860 | 3 | 1085 | wood | Described as a ‘theatre instrument’ in the museum catalogue; possibly a stage prop as it has only 6 finger-holes and a thumbhole. bocal missing. van der Meer, John Henry: Germanisches Nationalmuseum Nürnberg. Geschichte seiner Musikinstrumentensammlung. in: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitze 1979/80. hrsg. von Dagmar Droysen. Berlin, 1981, s. 22.; Rettberg, Ralf Lvon: die Sammlungen Musikalischer Instrumente im Germanischen Nationalmuseum. in: Anzeiger für Kunde der Deutschen Vorzeit, Neue Folge, vii, Heft 2 (1860), nr. 48.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, s. 85 (= bestandskatalog); macmillan (2007: 201: 2008: 76). image & further information here. | ||||
| D-Nuremberg GNM | MIR 215 | Unknown | f | basset | early 20C | 3 | 1 | plum | 3 brass ferules | brass | Stamped NM. Possibly German-made. Bocal missing but entering through rear of windcap. Images & further information here. | ||
| D-Nuremberg GNM | MI 145 | Bassano | B | bass | 1550-1600 | 440 | 2 | 1378 | 4 | 3 brass ferules | Stamped !! (ML-J type A) & thus probably by a Bassano family member. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. in: Tibia, 14. jg. (1989), s. 425.; van der Meer, John Henry: Musikinstrumente von der Antike bis zur Gegenwart. München, 1983, s. 62, abb. 96.; van der Meer, John Henry: Wegweiser durch die Sammlung Historischer Musikinstrumente des GNM. Nürnberg, 3/1982, s. 9.; van der Meer, John Henry: Germanisches Nationalmuseum Nürnberg. Geschichte Seiner Musikinstrumentensammlung. in: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitze 1979/80. Hrsg. von Dagmar Droysen. Berlin, 1981, s. 36.; Meer, John Henry: Musikinstrumente von der Antike bis zur Gegenwart. München Nürnberg, 1972, s. 12.; Marvin, Bob: Recorders & English Flutes in European Collections. in: Galpin Society Journal h. 25 (1972), s. 33 u. 44f.; Ott, Alfons: Tausend Jahre Musikleben 800-1800 (= Bibliothek des Germanischen Nationalmuseums zur Deutschen Kunst- und Kulturgeschichte, hrsg. von Ludwig Grote, bd. 18/19). München, 1961, abb. 57.; Norlind, Tobias: Musikinstrumentens Historia i Ord och Bild. Stockholm, 1941, abb. pl. 51, nr. 3.; Ruth-sommer, Hermann: Alte Musikinstrumente. ein Leitfaden für Sammler (= Katalog für Kunst- und Antiquitätensammler, bd. 8): Berlin, 1916, abb. taf. iii.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, s. 83-84 (= bestandskatalog). image & further information here. | ||
| USA-SD-Vermillion: National Music Museum | 6043 | J Denner | alto | c1715 | 3 | 499 | box | All 3 sections stamed I.DENNER (within a scroll)//[fir tree]D. Ex coll. Albrecht Kleinschmidt, Neu Ulm, Germany. | |||||
| USA-SD-Vermillion: National Music Museum | 6172 | Steenbergen | f’ | alto | c1720 | 410 | 3 | 528 | ivory | Originally in a private collection in the province of Groningen, in the northern parts of the Netherlands. All 3 sections stamped I:STEENBERGEN (in scroll)/fleur-de-lys. Double holes for fingers 6 & 7 (the double hole for 6 is unequal, 7 is equal). In excellent playing condition. See Bouterse (1998, 2001). Nominal and performance pitch from Haynes (2002: 451). | |||
| USA-SD-Vermillion: National Music Museum | 6044 | J Denner | tenor | c1715 | 3 | 672 | 1 | box | brass | All 3 sections stamped I.DENNER (within a scroll)//[fir tree] D. Key with a round, flat cover on the foot. Ex coll. Albrecht Kleinschmidt, Neu Ulm, Germany. | |||
| D-Berlin | 656 | g | basset | 27C | 440 | 1 | wood | metal ferrules | Stamped KK. Originally from St Wenzels Kirche, Naumburg. Sounding length 832 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). Image & further details here | ||||
| D-Berlin | 2818 | Bassano | g# | basset | 440 | Stamped ! (ML-J type unclassified), & thus probably by a member of the Bassano family. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. For image see here. | |||||||
| D-Berlin | 2820 | Rol | f | basset | 440 | Stamped A.T. ROL Sounding length 876 mm. Windway, window & blowing side, towards the player. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). | |||||||
| I-Bologna: Museo | 1768 | Bassano | f# | basset | 440 | Stamped !! (M-type A) & thus probably by a member of the Bassano family. Sounding length 865.4 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Bologna: Museo | 1815 | Bassano | f# | basset | 440 | 1 | box | brass | Stamped !! !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 849.7 mm. Foot with perforated fontanelle and butterfly key. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | ||||
| I-Bologna: Museo | 1830 | Bassano | g# | basset | 440 | yew | Stamped !! (ML-J type L) & thus probably by a member of the Bassano family. New baroque foot added, with clarinet-type keys! For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). | ||||||
| I-Bologna: Museo | 1839 | Bassano | c#’ | tenor | 440 | box | !! Stamped !! !! (ML-J type A) & thus probably by a member of the Bassano family. New baroque foot added, with clarinet-type keys! For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | ||||||
| I-Bologna: Accad. Fil. | 596 (Puglisi 2; Tiella 4) | Grece | d’+ | tenor | 440 | plum | stamped p·grece. a brass sleeve is fitted to the upper section which is split from top to window. Sounding length 525 mm. said to work with jambe de fer fingerings. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 535); tiella (2005; 131). tiella gives the pitch as ca a=462 hz. | ||||||
| I-Bologna: Accad. Fil. | 597 (Puglisi 3; Tiella 5) | Grece | d’+ | tenor | 440 | plum | Stamped P·GRECE. Sounding length 525 mm. Said to work with Jambe de Fer fingerings. An irremovable brass sleeve is fitted below the mouth of the recorder, which is split along the body. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535); Tiella (2005: 132). Tiella gives the pitch as ca A=432Hz | ||||||
| I-Bologna: Accad. Fil. | 598 (Puglisi 4; Tiella 6) | Grece | c’+ | tenor | 440 | plum | Stamped P·GRE/C/E. Sounding length 567 mm. Head split from top to windway. Said to work with Jambe de Fer fingerings. For critical measurements, photo & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535); Tiella (2005: 132). Tiella gives pitch a ca A=462 Hz. | ||||||
| I-Bologna: Accad. Fil. | 600 (Puglisi 5; Tiella Bs1) | Grece | g | basset | 440 | plum | Stamped P·GRECE. Sounding length 765.5 mm. Said to work with Jambe de Fer fingerings. this instrument has the window facing backward. The top of the windcap is flat. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535); Tiella (2005: 133). | ||||||
| I-Bologna: Accad. Fil. | 603 (Puglisi 6; Tiella Bs2) | Grece | g+ | basset | 440 | plum | stamped p·grece. Sounding length 767 mm. said to work with jambe de fer fingerings. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 536). tiella (2004: 9 & 2005: 134) gives this instrument the inventory number 601, in error! | ||||||
| I-Bologna: Accad. Fil. | 605 (Puglisi 8; Tiella B1) | Grece | c+ | bass | 440 | 2 | stamped p·grece. Sounding length 1121.5 mm. said to work with jambe de fer fingerings. constructed in three parts, two mortised and glued together to form its lower section. the tenon joining body and head is mortised in reverse. a wind-duct has been drilled into the wall of the head in order to insert a mouthpiece. the resulting damage to the beak has been covered by a metal cap.the ramp has been repaired by gluing a metal sheet on the broken edge. for critical measurements, photo & other details see adrian brown’s renaissance recorders database; brown (2005b: 536); tiella (2004 & 2005) tiella (2004: 9 & 2005: 134-135) gives this instrument the inventory number of 604, in error! | ||||||
| I-Bologna: Accad. Fil. | 604 (Puglisi 9; Tiella B2) | Grece | c+ | bass | 440 | 2 | 1 | plum | stamped p·grece. Sounding length 1109 mm. a wind-duct has been drilled into the wall of the head in order to insert a mouthpiece. the beak has been covered by a metal sleeve. the fontanelle and key are missing. said to work with jambe de fer fingerings. for critical measurements, photo & other details see adrian brown’s renaissance recorders database; brown (2005b: 536); tiella (2004 & 2005). tiella (2004: 9 & 2005: 134-146) gives this instrument the inventory number 605, in error! | ||||
| I-Bologna: Accad. Fil. | 594 (Puglisi 13; Tiella 1) | Bassano | d#’ | tenor | 440 | 498 | box | Stamped !! !! (ML-J type B) below the window & thus probably by a member of the Bassano family. Sounding length 498 mm. Instrument is warped and has been modified several times. Plays with Ganassi fingerings. For critical measurements, photo & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005: 533); Tiella (2005). | |||||
| I-Bologna: Accad. Fil. | 593 (Puglisi 12; Tiella 2) | Unknown | d#’ | tenor | 440 | 1 | plum | Short windway with markedly sloping ramp. Head split from top to window. Plays with Van Eyck/Jambe de Fer fingerings. For critical measurements, photo & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536); Tiella (2005: 130). | |||||
| D-Brunswick | 81 | Schnitzer | g# | basset | 440 | box | stamped ââ. Sounding length 781 mm. instrument has very thin walls; plays with ganassi fingerings. for critical measurements & other details see: brown, a. renaissance recorders database; brown (2005b: 534). | ||||||
| D-Brunswick | 85 | Bassano | B+ | bass | 440 | 2 | plum | Stamped !! (ML-J type unclassified) & thus probably by a member of the Bassano family. Sounding length 1266.5 mm. In two sections. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. | |||||
| B-Brussels | 3371 | Rol | f# | soprano | 1550-1600 | 440 | 1 | 239 | yew | Stamped A.T. ROL. Sounding length 205.5 mm. Broken in two pieces. For critical measurements & other details see Brown (2005/2023); 2005b: 534). Images & further information. | |||
| B-Brussels | 1033 | Bassano | ?f# | basset | c.1550 | ?440 | 2 | 900 | 1 | wood | 2 brass ferules on fontanelle | brass | Stamped !! (ML-J type H) & thus probably by a member of the Bassano family. Sounding length 845 mm. Direct blown: windway and window/labium towards the player. For critical measurements & other details see Brown (2005/2023; 2005b: 533). Image & further details. |
| B-Brussels | 0440 | Schrattenbach | d# | bass | c.1550 | 440 | 2 | 1172 | 1 | pear | 2 brass ferules on fontanelle, 1 on windcap | brass | Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. Sounding length 1009.5 mm. Cap is a replacement. For critical measurements & other details see Brown 2005/2023; 2005b: 534). Images & further details. |
| B-Brussels | 1024 | ? Danner OR Drebs | c#’ | tenor | 1601-1650 | 440 | 1 | box | Stamped HD. Sounding length 543.8 mm. This recorder has the same, or similar mark just below the window as Berlin 659, could almost be interpreted as a trefoil. For critical measurements & other details see Brown (2005/2023; Brown (2005b: 535). mage & further details. | ||||
| B-Brussels | 1025 | Bassano | c#’ | tenor | 1576-1600 | 440 | 1 | 626 | box | Stamped !! (ML-J type unclassisfied). Sounding length 558.5 mm. Labium is replacement. For critical measurements & other details see Brown (2005/2023; Brown (2005b: 534). Images & further details. | |||
| B-Brussels | 1031 | Unknown | f# | basset | 16C | 440 | 2 | 940 | 1 | wood, stained dark red. | 2 brass ferules on fontanelle, 1 on windcap | brass | Sounding length 849 mm. For critical measurements & other details see Brown (2005/2023; 2005b: 536). Image & further details. |
| B-Brussels | 1032 | Schnitzer | g# | basset | 16C | 466 | 2 | 860 | 1 | Cornelian Cherry | 2 brass ferules on fontanelle, 1 on windcap | brass | Stamped ÂÂ. Sounding length 781 mm. Plays with Ganassi fingerings. For critical measurements & other details see Brown (2005/2023; 2005b: 534). Images & further details. |
| B-Brussels | 1034 | Schnitzer | g# | basset | c.1550 | 440 | 2 | 720 | 1 | light-coloured wood | 2 brass ferules on fontanelle | brass | Stamped ÂÂ. Sounding length 651 mm. direct blown (no cap). Fontanelle looks original, but bell rim has been almost entirely replaced. For critical measurements & other details see Brown 2005/2023; 2005b: 534). Images & further details. |
| B-Brussels | 2646 | Rafi | a | basset | 16C | 440 | 2 | 1 | ? apple | 2 brass ferules on fontanelle | brass | Stamped with a shield depicting an unknown animal, possibly the Brabant Lion. Sounding length 701 mm. This instrument has the same maker’s mark as B-Brussels: M2647 and B-Bruges: M37, thus if the Bruges instrument is considered to be by a member of the Rafi family, then this instrument should be, too. Direct-blown. For critical measurements & other details see Brown 2005/2023; 2005a: 97; 2005b: 536). Images & further details. | |
| B-Brussels | 2647 | Rafi | d | bass | 440 | 2 | 1255 | 1 | wood | 2 brass ferules on fontanelle | brass | Stamped with a shield depicting an unknown animal, possibly the Brabant Lion. Sounding length 1083 mm. This instrument has the same mark as B-Brussels 2646 and B-Bruges M37, thus if the Bruges instrument is considered to be by a member of the Rafi family, then this instrument should be, too. Bocal enters top of windcap. For critical measurements & other details see Brown (2005/2023; (2005a: 97; 2005b: 536). Images & further details. | |
| B-Brussels | 4357 | Bassano | f#? | basset | c.1576-1600 | 440 | 2 | 920 | 1 | box | 2 brass ferules on fontanelle, 1 on windcap | brass | Stamped !! (MJ-L type A) & thus probably by a member of the Bassano family. Sounding length 841 mm. For critical measurements & other details see Brown (2005/2023; 2005b: 533). Image & further details. |
| B-Brussels | 4358 | Bassano | f#? | basset | c.1550 | 440 | 2 | 935 | 1 | wood | 2 brass ferules on fontanelle, 1 on windcap | brass | Stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 843 mm. The labium has been expertly repaired. Fingerhole 3 is angled distally. For critical measurements & other details see Brown (2005/2023; 2005b: 533) Images & further details. |
| DK-Copenhagen: Musikhist. Mus. | E78, kat. 38 | Schnitzer | g# | basset | 440 | maple | stamped ââ. Sounding length 781 mm. the sides of the window are cut away, as with i-merano 6851 & 6858. for critical measurements & other details see brown, a. renaissance recorders database; brown (2005b: 534). | ||||||
| DK-Copenhagen: Musikhist. Mus | 2009-3 | d#” | soprano | 440 | 1 | ivory | found in silkeborg area, denmark (mogens 2016, pers.comm.) formerly dk-private collection. no maker’s mark. renaissance/early baroque design with a widely flared foot. said to play with matthysz fingerings by eva legêne (1995). closely resembles a soprano recorder by richard haka (1646-1709) in edinburgh university collection, but is a minor third higher. for critical measurements & other details see adrian brown’s renaissance recorders database; Brown (2005b: 536). | ||||||
| I-Rome: Museo dSM | 717 | Bassano | c#’ | tenor | 16C | 440 | 618 | Cornelian Cherry | Stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 618 mm. Ex Marcello collection. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). Lyndon-Jones (1998) notes that although the head of this instrument is stamped !! the foot is stamped !! !! Images here (lhs) & there. | ||||
| I-Rome: Museo dSM | 718 | Bassano | c | bass | 440 | 1378 | 1 | Cornelian Cherry | brass, 1 on windcap, 2 on fontanelle | brass | Stamped !!! (M-type A) & thus probably by a member of the Bassano family. Sounding length 1272.5 mm. Crook missing. Ex Marcello collection. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). Lyndon-Jones (1998) notes that although the head of this instrument is stamped !! !! !! (arranged in a triangle) the foot is stamped !! !! Images here (lhs) & there. | ||
| I-Rome: Museo dSM | 719 | Bassano | f# | basset (extended) | 16C | 440 | 2 | 1118 | 3 | Cornelian Cherry | brass, 1 on windcap, 2 on fontanelle | brass | Stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 1118 mm. One key on front; two on the back. Ex Marcello collection. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). Lyndon-Jones (1998) notes that although the head of this instrument is stamped !! !! !! (arranged in a triangle) the foot is stamped !! !! Images here (middle) & there. |
| I-Rome: Museo dSM | 720 | Bassano | f# | basset | 440 | 2 | 944 | 1 | Cornelian Cherry | 1 brass ferrule on windcap, 2 on fontanelle | brass | Stamped !! (ML-J type A). Sounding length 944 mm. This instrument has a brass edge to the labium. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). Lyndon-Jones (1998) notes that although the head of this instrument is stamped !! the foot is stamped !! !! Images here (rhs) & there. | |
| D-Frankfurt: M: Hist. Mus. | X 4261 (Epstein 120) | ? Danner OR Drebs | f# | basset | 440 | 900 | ? cherry | Stamped HD. Sounding length 830.5 mm. Part of an 11-recorder set with case D-Frankfurt: M: Hist. Mus.: X4267. Conical bore: head cylindrical; middle conical, with two separate conical sections; bell campanulate. For critical measurements, photo & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005a: 81; 2005b: 535). Epstein (1927); Baines (1966: 80 & fig. 417) | |||||
| D-Frankfurt: M: Hist. Mus. | X 4262 (Epstein 118) | ? Danner OR Drebs | c#’ | tenor | 440 | 595 | ? cherry | Stamped HD. Sounding length 543 mm. Part of an 11-recorder set with case D-Frankfurt: M: Hist. Mus. X4267. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). Epstein (1927: 118); Baines (1966: 80 & fig. 416) | |||||
| D-Frankfurt: M: Hist. Mus. | X 4263 (Epstein 119) | ? Danner OR Drebs | c#’ | tenor | 440 | ? cherry | Stamped HD. Sounding length 543.8 mm. Part of a 11-recorder set with case D-Frankfurt: M: Hist. Mus. X4267. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brwn (2005b: 535). Epstein (1927: 119). | ||||||
| D-Frankfurt: M: Hist. Mus. | X 4264 (Epstein 116) | ? Danner OR Drebs | g#’ | alto | 440 | 405 | ? cherry | Stamped HD. Sounding length 363 mm. Part of an 11-recorder set with case D-Frankfurt: M: Hist. Mus. X4267. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). Epstein (1927: 116); Baines (1966: 80 & fig. 415) | |||||
| D-Frankfurt: M: Hist. Mus. | X 4265 (Epstein 117) | ? Danner OR Drebs | g#’ | alto | 440 | ? cherry | Stamped HD. Sounding length 363.9 mm. Part of an 11-recorder set with case D-Frankfurt: M: Hist. Mus. X4267. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). Epstein (1927: 117). | ||||||
| D-Frankfurt: M: Hist. Mus. | X 4266 (Epstein 120b) | ? Danner OR Drebs | case for eleven recorders including 116-120 unmarked. lengths of chambers: 2 × 208 mm, 2 × 278 mm, 2 × 322 mm, 2 × 412 mm, 2 × 589 mm & 1 × 905 mm. appears to be made for basset in f, two tenors in c’, two altos in g’, two sopranos in c”, two sopranos in d”, and two spraninos in g” at mezzo punto (brown & lasocki, 2006: 24). bears the mark hd pm. for critical measurements & other details see adrian brown’s renaissance recorders database; Brown (2005b: 536). epstein (1927: 120b); baines (1966: 80 & fig. 418) | ||||||||||
| D-Frankfurt: M: Hist. Mus. | X 4267 (Epstein 114) | d’ | tenor | 440 | 1 | 555 | Stamped FF/PM. Sounding length 504 mm. Head with tulip-shaped moulding. Van Eyck/Jambe de Fer fingerings. Mate to D-Frankfurt: M: Hist. Mus. X 4268. For critical measurements, photo & other details see Brown, A. Renaissance Recorders Database; Brown (2005a: 95; 2005b: 535). Epstein (1927: 114); Baines (1966: 80 & fig. 422) | ||||||
| D-Frankfurt: M: Hist. Mus. | X 4268 (Epstein 115) | d’ | tenor | 440 | Stamped FF/PM. Sounding length 503.5 mm. Mate to D-Frankfurt: M: Hist. Mus. X 4267. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). Epstein (1927: 115). | ||||||||
| D-Frankfurt: M: Hist. Mus. | X 4269 | PM | case | stamped marked pm. case for 5 recorders including d-frankfurt: m: hist. mus. 114 & 115. lengths of chambers: 2 × 315 mm, 1 × 423 mm & 2 × 570 mm. intended for two tenors in c’, one alto in f’, and two sopranos in bb‘ at a pitch a semitone above mezzo punto, ie in fourths, presumably a late trait (Brown & Lasocki, 2006: 24). | |||||||||
| NL-Hague | 240.8 | d”’ | piccolo (garklein flutlein) | 466 | 1 | ivory | Said by Fred Morgan to work with Matthysz fingerings. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. | ||||||
| A-Innsbruck: Mus Ferdinadeum | 21 | Bassano | tenor | c. 1590 | 1 | 1 | silver sheath on beak | Stamped !! (ML-J type unclassified) on head and foot & thus probably by a member of the Bassano family. The key and fontanelle (if any) are missing. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). | |||||
| D-Leipzig | 2403 | Rol | f#’ | alto | 17C | 440 | 1 | 465 | ebony | horn decoration between beak and window/labium | stamped a.t. rol. Sounding length 422 mm. legêne believes this to be more similar to the early baroque recorder by virtue of its bore characteristics. the beak is cut at right angles to form a slender mouthpiece. for critical measurements & other details see adrian brown’s renaissance recorders database. brown (2005b: 534); herbert heyde: flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 36-37; legêne (1995). images & further information here (from d-leipzig) and there. | ||
| A-Linz: Schlossmus | MU1 | CCS | c#’ | tenor | 440 | Stamped CCS. Sounding length 557.5 mm. Single 7th finger hole. For critical measurements & other details see Brown (2005/2023; 2005b: 534). Nominal and performance pitch from Brown (2005). Haynes (2002) gives a nominal pitch of c’ and a performance pitch of A=458 Hz for this instrument. Image | |||||||
| A-Linz: Schlossmus | MU2 | Unknown | g#’ | basset | 440 | Sounding length 817 mm. Lowest note and performance pitch from Brown (2005b). Haynes (2002: 252) gives this instrument a nominal pitch of g’ at the performance pitch of A=451 Hz. For critical measurements & other details see Brown (2005/2023). | |||||||
| GB-London: V&A | 303-1882 | Bassano | g# | basset | 440 | 1 | 840 | 1 | box | brass | Stamped !! (M-type Q) & thus probably by a member of the Bassano family. Sounding length 762 mm. Windcap probably not original. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). Image & further details here. | ||
| GB-London: V&A | 306-1882 | Bassano | g# | basset | 440 | 1 | box | brass | brass | Stamped !! (ML-J type Q) & thus probably by a member of the Bassano family. Sounding length 761 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). | |||
| I-Merano: Landfl. Burg. | 6851 | Schnitzer | g# | basset | 440 | 2 | 860 | 1 | ? cherry | brass | stamped ââ. Sounding length 780.5 mm. the sides of the window are cut away, as in tenor (inv no. 6858) and dk-copenhagen e.78, kat. 38. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 534). small image here. | ||
| I-Merano: Landfl. Burg. | 6854 | Schnitzer | c# | bass | 440 | 2 | 1270 | 1 | maple | brass | brass | stamped ââ. Sounding length 1169 mm. made from two pieces, with a glued joint above fontanelle. much woodworm and a large crack from hole 4 to above fontanelle. crook and key look later replacements. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 534). small image here. | |
| I-Merano: Landfl. Burg. | 6858 | Schnitzer | d#’ | tenor | 440 | 1 | 565 | box | stamped ââ. Sounding length 508 mm. window sides cut away, as dk-copenhagen e.78, kat. 38. for critical measurements & other details see adrian brown’s renaissance recorders database. brown (2005b: 534). small image here. | ||||
| I-Modena: Museo | SM 18-1981 | Mazel | c”’ | piccolo (garklein flutlein) | c1670 | 440 | 1 | ivory | Stamped M & thus possibly of Nuremberg origin. Sounding length 143 mm. Wave profile (Kirnbauer 1995). Thalheimer (1990) notes that this instrument was made by the Nuremberg maker with the mark M, probably from the Mazel family. Lowest note and performance pitch from Brown (2005b). Haynes (2002) identifies this instrument as a soprano with a nominal pitch of c” at a performance pitch of A=415 Hz, and he tentatively attributes it to Andreas MaÃ. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). | ||||
| F-Paris | E.2141 | Unknown | E+ | contrabass | 17C | 440 | 1 | 2050 | 1 | fruitwood | 2 brass ferrules | brass | Sounding length 1837 mm. Replacement foot by Henri Gohin. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database & here; Brown (2005b: 536). |
| F-Paris | E.2330 | Bassano | b’ | soprano | 17C | 440 | 1 | 350 | ivory | Head leather-covered with fleur de lys motifs, not stamped but partner to F-Paris 1935, & thus probably by a member of the Bassano family. Sounding length 306.5 mm. Bell turned cylindrical. Ex Collection Paul Cesbron. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database & here; Brown (2005b: 534). | |||
| F-Paris | E.2376 | Bassano | g# | basset | 17C | 440 | 1 | 864 | 1 | fruitwood | 3 brass ferrules on windcap & fontanelle | brass | Stamped ! (possibly !!) & thus probably by a member of the Bassano family. Plays with Ganassi fingerings. Sounding length 782.5 mm. Ex Collection Paul Cesbron. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database & here. |
| F-Paris | E.301 | c# | bass | 17C | 440 | 2 | 1340 | maple | 5 brass ferrules, & 1 brass sheath on windcap | stamped y. two-piece construction with a joint between finger-holes 3 & 4 & a tête de negre (carved head) on top of the windcap. Sounding length 1145 mm. ex collection louis clapisson. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 536). | |||
| F-Paris | E.365 | Unknown (German) | g# | basset | 17C | 440 | 1 | 870 | 1 | fruit wood | 3 brass ferrules on windcap & fontanelle | brass | Stamped with a single trefoil. Sounding length 775 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database & here; Brown (2005b: 536). |
| F-Paris | E.980.2.85 | Unknown | d#’ | tenor | 17C | 523 | 520 | fruitwood | ivory beak & mounts | Sounding length 459.4 mm. Huge bore diameter. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database & here; Brown (2005b: 536). | |||
| D-Quedlinburg | case | 17C | case for seven recorders tuned in alternate fifths and fourths, including the five held at d-quedlinburg stamped s and clearly dating from the 17th century. (Brown & Lasocki, 2006: 24). legêne notes that there is space in this case for two soprano recorders, the whereabouts of which are unknown. image here | ||||||||||
| F-La Couture-Boussey: Musée | 1 | Unknown | c”’ | piccolo (garklein flutlein) | 1888-1896 | 2 | 285 | boxwood | MacMillan (2007: 201; 2008; 69) ‘Piccolo en UT copié d’un modèle du 17e siécle précisé’ Image here | ||||
| F-La Couture-Boussey: Musée | 2 | Unknown, after Rafi | c” | soprano | 1888-1896 | 340 | boxwood | Stamped RAFI, a 19th-century copy. Image here MacMillan (2007: 201; 2008: 69-70) | |||||
| F-La Couture-Boussey: Musée | 3 | Unknown, La Couture-Boussey | f’ | alto | 1888-1896 | 440 | 3 | 442 | stained boxwood | A 19th-century reconstitution, an unplayable copy of a baroque recorder made for museum display. McMillan (2007: 201; 2008: 70). Image here. | |||
| F-La Couture-Boussey: Musée | 5 | Unknown | c’ | tenor | 1888-1896 | 3 | 655 | 1 | boxwood | brass | A 19th-century reconstitution in baroque style; an unplayable copy made for museum display. Head bears the mark J.B.; underside of foot bears the mark CF.d McMillan (2007: 201; 2008: 70) Image here. | ||
| F-La Couture-Boussey: Musée | 6 | Unknown, after Hotteterre | c’ | tenor | 1888-1896 | 3 | 684 | 1 | brass | The instrument, in the style of Hotteterre, is stamped V/M, suggesting that the maker was Victor Charles Mahillon, but the instrument was made in La Couture and Mahillon is not known to have used this mark. MacMillan (2007: 201; 2008: 70-71) Image here. | |||
| F-La Couture-Boussey: Musée | 7 | Unknown, after JC Denner | f | basset | 1893 | 440 | 910 | 1 | wood | brass ferrule on windcap | brass | Stamped J.C. DENNER (in scroll), but the mark is not authentic. This instrument is a 19th-century copy made for museum display. MacMillan (2007: 201; 2008: 71) Image here. | |
| F-La Couture-Boussey: Musée | 8 | Unknown | f | basset | 1888-1896 | 1050 | 1 | ‘light wood’ | A 19th-century reconstitution, an unplayable copy made for museum display. Image here MacMillan (2007: 201: 2008: 71-72) | ||||
| F-La Couture-Boussey: Musée | 15 | ? Martin (not signed) | c” | soprano | ?19C | 2 | 33,7 | boxwood | Collection Inventory (1898) MacMillan (2008: 92-93) Image here | ||||
| F-La Couture-Boussey: Musée | 17 | Unknown | f’ | alto | 1888-1896 | 3 | 476 | wood | Stamped C.F., in poor condition. A 19th-century reconstitution, an unplayable copy made for museum display. MacMillan (2007: 201; 2008: 72) Image here. | ||||
| F-La Couture-Boussey: Musée | 110 | Unknown, La Couture-Boussey | d’ | tenor | |||||||||
| A-Salzburg: Mus. Car.-Aug | M241 | G Walch | g# | basset | 440 | 1 | 1 | Sounding length 660 mm. Baroque style instrument with typical open standing baroque key. No sign of modification. No fontanelle or cap. Although elliptical, the bore is almost cylindrical. For critical measurements & other details Brown (2005/2023); 2005b: 535). | |||||
| A-Salzburg: Mus. Car.-Aug | M237 | a#’ | basset | 440 | ? Cornelian cherry (Cornus mas) | Stamped PP. Sounding length 655 mm. This highly unusual instrument has a unique key arrangement. The touch activates an upside-down flap beneath a pierced brass cover. There is a score mark below the cover, but the wood seems to match and therefore the bell is probably original. The instrument probably originally had a fontanelle, the mounts having been removed to install the key arrangement. The slight waisting at this point seems to confirm this. The voicing is damaged. For critical measurements & other details see Brown (2005/2023; 2005b: 535). | |||||||
| Russia-St. Petersburg | 409 | Bassano | B | extended bass | 440 | 1650 | ? 2 | Stamped !!! (M-type unclassified), & thus probably by a member of the Bassano family. Speaking length 1650 mm. An extended recorder, probably with two extra keys, in which case the logic should imply that the extra notes are Bb and G# (see extended bassets in Rome and Verona, around a fifth above this instrument.) For image see here. For critical measurements & other details see Adrian Brown’s Renaissance Recorder Database. | |||||
| I-Verona: Accad. Fil. | 13.243 | Bassano | F#- | contrabass | 440 | Stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 1794 mm. Labium with a beautifully executed brass edge, seen again in I-Verona 13.249. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Accad. Fil. | 13.244 | B+ | bass | 440 | maple | Stamped !! (ML-J type H) & thus probably by a member of the Bassano family. Sounding length 1207 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Accad. Fil. | 13.245 | Bassano | B | bass | 440 | Stamped !! (ML-J type G) & thus probaby by a member of the Bassano family. Sounding length 1294 mm. Mate to I-Verona: Accad. Fil. 13.246. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Accad. Fil. | 13.246 | Bassano | B | bass | 440 | Stamped !! (M-type G) & thus probably by a member of the Bassano family. Sounding length 1282 mm. Mate to I-Verona: Accad. Fil. 13.245. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Accad. Fil. | 13.247 | Schrattenbach | c# | bass | 440 | plum | Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. Sounding length 1119 mm. Like its sibling, 13.248, the fingerholes are very small and heavily undercut. The crook could be original and is of an unusual form. Cap is a modern replacement. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534). | ||||||
| I-Verona: Accad. Fil. | 13.249 | Bassano | f# | basset (extended) | 440 | 1043 | Stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 1043 mm. Note with all holes covered is d. Fingering 0 123 4567 produces f. Labium with a beautifully executed brass edge, seen again in I-Verona 13.243. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | ||||||
| I-Verona: Accad. Fil. | 13.25 | Bassano | f# | basset | <440 | Stamped !! (M-type G) & thus probably by a member of the Bassano family. Sounding length 845 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Accad. Fil. | 13.251 | Bassano | f# | basset | <440 | Stamped !! (M-type G) & thus probably by a member of the Bassano family. Sounding length 843 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Accad. Fil. | 13.252 | Bassano | f# | basset | <440 | Stamped !! (ML-J type G) & thus probably by a member of the Bassano family. Sounding length 845 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Accad. Fil. | 13.253 | Bassano | f# | basset | <440 | Stamped !! (ML-J type G) & thus probably by a member of the Bassano family. Sounding length 845 mm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Accad. Fil. | 13.254 | Bassano | f#+ | basset | >440 | Stamped !! (ML-J type H) & thus probably by a member of the Bassano family. Sounding length 821 mm. Similar in workmanship to 13.250, this instrument does not play as well and is in a higher pitch. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 533). | |||||||
| I-Verona: Bibloteca Capitolare | 1 | Bassano | f# | basset | 440 | figured maple | Stamped !! (M-type N) & thus probably by a member of the Bassano family. Sounding length 837 mm. Damaged by woodworm. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. | ||||||
| I-Verona: Bibloteca Capitolare | 2 | Hieronimo de li Flauti | g# | basset | 440 | figured maple | Stamped HIERS. Sounding length 733 mm. Damaged by woodworm. Lowest note and peformance pitch from Brown (2005b). For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). | ||||||
| A-Vienna | SAM 132 (C 143, KK 8519) | Hieronimo de li Flauti | b♭’ | alto | 440 | 374.5 | box | Foot stamped HIERS· Sounding length 327.0 mm. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1970: 77); Marvin (1972: 32); Lyndon-Jones (1987: 61); Bär (2002: 314, 342); Brown (2005b: 535); Darmstädter (2004: 61-170; 2005: 104 ff.); Darmstädter & Brown (2006: 155-157 & colour photographs). Image. | |||||
| A-Vienna | SAM 142 (C 153, KK 8529) | Hieronimo de li Flauti | d#’ | tenor | 440 | 533.5 | box | Foot stamped HIERS· Sounding length 497.0 mm. One of the Catajo recorders. Mate to A-Vienna: SAM 144 & SAM 143. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 78); Marvin (1973: 32); Lyndon-Jones (1987: 61); Bär (202: 295, 413); Brown (2005b: 535); Darmstädter (2004/5: 161-170); Darmstädter & Brown (2006: 186-188 & colour photographs; Bali (2007: colour plate). Image. | |||||
| A-Vienna | SAM 143 (C 154, KK 8530) | Hieronimo de li Flauti | d#’ | tenor | 440 | 553 | box | Foot stamped HIERS· Sounding length 495.5 mm. Mate to A-Vienna: SAM 142 & SAM 144. One of the Catajo recorders. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 78); Marvin (1973: 32); Bär (2002: 295, 413); Brown (2005b: 535); Darmstädter (2005: 103); van Heyghen (2005: 207); Darmstädter & Brown (2006: 183-185 & colour photographs. Image. | |||||
| A-Vienna | SAM 144 (C 155, KK 8531) | Hieronimo de li Flauti | d#’ | tenor | 440 | 551.3 | box | Foot stamped HIERS· Sounding length 496.5 mm. Mate to A-Vienna: SAM 142 & SAM 143. one of the Catajo recorders. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 78); Marvin (1973: 32); Bär (2002: 295, 314); Brown (2005b: 535); Darmstädter (2004/5: 161-170 & 2005: 103); van Hehyghen (2005: 271); Darmstädter & Brown (2006: 192-194 & colour photographs). | |||||
| A-Vienna | SAM 159 (C 170, KK 8545) | Hieronimo de li Flauti | g# | basset | 440 | 3 | 827 | 1 | maple | windcap & fontanelle with brass ferrules | brass | Foot stamped HIERS· Sounding length 740.5 mm. Mate to A-Vienna: SAM 160. one of the Catajo recorders. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 314, 343); Brown (2005b: 535); Darmstädter (2004/5: 161 ff. & 2005: 104 ff); van Heyghen (2005: 271); Darmstädter & Brown (2006: 226-229 & colour photographs). | |
| A-Vienna | SAM 160 (C 171, KK 8546) | Hieronimo de li Flauti | g# | basset | 440 | 3 | 827.5 | 1 | maple | windcap & fontanelle with brass ferrules | brass | Stamped HIERS· Sounding length 741.5 mm. One of the Catajo recorders; mate to A-Vienna: SAM 159. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 295, 314); Brown (2005b: 535); Darmstädter (2005: 106-107); van Heyghen (2005: 271); Darmstädter & Brown (2006: 230-233 & colour photographs). | |
| A-Vienna | SAM 139 (C 150, KK 8526) | Unknown | f’ | alto | 440 | 479.2 | box | Unstamped. Sounding length 426.8 mm. Labium externally laminated with brass, similar to that on A-Vienna: SAM 157. Adrian Brown (pers. comm., 2006) believes these to be repairs, as these two recorders make a convincing set with SAM 131 and 137, and all four fit into the case SAM 172. For critical measurements & other details see Brown (2005/2023); Schlosser (1970: 77); Marvin (1972: 32); Brown (2005b: 563); Darmstädter & Brown (2006: 180-182 & colour photographs). | |||||
| A-Vienna | SAM 161 (C 172, KK 8547) | g# | basset | 440 | 3 | 845 | maple | windcap & fontanelle with brass ferrules | brass | Stamped HIER·S beneath the window/labium. Sounding length 765.0 mm. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 313 f., 343 f.); Brown (2005b: 535); Darmstädter (2004/5: 161-170 & 2005: 104 ff.); van Heyghen (2005: 271); Darmstädter & Brown (2006: 234-237). | |||
| A-Vienna | SAM 162 (C 173, KK 8548) | g# | basset | 440 | 3 | 847.5 | 1 | maple | windcap & fontanelle with brass ferrules | brass | Stamped HIER·S immediately beneath window/labium. Sounding length 762.0 mm. One of the Catajo recorders. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Bär (2002: 323 f., 343, f); Darmstädter (2004/5: 161-170) & 2005: 107-108; Brown (2005b: 535); Darmstädter & Brown (2006: 238-241 & colour photographs). | ||
| A-Vienna | SAM 166 (C 177, KK 8551) | c# | bass | 440 | 3 | 1260 | 1 | maple | windcap and fontanelle with brass ferrules | brass | Stamped HIER·S immediately below the window/labium. Sounding length 1139.5 mm. Bocal of brass. Mate to A-Vienna: SAM 167 & 168. Labium extensively damaged. One of the Catajo recorders. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1982: 31); Lyndon-Jones (1987: 61); Bär (2002: 313f., 343 f.); Darmstädter (2004/5: 161-170; 2005: 104 ff.); Brown (2005b: 535); van Heyghen (2005: 271); Darmstädter & Brown (2006: 263-267 & colour photographs). | ||
| A-Vienna | SAM 167 (C 178, KK 8552) | c# | bass | 440 | 3 | 1245 | 1 | maple | windcap and fontanelle with brass ferrules | brass | Stamped HIER·S immediately below the window/labium. Sounding length 1123.5 mm. One of the Catajo recorders. Mate to A-Vienna: SAM 166 & 168. Labium undamaged, but cut-up seems small for such a large instrument. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (202: 313 f., 343, f); Brown (2005b: 535); Darmstädter (2004/5: 161-170; 2005: 104 ff.); van Heyghen (2005: 271); Darmstädter & Brown (2006: 268-271 & colour photographs); Bali (2007: colour photograph). | ||
| A-Vienna | SAM 169 (C 180, KK 8554) | F# | contrabass | 440 | 3 | 1835 | 1 | maple | windcap and fontanelle with brass ferrules | brass | Stamped HIER·S immediately below window/labium. Sounding length 1692.0 mm. Labium extensively damaged. One of the Catajo recorders. Lowest note and performance pitch from Brown (2005b). For critical measurements & other details see Brown 2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 313 f., 343 f.); Darmstädter (2004/5: 161-170; 2005: 104 ff.); Brown (2005b: 535); van Heyghen (2005: 271); Darmstädter & Brown (2006: 277-282 & colour photographs); Bali (2007: colour photograph). | ||
| A-Vienna | SAM 168 (C 179, KK 8553) | c# | bass | 440 | 3 | 1246 | 1 | maple | windcap and fontanelle with brass ferrules | brass | Stamped HIER·S immediately below the windway/labium. Sounding length 1118.5 mm. One of the Catajo recorders. Mate to A-Vienna: SAM 166 & 167. Large piece missing from labium. Lowest note and performance pitch from Brown (2005b) For critical measurements & other details see Brown 2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 313 f., 343 f.); Darmstädter (2004/5: 161-170; 2005: 194 ff.); Brown (2005b: 535); van Heyghen (2005: 271); Darmstädter & Brown (2006: 272-276 & colour photographs). | ||
| A-Vienna | SAM 138 (C 149, KK 8525) | Bassano | f’ | alto | 440 | 1 | 477.5 | walnut | Foot stamped !! (M-type unclassified) & thus probably by a member of the Bassano family. Sounding length 428.5 mm. One of the Catajo recorders. Near cylindrical bore: head ? cylindrical; middle wavy; bell: ? For critical measurements, photo & other details see Brown (2005/2023); Schlosser (1920: 77); Bär (202: 315, 341); Brown (2005a: 83-84; 2005b); Darmstädter (2004/5: 171 ff.); Darmstädter & Brown (2006: 170-172 & colour photographs). | ||||
| A-Vienna | SAM 146 (C 157, KK 8533) | Bassano | d#’ | tenor | 440 | 540.3 | box | Foot stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 480.3 mm. External surface of the labium has an ornamental brass lamina, held by a screw (cf. A-Vienna: SAM 139 & 157. There is an additional hole immediately above the usual double (alternative) holes for the lowermost finger, a peculiar feature seen again on SAM 141. These double-drilled holes are definitely a later improvement: they are very crudely done and without much understanding of how these things work (Adrian Brown, pers. comm. 2006). For critical measurements & other details see Brown 2005/2023); Schlosser (1970: 78); Marvin (1972: 32); Lyndon-Jones (1987: 59; 1988); Bär (2002: 315, 341); Brown (2005b: 533); Darmstädter (2004/5: 170 f.); Darmstädter & Brown (2006: 198-200 & colour photographs). A case (SAM 171) in A-Vienna made for alto, 2 tenors, & bass recorders has the same variation of the maker’s mark which is also found on an alto & 2 other tenors in A-Vienna (SAM 135, 149, 150). | |||||
| A-Vienna | SAM 147 (C 158, KK 8534) | Bassano | e’ | alto | 440 | 537.5 | box, new head of pear | Foot stamped !! (ML-J type unclassified) & thus probably by a member of the Bassano family. Sounding length 490.0 mm. Joint (internal) 412 mm from South end, with a visible step in bore at this point. New portion is crudely made and may not represent original speaking length. One of the Catajo recorders For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 78); Marvin (1972: 32); Lyndon-Jones (1987: 60); Bär (2002: 315, 341); Darmstädter (1004/5: 170 ff.); Brown (2005b: 534); Darmstädter & Brown (2006: 201-202 & colour photographs). | |||||
| A-Vienna | SAM 149 (C 160, KK 8536) | Bassano | c#’ | tenor | 440 | 622.4 | box | Foot stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 566.0 mm. One of the Catajo recorders. Probably mate to A-Vienna: SAM 150. For critical measurements & other details see Brown (2005/2023); Lyndon-Jones (1998); Brown (2005b: 533); Schlosser (1920: 78); Marvin (1972: 31); Bär (2002: 315, 341); Darmstädter (2004/5: 170-178); Darmstädter & Brown (2006: 206-208 & colour photographs). A case (SAM 171) in A-Vienna made for alto, 2 tenors, & bass recorders has the same variation of the maker’s mark which is also found on an alto & 2 other tenors in A-Vienna (SAM 135, 146, 150). | |||||
| A-Vienna | SAM 150 (C 161, KK 8537) | Bassano | c#’ | tenor | 440 | 626.7 | box | Stamped !! (ML-J type A) immediately below the window/labium & thus probably by a member of the Bassano family. Sounding length 565.5 mm. One of the Catajo recorders. Probably mate to A-Vienna: SAM 149. For critical measurements & other details see: Brown (2005/2023); Schlosser (1920: 78); Marvin (1972: 31); Lyndon-Jones (1998); Bär (2002: 315, 341); Brown (2005a: 86; 2005b); Darmstädter (2004/5: 170-178); Darmstädter & Brown (2006: 209-211 & colour photographs). A case (SAM 171) in A-Vienna made for alto, 2 tenors, & bass recorders has the same variation of the maker’s mark which is also found on an alto & 2 other tenors in A-Vienna (SAM 135, 146, 149). | |||||
| A-Vienna | SAM 158/C169/8544 | Bassano | g# | basset | 440 | 793 | 1 | maple | windcap & fontanelle with brass ferules | brass | Stamped !! (ML-J type unclassified) below the window/labium & thus probably by a member of the Bassano family. Sounding length 717.5 mm. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 60); Bär (2002: 315); Darmstädter (2004/5: 170 ff.); Darmstädter & Brown (2006: 222-225 & colour photographs). | ||
| A-Vienna | SAM 164 (C 175, KK 4027) | Bassano | f# | basset | 440 | 3 | 940 | 1 | maple | windcap and fontanelle with brass ferrules | brass | Stamped !!!!!! (ML-J type B) immediately below window/labium & on the foot, and thus probably by a member of the Bassano family. Sounding length 852.5 mm. One of the Catajo recorders. A beautifully made instrument, keywork & details of the highest quality, probably a professional player’s instrument. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Bär (2002: 315, 341); Darmstädter (2004/5: 171 ff.); Brown (2005b: 533); Darmstädter & Brown (2006: 246-249 & colour photographs). | |
| A-Vienna | SAM 165 (A 176, KK 8550) | Bassano | f | basset | 440 | 3 | 965 | 1 | maple | fontanelle with brass ferrules | brass | Stamped !! !! (ML-J type unclassified) immediately beneath the window/labium & on the foot, and thus probably by a member of the Bassano family. Windcap with turned ornamental rings. Sounding length 886 mm. ex. Schloss Ambras, Innsbruck, where it is now on display. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 60); Bär (2002: 315, 341); Darmstädter (2004/5: 161 ff.); Darmstädter & Brown (2006: 250-253 & colour photographs). | |
| A-Vienna | SAM 363 (KK 7350) | Bassano | c#’ | tenor | 440 | 1 | 617.7 | 1 | box | brass | Stamped !!!!!! (ML-J type f) & thus probably by a member of the Bassano family. Sounding length 564.0 mm. originally had a fontanelle but no windcap. Foot remade in baroque style with a closed key. near cylindrical bore: head cylindrical, middle conical / cylindrical; bell trumpet-like. For critical measurements, photograph & other details see: Brown (2005/2023; 2005a: 84-86; 2005b: 533); Marvin (1972: 32); Lyndon-Jones (1987: 60); Darmstädter (2004/5: 161, 171); Darmstädter & Brown (2006: 254-257 & colour photographs). Images. | ||
| A-Vienna | SAM 157/C168/8543 | ? Bassano | ?b♭ | tenor | 440 | 719.1 | 1 | box | fontanelle with brass ferrules | brass | No maker’s mark, but possibly by a member of the Bassano family. Sounding length 656.0 mm. A small instrument with key & fontanelle, but no cap. Labium externally laminated with brass, similar to SAM 139. Adrian Brown (pers. comm., 2006) believes these to be repairs, as these two recorders make a convincing set with SAM 131 and 137, and all four fit into the case SAM 172. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Brown (2005b: 536); Darmstädter & Brown (2006: 218-221 & colour photographs). | ||
| A-Vienna | SAM 130 (C 140, KK 8517) | c” | soprano | <1640 | >440 | 1 | 314.9 | maple | Stamped ** (two apples), beneath the window. Sounding length 285.3 mm. Simple renaissance form with a very short windway. Cylindrical down to about the seventh hole, where it suddenly narrows to a smaller diameter, which continues cylindrically throughout the rest of the recorder. Plays with van Eyck/Jambe de Fer fingerings. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1970: 77); Marvin (1972: 32); Brown (2005b: 536); Darmstädter (2005: 99, 109 ff.); Darmstädter & Brown (2006: 145-147 & colour photographs.) | ||||
| A-Vienna | SAM 126 (C 136, KK 8513) | Unknown | f” | sopranino | 440 | 254.5 | box | Sounding length 219 mm. Unusual turning, with paired incised rings on beak, below & on bell. Windway very long; exterior profile tapering towards beak. Original block missing. Mate to A-Vienna: SAM 129. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Brown (2005b: 536); Darmstädter & Brown (2006: 133-135 & colour photographs). | |||||
| A-Vienna | SAM 127 (C 137, KK 8514) | Unknown | e” | soprano | 440 | 281 | box | Sounding length 233.0 mm. Highly unusual turning, in the style of A-Vienna: SAM 126 & 129, but without deep scored patterns around window & on bell. A single incised ring between the beak and window. windway very long. Exterior profile tapering in diameter towards beak. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Marvin (1972: 32); Brown (2005b: 536); Darmstädter & Brown (2006: 136-138 & colour photographs). | |||||
| A-Vienna | SAM 129 (C 139, KK 8516) | Unknown | d#” | soprano | 440 | 309 | box | Sounding length 258.0 mm. Highly unusual turning, with paired deeply incised rings on the beak, below the window & on the bell. Windway very long. Exterior profile tapering towards beak. Original block missing. Mate to A-Vienna: SAM 126. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 536); Darmstädter & Brown (2006: 142-144 & colour photographs). | |||||
| A-Vienna | SAM 128 (C 138, KK 8515) | Unknown | d#” | soprano | 440 | 264.1 | plum | Stamped MI. Sounding length 238.0 mm. Tenon turned on mouthpiece, presumably for missing ornamental mount. Said by Eva Legêne (1995) to work with Matthysz fingerings; however, the lowermost finger-holes seems very small. One of the Catajo recorders. For critical measurements & other details see Brown 2005/2023); Schlosser (1970: 77); Marvin (1972: 32); Brown (2005b: 535); Darmstädter & Brown (2006: 139-141 & colour photographs). | |||||
| A-Vienna | SAM 131 (C 141, KK 8518) | c” | soprano | 440 | 1 | 328.1 | box | Sounding length 285.3 mm. Conical bore: head cylindrical; middle conical; bell campanulate. Plays with van Eyck/Jambe de Fer fingerings. One of the Catajo recorders. For critical measurements and other details see Brown 2005/2023); Schlosser (1920: 77); Marvin (1972: 32); Brown (2005a: 80-81; b: 536); Darmstädter (2005: 99, 109 ff.); Darmstädter & Brown (2006: 148-150, & colour photographs). | |||||
| A-Vienna | SAM 140 (C 151, KK 8527) | Unknown | g#’ | alto | 440 | 455.6 | maple | Head beneath windway stamped ** (two apples). Sounding length 413.5 mm. Plays with van Eyck/Jambe de Fer fingerings. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schloser (1920: 78); Marvin (1972: 32); Brown (2005b: 536); Darmstädter (2004/5: 99, 109 f.); Darmstädter & Brown (2006: 173-175 & colour photographs). | |||||
| A-Vienna | SAM 141 (C 152, KK 8528) | e’ | tenor | 440 | 506.5 | box | horn-sheathed beak | Foot stamped CS. Sounding length 454.5 mm. Labium externally laminated with brass, similar to those on SAM 139 and 157. One of the Catajo recorders There is an additional hole immediately above the usual double (alternative) holes for the lowermost finger, a peculiar feature seen again on SAM 146. These double-drilled holes are definitely a later improvement: they are very crudely done and without much understanding of how these things work (Adrian Brown, pers. comm. 2006). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 78); Marvin (1972: 32); Brown (2005b: 534); Darmstädter & Brown (2006: 183-185 & colour photographs). | |||||
| A-Vienna | SAM 133 (C 144, KK 8520) | Unknown | g#’ | alto | 440 | 378.6 | maple | Sounding length 340.4 mm. Said to be one of the Catajo recorders, though Brown (see below) notes that the fingerholes are not undercut, the wood stain looks almost modern, the block is round and its edge radius therefore equals that of bore. From the graph in Darmstädtler & Brown (2006: 158, ff. 1), the bore is very smoothly profiled, quite unlike those of other instruments from the Catajo collection. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 536); Darmstädter & Brown (2006: 158-160 & colour photographs). | |||||
| A-Vienna | SAM 137 (C 148, KK 8524) | Unknown | f’ | alto | 440 | 476.5 | box | Sounding length 425.0 mm. A well made professional looking instrument. Original block missing. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 536); Darmstädter & Brown (2006: 167-169 & photographs). | |||||
| A-Vienna | SAM 136 (C 147, KK 8523) | d#’ | tenor | 440 | 506.3 | box | silver ring on beak; silver Maltese cross on head | Stamped W/crown. Sounding length 451.5 mm. Although this instrument has been shortened & new window cut, a trace of original blockline is visible. A perforated band in silver has been inlaid into the beak, presumably to secure a major crack in the head; and a silver Maltese cross has been inlaid into the front of the instrument, above the finger-holes. The windway and beak profile are reversed. One of the Catajo recorders. for critical measurements & other details see Brown (2005/2023); Schlosser (1920: 77); Brown (2005b: 534); Darmstädter (2005: 99-109); Darmstädter & Brown (2006: 177-179 & colour photographs). | |||||
| A-Vienna | SAM 145 (C 156, KK 8532) | Unknown | d#’ | tenor | 440 | 558.7 | box | Foot stamped with a crown. Sounding length ca 498 mm. Bore taper slight. Very bent, making measurement difficult. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 78); Marvin (1972: 32); Brown (2005b: 534); Darmstädter (2005: 99, 109 ff.); Darmstädter & Brown (2006: 195-197 & colour photographs). | |||||
| A-Vienna | SAM 163 (C 174, KK 8549) | g | basset | 466 | 3 | 852.5 | 1 | maple | windcap & fontanelle with brass ferrules | brass | Stamped CS or GS, in relief immediately beneath the window/labium, cf. A-Vienna: SAM 134 & 141. Sounding length 754.0 mm. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 79); Marvin (1972: 31); bär (2002: 315); Darmstädter & Brown (2006: 242-245 & colour photographs). | ||
| A-Vienna | SAM 152 (C 163, KK 8539) | Schnitzer | c#’ | tenor | 440 | 607.5 | maple | fontanelle with brass ferrules | stamped ÂÂ immediately below the window/labium, and on the foot. Sounding length 554.0 mm. A small, direct-blown instrument with a fontanelle. One of the Catajo recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 78); Berney (2005: 64); Brown (2005b: 534); Darmstädter (2005: 103); Darmstädter & Brown (2006: 212-214 & colour photographs); Bali (2007: colour photograph). | ||||
| A-Vienna | SAM 170 (C 181, KK 8555) | Bassano OR Hieronimo | case | Case for 8 recorders, including F-Vienna: SAM 132, 142, 143, 144, 159 & 160. lengths of chambers: 1 × 261 mm, 2 × 378 mm, 3 × 555 mm, 1 × 836 mm, 1 × 838 mm. Intended for two bassets in g, three tenors in d’, two altos in a’, and soprano probably in e” at mezzo punto. Marked HIERS. Brown & Lasocki (2006: 33) suggest that the maker of recorders variously stamped HIERS, HIES, HIE·S, HIER 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. For critical measurements & other details see Schlosser (1920: 80); Bär (1920: 321); Stradner (2002: 83); Brown (2005b: 536); Darmstädter (2005: 102); Brown & Lasocki (2006); Darmstädter & Brown (2006: 283 & colour photograph); Bali (2007: colour plate). Image | |||||||||
| A-Vienna | SAM 171 (C 182, KK 8556) | Bassano | Lid stamped !! (ML-J type ) & thus probably by a member of the Bassano family. Lengths of chambers: 1 × 287 mm, 2 × 432 mm & 1 × 620 mm (Schlosser 1920). intended for tenor in c’, two altos in g’, and soprano in d” at mezzo punto (Brown & Lasocki, 2006: 24). The same variation of the maker’s mark is also found on an alto & 3 tenors in A-Vienna (SAM 135, 146, 149, 150). Thus the famous ‘Ganassi’ recorder (SAM 135) may not have been a solo instrument, but part of a consort (Lyndon-Jones 1998). See Brown (2005/2023); Schlosser (1920: 80); Bär (2002: 321); Stradner (2002: 83); Brown (2005a 93; 2005b: 533, 578); Darmstädter & Brown (2006: 284 & colour photograph). | ||||||||||
| A-Vienna | SAM 172 (C 183, KK 8557) | Unknown | case | Case for five recorders. Lengths of chambers: 1 × 223 mm, 1 × 343 mm, 2 × 507 mm & 1 × 734 mm. intended for tenor in c’, two altos in g’, soprano in d”, and sopranino in a”, at a pitch around a tone below modern, the lower version of tuono corista (Brown & Lasocki 2006: 24). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 80); Bär (2002: 321); Stradner (2002: 83); Darmstädter (2005: 102 f.); Brown (2005a: 94; 2005b: 536); van Heyhghen (2005: 260); Darmstädter & Brown (2006: 285 & colour photograph). | |||||||||
| A-Vienna | SAM 173 (C 184, KK 8558) | Unknown | case | Case for four recorders. Lengths of chambers: 1 × 217 mm, 2 × 316 mm & 1 × 456 mm. intended for alto in g’, two sopranos in d”, and sopranino in a”, at a pitch around a semitone lower than modern, the higher version of tuono corista (Brown & Lasocki, 2006: 24). For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 80); Bär (2002: 321); Brown (2005a: 94); Darmstädter (2005: 102 f.); Darmstädter & Brown (2006: 286 & colour photograph). | |||||||||
| A-Vienna: GdM | I.N. 111 | Unknown | c# | bass | 440 | Sounding length 1121 mm. For critical measurements & other details see Brown (2005/2023; 2005b: 536). | |||||||
| A-Vienna: private collection | ?Kynseker | f” | sopranino | 440 | ivory | Wave profile. With case. For critical measurements & other details see Brown (2005/2023; 2005b: 535). | |||||||
| A-Vienna: GdM, but displayed at A-Vienna (2008) | I.N. 115 | Schnitzer | g# | basset | 440 | walnut | brass | stamped ÂÂ. unusually engraved key. Bocal blown. Sounding length 786 mm. For critical measurements & other details see Brown (2005/2023; 2005b: 534). | |||||
| A-Vienna: GdM | I.N. 116 | B | bass | 440 | 1 | Stamped FG HV W. Sounding length 1258 mm. Has an unusual key. For critical measurements & other details see Brown (2005/2023; 2005b: 535). | |||||||
| A-Vienna | SAM 148 (C 159, KK 8535) | d’ | tenor | 440 | 1 | 551.6 | maple | Stamped ** (two apples) immediately beneath window/labium. Sounding length 507.0 mm. Step bore: head cylindrical; middle cylindrical / sharply conical; bell slightly cylindrical. One of the Catajo recorders. This instrument has later baroque style mounts over the beak & bell, and thus appears to have been remodelled. it is possible that it plays with van Eyck/Jambe de Fer fingerings. For critical measurements & other details see Brown (2005/2023)>; Schlosser (1920: 78); Marvin (1972: 32); Brown (2005a: 82-83; 2005b: 536); Darmstädter (2005: 99, 109 ff.); Darmstädter & Brown (2006: 203-205 & colour photographs). | |||||
| B-Brussels | 4359 | Unknown | g# | basset | 16C | 466 | 2 | 870 | 1 | box, stained dark | two brass ferules on fontanelle, 1 on wincap | brass | Sounding length 795 mm. Labium has same sort of repair as B-Brussels 1025. For critical measurements & other details see Brown 2005/2023); 2005b: 536). Image & further details. |
| GB-London: Horniman | M26-1987 | Unknown | alto | ||||||||||
| GB-London: Horniman | M27-1987 | Dolmetsch | c” | soprano | c. 1948 | 440 | 3 | 315 | dolonite (a form of bakelite) | This recorder was donated by Carl Dolmetsch on the occasion of a concert given by the Dolmetsch family at the Horniman Museum in 1987. Image here (from GB-London: Horniman). | |||
| D-Sigmaringen: Schloss | 318 | Rafi | a+ | basset | 440 | ? pear | Stamped shield/Rafi. No key. Sounding length 697 mm. A longer version of the Eisenach instrument. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536). | ||||||
| A-Vienna | SAM 624 (A 868) | ? Danner OR Drebs | a+ | basset | 1503 | 493 | 2 | 751.5 | 1 | stained maple with longitudinal ivory inlay | fontanelle with brass ferrules | brass | Stamped HD 1503 at the bell and doubled under the window, and a single left-facing trefoil on the bell which might indicate a member of the Schrattenbach family. Sounding length 709.0 mm; bore cylindrical with flare; probably played with Ganassi fingerings. ex Schloss Ambras. A unique instrument with sumptuous ornaments: inlays of ivory and bone as well a several types of dark-stained wood and fine engravings on the brass rings of the fontanelle cage. For critical measurements & other details see Brown (2005/2023); Stradner (1987: 53 ff.); Lerch (1996: 86, 282 f.); Kilbey (2002: 172); Darmstädter (2004/5: 161); Berney (2005: 63); Brown (2005b: 535); Darmstädter (2005: 109-110); Darmstädter & Brown (2006: 258-261 & colour photographs). |
| I-Brescia: private collection | c#” | soprano | 440 | 1 | ? cherry | Stamped ** on bell. Sounding length 290 mm. Cylindrical bore: head cylindrical; middle cylindrical; bell trumpet-like. This instrument also has very large fingerholes which which may be a later modification. The beak-shaped mouthpiece is unusual. Plays with Ganassi fingerings. Large ivory ring above thumbhole, where joint would be. Joint is glued & the instrument is effectively in one piece. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2002); Brown (2005a: 83); Brown (2005b: 536). | |||||||
| F-Paris | E.124 | Unknown | 18C | Head section only, 207 mm long. Intricately carved with a fish-head beak & foliage. Further details here. | |||||||||
| F-Paris | E.125 | Unknown | 18C | Head section only. Beak carved with a prominent star. Further details here. | |||||||||
| F-Paris | E.980.2.263 | Unknown | case | Inscribed Pour M. Robert RICHTER ano 1835 in Wien. 220 mm long. Further details here. | |||||||||
| F-Paris: Louvre | D.OA.422 | Kynseker | alto | 3 | 500 | wood | Ex Collection Sauvageot. Further details here. Note that the inventory number is shared with an instrument in 3 parts (foot missing) and 330 mm long by an Anonymous German maker. | ||||||
| F-Paris | E.196 | Unknown, German | alto | 18C | 445 | wood | horn (a single ferrule, on head) | Stamped G.L. Ex Collection Louis Clapisson. Further details here. | |||||
| F-Paris | E.980.2.75 | Unknown, French | alto | 18C | 3 | 505 | ivory | ex collection Geneviève thibault de chambure. further details here. | |||||
| F-Paris | E.980.2.77 | Unknown, French | alto | 45.2 | 3 | box | ex collection Geneviève thibault de chambure. further details here. cited by pottier (1992: 43). | ||||||
| F-Paris | E.980.2.530 | Unknown | alto | 20C | wood | brass | ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.534 | Unknown | alto | 20C | 3 | 1 | ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.543 | Unknown | alto | 19C | 3 | 460 | wood | ex collection Geneviève thibault de chambure. an elegantly designed instrument with a beautifully shaped beak & small bulbous foot joint reminiscent of stanesby jr. the photograph caption describes it as a tenor recorder. further details here macmillan (2007: 201; 2008: 65-66). | |||||
| F-Paris | E.980.2.545 | Unknown | alto | 19C | 3 | 505 | ebony | ex collection Geneviève thibault de chambure. baroque-style instrument further details here. macmillan (2007: 201; 2008: 66) | |||||
| F-Paris | E.980.2.546 | Unknown | alto | 19C | 3 | 545 | ebony | foot may not be original as its turning is very different to that to the head. ex collection Geneviève thibault de chambure. further details here. macmillan (2007: 200; 2008: 66) | |||||
| F-Paris | D.B.332 | Unknown | alto | 5 | 405 | ivory | Ex Collection Sauvageot. Further details here. | ||||||
| F-Paris | E.980.2.79 | Unknown | alto | 18C | 3 | 495 | pear | ex collection Geneviève thibault de chambure. further details here. | |||||
| F-Paris | E.102 | Unknown (German) | f’ | alto | 18C | 465 | 3 | 488 | ivory | Ornamental black dots on raised beads Collection Louis Clapisson. Further details here. Nominal and Performance Pitch from Haynes (2002). | |||
| F-Paris | E.980.2.84 | Unknown (German) | alto | 515 | wood with tortoiseshell covering | ivory | ivory beak & five ferules. ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.531 | Dolmetsch | alto | <1980 | 3 | wood | ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.532 | Dolmetsch | alto | <1980 | 3 | wood | ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.533 | Dolmetsch | alto | <1980 | 3 | wood | ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.544 | Dolmetsch | alto | 20C | 3 | wood | ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.548 | Haka | f’ | alto | 17C | 410 | 3 | ebony | ivory beak, ferrules & foot | stamped r·haka (in scroll)/fleur-de-lys. young examined this & a bass recorder by haka in 1982, but reported that at that time both were lost or missing. they have since come to light. nominal and performing pitch from haynes (2002: 450). labium repaired with silver; block lowered. playable. see bouterse (2001). ex collection Geneviève thibault de chambure. image and further details here. | |||
| F-Paris | E.995.16.1 | Hotteterre | alto | c1700 | 490 | ivory | Stamped on each joint HOTTETERRE/anchor. Beak badly damaged. Further details here, including photos & x-rays. | ||||||
| F-Paris | E.980.2.78 | Staub | f’ | alto | 18C | 415 | 3 | 488 | box | brass collar | stamped n. staub. ex collection Geneviève thibault de chambure. nominal and performance pitch from haynes (2002). further details here. | ||
| F-Paris | E.2339 | Vacano & Koch | alto | 18C | 3 | 495 | box | 2 horn ferrules, 2 in copper | Inscribed “Vacano & Koch” on the beak, possibly indicating a later repair. Head & foot carved with fish & acanthus leaves. Ex Collection Paul Cesbron. Further details here. | ||||
| F-Paris | E.2132 | Zick | alto | 18C | 3 | 465 | box | Ex Collection Paul Cesbron. Further details here. Image here | |||||
| F-Paris | E.2365 | Unknown | g | basset | 18C | 3 | 1029 | 1 | fruitwood (ebonised) | 1 ivory ferrule (on windcap) | brass | Ex Collection Paul Cesbron. Further details here. | |
| F-Paris | E.980.2.528 | Unknown | bass | 18C | 3 | 1 | wood | brass | ex collection Geneviève thibault de chambure. further details here. | ||||
| F-Paris | E.2397 | Unknown (Nuremberg) | bass | 18C | 1200 | 1 | service wood | 1 brass ferrule on windcap | brass | Ex Collection Paul Cesbron. Further details here. | |||
| F-Paris | E.980.2.550 | Dawson | bass | 20C | 3 | 1 | wood | bocal (brass) enters top of windcap. foot with bulbous bass, side-opening. ex collection Geneviève thibault de chambure. further details here. | |||||
| F-Paris | E.980.2.524 | Haka | f | basset | 18C | 415 | 3 | 1 | box; stained brown | brass | stamped r·haka (in scroll)/fleur-de-lys. bocal (lost) entered side of windcap (probably not original). hardly playable at slightly above a415. see bouterse (2001). nominal and performing pitch from haynes (2002: 450). young examined this instrument & a tenor recorder by haka in 1982, but that reported that they were lost or missing at that time. they have since come to light. ex collection Geneviève thibault de chambure. further details here. | ||
| F-Paris | E.980.2.527 | Hotteterre (formerly attributed to Karis) | f’ | basset | 18C | 456 | 3 | 1 | wood | 1 brass ferrule on windcap | brass | ex collection Geneviève thibault de chambure. further details here. nominal and performing pitch from haynes (2002) who attributes this instrument to one of the hotteterre family. note that f-paris attribute it to karis. | |
| F-Paris | E.980.2.549 | Marks | bass | 20C | 3 | 1 | wood | 3 ferrules | renaissance style; bocal entering top of windcap; ex collection Geneviève thibault de chambure. image and further details here. macmillan (2007: 200) refers to this instrument as a tenor by j-b martin in error, ie mistaking it for e.980.2.529 | ||||
| F-Paris | E.640 | Unknown | soprano | ivory | Ex Collection Besse-Dumas. Haynes (2002: 448) cites this instrument as a bass by Oberlender at 412 Hz without designating a nominal pitch. This appears to be an error. Further details here. | ||||||||
| F-Paris | E.0250 | Unknown | soprano | 20C | 381 | Neo-baroque design; single holes for 2 lowermost fingers. Further details here. | |||||||
| F-Paris | E.980.2.557 | Unknown | soprano | 19C | 3 | 350 | ? ebony | baroque design. ex collection Geneviève thibault de chambure. further details here. macmillan (2007: 201; 2008: 67) | |||||
| F-Paris | E.0647 | Dolmetsch | soprano | 20C | Further details here. | ||||||||
| F-Paris | E.994.7.2 | Heitz | c” | soprano | 357 | box covered with tortoiseshell | beak & ferrules in ivory & ebony | Stamped 6-petal flower/I.HEITZ. Seven ivory mounts inlaid with ebony dots; ivory foot ring engraved Ik pfif dewat; 1 ivory mount not original. Purchased from Sotheby’s in 1994. Further details here. | |||||
| F-Paris | E.0355 | Unknown | b’ | tenor | 19C | 392 | 3 | 700 | stained and varnished maple | Further details here. MacMillan (2007: 201; 2008: 68-69) | |||
| F-Paris | E.982.14.1 | Aulos | tenor | 20C | Further details here. | ||||||||
| F-Paris | E.982.14.2 | Aulos | tenor | 20C | Further details here. | ||||||||
| F-Paris | E.982.14.3 | Aulos | tenor | Further details here. | |||||||||
| F-Paris | E.982.14.4 | Aulos | tenor | 20C | Further details here. | ||||||||
| F-Paris | E.982.14.5 | Aulos | tenor | Further details here. | |||||||||
| F-Paris | E.982.14.6 | Aulos | tenor | 20C | Further details here. | ||||||||
| F-Paris | E.982.14.7 | Aulos | tenor | 20C | Further details here. | ||||||||
| F-Paris | E.980.2.87 | Unknown (French) | c’ | tenor | 18C | 415 | 3 | 710 | 1 | stained wood | 2 ivory ferrules & a foot ring | brass | ex collection Geneviève thibault de chambure. further details here. cited by pottier (1992: 43). |
| F-Paris | E.194 | Unknown | tenor | 18C | 655 | wood | Ex Collection Louis Clapisson. Further details here. | ||||||
| F-Paris | E.980.2.88 | Unknown (AMS) | tenor | 19C | 3 | 655 | 1 | fruitwood | stamped ams, an unidentified mark. ex collection Geneviève thibault de chambure. further details here. macmillan (2007: 201; 2008: 68) | ||||
| F-Paris | E.2395 | Unknown | basset | 18C | 3 | 765 | 1 | box, ebonised | 1 brass ferrule on windcap | Has a bulbous windcap. Ex Collection Paul Cesbron. Further details here. | |||
| F-Paris | E.980.2.541 | Unknown | tenor | ?20C | 3 | 1 | wood | 2 metal ferrules | of plain modern design. ex collection Geneviève thibault de chambure. further details here. | ||||
| F-Paris | E.980.2.542 | Unknown | tenor | 19C | 3 | 710 | 1 | wood | 2 ivory ferrules, 1 ivory foot ring | baroque design. ex collection Geneviève thibault de chambure. further details here. macmillan (2007: 201: 2008: 65) | |||
| F-Paris | E.980.2.547 | Unknown | tenor | 19C | 650 | 1 | ? bubinga | ivory beak | brass, swallow-tail | baroque-style instrument, ex Geneviève thibault de chambure. further details here. macmillan (2007: 201; 2008: 66) | |||
| F-Paris | E.980.2.535 | C Lamy | tenor | 20C | 1 | wood | of plain modern design. collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.537 | Dawson | tenor | 20C | 3 | wood | ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.536 | Dawson | tenor | 20C | 3 | wood | ex collection Geneviève thibault de chambure. further details here. | ||||||
| F-Paris | E.980.2.538 | Heinrich | tenor | 20C | 3 | 1 | wood | plain modern design. ex collection Geneviève thibault de chambure. further details here. | |||||
| F-Paris | E.980.2.539 | Heinrich | tenor | 20C | 3 | 1 | wood | ex collection Geneviève thibault de chambure. further details here. | |||||
| F-Paris | E.980.2.540 | Heinrich | tenor | 20C | 3 | 1 | wood | ex collection Geneviève thibault de chambure. further details here. | |||||
| F-Paris | E.980.2.529 | J-B Martin | tenor | 1879 | 3 | 1 | wood | ivory beak, 2 ivory ferrules, ivory foot ring | brass | ex collection Geneviève thibault de chambure. further details here. despite the date given by f-paris, this may be the recorder referred to by edgar hunt (2002: 144): i came accross a tenor, obviously copied from an old one, on the butterfly key of which i read the following: ‘p.r. souvenir de couture 1875’, and on the head of this very fine instrument ‘j.b.martin ã son ami paul roche’. macmillan (2007: 200, but accession incorrectly given as e 980.2.549; 2008: 53). | |||
| F-Paris | E.2393 | Unknown | soprano (? third flute or fourth flute) | 19C | 3 | 390 | stained boxwood | Described in the museum catalogue as a ‘mezzo soprano’, this instrument is too small to be an alto in f’ and too large to be a soprano in c”; it could be either a third or fourth flute. Ex Collection Paul Cesbron. Further details here. MacMillan (2007: 201; 2008: 68) | |||||
| F-Paris | E.99 | Unknown | 17C | carved ivory | Ex Collection Soulage; Collection Louis Clapisson. Further details here. | ||||||||
| F-Paris | E.0254 | Unknown | Further details here. | ||||||||||
| F-Paris | E.980.2.525 | Unknown | f | basset | 18C | 3 | 1 | fruitwood | brass | ex collection Geneviève thibault de chambure. further details here. cited by pottier (1992: 43). | |||
| F-Paris | E.980.2.555 | Unknown | 19C | 3 | wood | head & body only and of very simple outline. ex collection Geneviève thibault de chambure. further details here. macmillan (2007: 201; 2008: 67) | |||||||
| F-Paris | E.980.2.556 | Unknown | alto | 19C | 3 | 450 | wood | flute-style turning on foot joint. ex collection Geneviève thibault de chambure. further details here. macmillan (2007: 201) | |||||
| F-Paris | E.980.2.558 | Unknown | 19C | 3 | wood | ivory beak & 1 ivory ferrule | baroque-style instrument of simple design, foot joint missing. ex collection Geneviève thibault de chambure. further details here. macmillan (2007: 201; 2008: 67-68) | ||||||
| F-Paris | E.0965 | Unknown | Further details here. | ||||||||||
| F-Paris | E.652 | attr. Grandi | 17C | 3 | white marble | Carved decoration includes a two-headed eagle. Further details & images here. There is a recorder made by Grandi of dappled brown and white marble in the Galleria Estense, Modena which Anthony Rowland-Jones (pers. comm., 2002) observes looks real but is almost certainly unplayable. See Tellier, Michèle (1982) | |||||||
| F-Paris | E.2137 | Bellissent | a | tenor | before 1819-1842 | 4 | 557 | 7 | ebony | ivory beak, 4 ivory ferrules | nickel silver | Stamped (lyre/BELLISSENT/A PARIS/crowned#. A csakan or keyed recorder, with a flared clarinet-like bell. In a palisander case. Further details here. MacMillan (2007: 199; 2008: 34) | |
| F-Paris | E.988.18.1 | Fehr | 20C | Further details here. | |||||||||
| F-Paris | E.1457 | C Gras | soprano | 1836-1892 | 3 | 362 | ebony | ivory head & foot | Stamped (bird)/GRAS Further details here. MacMillan (2007: 199; 2008: 43-44) | ||||
| F-Paris | E.304 | Lener | c’ | tenor | 18C | 410 | 697 | 1 | wood | 1 brass ferrule | brass | Ex Collection Louis Clapisson. Nominal and performance pitch from Haynes (2002: 447). Further details here. | |
| F-Paris | E.2138 | Tolbecque | d’ | tenor | 19C | 3 | 710 | 1 | boxwood, ebonised | 1 ivory ferrules, ivory foot ring | brass | Hotteterre copy, possibly of F-Paris E.590. Ex Collection Paul Cesbron. Further details here. MacMillan (2007: 200) | |
| F-Paris | E.980.2.102 | Camus | sopranino or soprano | ?1810 | 125 | ivory | head piece only; a small recorder. ex collection Geneviève thibault de chambure. further details here. macmillan (2007: 199: 2008: 35-36) | ||||||
| NL-Amsterdam: Dept. Archaeology | Unknown | c” | soprano | ?16C | Fragment. An identifying mark cut with a knife under the windway was probably made by the player rather than the maker. The instrument is widely flared & may have played with so-called ‘Ganassi’ fingering. For further details & photograph see Bouterse (1995). | ||||||||
| NL-Rotterdam: Bureau Oudheidkundig Onderzoek | 12-35, find 9 | ? van Driel | g” | sopranino | 440 | 1 | box | horn (foot ring) | Stamped P, R or D/V/?D in a riband & thus possibly by van Driel from Amsterdam. Found in the centre of Rotterdam near the Schielandshuis in the Coolsingel area where it was deposited in the ground with rubbish in a ditch. Sounding length 191 mm. Early baroque style instrument. Sounding length is ca 191 mm. The foot ring is loose and fits over a tenon. Unplayable. See (Bouterse (1995, 2001, 2015). For critical measurements and other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536). | ||||
| ? NL-Leiden: Lakenhal | Unknown | f” | sopranino | ?18C | 440 | Stamped with a maker’s mark of possibly four to six letters. Found during excavations of a moat at ‘t Huys Dever, a castle near Lisse (between Leiden & Haarlem). Surprisingly, this instrument is still playable into the third register with baroque fingerings. For further details see Bouterse (1995). | |||||||
| GB-Oxford: Bate | x040 | Hammerschmidt | alto | 3 | A recorder with semitone keys. Marked: KLINGSON The Bate Collection give the provenance of this instrument as the Bohemian town of Schönbach, which seems unlikely. The company only sold recorders from 1936 onwards, by which time they had moved to Watzkenreuth near Fleissen. Later, in 1945 they moved to Burgau. | ||||||||
| GB-Oxford: Bate | 252 | Unknown | soprano | 20C | wood (striped grain) | Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 253 | Unknown | soprano | 20C | aluminium | Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | Unknown, Hong Kong | soprano | 20C | plastic | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 291 | ? JB Gahn | alto | c1700 | Head carved. Ex Collection Jeans. | ||||||||
| GB-Oxford: Bate | 296 | Arnold | Two half-model recorders glued to a board. | ||||||||||
| GB-Oxford: Bate | 250 | Bärenreiter (Mollenhauer) | soprano | 20C | German fingering. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 231 | Schott (Barnes & Mullins) | alto | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 263 | Cousen | sopranino | 20C | Of modern design. | ||||||||
| GB-Oxford: Bate | 139 | Cousen | alto | Modern design. | |||||||||
| GB-Oxford: Bate | 102 | Dolmetsch 293 | soprano | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 99 | Dolmetsch 3187 | tenor | Ex Collection Edgar Hunt. | |||||||||
| GB-Oxford: Bate | 183 | Dolmetsch 3643 | sopranino | Ex Collection Edgar Hunt. | |||||||||
| GB-Oxford: Bate | 309 | Dolmetsch 8509 | 8509 | 20C | With chin & foot keys. Ex Collection Alec Loretto. | ||||||||
| GB-Oxford: Cambridge | 310 | Dolmetsch 5435 | soprano | 20C | With chin & foot keys. Ex Collection Alec Loretto. | ||||||||
| GB-Oxford: Bate | 202 | Dolmetsch | soprano | 20C | plastic | Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 203 | Dolmetsch | soprano | 20C | plastic | Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 233 | Dolmetsch | tenor | 20C | plastic | Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 299 | Dolmetsch | soprano | 20C | plastic | Head only. Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 204 | Dushkin | soprano | 20C | plastic | Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 110 | Urquhart | alto | c.1720 | 3 | box stained in ‘tiger-striped’ pattern. | ivory beak, ferrules & foot | Ex Collection Edgar Hunt. Vichy Enchères (2021). Image here | |||||
| GB-Oxford: Bate | 215 | Fehr | soprano | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 254 | Ferrera | sopranino | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 197 | Goble, 951 | soprano | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 294 | Goble | alto | 20C | Ex Collection Judith Bailey. | ||||||||
| GB-Oxford: Bate | 184 | Goble | tenor | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 124 | Grey | tenor | 20C | |||||||||
| GB-Oxford: Bate | 113 | Hail | voice flute | ? 18C | 3 | wood | 2 ivory ferrules & foot ring. | Ex Collection Edgar Hunt. | |||||
| GB-Oxford: Bate | 216 | Herwiga | soprano | 20C | ‘School’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 217 | Herwiga | soprano | 20C | ‘Hamlin’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 232 | Herwiga | soprano | 20C | ‘Hamlin’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 240 | Herwiga | tenor | 20C | ‘Rex’ model, 122. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 229 | Herwiga | tenor | 20C | ‘Solist’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | x075 | Herwiga | basset | 20C | Ex ACB. | ||||||||
| GB-Oxford: Bate | x0132 | Hopf | c”’ | piccolo (garklein flutlein) | 20C | Renaissance style instrument. Ex Collection James P.S. Montague. | |||||||
| GB-Oxford: Bate | x0131 | Hopf | sopranino | 20C | Renaissance style instrument. Ex Collection Jeremy P.S. Montagu. | ||||||||
| GB-Oxford: Bate | 0287G | Klemisch | soprano | 20C | Copy of an original by Terton. Ex Collection Alec Loretto. | ||||||||
| GB-Oxford: Bate | 286 | Küng | d’ | soprano (6th flute) | 20C | Copy of an original by Denner. Ex Collection Alex Loretto. | |||||||
| GB-Oxford: Bate | 101 | Küng | soprano | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 247 | Küng | soprano recorder | 20C | Model 6FS. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 176 | Loretto | soprano | 20C | Copy of original by Bressan. | ||||||||
| GB-Oxford: Bate | 285 | Loretto | alto | 20C | ‘Ganassi’ style instrument with head & 2 bodies. | ||||||||
| GB-Oxford: Bate | x0122 | Marvin | soprano | 20C | Renaissance style instrument. Ex Collection Jeremy P.S. Montagu. | ||||||||
| GB-Oxford: Bate | 153 | Marvin | alto | 20C | ‘Ganassi’ style instrument. | ||||||||
| GB-Oxford: Bate | 100 | Mollenhauer | alto | 20C | Modern style instrument. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 311 | Morgan | alto | 20C | Head-section only. Ex Collection Alex Loretto. | ||||||||
| GB-Oxford: Bate | 235 | Nikkan | soprano | 20C | ‘Superio’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 234 | Nikkan | alto | 20C | ‘Superio’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 239 | Nikkan | soprano | 20C | ‘Superio’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 195 | Robinson | basset | 20C | Amateur-made instrument. | ||||||||
| GB-Oxford: Bate | 196 | Robinson | basset | Amateur-made instrument. | |||||||||
| GB-Oxford: Bate | 115 | Rudall Carte | tenor | 20C | wood | unmounted | Copy of an original by Stanesby. Flute-style joints. Ex Collection Edgar Hunt. | ||||||
| GB-Oxford: Bate | x0140 | Rudall Carte | tenor | 20C | Copy of an orginal by Stanesby. Ex Collection Robert Noble. | ||||||||
| GB-Oxford: Bate | 116 | Rudall Carte | tenor | c. 1896 | 1 | 633 | wood | Copy of an orignal by Bassano stamped !! !! Ex Collection Edgar Hunt. Passed through Sotheby’s sale room in 1978. One of the earliest products of the recorder revival in England. Welch (1902: 165) MacMillan (1983: 492; 2007: 202; 2008: 95) | |||||
| GB-Oxford: Bate | 307 | Scheele | alto | 1972 | Ex Collection Alec Loretto. | ||||||||
| GB-Oxford: Bate | 308 | Scheele | soprano | 1972 | Ex Collection Alec Loretto. | ||||||||
| GB-Oxford: Bate | x072 | Schott | soprano | 20C | plastic | Ex Collection ACB. | |||||||
| GB-Oxford: Bate | 218 | Schott | soprano | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 241 | Schott | soprano | plastic | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 246 | Schott | soprano | plastic | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 242 | Schott | soprano | 20C | plastic | With a kite mark. Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 243 | Schott | soprano | 20C | plastic | With kite mark. Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 244 | Schott | soprano | 20C | 2 | Model 18-5-73. Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 236 | Schott | soprano | 20C | ‘Concert’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 249 | Schott | soprano | 20C | ‘Concert’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 288 | Skowronek | alto | 20C | After an original by Bressan. Ex Collection Alex Loretto. | ||||||||
| GB-Oxford: Bate | 0205Z | Unknown | soprano | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 133 | Zen-On | soprano | 20C | plastic | ‘Stanesby’ model. Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 130 | Zen-On | alto | 20C | plastic | ‘Bressan’ model. Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 248 | Schott | soprano | 20C | ‘Concert’ model. German fingering. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 237 | Schott | soprano | 20C | ‘Concert’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 238 | Schott | soprano | ‘Concert’ model. German fingering. Ex Collection Edgar Hunt. | |||||||||
| GB-Oxford: Bate | 0255, 0256, 0257, 0258, 0259, 0260 | Schott | soprano | 20C | 6 head joints. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 312 | Schott | soprano | 20C | A prototype. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 0198, 0199, 0200, 0201 | Schott | soprano | 20C | Prototypes. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 0206 – 0214 | Schott | soprano | 20C | Prototypes. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | x073 | Schott | alto | 20C | Ex ACB. | ||||||||
| GB-Oxford: Bate | 219 | Schott | alto | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 220 | Schott | alto | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 221 | Schott | alto | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 245 | Schott | alto | 20C | 1 | ‘Concert’ model. Ex Collection Edgar Hunt. | |||||||
| GB-Oxford: Bate | 262 | Schott | alto | 20C | Foot section only. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 222 | Schott | tenor | 20C | Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 230 | Schott | tenor | 20C | ‘Concert’ model. Ex Collection Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 261 | Schott | tenor | 20C | Head & foot only. Ex Collection Edgar Hunt. | ||||||||
| Unknown | Unknown | alto | ?18C | ivory | Ex Collection Walter Bergmann. I would be grateful for information concerning the whereabouts of this instrument, which is illustrated in Hunt (1977: pl. XVI). | ||||||||
| NL-Amsterdam: Brügen | XVII | Hallett | f” | sopranino | <1760 | 405 | 3 | 259.8 | ivory | Stamped HALLETT on all three sections. Profile similar to the flutes of Stanesby Jr Sounding length 224.3 mm. With original case. Ex Joan Dixon, Wakefield, Great Britan. Presumably this is the instrument cited by MacMillan (1983: 490). Nominal and performance pitch from Haynes (2002). Image here. | |||
| Unknown | L Lot | soprano | 6 | See Glassgold (1963). | |||||||||
| Unknown | Ziegler | + | See Glassgold (1962). Probably a csakan, little known in the days when Glassgold was writing (Douglas Macmillan, pers. comm., 2004). | ||||||||||
| USA-New York | Firth, Pond & Co. | alto | 1856-1862 | 1 | Thompson discusses a capped internal duct-flute made mid-19th century which may or may not be a recorder. MacMillan (2003) reproduces a sketch of this instrument which he dates between 1856 and 1862. It is the size of an alto with a single key below the lowest tone hole and has a sponge chamber with a centre blowing hole. Thus it appears to be a hybrid with features of the flageolet incorporated into a recorder. Sold by G. King in 1963. Thompson (1961) MacMillan (2003; 2008: 89-90) | ||||||||
| D-Sigmaringen: Schloss | Weis | See Bär (1992). | |||||||||||
| CS-Prague: Natl. Mus. | Unknown | basset | One of two anonymous bassets mentioned by Puklický (1986). | ||||||||||
| CS-Prague: Natl. Mus. | Unknown | basset | One of two anonymous bassets mentioned by Puklický (1986). | ||||||||||
| CS-Prague: Natl. Mus. | Bressan | alto | See Puklický (1986). | ||||||||||
| CS-Prague: Natl. Mus. | Gheier | basset | See Puklický (1986). | ||||||||||
| CS-Prague: Natl. Mus. | Fridrich | basset | See Puklický (1986). | ||||||||||
| D-Nuremberg: GNM | MI 211 | Staub | f’ | alto | 1710-1730 | 3 | 494 | ivory | sstamped n.stavb röntgenaufnahme rb 269, 820, 826; kirnbauer, martin: historische holzblasinstrumente in der sammlung des germanischen nationalmuseum. in: tibia, 14. Jg. (1989), s. 425.; kirnbauer, martin und dieter krickeberg: untersuchungen an nürnberger blockflöten der zeit zwischen 1650 und 1750. in: anzeiger der germanischen nationalmuseums 1987. nürnberg, 1988, passim mit abb. s. 279.; van der meer, john henry: wegweiser durch die sammlung historischer musikinstrumente des gnm. nürnberg, 3/1982, s 49.; van der meer, john henry: germanisches nationalmuseum nürnberg. geschichte seiner musikinstrumentensammlung. in: jahrbuch des staatlichen instituts für musikforschung preußischer kulturbesitze 1979/80. hrsg. von dagmar droysen. berlin, 1981, s. 37.; langwill, lyndesay g.: musical wind-instrument makers. edinburgh, 6/1980, s. 169.; nickel, ekkehart: der holzblasinstrumentenbau in der freien reichsstadt nürnberg. münchen, 1971, s. 277.; kirnbauer, martin: verzeichnis der europäischen musikinstrumente im germanischen nationalmuseum nürnberg. band 2. flöten- und rohrblattinstrumente bis 1750. wilhelmshaven 1994, s. 32-34 (=bestandskatalog). image & further informaton here. | ||||
| S-Stockholm | F172 | Unknown | alto | 3 | ?box | ivory ferule on foot joint | Headjoint stamped with a bird (?penguin). See Karp (1972). For image & further information see here. | ||||||
| S-Stockholm | N29810 | Staub | alto | 1746 | 3 | 445 | ivory | Stamped N.STAVB Karp (1972) Images & further information here. | |||||
| USA-MI-Ann Arbor: U Mich. | 576 | Souve or Jouve | f | basset | 17-18C | 410 | 4 | 1 | stained maple | brass | Brass cork with ivory mouthpiece. This restored late 17th / early 18th Bass[et] Recorder in F is pitched at a’ = 415 Hz. It has four dark-stained maple sections with decorative turnings and is fitted with a brass crook and ivory nozzle mouthpiece extending from the top of cap. It has one brass key (with an ornate touch) that is a flat, round flap mounted in a bulbous ring. The first three sections are marked, “SOUVE / [five-pointed star]”. See Warner, Austin & Huene (1970). Nominal and performance pitch from Haynes (2002). Images here. | ||
| USA-MI-Ann Arbor: U Mich. | Stearns 507 | Fische | g’ | alto | 415 | 3 | darkened plum or pear | horn replacement | Stamped N.I. FISCHE, in an unfurled banner. One of two altos by this maker in this collection. See Warner, Austin & Huene (1970). Nominal and performance pitch from Haynes (2002: 499). Images here. | ||||
| USA-MI-Ann Arbor: U Mich. | Fische | alto | One of two altos by this maker in this collection. See Warner, Austin & Huene (1970). | ||||||||||
| Russia-St. Petersburg | Bressan | alto | 3 | ivory beak, ferrules and foot | See Jürisalu (1980). | ||||||||
| I-Merano: Landfl. Burg. | 6659 | Unknown (NF) | f’ | alto | 18C | 440 | 3 | 485 | wood | Stamped NF (in a shield) / NF. Zaniol (1983) believes this to be either a Tyrolean alto in f’ at a’=440 Hz or a French alto in g’ at a’=390 Hz. Inexpertly restored and the labium badly damaged. Small image here. | |||
| Unknown | Steenbergen | tenor | Exhibited at the Royal Military Exhibiation, London in 1890 (Bouterse 1998). | ||||||||||
| Paris: André Bissonet | ? Steenbergen | f’ | alto | 392 | 3 | ivory | Unstamped but turned in the style of Steenbergen. Bouterse (2001) considers it unlikely to be by Steenbergen considering the bore dimensions. Nominal and performing pitch from Haynes (2002: 450). | ||||||
| P-Lisbon: Museo | MI 203 | g# | basset | 17C | 440 | 1 | service wood (Sorbus domesticus) | Stamped BB. Bocal appears to be recent. Original fontanelle replaced with a piece of curved metal. Sounding length of 765 mm. Apart from alterations there is not much difference between this and instruments depicted by Praetorius. For more critical measurements and other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 534); Monteiro (2001: 10); Museu da Música (1994). | |||||
| P-Lisbon: Museo | MIC 204 | Heerde | f’ | alto | 18C | 405 | 3 | ebony | ivory beak and ferrules | Stamped crown/VAN HEERDE. Thumbhole well-worn. Playable, under A415. See Buterse (2001). Nominal and performance pitch from Haynes (2002: 451). | |||
| P-Lisbon: Museo | tenor | 4 | 1 | A 19th- or early 20th-century fake. No thumbhole; closed key for finger 7. | |||||||||
| USA: Oler (private collection) | Urquhart | f’ | alto | 3 | ivory beak, ferrules and foot ring | Oler, W.M. (1966). Shickhardt in dispute. Recorder & Music 2 (3): 85 & pl. | |||||||
| GB-York | Unknown | f’ | alto | 18C | 3 | box | Wood, George Bernard. n.d. “Woodwind Instruments in the Castle Museum, York.” Published by ‘N.D.’ | ||||||
| F-Nice: Musée du Palais Lascaris | 168 | Castel | f’ | alto | c.1730 | 404 | 3 | 508 | ebony | ivory beak, mounts and foot. | All three sections stamped: stylized N. | CASTEL | [lion (or griffin) rampant] Double holes for fingers 6 & 7 (equal sized). An unusual feature of this instrument is the double upper chamfer at the windway exit. Image here. Nominal and performance pitch from Haynes (2002: 452). Photographs, measurements & technical drawings (by Fumitaka Saito & Philippe Bolton): de Avena Braga (2015: 48, 287-289, figs 39-44). Forneris & Debrabandère (1991: 164-165); Haynes (2002); van Heyghen (2002); de avena Braga (2015); Nozaki (2016). | ||
| Unknown | ? Dupuis | alto | Double holes for fingers 6 & 7 (van Heyghen, 2002). Sold in 1996 at antiquary Bissonet (Place des Vosges), Paris. | ||||||||||
| CH: Private coll. | Boekhout | f | basset | 410 | 3 | 1 | maple; stained dark brown (almost black) | unmounted | brass | Stamped crown/T. BOEKHOUT/Brabant lion. Windcap and bocal (probably original) with ivory mouthpiece (new), entering at top of windcap (probably original). Playable. See Bouterse (2001). Nominal and performance pitch from Haynes (2002: 451). Image (from Heinz Amman who makes a copy of this). See Fischer, C. (2001). 415 recorders. ArtaFacts 6(4). | |||
| USA-MA-Boston: MFA | 1972.1173 | Huene | alto | 1972 | 3 | 485 | rosewood | ivory beak and ferules on head and foot | After J.C. Denner. Image here. | ||||
| USA-MA-Boston: MFA | 68.843 | Huene | alto | 1968 | 489 | maple | In renaissance style. Image here | ||||||
| USA-MA-Boston: MFA | 64.2375 | Huene | basset | 1964 | 3 | 953 | 1 | mahogany | brass ferrules on head and fontanelle | brass | In renaissance style. End-cap blown. Image here. | ||
| USA-MA-Boston: MFA | 65.2682 | Huene | tenor | 1965 | 3 | 746 | 1 | maple | brass ferules on fontanelle | brass | Image here | ||
| CH-Basel: Hist. Mus. | 1994.237 | Camus | d’ | voice flute | 1793-1822 | 440 | 3 | 57,15 | ebony | ivory | Stamped (lion looking to left with raised paws)/CAMUS/A PARIS/(sun), those on the lower two joints omitting ‘A PARIS’. Kirnbauer (2002) MacMillan (2007: 199; 2008: 35). This instrument has been shortened in recent times! | ||
| CH-Basel: Hist. Mus. | 1896.199 b | F Löhner II | f’ | alto | c. 1800 | 500 | box | Stamped F.LEHNER/FL CH-Basel 1896.199a&b are identical and were used to accompany services at Adelboden, Switzerland. Kirnbauer (2001); MacMillan (2007: 199; 2008: 46-47) | |||||
| F-Vincennes: Petit | Bressan | alto | box (ebonised) | ivory | Sold by William Petit (Vincennes). Appears to have had double holes drilled for fingers 6 and 7 (unequal sized) but now inexpertly filled! See here for photographs. | ||||||||
| F-Mont St Vincent: Initial Music | Lucien Lot | ? soprano | fl. ca 1946 | 2 | 6 | palisander | brass beak & palisander insert; 1 metal ferrule | nickel silver | Recently sold by Initial Music (Mt St Vincent, France). For further details see here MacMillan (2008) suggests that the brass beak would have been covered by a lost ivory cap. Robert (1998: 79) MacMillan (2007: 202; 2008: 91-92) | ||||
| GB-Kilmarnock | MI/A75 | Unknown | c” | soprano | c1650 | 500 | 1 | 28.9 | ivory | See Mezger & Bergstrøm (2001); MacMillan & Clarke (2017).> Danish recorder-maker Ture BergrtrØm offers reconstructions of this instrument as suitable for the interpretation of the music of Jacob van Eyck’s and other 17th-century music. image here. | |||
| D-Bavaria: private collection | Gerlach | f’ | alto | before 1909 | 3 | box | Copy of a Jacob Denner alto recorder for the Bogenhausen Künstlerkapelle. Although of poor quality it is of considerable historical interest. Kernbauer (1992: 62) MacMillan (2007: 199: 2008: 39) | ||||||
| D-private | ? Danner OR Drebs | g | basset | Stamped HD. Kirnbauer (1993) notes that this was amongst the instruments used by the Bogenhausen Künstlerkapelle. | |||||||||
| D-private | Schuechbaur | alto | Kirnbauer (1993) notes that this was amongst the instruments used by the Bogenhausen Künstlerkapelle. | ||||||||||
| J-Tokyo: Iino | Bressan | f’ | Stamped Pul/BRESSAN/rose. One of a matched pair in original box. Waterhouse (1993) describes the case in detail with photographs. | ||||||||||
| I-Assisi | Unknown | basset | 415 | A baroque-style instrument. See Li Virghi (1984). | |||||||||
| E-Dublin: anonymous | Bressan | basset | Renovated by Carl Dolmetsch in 1930, subsequently returned but since disappeared. See Boydell (1979), Pinnock (2023: 37); Thalheimer (2010: 45-6). | ||||||||||
| D-Nuremberg: Erlangen | Lehner | alto | See Eschler (1993). | ||||||||||
| D-Nuremberg: Erlangen | 26 | Graessel | g’ | alto | 1922 | 2 | After Hieronymus Kinsecker (ca 1675). Wave profile head. One of two such instruments in this collection. See Eschler (1983, 1993). | ||||||
| D-Nuremberg: Erlangen | 27 | Graessel | g’ | alto | 1922 | After Hieronymus Kinsecker (ca 1675). Wave profile head. One of two such instruments in this collection. See Eschler (1983, 1993). | |||||||
| D-Nuremberg: Erlangen | 28 | Graessel | g | basset | 1922 | 3 | 1 | After Hieronymus Kinsecker (ca 1675). Wave profile head. See Eschler (1983, 1993). | |||||
| D-Nuremberg: Erlangen | 29 | Graessel | c | bass | 1922 | After Hieronymus Kinsecker (ca 1675). See Eschler (1983, 1993). | |||||||
| IL-Jerusalem: Rubin Academy | Unknown | alto | A late Baroque alto presumably originating from Nuremberg. See Joppig (1994). | ||||||||||
| NL-Lisse | Dever 0588 | Unknown | f” | sopranino | late 17C | 440 | 1 | box | Early baroque style instrument found in ‘t Huys Dever, Lisse, Netherlands. Stamp illegible. Sounding length 208 mm. The beak is separated from the body by an incised ring. There is a tenon over which a separate foot ring would have fitted. See Bouterse (2001, 2015). Sounding length 208 mm. For critical measurements and other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536). | ||||
| NL-Hague | 1933-0267 (formerly: Ea 267-1933) | Unknown | eb” | sopranino | 17C | 440 | 1 | 282 | ivory | Early baroque style. No stamp. Very much like instruments by Haka. Beak separated from body by incised ring. Sounding length 241 mm. Playable. No damage except on labium. See Bouterse (2001; 2004: 21, 2015). For critical measurements and other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536). Image here (from Heinz Amman). | |||
| NL-Amsterdam: City Mus. | VIN6-3 | Unknown | c” | soprano | 2 or more | ? box | Head joint only. See Bouterse (2001). | ||||||
| NL-Amsterdam: City Mus. | LAUS3-4 | Unknown | c” | soprano | 2 or more | wood (light coloured) | Head joint only. See Bouterse (2001). | ||||||
| NL-Amsterdam: Graefman | Unknown | soprano | wood (stained dark) | horn (ferrule) | Head joint only. Lowest note c” or d”. See Bouterse (2001). | ||||||||
| NL-Amersfoort | GM 1738 | Unknown | c” | soprano | 2 or more | box | Head joint only. Found in Dordrecht. See Bouterse (2001). | ||||||
| NL-Amsterdam: City Mus. | WLO-8-57 | c” | soprano | unknown wood | Upper part of a walking-stick recorder. See Bouterse (2001). | ||||||||
| J-Tokyo: Iino | Aardenberg | f’ | alto | 405 | box, stained brown | ivory rings | Nominal and performance pitch from Haynes (2002: 451). | ||||||
| USA-Greenville: Sigal Music Museum | 2007.17 | Beukers | c” | soprano | c.1720 | 400 | 2 | 349 | box (stained brown) | Marked on head and body W:BEUKERS / (iris flowers) Nominal and performance pitch from Haynes (2002: 450). This exceptional instrument formerly belonged to the Dutch recorder pioneer Gerrit Vellekoop. Van Acht (1991: 82-85); Bouterse, J. (2007: 59); Rice (2015: 77 & pl.; 2021). | |||
| NL-Laren: private coll. | Beukers | f’ | alto | 400 | 3 | box, stained brown | Foot by Thomas Boekhout (Bouterse, 2001). Nominal and performance pitch from Haynes (2002: 450). | ||||||
| NL-Driebergen: private coll. | Beukers | d’ | voice flute | box, stained brown | |||||||||
| B-Damme | Boekhout | f’ | alto | 415 | 3 | box, brown stained | ivory ferrule on foot | Stamped T.BOCHOVT, not certainly by Boekhout. Ivory foot ring not original. Playable at slighty less than A=415. See Bouterse (2001); Museum Sint-Janshospitaal (2003). . | |||||
| NL-Hague | Ea 475-1933 | Eerens | 1 | ?fruit wood body; ebony cap | Support lost. See Bouterse (2001). | ||||||||
| NL-Egmond | Haka | f” | sopranino | 2 | wood | Found in an excavation. Lower part of the body-foot of a 2-part instrument. Bottom hole paired. The turning of the foot is characterstic of Haka. See Bouterse (2001). | |||||||
| NL-Hague | Mondon | alto | wood | Head only. Once joined with the body and foot of a recorder by de Jager but removed in 1991. See Bouterse (2001). | |||||||||
| NL-Amsterdam: Rijksmuseum (Boers Collection) | BK-NM-11430-89 | Roosen | f | basset | 18C | 415 | 3 | 1 | stained ?cherry | brass ferrule on head joint | brass | On loan to NL-Hague from 1952 to 2010 as Ea-x-1952 Stamped I·ROOSEN/rose. The brass bocal (mouthpiece lost) enters the top of the windcap and has a vessel to capture condensation. One crack in socket of head joint and two smaller ones in socket of foot joint, not repaired. Playable with difficulty. See Bouterse (2001; 2004: 23; 2013). Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 450) gives this instrument a performance pitch of A=400 Hz. | |
| NL-Amsterdam: Rijksmuseum | ? | Heerde / Steenbergen | f’ | alto | 3 | box, stained brown | On loan to NL-Hague from 1952 to 2010 as Ea 34-x-1993. Only the middle joint (253 mm long) survives. The part that would have been visible is 211 mm long). Bouterse (2001) states that this fragment is stamped I:STEENBERGEN (in scroll)/fleur-de-lys. However, Bouterse (2004: 25) states that it is by van Heerde (father or son) and Bouterse (2013) attributes it to Steenbergen. | ||||||
| D-Lübeck: Amt für Vor- und Frühjgeschichte | Unknown (Nuremberg) | c1650 | 1 | 202 | ivory | A cylindrical recorder, the foot of which is damaged. Photograph here. | |||||||
| Stuttgart: Landesdenkmalamt Baden-Württemberg | Unknown | 14C | 1 | box & fruitwood | Image here. One of several surviving medieval recorders. Found in the town of Esslingen (near Stuttgart), Southern Germany where it was excavated from the sediment of the mill channel of the Karmeliter-Monastry. Hakelberg (pers comm., 2003) is of the opinion that the broken light coloured fragment is of box, the better preserved of fruitwood (length ca 25.5 cm), with thumb- and five finger-holes. Unfortunately, during conservation ca 10 cm of the instrument has been lost. Interestingly, it shows the very same characteristic turning profile as the Göttingen recorder (Hakelberg 2002; pers. comm. 2003). | ||||||||
| S-Stockholm | X5267.1 | Dolmetsch | sopranino | 1995 | 2 | ? rosewood | Serial number 3311. Image & further information here. | ||||||
| S-Stockholm | X5094 | Unknown | soprano | Baroque-style instrument. Image & further information here. | |||||||||
| S-Stockholm | X5095 | Mollenhauer | ?soprano | 2 | wood | Image & further information here. | |||||||
| S-Stockholm | N1776 | ||||||||||||
| S-Stockholm | M166 | ||||||||||||
| S-Stockholm | X5096 | Porst | soprano | 2 | light-coloured wood | Image & further information here. This is similar to an ‘Elit’ model instrument advertised by Auktionshuset Thelin & Johansson, Oskarshamn, Sweden (2014). | |||||||
| S-Stockholm | F174 | JA Löhner | alto | 18-19C | 3 | wood | Stamped (tree/J.A.LOHNER [cursive]/A/NURNERG [cursive]/(two stars). Foot appears to be from a different instrument. MacMillan (2007: 199; 2008: 48). Image & further information here. | ||||||
| S-Stockholm | X5368 | Aulos | soprano | 1950-1960 | 2 | plastic | Image & further information here. | ||||||
| S-Stockholm | Aulos | T7 model. Recent acquisition. | |||||||||||
| I: Trieste | Schunda | I would welcome additional details on this instrument. | |||||||||||
| I: Trieste | 1780 | I would welcome additional details on this instrument. | |||||||||||
| I: Assisi – Convento di San Francesco | bass[et] | I would welcome additional details on this instrument. | |||||||||||
| GB-Aylesbury: Waddeson Manor | Zick | ivory | Halfpenny, E. (1977). Musical instruments [at Waddeston Manor]. Apollo 184: 446-451. | ||||||||||
| GB-Northampton | I would welcome details of this instrument. | ||||||||||||
| Graz: Steirisches Volkskundemuseum | I would welcome details of this instrument. | ||||||||||||
| Graz: Stadtmuseum | SM 1 | Unknown | d” | soprano (sixth-flute) | c. 1900 | 285 | grenadilla | Described as ‘without beak’ in the catalogue which might indicate a ‘folk’ recorder. Another soprano in this collection is also described as ‘without beak’, but is by Scwhweffer. MacMillan (2007: 201; 2008: 57, 76). | |||||
| Graz: Diözesanmuseum | bass[et] | 20C | . . . a bass recorder with keys, early 20th-century. | ||||||||||
| I: Vittorio Veneto | I would welcome details of this instrument. | ||||||||||||
| C-BC: Victoria | 1 of 3 recorders. I would welcome details. | ||||||||||||
| C-BC: Victoria | 2 of 3 recorders. I would welcome details. | ||||||||||||
| C-BC: Victoria | 3 of 3 recorders. I would welcome details. | ||||||||||||
| USA-CT: Litchfield | Hopkins | I would welcome further details of this instrument. | |||||||||||
| USA-MA: Sturbridge | I would welcome further details of this instrument. | ||||||||||||
| USA-NY: Riverhead | I would welcome details of this instrument. | ||||||||||||
| USA-TX: San Antonio | Recorders by Weber, Moeck, Dolmetsch, Roessler, von Huene, Hanchet, Fitzpatrick (incl. 2 contrabasses). I would welcome further details of these instruments. | ||||||||||||
| USA-VA: Williamsburg | Urquhart | 1710-1740 | 3 | stained boxwood | ivory beak, ferrules & foot | I would welcome further details of this instrument. It may be that formerly belonging to Wesler Oler. Vichy Enchères (2021) | |||||||
| USA-SD-Vermillion: National Music Museum | NMM 9826 | JC Denner | f’ | alto | c1720 | 3 | 49.65 | ivory | Stamped below the window, below the third tonehole, and on the foot, I. C. Denner (within a scroll) / D / I . Double holes for finger 7. Possibly by Johann David or Jacob Denner. | ||||
| I: Paolo Faeti | L Hotteterre | alto | 3 | ?box | ivory beak and ferrules | There is an image here. The middle-joint is stamped Lisseau who made the center joint, possibly to adjust the pitch from the very low original. | |||||||
| CH-Zurich: Kunstgewerbemuseum | Unknown | alto | wood | The head and foot have carved decorations with leafy foliage and a man’s face on the beak. The body is clearly not original: it is too long, in two pieces with a plain bulbous ferrule at the mid-joint making it look more like the body of a flute than of a recorder. I have a photograph of this from the collection of Walter Bergmann. A note in Bergmann’s hand reads: ‘Blockflöte mit Schuitzereien, Dresden 1850.’ Thus I surmise that the head and foot are 18th century (possibly by Gahn), but the body is a replacement for a lost or damaged original. | |||||||||
| ID: CH-Zurich: Burger | Gahn | g’ | alto | A440 | 3 | ivory | Image here (from Heinz Amman). | ||||||
| B-Brussels | 2642-01 | Reich | c” | soprano | c.1700 | 403 | 2 | 350 | box (stained brown) | Stamped B / REICH / fleur-de-lys. Nominal and performance pitch from Haynes (2002). Images and further details.. | |||
| D-Leipzig | 1154 | Unknown | soprano | 18C | 3 | 307 | ?box | horn | this is an ‘echo flute’ comprising two recorders joined at the head by a flange and at the foot by a strut. it was probably made in saxony. image & further information here (from d-leipzig) and there. see Bali (2007: colour plate); herbert heyde: flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 54-55. | ||||
| A-Vienna | AR 1393 | Gahn | soprano | c1740 | 3 | ivory | The centre joint plain, the head and foot joints with stylised Acanthus leaves, the beak carved with a reversible grotesque mask. Christie’s, London, The Collection of Barons Nathaniel and Albert von Rothschild, Auction Date: 8 July 1999, Lot 36 (estimate: $ 4,680 – $ 7,800). SALESROOM NOTICE: This treble recorder is German, early 18th Century. Maker’s label indistinct but probably by Gahn. | ||||||
| USA-New York: Sotheby’s | Lot 221, 4 November 1998 | Rippert | g’ | alto | 18C | 459 | ivory | Stamped Rippert with the device of a dolphin. In case. Estimate: $ 13,577 – $ 20,365; £ 8,000 – £ 12,000 | |||||
| USA-New York: Sotheby’s | Lot 218, 4 November 1998 | Unknown | g’ | alto | 17C | 412 | fruitwood | ivory beak (not original) | Estimate: $ 3,395 – $ 5,092; £ 2,000 – £ 3,000. | ||||
| USA-New York: Sotheby’s | Lot 26 | Unknown | g’ | alto | 19C | 874 | 1 | box | horn | brass; cover circular | A walking-stick recorder. Sotheby’s – New York Early Musical Instruments Auction Date: 4 November 1998 Lot 26 Estimate: $ 1,698 – $ 2,546; £ 1,000 – £ 1,500 | ||
| USA-New York: Sotheby’s | Lot 187, Early Musical Instruments, 8 November 199 | Unknown | f’ | alto | 18C | 3 | ivory | Possibly Dutch, first quarter of the 18th Century. With turned decoration on the bell, head joint tenon socket and above the labium The lower end of the middle joint of this recorder has been turned away. Presumably this area was damaged and a new ring (now absent) turned to replace this section. The G hole now passes through a tenon. Estimate: $ 790 – $ 1,106; £ 500 – £ 700 | |||||
| USA-New York: Sotheby’s | Lot 147, Early Musical Instruments,8 November 1995 | Lamy | tenor | Sotheby’s – New York Early Musical Instruments Auction Date : Nov 8, 1995 Lot 147 : FOUR FLAGEOLETS AND THREE RECORDERS Circa 1810 to modern A six-keyed blackwood single flageolet by G. Butler & Sons, London & Dublin, circa 1850. Description: silver keys and engraved silver mounts, in case; a box single flageolet by Thomas Prowse, London; another unstamped; a four-keyed rosewood flageolet by Hastrick; a tenor recorder by Lamy; another by Lot; and an alto recorder by Moeck (8). The present location of this instrument is unknown. It was possibly by Concord Lamy (fl. mid-20th century) rather than Joseph Alfred: other recorders by this maker survive. MacMillan (2008: 46) | |||||||||
| USA-New York: Sotheby’s | Lot 147, Early Musical Instruments,8 November 1995 | Lot | tenor | Sotheby’s – New York Early Musical Instruments Auction Date : Nov 8, 1995 Lot 147 : FOUR FLAGEOLETS AND THREE RECORDERS Circa 1810 to modern A six-keyed blackwood single flageolet by G. Butler & Sons, London & Dublin, circa 1850. Description: silver keys and engraved silver mounts, in case; a box single flageolet by Thomas Prowse, London; another unstamped; a four-keyed rosewood flageolet by Hastrick; a tenor recorder by Lamy; another by Lot; and an alto recorder by Moeck (8). Estimate: $ 221 – $ 316; £ 140 – £ 200 | |||||||||
| USA-PA-Philadelphia: Samuel T. Freeman & Co. | Unknown | f’ | alto | 17C | ivory | Ex Giusseppe M. Ferrero di Roccaferra (Italian 1912-1999). Auctioned 23 February 2001, Lot 27. | |||||||
| GB-Durham: Bowes | Dolmetsch | f’ | alto | 3 | 470 | box | ivory beak | Each section stamped DOLMETSCH in a circle surrounded the number 2063. For image see here | |||||
| USA-DC-Washington: DCM | DCM 1254 | Bärenreiter | e’ | alto | c1935 | 440 | 3 | 534 | cocus | nickle silver ferrules | Further details & image here. | ||
| USA-DC-Washington: DCM | DCM 1255 | Bärenreiter | a | tenor | c1935 | 440 | 3 | 757 | 1 | maple | nickel silver ferrules | nickel silver | Further details and image here. |
| USA-DC-Washington: DCM | DCM 1649 | Unknown | 94 | box | Headpiece only. Stamped (sunburst) / A PARIS. This may belong to a French flageolet rather than a recorder. Further details and image here. | ||||||||
| USA-DC-Washington: DCM | DCM 0745 | Unknown | f’ | alto | 18C | 3 | 492.5 | Head joint cracked at both ends and repaired with 7 cross pins (former repair). Also the edge was apparently damaged, and a new ivory slip was carved to replace it and secured with a now missing dowel (material?) and also incorrectly positioned to form a proper edge. Foot joint decorative beads, top and bottom, missing portions, one of which is cracked off but still present, plus 2 cracks in socket. Purchased from Harold Reeves, London, 25 Aug.1927. Formerly in the collection of Mr. T. W. Taphouse, Oxford. Further details & image here. | |||||
| USA-DC-Washington: DCM | DCM 1386 | Lewis & Scott Mfg. Co. , Plantsville, Connecticut: | 1939 | 2 | 322 | Black plastic (tenite) | metal ferrule | Maker’s name on Instruction Sheet only which refers to this as a Scotty Piccolo Recorder. This is the earliest plastic recorder known to me. From the photograph (see below) it is clearly a recorder in all essentials. The thumbhole is easily visible through the first finger hole. Purchased from G. Schirmer, New York (1939). Further details & image here. | |||||
| USA-DC-Washington: DCM | 329 (stolen) | Unknown | f” | sopranino | 18C | 416 | 2 | 263 | ivory | 7th hole drilled twice for right or left hand players, the unused hole is plugged. Purchased from Sumner Healey, New York (1923), ex Tolbecque collection. One of two instruments stolen from the Library of Congress a number of years ago. Further details & image here. Photograph, measurements & technical drawing (by Richard Palm): de Avena Braga (2015: 348, figs 137-138). | |||
| I-Rome: Private Collection | alto | ?17C | 1 | ivory | Stamped M H. Window shape inverted. Exterior profile waisted, similar to late 17C examples from Nuremberg. See Brown (2002). | ||||||||
| A-Linz: Schlossmus | Mu 4 (150) | Plaikner | f’ | alto | 459 | Nominal and performance pitch from Haynes (2002). | |||||||
| F-Paris (ex Chambure) | Hotteterre | f’ | alto | 415 | ivory | Cited by Haynes (2002) who notes that this instrument has no accession number. It may be the ivory alto recorder in this collection not cited by Haynes, namely E.995.16.1. However, the latter instrument was purchased by the museum in 1995. | |||||||
| J-Tokyo: Iino | Mondon | f’ | alto | 395 | box | Cited by Haynes (2002). Could be the instrument formerly owned by Lord Astor of Hever and sold by the Early Music Shop (London). | |||||||
| J-Tokyo: Iino | Naust | d’ | voice flute | 415 | Cited by Haynes (2002). | ||||||||
| F-Paris: Laurent Kaltenbach | J-H Rottenburgh | c’ | tenor | 406 | Cited by Haynes (2002). This appears to be a different Rottenburgh tenor to that acquired from the Kaltenbach Collection by USA-SD-Vermillion: Shrine 4879. | ||||||||
| B-Brussels | 0187 | Lambert | f | basset | 410 | 3 | 1000 | 2 | brass | Marvin (1972); Pottier (1992: 45); Haynes (2002). Pottier (loc. cit.) gives the Accession as 187 in error. | |||
| I-Milan: Collection G. Bizzi | J-H. Rottenburgh | c” | soprano | 415 | Cited by Haynes (2002). | ||||||||
| GB: Collection Richard Harvey | Bressan | f’ | alto | 403 | Cited by Haynes (2002). | ||||||||
| USA-MA-Boston: von Huene | Bressan | c’ | tenor | 405 | 1 | ? box, dark stained | Ivory beak, ferules & foot | ? silver | Cited by Haynes (2002). Image Burgess (2015: pl. 37). | ||||
| USA-MA-Boston: von Huene | Bressan | d’ | voice flute | 410 | ? box | Ivory beak, ferules & foot | Cited by Haynes (2002). Image Burgess (2015: pl. 37) | ||||||
| J-Tokyo: Iino | Bressan | f’ | alto | 400 | stained | Stamped Pul/BRESSAN/rose. One of a matched pair in original box. Waterhouse (1993) describes the case in detail with photographs. Nominal and performance pitch from Haynes (2002). | |||||||
| J-Tokyo: Ueno Gakuen | 87 | Bressan | f’ | alto | 401 | Cited by Haynes (2002). | |||||||
| Brazil-Sao Paolo: R. Kanji | Bressan | f’ | alto | 403 | Cited by Haynes (2002). | ||||||||
| J-Tokyo: Ueno Gakuen | Souch | d’ | voice flute | 404 | Cited by Haynes (2002). | ||||||||
| J-Tokyo:Iino | Bressan | c’ | tenor | 408 | box | ivory | Cited by Haynes (2002). | ||||||
| J-Tokyo: Iino | Stanesby Jr. | c’ | tenor | 408 | With traverso-style foot joint. Cited by Haynes (2002). | ||||||||
| USA-Greenville: Sigal Music Museum | 2015.01 | Stanesby Jr. | f’ | alto | 410 | 3 | 495 | stained boxwood | Stamped STANESBY / IUNIOR Formerly USA-MA-Boston: von Huene. Haynes (2002), Rice (2015); Lynn (2021, 13 & pl. 5, col.) | ||||
| GB-Tunbridge Wells | Cotton | a’ | alto | c1763 | 424 | MacMillan (1983) gives this instrument a nominal pitch as g’ and the date as ca 1763; Haynes (2002) gives it as a’. Previously at GB-London: Oldham. Used by the Parish Clerk to give the pitch for unaccompanied singing in a church in Shipley, Kent, UK (MacMillan 2008: 128-29). | |||||||
| GB-London: Horniman | 14.5.47 | JC Denner? | g’ | alto | 461 | Cited by Haynes (2002) with an incomplete Accession number. This probably represents one of the three recorders in this collection from unknown makers. | |||||||
| D-Munich: Bav. Natl. Mus. | BNM 153 | Unknown | f’ | alto | 475 | Cited by Haynes (2002). | |||||||
| A-Linz: Schlossmus | Mu 12 (154) | Plaikner | g’ | alto | 378 | Cited by Haynes (2002: 446). | |||||||
| D-Bavaria: Bogenhaus | 4 | J Denner | g’ | 392 | Cited by Haynes (2002). Probably the same as the intrument listed here (awaiting confirmation from Bruce Haynes). | ||||||||
| A: Stift Schlägl | Gahn | sopranino | 399 | Cited by Haynes (2002) who does not give the nominal pitch. | |||||||||
| D-Leipzig | 3140 | Reich | c’ | tenor | 402 | Cited by Haynes (2002). | |||||||
| D-Bavaria: Bogenhaus | 14b | JC Denner | f | basset | 405 | Cited by Haynes (2002: 447). Probably the same as the intrument listed here or there (awaiting confirmation from Bruce Haynes). | |||||||
| NL-Amsterdam: Brüggen | Gall | g’ | alto | 405 | Cited by Haynes (2002: 447). | ||||||||
| F-Paris: Anonymous | Hietz | c” | soprano | 405 | Cited by Haynes (2002: 447). | ||||||||
| D-Bavaria: Bogenhaus | 5 | J Denner | f’ | alto | 410 | Cited by Haynes (2002: 447). Probably the instrument listed here (awaiting confirmation from Bruce Haynes). | |||||||
| D-Bavaria: Bogenhaus | 3 | JC Denner | g’ | alto | 410 | Cited by Haynes (2002: 447). Probably the instrument listed here (awaiting confirmation from Bruce Haynes). | |||||||
| USA-Greenville: Sigal Music Museum | 2015.03 | JD Denner | f’ | alto | c.1700 | 410 | 3 | 495 | boxwood | Stamped on all 3 sections I.C.DENNER (in a scroll with rolled ends) / D / I Formerly USA-MA-Boston: von Huene Rice (2021) attributes this to JC Denner Haynes (2002: 447); Rice (2021); Lynn (2021: 12 & pls 3, col.) | |||
| Stimmer | Gahn | f’ | alto | 410 | Cited by Haynes (2002: 447). | ||||||||
| J-Tokyo: Iino | Eichentopf | f’ | alto | 411 | Cited by Haynes (2002: 448). | ||||||||
| N-Trondheim: Ringve Mus. | RMT 84/2 | Gahn | f’ | alto | c1700 | 414 | 6 | 507 | ivory (in 6 parts) | Faintly stamped I.B. GAHN/monogram Aquired by the museum in 1984 and played by the flautist Tore Aune for some years following. Data from Mats Krouthén, Ringve Museum (pers. comm., 2004). Performance pitch from Haynes (2002: 448) who does not give the nominal pitch. For colour photo see Guttormsen et al. (1988: 58-59). | |||
| D-Bavaria: Bogenhaus | 2a | JC Denner | f’ | alto | 421 | ivory | This instrument has double holes for fingers 6 and 7. Cited by Haynes (2002); Nozaki (2016). Probably the instrument listed here (awaiting confirmation from Bruce Haynes). | ||||||
| Anonymous dealer | J Denner | f’ | alto | 425 | Cited by Haynes (2002: 449). | ||||||||
| I-Milan: Museo Teatrale alla Scala | JC Denner ? | a | basset | 425 | Cited by Haynes (2002: 449). | ||||||||
| A: Stift Schlägl | Gahn | f’ | alto | 425 | Cited by Haynes (2002: 449) as Alto #1. | ||||||||
| A-Linz: Schlossmus | 5 (151) | Plaikner | f’ | 456 | Cited by Haynes (2002: 449). | ||||||||
| D-Bavaria: Bogenhaus | 6a | Schuechbaur | f’ | alto | 458 | Cited by Haynes (2002: 449). Probably the instrument listed here (awaiting confirmation from Bruce Haynes). | |||||||
| A-Salzburg: Mus. Car.-Aug. | 243 | G Walch | f’ | alto | 390 | Cited by Haynes (2002: 449). | |||||||
| A-Salzburg: Mus. Car.-Aug. | 242/171 | G Walch | f’ | alto | 390 | Cited by Haynes (2002: 449). | |||||||
| D-Leipzig | 1141 | JD Denner | f’ | alto | 435 | Stamped I.C.DENNER but attributed to J.D. Denner by Haynes (2002: 449) with nominal and performance pitch. | |||||||
| A-Salzburg: Mus. Car.-Aug. | 3-Apr | L Walch | g’ | alto | 18-19C | 438 | 420 | plum | horn | Stamped L.WALCH [in scroll]/(shell) Waterhouse (1993); Young (1993); Haynes (2002: 449); MacMillan (2007: 202; 2008: 85). | |||
| A-Salzburg: Mus. Car.-Aug. | 3-Feb | ?cl (?gl) | c” | soprano | 439 | Cited by Haynes (2002: 449). | |||||||
| USA-Greenville: Sigal Music Museum | 2015.04 | Boekhout | f | basset | c.1710 | 405 | 6 | 1067 | 2, brass | maple, stained brown | brass | Stamped (crown) / T· BOEKHOUT / (striding lion) Mouthpiece, brass crook (Von Huene), head joint, middle joint; bulbous foot, and replacement floor peg (Von Huene). Formerly USA-MA-Boston: von Huene. Haynes (2002: 451), Bouterse (2013), Rice (2021, pers. comm. 2022); Lynn (2021: pl. 4). | |
| A-Vienna | SAM 153 | Perosa | c” | soprano | 415 | 3 | 351 | box | Head stamped: Â | D. PEROSA (in a wimpel or scroll) | Haynes (2002) gives pitch as 410 Hz; Adrian Brown says 415 Hz. Haynes (2002: 452, as 8540); Sardelli (2007: 49 & pl. 6); photographs, measurements & technical drawings (by Adrian Brown, Luca de Paolis): de Avena Braga (2015: 55-57, 338-342, figs 118-124). | ||||
| I-Milan: Museo Teatrale alla Scala | MTS-FD/03 | Anciuti | g’ | alto | 413 | 3 | 470.5 | ivory | All three parts stamped: [lion of Venice]| [in a scroll] ANCIVTI | A MILAN Windway cracked. Image here. Falleti et al. (2009: 215); Haynes (2002: 452); Sardelli (2007: 49 & pl. 5) Photographs, measurements and other details: de Avena Braga (2015: 283, figs 34-36). | ||||
| A-Vienna | Castel | c” | soprano | 435 | Stamped with a lion (or griffin) rampant. Haynes (2002: 452). | ||||||||
| F-Paris: Veilhan | C. Schlegel | f’ | alto | 435 | Ex Chambure. Cited by Haynes (2002: 452). | ||||||||
| N-Trondheim: Ringve Mus. | RMT 78/6 | Boie | f’ | alto | c. 1800 | 6 | 343 | 2 | ebony | ivory rings and bell rim | silver | A recorder with an alternative flageolet head with five wind-channels leading to a sponge chamber. The instrument can be played as a recorder in three pieces. A foot key for the fourth finger of the left hand and a covered key on the mouthpiece to facilitate high trills. The latter is a feature of the flageolet rather than the recorder. When played as a recorder the tone is bright in the upper register, but somewhat softer when played as a flageolet. Mats Krouthén (pers. comm. 2004) MacMillan (1983; 2007: 202; 2008: 88). | |
| N-Trondheim: Ringve Mus. | NF 1925-0817 | Oberlender I | alto | 1705+ | On loan from Norsk Folkemuseum (Mats Krouthén, Ringve Museum, pers. comm. 2004). | ||||||||
| GB-Guildford: Macmillan | Unknown, ? Metzler | d’ | voice flute | 18C | 3 | 600 | box | ivory beak, mounts & foot | Stamped METZLER/LONDON/105.WARDOUR ST. The instrument is in the style of Bressan, and it seems likely that Metzler either repaired or sold the instrument. The foot has been tampered with. Macmillan notes that he saw this recorder whilst visiting Carl Dolmetsch in 1980. It’s previous owners were Richard Luckett and Graham Wells. The instrument does not play in tune, and there is little wear around the thumbhole. MacMillan (1982; 2003; 2008: 96; 2012, pers. comm.) Montague (2002). Auctioned by Bonham’s, London, Sale 18948 – Fine Musical Instruments, 5 Oct 2011; sold £4,125. Image here | ||||
| USA-CT-New Haven: Yale | Unknown (? French) | alto | 18C | 3 | 482.6 | ivory | From the Belle Skinner Collection, incorporated in the Yale University Collection of Musical Instruments in 1961. However, this instrument is not listed in the current on-line catalogue of the Yale collection, though a number of flageolets (including two from France) are. Cited by Potier (1992: 43); MacMillan (1983). For photographs see Nagel (1978: 66). | ||||||
| USA-CT-New Haven: Yale | 3159 | Powell | 1930 | Both date and provenance for this instrument may be given incorrectly in Yale University Collection of Musical Instruments (2004). It may be an Orkon, a keyed recorder developed by E.V. Powell in 1941 and manufactured for him by Richard W. Jerome (Chester, New York) between 1942 and 1952. | |||||||||
| GB-Torquay: Museum | V4608 | Hallett | c” | soprano | 3 | 333 | rosewood | ivory beak and upper mount | Cited by MacMillan (1983); additional data from Douglas MacMillan (pers. comm. 2015) | ||||
| S-Stockholm: Nordiska | Lindh | Cited by MacMillan (1983). | |||||||||||
| USA-DC: Smithsonian Institute | 65.0615 | Unknown | c” | soprano | 19C | 360 | wood | Poorly finished, possibly by an amateur craftsman MacMillan 1983: 491; 2007: 202; 2008: 83) | |||||
| USA-DC: Smithsonian Institute | alto | Cited by MacMillan (1983: 491). | |||||||||||
| B-Brussels | 0437 | Coppens | alto | 18C | 3 | 493 | wood | Highly decorated with engravings and incisions Cited by Diagram Group (1978: 30), as ‘taille de flute douce’. Probably not 19th-century (MacMillan, pers. comm. 2007). Images & further details. | |||||
| D-Berlin | Fritzsche | 19C | Cited by MacMillan (1983: 491) who has now identified this as a csakan (MacMillan, pers. comm., 2007). | ||||||||||
| S-Stockholm: Nordiska | N77211.1 | H. Grenser & Weisner | 181-1826 | 3 | wood | ivory beak | The foot is missing. Cited by MacMillan (1983) who has identified it as a csakan (MacMillan, pers. comm., 2007), though on what basis is not clear. From the image (see below) it looks like a perfectly ordinary baroque-style recorder. Image & further details here. | ||||||
| NL-Hague | Hakkert | 19C | Cited by MacMillan (1983: 491). | ||||||||||
| D-Nuremberg: Erlangen | R24 | JA Löhner | g’ | alto | 19C | 493 | Stamped (tree)/J.A.LOHNER/A/NURNBERG The foot is of early 19th century manufacture; the upper joints may be very late 18th-century. Eschler 1983: 115-121) MacMillan (1983: 491; 2007: 1999; 2008: 47-48) | ||||||
| D-Berlin | x2905 | Noblet & Thibouville | c. 1863 | The first of two instruments by this maker. Lost in the Second World War; neither photographs nor documentation have survived. MacMillan (1983: 491; 2007: 200; 2008: 55). | |||||||||
| D-Berlin | x2983 | Noblet & Thibouville | The second of two instruments by this maker. Lost in the Second World War; neither photographs nor documentation have survived. MacMillan (1983: 491; 2007: 200; 2008: 55). | ||||||||||
| USA-MA-Boston: MFA | Prowse | 19C | Ex Leslie Lindsay Mason Collection, Boston. Cited as a recorder by MacMillan (1983: 491). This instrument is not a recorder but a 4-keyed flageolet. | ||||||||||
| NL-Amsterdam: Historisch Museum | TLDW-1 | Haka | c” | soprano | 440 | 1 | palisander | ivory foot ring | Gawronski (2004). Amsterdam: varia. In Blazer, W. (ed.) Archeologische Kroniek Noord-Holland (2003: 3-68; 2004: 16-17). Found in 2003 during an archaeological dig in the Leliedwarsstraat in Amsterdam’s Jordaan district (Arnold den Teuling, 2004). Anthony Rowland-Jones (pers. comm.) reports that this is a hand-fluyt in well-preserved condition. The speaking length is 300 mm. The labium and windway exit are too damaged for it to play properly, but it does produce a thin wheezy sound over a limited range of notes, so one can determine the pitch, which seems low. Adrian Brown has made a copy, which is about a semitone higher than the original For critical measurements & further details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). | ||||
| CH-Konstanz | 1141 | JC Denner | f | basset | 3 | 943 | 1 | Cherry | brass | All 3 sections stamped I.C. DENNER/D/I. A copy of this instrument is made by Tom Prescott. See here. | |||
| D-Ilshofen: Thalheimer | Unknown | c” | soprano | 17C | 420 | 2 | wood | A copy of this instrument is made by Ralf Ehlert who writes: In 1985 an antique dealer discovered in a Venetian Palazzo a two-section descant recorder, which must have been made in the second half of the 17th century. The original instrument is at c” = 420 Hz and is in an astonishingly good, playable condition. | |||||
| CH-Basle: Aeon Workshop Collection | Cahusac | g’ | alto (second-flute) | c1760 | 418 | box | Marked with a 2 and thus clearly a second-flute, ie alto in g’. Identical to another Cahuasc second-flute in the Moeck collection. | ||||||
| CH-Basle: Aeon Workshop Collection | Bärenreiter | c’ | tenor | c1930 | 1 | flamed maple | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | Bärenreiter | f | basset | c1930 | 2 | plum | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | J Paetzold | f” | sopranino | 1991 | 440 | 2 | box | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | |||||
| CH-Basle: Aeon Workshop Collection | J Paetzold (after Denner) | f” | sopranino | 1970 | 420 | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | |||||||
| CH-Basle: Aeon Workshop Collection | J Paetzold | c” | soprano | 1991 | 2 | box | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | J Paetzold | ab’ | alto | 1999 | 440 | 2 | nutwood | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | |||||
| CH-Basle: Aeon Workshop Collection | A Brown | c’ | tenor | 1992 | 466 | maple | Renaissance-style. See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | A Brown | f | basset | 1992 | 466 | 1 | box | Renaisance-style. See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | |||||
| CH-Basle: Aeon Workshop Collection | Mollenhauer (after Kynseker) | c”’ | piccolo (garklein flutlein) | 1997 | 440 | maple | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | Mollenhauer (after Kynseker) | c”’ | piccolo (garklein flötlein) | 1997 | 440 | maple | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | Mollenhauer | f’ | alto | 1997 | 440 | 2 | pear | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | |||||
| CH-Basle: Aeon Workshop Collection | Huene | c” | soprano | 1991 | 440 | flamed maple | Renaissance-style. See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | Huene (after Denner) | f’ | alto | 1990 | 415 | box | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | Huene | c’ | tenor | 1992 | box | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | |||||||
| CH-Basle: Aeon Workshop Collection | Küng | b♭’ | soprano (fourth-flute) | 1997 | 440 | palisander | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | Breukink (after Ganassi) | g’ | alto | 1989 | 440 | 1989 | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | Merzdorf (after Gofferje, ca 1930) | d’ | tenor | 440 | 3 | plum | See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | ||||||
| CH-Basle: Aeon Workshop Collection | Koblicek | c | bass | 1991 | 440 | 4 | zapatero | Renaissance-style. See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000). | |||||
| GB: Oxford-Bate | 405 | Noblet | alto | ca1820 | 3 | 486 | box | horn beak, ferrules, and foot | Formerly UK: London – Bingham 87 (offered for sale in early 2005). Stamped (cockerel)/F.NOBLET/(star) Image here In very good original condition except for a little damage to horn mouthpiece, which does not affect playing. MacMillan (2007: 200; 2008: 54) | ||||
| GB: London – Bingham | 53 | ? Gahn | alto | 18C | 3 | 503 | box | No maker’s mark, but in the style of Gahn. Beak with carved fish head. Head and foot with carved acanthus leaves. Small chip of wood off top edge of footjoint. Chip from side of centre joint. Currently for sale at £9,000. Image here. | |||||
| F-Vichy: Auction | Schell | basset | metal ferrule on windcap | Marked with 3 fleur de lys. Brass bocal, entering at top of windcap. Ex Auguste Tolbecque collection. To be auctioned at Vichy on 18 June 2005. Bruno Kampmann to Anthony Rowland-Jones, 24 March 2005. | |||||||||
| F-Vichy: Auction | Unknown | tenor | ivory mid-joint and foot ring | Ex Auguste Tolbecque collection. Auctioned at Vichy on 18 June 2005. Bruno Kampmann to Anthony Rowland-Jones, 24 March 2005. Listed in the sale catalogue as a bass, but the photograph shows a tenor. | |||||||||
| F-Bellenaves: Renard | J Denner | f’ | alto | 416 | 3 | 501 | box | ivory beak, ferrules & foot | Stamped on each joint C. DENNER (in scroll) / I.D. / ICD Length of head 192 mm; length of middle joint 240 mm; length of foot 103 mm. In very good playable condition. Currently offered for sale at Euro 50,000 ! Image here Cited by Haynes (2002). | ||||
| F-Bellenaves: Renard | Dolmetsch | alto | 3 | 478 | rosewood | ivory beak, ferrules & foot | Stamped Dolmesch; serial number 7846. Currently offered for sale at Euro 1200. | ||||||
| ex F-Bellenaves: Renard | Unknown | alto | c1700 | 417 | 3 | 493 | ivory | The turning and the bore size relate this instrument to the work of Hotteterre. Restored on the lower end of the middle joint. Length of head 191 mm; length of middle joint 25.2 mm; Length of foot joint 10.3 mm. Sold: Currently in the private collection of Andreas and Karin von Pavel, Germany. | |||||
| F-Bellenaves: Renard | Unknown | 18-19C | 339 | box | Turning uncouth. Slightly twisted. Probably italian origin. Image here. Currently offered for sale at Euro 900. | ||||||||
| F-Bellenaves: Renard | Bizey or Lot | alto | 3 | 483 | box | Attributed to a member of Bizey or Lot family. A crack has been restored on the first joint. Image here Length of first joint 184 mm; Length of middle joint 238 mm (197 mm without tenons); Length of foot: 102 mm. Currently offered for sale at Euro 6,000. | |||||||
| NL-Zwolle: Klemisch | Perosa | f” | sopranino | 410 | 2 | 259 | ivory | Head stamped: PEROSA [in a wimpel or scroll] Although there are cracks on both head and foot, the instrument plays very well and has a balanced sound. It is stylistically similar to an instrument at the Schola-Cantorum Baseliensis even though this instrument only has a scroll with no name it is also made of ivory and one could think of Perosa being the possible maker. However, the measurements are extremely different from the Vienna instrument. Perosa is probably not the maker of the Basel sopranino. Note by Guido Klemisch. Photographs, measurements, technical drawings (Guido Klemisch, Federico Sardelli): de Avena Braga (2015: 344-345, figs. 125-127). Image here | |||||
| I-Bologna: Accad. Fil. | 602 (Puglisi 7; Tiella Bs3) | Grece | g+ | basset | 440 | 1 | plum | stamped p·grece. a large portion of the body below finger-hole 3 is missing. Sounding length is 765.5 mm. for critical measurements & other details see adrian brown’s renaissance recorders database; brown (2005b: 563); tiella (2004 & 2005). tiella (2004: 9 & 2005: 134), gives this instrument the inventory number 603, in error!) | |||||
| NL-Hague | 1933-0268 | Unknown | c’ | tenor | 18C | 3 | 717 | 1 | stained box | ivory | Not playable. Various cracks in head and ivory rings. Key a later replacement. | ||
| NL-Hague | 1933-0275 | Unknown | f’ | alto | 18C | 499 | maple with tortoiseshell covering | Not playable. Leaks air between wood and tortoiseshell. | |||||
| NL-Hague | 1933-0457 | Unknown | f’ | alto | ?18C | 414 | 511 | stained ? maple | Hardly playable but essentially a beautiful sound. See Bouterse (2004: 22). | ||||
| NL-Hague | 1933-0582 | AB or possibly AE | f’ | alto | ?19C | 490 | stained wood | ivory | Not playable. A variety of minor damage. Bouterse (2004: 22) MacMillan (2008: 99) Image of head | ||||
| NL-Hague | 1933-0583 | Tott | f’ | alto | 18C | 406 | 507 | stained box | Playable, no visible damage. See Bouterse (2004: 23). | ||||
| NL-Hague | 1000-0065 | Unknown | alto | ? box | Only the head (201 mm long) survives. It has possibly been submerged in water. | ||||||||
| D-Darmstadt: Hess.Mus. | 67:123 | f# | basset | 440 | Sounding length 840 mm. For critical measurements and other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535). | ||||||||
| NL-Dokkum: Steenmuseum | 204 | f#” | sopranino | 1696 | 440 | box | engraved silver ring on foot | Stamped I.V.H. and thus possibly by possibly by Jan van Heerde. Silver ring bears an inscription and the date: 1696. Lowest note and performance pitch from Brown (2005b). Bouterse (2015) | |||||
| I-Pisa: private collection | MH | g#’ | alto | 440 | 382 | fruitwood | ivory | Stamped M. Waisted turning; two ivory mounts, look like Nuremberg instruments. Recess for decorative plaque (missing) below window. For critical measurements and other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 535); Galpin Society Newsletter 4 (2002). | |||||
| A-Vienna | SAM 691 | Unknown | c” | soprano | 440 | 307.2 | maple | Sounding length 277.0 mm. Simple instrument with straight drilled fingerholes, no undercutting. Long ramp for this size instrument. Single incised ring between beak and window. For critical measurements and other details see Brown (2005/2023); Darmstädter & Brown (2006: 151-153 & colour photographs). | |||||
| USA-NC-Durham: Duke | 11 | Wrede | soprano | 19C | 2 | 31.34 | 1 | boxwood | ivory | brass | Stamped H. WREDE / LONDON on the duct joint. This instrument was apparently converted from a flageolet to a recorder by carving the tenon of the duct joint into a recorder mouthpiece. Alternatively it is a recorder with a very strange mouthpiece. Further information on this instrument would be most welcome. MacMillan (2008: 94-95) Images here. | ||
| USA-NC-Durham: Duke | 13 | Mathieu | Metal walking-stick recorder. Further information on this instrument would be welcome. | ||||||||||
| D-Lucerne: Richard-Wagner-Museum | 114 | ?Denner | sopranino | ?17C | 3 | ivory | Shortened with a replacement foot rendering it a 6-holed pipe. Once bore a maker’s mark, possibly beginning with a ‘D’, but this has faded. Probably made in Nuremberg in the late 17th century, perhaps by one of the Denner family (Weber 2005). | ||||||
| GR- Rhodes: Palace | sopranino | bone | Jack Campin (2005) writes: In the museum in the basement of the Palace of the Knights of St John there is the body of a bone sopranino recorder, attributed to the period of the Knights (1309-1522). Holes in the usual recorderish places, including the thumbhole … [The instrument was] slightly tapered, I think. The maker hadn’t used a lathe – the bone had been filed down a bit externally but there were no decorative markings. I couldn’t look down the bore. The holes were cleanly done, better than most folk flutes, with some variations in size … I suspect the instrument was in one piece: the top is broken off … it wasn’t in the regular museum part, but in the display marking 2400 years of the city of Rhodes which they first put up in 1993. | ||||||||||
| I-Rome: Museo dSM | 871 | Unknown (Italian) | tenor | 4 | 680 | ivory | Images here and there. | ||||||
| I-Rome: Museo dSM | 872 | Unknown | 3 | ivory | Foot not original. Image here. | ||||||||
| I-Rome: Museo dSM | 873 | Unknown | 3 | ivory | Spacchi e incollature nella parte finale legate col filo di ferro. Image here. | ||||||||
| I-Rome: Museo dSM | 874 | 2208 | Unknown | sopranino | 3 | ivory | Body and foot stamped: [star] | I The head is clearly a crude replacement by a different maker to the lower parts. The turning is different and there is no proper windway. The block is too short, and the window is disproportionately large.Images here and there. Photographs & notes: de Avena Braga (2015: 347, 132-134). | |||||||
| I-Rome: Museo dSM | 878 | Unknown | tenor | 3 | 1 | wood | brass | Image here | |||||
| I-Rome: Museo dSM | 879 | 1421 | Castel | alto | 3 | 505.4 | stained pearwood | All 3 pieces marked N. CASTEL | [lion (or griffin) rampant] Image here. Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 295-298, figs 51-56). | ||||||
| I-Rome: Museo dSM | 880 | Unknown | ? voice flute | 3 | wood | Image here (second from left). | |||||||
| I-Rome: Museo dSM | 638 ex 881 | Grassi | f’ | alto | c.435 | 3 | 218.5 | box | ivory mounts (head & foot); brass ferrule (upper body) | All three parts stamped: GRASSI | IN MILAN Cracks in all three parts. The block appears to be too wide and too short for the head. The design of the instrument is unusual: the head joint is male rather than female; and there is no upper chamfer at the windway exit (similar to recorders by Anciuti) Photographs, measurements, technical drawings (by Fumitaka Saito): de Avena Braga (2015: 322-324, figs 89-94). | |||
| I-Rome: Museo dSM | 884 | 698 | Castel | voice flute | 3 | 578.4 | box | metal (middle joint ferrule) | All joints stamped N. | CASTEL | [lion (or griffin) rampant] Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 309-312, figs 70-75). | |||||
| I-Rome: Museo dSM | 887 |644 | Castel | alto | 3 | 521.9 | box | All joints stamped: N. | CASTEL | [lion (or griffin) rampant] Image here. Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 291-294, figs 45-50). | ||||||
| I-Rome: Academia | 170 | Castel | d’ | voice flute | 18C | 415 | 3 | 533.3 | box | Marked: N. | CASTEL | [lion (or griffin) rampant] Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 303-308, figs 62-69). | |||
| I-Rome: Academia | 67 | Unknown | Described in museum on-line catalogue simply as flauto diritto, this may not be a recorder. | ||||||||||
| ? I-Bologna: Private | Bressan | d’ | voice flute | 412 | 3 | 60.9 | boxwood | Nominal and performing pitch from Tarasov (2004: 16-17). Tarasov further comments that Tarasov further comments that this instruments plays over two octaves plus a minor third, including the f#”’ Sound clip here, played by N. Tarasov. | |||||
| GB-London: Sotheby’s | StanesbyJr | alto | 18C | 3 | wood | Advertised (with photograph) in Early Music 4(1): 52 (1976); auctioned 12 February 1976. | |||||||
| GB-London: Sotheby’s | Bradbury | alto | 17C | 3 | wood | ivory beak, mounts & foot ring | Advertised (with photograph) in Early Music 4(1): 52 (1976); auctioned 12 February 1976. | ||||||
| GB-London: Phillips | Gahn | alto | 3 | ivory | Advertised (with photograph) in Early Music 10(1): 71 (1982); auctioned Phillips for £4,800. | ||||||||
| GB-London: Phillips | Unknown (French) | alto | ?18C | 3 | ivory | Advertised (with photograph) in Early Music 10(1): 71 (1982); auctioned Phillips for £2,100. | |||||||
| GB-London: Sotheby’s | Rippert | g’ | alto | 3 | ivory | Advertised (with photograph) in Early Music 10(3): 368 (1982); auctioned Sotheby’s, London, 7 April1982 for £5,060. | |||||||
| GB-London: Sotheby’s | Bressan | alto | 3 | box | Advertised (with photograph) in Early Music 10(3): 368 (1982); auctioned Sotheby’s, London, 7 April1982 for £7,700. | ||||||||
| D-Augsburg: Maximilian | Unknown | Brown & Lasocki (2006) note the existence of a large case bearing the date 1603 and the arms of the city of Augsburg which must have belonged to the city’s wind ensemble. It was made to hold no fewer than 28 instruments: 16 recorders, 6 flutes, and 6 conical instruments that may well have been cornetti. The sizes of the recorders would fit our second system exactly (minus the great bass): a single bass in Bb, four bassets in f, four tenors in c‘, three altos in g‘, two sopranos in d, and two sopraninos, probably in a, all at mezzo punto. | |||||||||||
| D-Pavel | Unknown | f’ | alto | c1700 | 417 | 3 | ivory | New block by Guido Klemisch. Possibly shortened at some time. The turning and the bore size relate this instrument to the work of Hotteterre. Restored on the lower end of the middle joint. Length of head 191 mm; length of middle joint 25.2 mm; Length of foot joint 10.3 mm. Purchased from Renard, Paris. | |||||
| D-Halle: Handelhaus | MS-326 | Billing | sopranino | 1808-1825 | Stamped (lily/F.BILLING/A.VARSOVIE/(flower) MacMillan (2007: 199; 2008: 35) | ||||||||
| USA-NJ-Newark: Rutgers | f | basset | Belonged to jazz multi-instrumentalist Rahsaan Roland Kirk. | ||||||||||
| H-Budapest: Natl. Mus. | 1928.75 | Stanesby Jr | f’ | alto | 3 | black (? ebonised boxwood) | ivory ferrule and foot | Head-joint is missing. The ivory ornamentation is identical to that of an alto by Bressan, namely GB-Oxford: Bate 112. The maker’s mark looks like that of another alto by Stanesby photographed by Heinz Amman, namely UK-Sotheby: Sold for 24.150 GBP, and F-Paris: E.980.2.82. Bali (2007: colour plate). | |||||
| H-Budapest: Natl. Mus. | 1977.12 | Gahn | c’ | tenor | ?420 | 3 | Maker’s stamp (faint) is GAHN under a clearly visible coat of arms. Only the head- and centre-joint survive, both stamped with a star. Sounding lengths 178 mm (head) and 266 mm (centre). Head in two parts. Bali (2007: colour plate). | ||||||
| H-Budapest: Liszt Ferenc Academy | Denner | g | basset | 440 | 5 | 865 | 2 | ivory | brass | Playing condition is poor, due to the damaged windway. In dimensions and appearance it is very similar to the instrument in Vermillion. The second key (giving the minor third above the lowest note) is surely a later (perhaps 19th-century) addition, probably made together with the narrowing of the thumb-hole: both reflect the ‘csakan-style’. The second entrance in the top of the cap could also be part of this modification. Bali (2007: colour plate); Tarasov (2010) | |||
| RO-Sibiu: Brukenthal | 14559/M 1102 | Hieronimo de li flauti | g# | basset | 1 | 790 | 1 | probably cherry | Stamped HIERâ¢S⢠Cap, crook, fontanelle and key missing. the bushes once holding hte key seem to be original; cracks in the bell have been repaired, and its shape has been modified. See Bali (2007); Buckner (1941). | ||||
| I-Milan: Private Collection | Unknown | c’ | tenor | 18C | 415 | 3 | 649.1 | box | Stamped indistinctly in a banner 4(Ψ)H?E The device resembles the Greek letter psi, or possibly a trident. Sounding length is 582.5 mm. Beak damaged in corner; block worm eaten; bore oval; foot in two parts held together by friction. | ||||
| GB-Oxford: Bate | 357 | Renaissance recorder, Oxfordshire Museum’s Service per Carol Anderson (Checklist). | |||||||||||
| GB-Oxford: Bate | 858 | Renaissance recorder, Oxforshire Museum’s Service per Carol Anderson (Checklist). | |||||||||||
| GB-Oxford: Bate | 351 | Unknown | e’ | alto | from Checklist | ||||||||
| GB-Oxford: Bate | 251 | Unknown (Hong Kong) | c’ | soprano | plastic | Stamped 6506. Ex Edgar Hunt. | |||||||
| GB-Oxford: Bate | 343 | Aulos | c” | soprano | 20C | 440 | plastic | ||||||
| GB-Oxford: Bate | 398 | Bauml;renreiter | basset | Henry Gift (from Checklist) | |||||||||
| GB-Oxford: Bate | 380 | Bolton | alto | Henry Gift. | |||||||||
| GB-Oxford: Bate | 356 | Boosey & Hawkes | c’ | tenor | ex Edgar Hunt. | ||||||||
| GB-Oxford: Bate | 384 | Coolsma | alto | Henry Gift. | |||||||||
| GB-Oxford: Bate | 385 | Coolsma | alto | Henry Gift. | |||||||||
| GB-Oxford: Bate | 386 | Coolsma | alto | Henry Gift. | |||||||||
| GB-Oxford: Bate | 389 | Coolsma | alto | Henry Gift. | |||||||||
| GB-Oxford: Bate | 310 | Dolmetsch 5435 | soprano | With chin and foot keys. Ex Collection Alex Loretto. | |||||||||
| GB-Oxford: Bate | 342 | Dolmetsch | plastic | ||||||||||
| GB-Oxford: Bate | 370 | Dolmetsch 5175 | sopranino | Henry Gift. | |||||||||
| GB-Oxford: Bate | 371 | Dolmetsch 11545 | sopranino | Henry Gift. | |||||||||
| GB-Oxford: Bate | 372 | Dolmetsch 9769 | soprano | Henry Gift. | |||||||||
| GB-Oxford: Bate | 373 | Dolmetsch 14832 | soprano | plastic | Henry Gift. | ||||||||
| GB-Oxford: Bate | 377 | Dolmetsch 7173 | soprano | Henry Gift. | |||||||||
| GB-Oxford: Bate | 379 | Dolmetsch | soprano | Henry Gift. | |||||||||
| GB-Oxford: Bate | 282 | Dolmetsch 3549 | alto | Henry Gift. | |||||||||
| GB-Oxford: Bate | 388 | Dolmetsch 5306 | alto | Henry Gift. | |||||||||
| GB-Oxford: Bate | 394 | Dolmetsch 9980 | tenor | Henry Gift. | |||||||||
| GB-Oxford: Bate | 395 | Dolmetsch 10101 | tenor | Henry Gift. | |||||||||
| GB-Oxford: Bate | 396 | Dolmetsch 5176 | basset | Henry Gift. | |||||||||
| GB-Oxford: Bate | 378 | Fehr | soprano | Henry Gift. | |||||||||
| GB-Oxford: Bate | 387 | Klemisch | alto | Henry Gift. With corps de rechange. | |||||||||
| GB-Oxford: Bate | 390 | Klemisch | alto | Henry Gift. | |||||||||
| GB-Oxford: Bate | 391 | Klemisch | voice flute | Henry Gift. | |||||||||
| GB-Oxford: Bate | 392 | Küng | tenor | ‘Meisterstucke’ model. Henry Gift. | |||||||||
| GB-Oxford: Bate | 397 | Küng | basset | Henry Gift. | |||||||||
| GB-Oxford: Bate | 399 | Küng | bass | Henry Gift. | |||||||||
| GB-Oxford: Bate | 374 | Moeck | soprano | ‘Steenbergen’ model. Henry Gift. | |||||||||
| GB-Oxford: Bate | 381 | Moeck | alto | ‘Steenbergen’ model. Henry Gift. | |||||||||
| GB-Oxford: Bate | 393 | Moeck | tenor | ‘Rottenburg’ model. Henry Gift. | |||||||||
| GB-Oxford: Bate | 382 | Monin | alto | Henry Gift. | |||||||||
| I-Milan: Castello Sforzesco | Bressan | tenor | 3 | 1 | boxwood, stained brown | ivory | silver | Image here | |||||
| I-Milan: Castello Sforzesco | 318 | Thibouville-Cabart | soprano | 1865 – post 1910 | 3 | 320 | boxwood | ? horn | Stamped THIBOUVILLE/Cabart/Ã Paris Image here MacMillan (2007: 200; 2008: 58) | ||||
| A-Vienna: Dorotheum | Kohlert | c’ | soprano | 2 | 5 | grenadilla | steel | A so-called ‘reform’ recorder. Auctioned Vienna-Dorotheum 25 May 2006. Image here. | |||||
| CH-Geneva: Ménestrandie | Staub | alto | ivory | I would be grateful for further details of this instrument. | |||||||||
| Australia-Sydney: Powerhouse | H4826 | Unknown (English) | f’ | alto | 19C | 3 | box | silver ferrules | Dated 1890 – 1910. Wooden recorder, boxwood, [England]. Light coloured wooden recorder in three parts, head joint (-1), middle joint (-2) and foot joint (-3). The head joint has a shaped mouth piece with a flat rectangular mouth hole and a darker wood in the tounge of the cutaway section, at the front there is a chisled square sound hole under the mouth piece, at the join there is a 6 mm silver collar. The middle join has a slight taper to the shaft and the joints top and bottom are bound in red waxed thread, 6 uncovered finger holes at the front, 3 and 5 are out of alignment, and one uncovered thumb hole at the back. The foot joint has a 6mm silver collar at the join and a single uncovered finger hole placed on the wide band of wood left around the middle of the foot joint, flared bell with a chip in the wood at the back. Image here. MacMillan (2008: 83) | ||||
| Australia-Sydney: Powerhouse | 95/28/80 | Hohner | 20C | wood & plastic | Recorder in light coloured wood with plastic mouthpiece; with hand-stiched black leather case. This instrument was possibly used by circus clown Arthur Jandaschewsky as part of his solo act. The Jandaschewsky family collection was kept together by the last remaining family member, Arthur ‘Jandy’ Jandaschewsky. During the last years of his life ‘Jandy’ sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to ‘Jandy’s’ wishes. | ||||||||
| Australia: Sydney – Powerhouse | 95/28/79 | Dolmetsch | soprano | 20C | 3 | moulded brown plastic | moulded white plastic | Trademark and patent number on back of shaft, moulded, text within rectangular border: 3 MADE IN ENGLAND/ DOLMETSCH INTERNATIONAL/ DESCANT RECORDER/ B.S. 3499/ FINISHED & TESTED IN HASLEMERE/ PATENT APPLIED FOR; manufacturer beneath lip, molded and painted in white, text in script diagonal to recorder, ‘Dolmetsch’ This instrument was possibly used by circus clown Arthur Jandaschewsky in his role as a solo performer in variety and television shows. The Jandaschewsky family collection was kept together by the last remaining family member, Arthur ‘Jandy’ Jandaschewsky. During the last years of his life ‘Jandy’ sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to ‘Jandy’s’ wishes. | |||||
| Australia-Sydney: Powerhouse | H4368 | Unknown | c’ | soprano | black plastic | ||||||||
| RO-Sibiu: Brukenthal | 14559/M 1072 | Hieronimo de li flauti | c# | bass | 1 | 1130 | 1 | probably cherry | copper | Stamped HIERâ¢S⢠below the windway and on the sole. Cap and fontanelle missing. The area around the lowermost finger-hole has been repaired with a wooden insert of a darker color. Key not original, although dating from same period; its re-fititng has been inexpertly carried out. Unplayable, the windway cracked and the instrument has traces of woodworm. See Bali (2007)); Buckner (1941). | |||
| RO-Sibiu: Brukenthal | 14559/M 1078 | Hieronimo de li flauti | F# | contrabass | 2 | 1200 | 1 | probably cherry | Stamped HIERâ¢S⢠below the window. Cap, crook and foot missing. Damaged by woodworm, but playable. See Bali (2007); Buckner (1941). | ||||
| RO-Sibiu: Brukenthal | 14559/M 1103 | ? Rozmberk | f# | basset | 1 | 890 | 1 | probably maple | Cap, fontanelle and key missing. Stamped 3-branched flat-arched crown / W. This stamp is identical with that of two shawms in the same collection. A bass recorder now in A-Vienna: GdM (I.N. 116 ) is stamped with an almost identical crown and W below the windway (and with the additional marks FG and HV on the fontanelle and on the foot). The instrument does not speak well, and has been modified. A diagonal hole leading into the windway has been bored across the block, probably due to the lack of its cap. The chamfers have been roughly widened, and the foot piece also shows drastic alterations with multiple changes of key. There is an enigmatic hole in the bell section below the fontanelle. On the badly damaged bell rim are traces of later decoration. See Bali (2007); Buckner (1941). | ||||
| USA-MI-Ann Arbor | 503 | Colas | a’ | third flute (alto) | 1857-p.1883 | 450 | 392 | box | rosewood beak and foot; horn ferrules | Stamped PROSPER COLAS/A/PARIS Warner & von Huene (1970: 69-81) MacMillan (2007: 199; 2008: 36) Images here. | |||
| B-Brussels | 2633 | Dupré | g’ | alto | 1830-1835 | 2 | 410 | 2 | blackwood | ivory beak, ferule & foot | silver | Stamped DUPRE a TOURNAI This is a flageolet rather than a recorder as it has a thumbhole and holes for only 5 fingers, the lowest operated by a key. MacMillan (2007; 2008: 37. Images & further details. | |
| I-Parma: Conservatorio | 3011 | Garsi | e’ | basset | late 18th or 19th-century | 440 | 3 + windcap | 1120 | 4 | maple | 4 brass ferrules | brass | Stamped: [sun] | GARSI | PARMA | [sun] Bocal enters from top of windcap. Image here. MacMillan (2007: 199; 2008: 38-39). Photograph & notes (by Alessandra Presutti): de Avena Braga (2015: 49, 316, fig. 81). |
| D-Celle: Moeck | Goulding | f’ | alto | c. 1786-1834 | box | Stamped GOULDING & CO. MacMillan (2007: 199; 2008: 43) | |||||||
| D-Sigmaringen | 279/318 | Hochschwarzer | b♭’ | fourth flute | mid-19C | Stamped A.HOCHSCHWARZER/SCHWAZ ‘A surviving recorder of folk instrument type resembles a similar instrument by Lorenz Walch’ (Waterhouse 1993) Bär (1992) MacMillan (2007: 199; 2008: 44) | |||||||
| F-Paris | E.980.2.590 | Jeantet | ? tenor | early 19th century | 4 | 400 | 6 | Stamped JEANTET/A LYON. Head lost. The pattern of the keywork is quite diferent from that of a similarly dated tenor by Bellisent (F. Paris E 2137). MacMillan (2008: 44) | |||||
| USA-MI-Ann Arbor: U Mich. | 508 | KruspeFC | a’ | mid-1800s | 455 | 3 | 489 | 4 | stained box | silver ferrules | nickel-plated | A Wiener csakan All sections stamped (lyre)/KRUSPE/ERFURT/(wheel with six spokes) Thumb-hole very tiny with a brass bush, so not pinched MacMillan reports that apart from the keywork this instrument has a recorder-like beak, seven finger holes and four keys and is thus a recorder rather than a flageolet. But it is clearly a Wiener csakan. Images here Warner & von Huene (1970) MacMillan (2007: 199; 2008: 45; 1015: 99) | |
| F-Paris | E.01242 | C Lamy | soprano | 20C | 476 | ||||||||
| F-Paris | E.01243 | C Lamy | basset | 1960 | 960 | 3 | |||||||
| F-Paris | E.01201 | JA Lamy | soprano | 19-20th century | MacMillan (2007: 199; 2008: 45-46) | ||||||||
| F-Paris: Sallaberry | 1 | Lecomte | c” | soprano | c. 1890 | 2 | 326 | palisander | 1 nickel-silver ring | Stamped A.LECOMTE & Cie./PARIS MacMillan (2007: 199; 2008: 46) | |||
| F-Paris: Sallaberry | 2 | Lecomte | c” | soprano | 19C | 2 | 325 | palisander | 1 nickel-silver ring | MacMillan (2007: 199; 2008: 46) | |||
| CH-Basel | 1896.199a | F Löhner II | f’ | alto | early 19C | 500 | box | Stamped F.LEHNER/FL on all three joints. CH-Basel 1896.199a & b are identical and were used to accompany services at Adelboden, Switzerland. MacMillan (2007: 199; 2008: 46-47) Nef (1906: 12) Nickel (1971: 313-314) | |||||
| I-Florence: Museo degli Strumenti Musicali | 107 | Mahillon | c’ | tenor | 19-20C | 1 | 596 | 1 | Renaissance copy by V.H. Mahillon. MacMillan (2007: 199; 2008: 48) Image & further details here. | ||||
| I-Florence: Museo degli Strumenti Musicali | 108 | Mahillon | f | basset | 19-20C | 3 | 975 | 1 | ebony | ivory | Baroque copy by V.H. Mahillon. Blown bocal enters at the top of the windcap. MacMillan (2007: 199; 2008: 49). Image & further details here. | ||
| B-Brussels | 1023-01 | Mahillon | g” | sopranino | 19-20C | ?2 | wood | ?horn ferrule(s) | ?Head joint only. One of a set of eight copied from instruments by Kynseker at D-Nuremberg: GNM. Well made and in good condition. MacMillan (2007: 199; 2008: 49) Image and further details: I note that the dimensions given here are nonsensical. | ||||
| B-Brussels | 1023-02 | Mahillon | d” | soprano | a.1892 | 2 | 308 | wood | ?horn | One of a set of eight copied from instruments by Kynseker at D-Nuremberg: GNM. Well made and in good condition. MacMillan (2007: 199; 2008: 49-50). Image & further details. | |||
| B-Brussels | 1023-03 | Mahillon | c” | soprano | a.1892 | 2 | 308 | wood | ?horn | One of a set of eight copied from instruments by Kynseker at D-Nuremberg: GNM. Well made and in good condition. MacMillan (2007: 199; 2008: 49-50) Image & further details. | |||
| B-Brussels | 1023-04 | Mahillon | g’ | alto | a.1892 | 2 | 448 | wood | One of a set of eight copied from instruments by Kynseker at D-Nuremberg: GNM. Well made and in good condition. MacMillan (2007: 200; 2008: 50) Image & further details. | ||||
| B-Brussels | 1023-05 | Mahillon | g’ | alto | a.1892 | 2 | 448 | wood | horn | One of a set of eight copied from instruments by Kynseker at D-Nuremberg: GNM. Well made and in good condition. MacMillan (2007: 200; 2008: 50). Image & further details. | |||
| B-Brussels | 1023-06 | Mahillon | d’ | tenor | a.1892 | 2 | 590 | wood | 1 horn ferule | One of a set of eight copied from instruments by Kynseker at D-Nuremberg: GNM. Well made and in good condition. MacMillan (2007: 200; 2008; 50). Image & further details. | |||
| B-Brussels | 1023-07 | Mahillon | d’ | tenor | a.1892 | 1 | 590 | wood | 1 horn ferule | One of a set of eight copied from instruments by Kynseker at D-Nuremberg: GNM. Well made and in good condition. >MacMillan (2007: 200; 2008: 51). here. | |||
| B-Brussels | 1023-08 | Mahillon | g | basset | a.18892 | 890 | 1 | wood | 3 brass ferules ; 1 horn | brass | One of a set of eight copied from instruments by Kynseker at D-Nuremberg: GNM. Well made and in good condition. Direct-blown: windway & window/labium face player. MacMillan (2007: 200; 2008: 51). Image & further details. | ||
| B-Brussels | 1029 | Mahillon | bass | a.1892 | 1400 | 1 | wood | 2 brass ferules on fontanelle, 1 on windcap | brass | Copy of a renaissance bass recorder with a fontanelle at I-Verona: Accad. Fil. MacMillan (2007: 200; 2008: 50). Image & further details. | |||
| B-Brussels | 1030 | Mahillon | c | bass | 19-20C | 3 | 1830 | 4 | wood | 2 brass ferules on fontanelle, 1 on windcap | Copy of recorder by Hans Rauch von Schrattenbach at D-Munich: Bav. Natl. Mus. MacMillan (2008: 50-51) Image & further details. | ||
| B-Brussels | 1035 | Mahillon | D | extended contrabass | 19-20C | 3 | 2620 | 4 | wood | 2 brass ferules on fontanelle, 1 on windcap | brass | Copy of a renaissance-style recorder at B-Antwerp: Vleeshuis. Bocal enters at top ap. There is a similar recorder at USA-NY-New York: MMA (89.4.682), possibly also by Mahillon, though it measures only 2602 mm (MacMillan 2007: 200; 2008: 52) Images & further details. | |
| B-Brussels | 1041 | Mahillon | g | basset | a.1892 | 2 | 970 | 2 | wood | 2 brass ferules on fonanelle, 1 on windcap | brass | Copy of a renaissance-style instrument at D-Darmstadt: Hess.Mus. Bocal enters top of windcap (MacMillan 2007: 200; 2008: 52-53). Image & further details. | |
| D-Leipzig | 1146 | JG Martin | f | basset | 1810-1820 | 4 | 962 | 4 | maple | 2 ivory, 1 ? brass | ? brass | stamped prussian eagle/martin/potsdam blown with a bocal. herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 52-53.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 23f. macmillan (2007: 200; 2008: 54) image & further information here. | |
| D-Celle: Moeck | Noblet & Thibouville | third flute (alto in a’) | late 19C | box | MacMillan (2007: 200; 2008: 55) | ||||||||
| GB-Oxford: Bate | 404 | Oppenheim | tenor | early 19C | 542 | Recently acquired by the Bate Collection from GB-London: Bingham. Foot-joint is of the straight Stanesby like-style. MacMillan (2007: 200; 2008: 55-56). | |||||||
| A-Graz: Landesmus. | KGW 1.423 | Schweffer | d’ | soprano (sixth flute) | 19C | 288 | 1 | plum | Stamped SCHWEFFER/GRAZ/D The letter ‘D’ in the mark indicates the pitch MacMillan (2007: 200; 2008: 56-57) | ||||
| D-Leipzig | 1113 | Thibouville-Cabart | g” | sopranino (exilent) | c. 1890-1891 | 3 | 263 | maple | 2 horn ferules | baroque-style recorder similar to those by schlegel in basel and walch in berchtesgaden. heyde notes that the instrument is in the form of the two lost noblet & thibouville recorders formerly located in d-berlin. a rectangular cavity is cut into the wood beneath the window-labium, perhaps to hold an ornament. herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s.33-34.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 12f.; macmillan (2007: 200; 2008: 57-58). image & further information here. | |||
| F-Marseille | 1060 | Unknown | f’ | alto | 1800-1900 | 460 | maple | ivory rings | There is a poorly visible oval mark on the head-joint. MacMillan (2007: 201; 2008: 72-73) | ||||
| F-Marseille | 1085 | Unknown | alto | 19C | 460 | MacMillan (2007: 201) | |||||||
| F-Nice: Musée du palais Lascaris | C.169 | Unknown | c’ | tenor | ?1800-1830 | 3 | 645 | maple | An instrument of mediocre manufacture in poor condition. MacMillan (2007: 201; 2008: 73). Image here. | ||||
| DK-Copenhagen: Musikhist. Mus. | E.32 | Unknown | b♭’ | soprano (fourth flute) | 19C | 373 | plum | Stamped B, a pitch mark (German equivalent of the English B flat). Bears a marked external similarity to a recorder by Lorenz Walch in the Dayton C. Miller flute collection and thus probably a Berchtesgadner Fleitl. MacMillan (2007: 201; 2008: 75-76). | |||||
| DK-Copenhagen: Musikhist. Mus. | E.65 | Unknown | alto | 19C | 370 | 6 | grenadilla | German silver ferrules and foot ring | German silver | Flared clarinet-like bell. Whilst the keys and bell are suggestive of a csakan, the wide thumb-hole is more characteristic of the recorder. MacMillan (2007: 201; 2008: 74). | |||
| DK-Copenhagen: Musikhist. Mus. | E.66 | Unknown | soprano | 19C | 343 | 6 | grenadilla | German silver ferrules and foot ring | German silver | The straight, unflared foot, and the keywork is similar to that of an alto in the same collection (E65) as is the wide-diameter thumbhole, a characteristic of the recorder rather than the csakan. MacMillan (2007: 201; 2008: 75). | |||
| NL-Hague | 1933 0686 | Unknown | soprano | c. 1900 | 1 | 362 | MacMillan (2007: 201; 2008: 78). | ||||||
| F-Hague | 1933×1008 | Unknown | sopranino | c. 1875 | 1 | 224 | MacMillan (2007: 201). | ||||||
| B-Brussels | 0359 | Unknown, possibly French | alto | c.1878 | 3 | 530 | ebony | 2 ivory rings, ivory foot | Slender design. MacMillan (2007: 202). Images and further details. | ||||
| USA-MI-Ann Arbor | 504 | ? Colas | f’ | alto | 19C | 468 | boxwood | horn beak and rings | Profile simple, cf. the recorder by Colas in the same collection. Not in playing condition. Warner & von Huene (1970) MacMillan (2007: 202: 2008: 77-78) Image here. | ||||
| D-Berchtesgaden: Heimat Mus. | 1071 | L Walch I | e♭” | sopranino | 18-19C | 2 | 269 | plum | Stamped L.:WALCH Eb is an unusual key for a sopranino Bruckner (1978) MacMillan (2007: 202; 2008: 86) | ||||
| D-Berchtesgaden: Heimat Mus. | 1072 | L Walch I | d’ | soprano (sixth flute) | 18-19C | 2 | 301 | plum | Bruckner (1978) MacMillan (2007: 202; 2008: 86) | ||||
| CH-Reinach: private collection | Unknown | alto (fourth flute) | c. 1790-1815 | MacMillan (2007: 202) | |||||||||
| I-Modena: Museo | 23 | Bertani | late 18C- early 19C | 4 | 670 | 1 | maple | brass | Stamped D.Bertani. Modena Described in the collection catalogue as Flauto dolce, gli flauto d’amore con una chiave it has been modified to falsify ints nature and appearance. The head-joint has been turned into that of a recorder, and a hole for the little finger has been bored. Apart from the key, it bears a superficial likeness to the four-jointed tenor recorders of Stanesby, Jr. (MacMillan 2007: 202; 2008: 87-88). | ||||
| GB-Norwich: Strangers Hall Mus. | NWHCM : SH 608 : S | Dawkins | soprano | c.1800 | 2 | 370 | 1 brass | box | Stamped Dawkins / London / Patent This instrument is of slender build and appears to be an English flageolet. The beak is formed from a tenon which may have originally supported a windcap of some kind. The head has a shapely brass ferrule The body has a single brass key between the lowermost two finger holes; and it has buttons before finger holes 1-6, of the kind often found on flageolets. | ||||
| GB-Kilmarnock | Unknown (French) | soprano | c. 1735 | ivory | |||||||||
| GB-Kilmarnock | MI/A72 | Unknown | alto | c. 1730 | 3 | 501 | ivory | The first of two such instruments. See Macmillan & Clarke (2017). Image here. | |||||
| GB-Kilmarnock | MI/A73 | Gahn | alto | c. 1730 | 3 | 501 | ivory | Second of two such instruments. Faintly marked ‘I B Gahn’ within scroll See MacMillan & Clarke (2017) See Macmillan & Clarke (2017). Image here. | |||||
| GB-Kilmarnock | Unknown (English) | sopranino | early 18C | ivory | |||||||||
| A-Vienna | I.N.111 | Castel | d’ | voice flute | 18C | 3 | stained pearwood | All joints stamped: N. | CASTEL | [lion (or griffin) rampant] Speaking length is c. 535 mm. Günther Faimann, Archiv Bibliothek Sammlungen der Gesellschaft der Musikfreunde, Vienna, suggests this might be a tenor in C pitched at a=443 Hz. Marvin (1972); Pottier (1992: 344); de Avena Braga (2015:313, fig. 76) | |||||
| D-Berlin | 2816 | Lambert | tenor | 18C | Langwill (1980: 99); Pottier (1992: 45). | ||||||||
| NL-Hague | 583/1933 | Lot | f’ | alto | 18C | 415 | box | Stamped L TOTT, probably the inverse of T LOTT. Marvin (1972); Pottier (1992: 45). | |||||
| PL-Elblag | Unknown | d’ | soprano | 15C | body maple; block beech | Image here A medieval recorder found in a latrine in the old Hanseatic city Elblag (in former times Elbing) southeast from Danzig in Poland (Naumann 1999; Kirnbauer & Young 2000; Kirnbauer 2002). This instrument is intact and has been dated to the mid-15th century. It is in one-piece and appears to have a vibrating air column of 270 mm. Like the Dordrecht, Göttingen and Tartu recorders, the Elblag recorder lacks the beak-shaped mouth-piece characteristic of the modern instrument. Carefully worked details of this recorder, including undercut finger-holes and the edge of the labium indicate a professional maker. This is supported by the presence of a maker’s mark in the form of a circle with a central dot burned in the top of the instrument, a feature unique to this instrument. As with the other survivng late medieval recorders, the lowest interval of the Elblag recorder seems to have been a semitone. It was thus likely to have been pitched around d’, a tone higher than a modern soprano recorder. | |||||||
| Sotheby’s (London) | Early Musical Instruments, 2.10 2007, Lot 322 | Gahn | alto | c. 1700 | 6 | 494 | ivory | In six joints, the head joint in two parts, the foot joint in three parts all with threaded tenons, the central bell joint with two probably later vent holes. Stamped on the head joint I.B. Gahn within a scroll above a scrolling monogram. Very fine, The screw thread tenon in the head joint is very shallow and is now somewhat insecure but this must be caused by a little wear rather than visible damage. Image here. Sotheby’s, London: Earl Musical Instruments, Tue, 02 Oct 07 3:30 PM | |||||
| Sotheby’s (London) | Early Musical Instruments, 2.10 2007, Lot 322 | Gahn | alto | c. 1700 | 6 | 494 | ivory | In six joints, the head joint in two parts, the foot joint in three parts all with threaded tenons, the central bell joint with two probably later vent holes. Stamped on the head joint I.B. Gahn within a scroll above a scrolling monogram. Very fine, The screw thread tenon in the head joint is very shallow and is now somewhat insecure but this must be caused by a little wear rather than visible damage. | |||||
| Sotheby’s (London) | Early Musical Instruments, 2.10 2007, Lot 323A | Staub | alto | early 18C | f’ | 4 | 510 | 1 | ivory | brass | Stamped N. Staub within a scroll, the head joint in two sections with a screw tenon, the foot joint with a later g#’ key with pewter plug cover and waisted touchpiece, the centre joint inscribed on the back in large characters ‘von Beethoven geerbt Konrad Graf’. There is a short (1 cm) repaired crack in the front surface of the beak, the labium has small chips, the lower joint of the two-part head joint has some internal hair-line cracks. There is one short (1 cm) repaired crack on the inside surface of the lower tenon of the middle joint. A segment of the foot ring as been broken off and but well repaired, there are two other small cracks in the bell ring. The pitch of the instrument is ca 420 Hz. Unfortunately no paperwork has yet come to light which would support the fact that Beethoven bequeathed a recorder to Conrad Graf. It was of course just two years before the composer’s death that Graf presented to him one of his grand pianos. From its form the key (for g#’) was probably added in the first quarter of the 19th century, along with a plug which narrows the thumbhole. Tarasov (2010). | ||
| D-Nuremberg GNM | MI 865 | Sattler | alto | c. 1740 | 3 | 493 | light-coloured wood | head stamped [krone] // sattler. Bär, frank p.: neuerwerbsbericht. in: anzeiger des germanischen nationalmuseums 2002. nürnberg 2002, s. 383. image & further information here. | |||||
| D-Nuremberg GNM | MI 651 | Herrnsdorf | f’ | alto | c. 1930 | 3 | 477 | ?rosewood | 2 silver-coloured metal ferules | Head stamped G. HERRNSDORF // MARKNEUKIRCHEN i.S. G. HERRNSDORF // MARKNEUKIRCHEN i.S. Image & further information here. | |||
| D-Nuremberg GNM | MI 650 | Harlan | tenor | 1920-1940 | 3 | 564 | dark ?rosewood | 2 silver-coloured metal ferules | back of head stamped peter harlan // markneukirchen. Bär, frank p.: neuerwerbsbericht. in: anzeiger des germanischen nationalmuseums 1999. nürnberg 2000, s. 331. image & further information here. | ||||
| I-Modena: Estense | 6947 | Grandi | c. 1687 | 1 | red and white marble | Anthony Rowland-Jones (pers. comm., 2002) notes that this instrument looks real but is almost certainly unplayable. See Franca Falletti, Renato Meucci e Gabriele Rossi-Rognoni (2007, 2009). The museum possesses splendid and realistic replicas of a guitar in black and white layered Carrara marble, and a marble violin, complete with strings. | |||||||
| I-Belluno: F. Velluti | Anciuti | f” | sopranino | 1709 | 2 | 264 | ivory | silver | Head stamped: [lion of Venice] | [in a scroll] ANCIVTI | A MILAN | 1709 Has two holes for the little finger of the lowermost hole, one closed with wax. The two silver ferrules contain cracks in the ivory. Image here. Photograph, measurements and notes: de Avena Braga (2015: 284). | ||||
| GB-London: RCM | 484 | Herrnsdorf | soprano | 20C | 350 | 1 | ? rosewood | silver | silver | Head stamped G.HERRNSDOR [sic] / MARKNEUKIRCHEN I.S.; on body: D.R.G.M. / C. The key, operated by the little finger of the uppermost (left) hand, is for a low b’ natural. | |||
| GB-London: RCM | 402 | Preston | f’ | alto | 1774-1789 | 431 | Dark-stained ? boxwood. | On body: PRESTON / LONDON’. Foot made in ‘Stanesby’-style. Image here. | |||||
| GB-London: RCM | 403 | Unknown | alto | 388 | light-coloured ? box | white metal on head tenon | Body stamped ORPHEUS / D.R.G.M. / 361268. | ||||||
| GB-London: RCM | 692 | Dometsch | tenor | 3 | 611 | dark brown wood with pronounced grain & knots | Head joint and body stamped DOLMETSCH in a ring, surrounding 321. | ||||||
| GB-Oxford: Bate | 402 | Stanesby Jr | b♭ | fourth flute (tenor in bb) | c. 1730 | 405 | 3 | 737.5 | 1 | stained boxwood | unmounted | brass | on this instrument the figure 4 is placed above the name ‘stanesby iunior’, and the logo below, whereas in the fourth flute in the nl-amsterdam: Brüggen collection the position is reversed. nominal and performance pitch (when cold) from cranmore (pers. comm., 2007). plays at ca a=410 hz when warm. a drawing of this instrument by tim cranmore is available from the museum. detailed drawing by saunders (2010: 9) who notes that a the closeness of the finger-holes makes this instrument very playable. |
| S-Stockholm: Nydahl | ITB055 | Unknown | Stiftelsen Musikkulturens Främjande (2007) | ||||||||||
| S-Stockholm: Nydahl | ITB056 | Unknown | Stiftelsen Musikkulturens Främjande (2007) | ||||||||||
| S-Stockholm: Nydahl | ITB057 | Unknown | Stiftelsen Musikkulturens Främjande (2007) | ||||||||||
| S-Stockholm: Nydahl | ITB058 | Unknown | Stiftelsen Musikkulturens Främjande (2007) | ||||||||||
| D-Leipzig | 1135 | Unknown (? Italian) | c’ | tenor | 18C | 420 | 3 | 668 | stained (‘marbelled’) box | Photographs, measurements & technical drawings (by Stephan Blezinger): Bali (2007: colour plate); de Avena Braga (2015: 365-378, figs 167-180). | |||
| D-Leipzig | 3545 | Kehr | a’ | tenor | -1930 | 435 | 3 | 74.6 | 1 | maple | brass ferrules on cap, headjoint & footjoint | brass | Bali (2007: colour plate) |
| H-Budapest: Natl. Mus. | 1960.187 | Doke | a’ | tenor | 435 | 89.5 | 3 | palisander | ivory cap and ferrules. | A csakan in the form of a walking stick. Bali (2007: colour plate). | |||
| H-Budapest: Natl. Mus. | 1959.286 | Placht in Pesth | a’ | tenor | -1833 | 435 | 3 | 47.5 | 5 | grenadilla | ivory | A csakan with a flared bell. | |
| H-Budapest: Natl. Mus. | 1977.1 | Uhlmann | a | csakan | -1838 | 435 | 3 | 825 | 1 | blackwood | ivory cap and lower ferrule | silver or steel | Direct blown through two holes on the rear edge of the windcap. Bali (2007: colour plate). |
| H-Budapest: Natl. Mus. | 1929,3 | Schöllnast | a | csakan | -1844 | 435 | 3 | 925 | 5 | ebonised box | unmounted | silver or steel | Windcap in form of a walking-stick handle with two holes to blow into. As both a detachable crutch and a detachable bell and can be configured as a walking-stick flute or a csakan. Bali (2007: colour plate). |
| Australia-Sydney: Powerhouse | 2007/204/1 | Morgan | f’ | alto | 1971 | 410 | 3 | palisander | Each joint stamped PuI / BRESSAN / [Tudor rose] Back of head joint stamped FGM / 5 71 One of two Morgan altos purchased by the Powerhouse Museum in 2007 (Michael Lea, pers. comm., 2008). This is the first instrument Fred Morgan made with a curved windway (according to vendor). The recorder was made by Morgan when he had first established himself as an independent maker but was yet to actually offer his instruments for sale to the public. According to an interview with Morgan by Michael Atherton in his book Australian Made…Australian Played (UNSW Press, Sydney 1990 p.182), Morgan did not begin selling his instruments until March or April 1972. This recorder, possibly completed in 1971, was made after his return to Australia from an overseas trip on a Churchill Fellowship, where he met Frans Bruggen and was able to draw and measure his private collection as well as collections in several European museums. Image | ||||
| Australia-Sydney: Powerhouse | 2007/204/2 | Morgan | f’ | alto | 1977 | 410 | 3 | boxwood | One of two Morgan altos purchased by the Powerhouse Museum in 2007 (Michael Lea, pers. comm., 2008). A copy of an instrument by Stanesby (?Jr), made by Fred Morgan after he had established himself as an independent professional maker. By this time (1977) he had a growing international reputation for his instruments which were sought by many professional players. Image | ||||
| Australia-Sydney: Powerhouse | P.1198/1 | Pan | c” | soprano | 440 | 2 | wood | A low quality school recorder. The block and windway form a single removable unit and are made of a dense black synthetic material. This crudely made instrument is completely unvoiced and lacks the usual chamfers on the roof and floor of the windway exit. | |||||
| Australia-Melbourne: Medical History Museum | Unknown | alto | ?18C | 3 | wood | The baroque recorder is held by a deformed skeleton, an exhibit purchased in Europe for the museum in 1862 by by Messrs Raginal and Co. on behalf of Professor George B. Halford. It was said to have been the remains of a 28-year old cripple who played the instrument on the steps of one of the Paris churches. It was said to have been prepared by a Dr Sue. The bottom part of the lowermost joint (ie the bell and foot of the recorder) are missing, and a piece of narrow dowel appears to have been fixed into the back of the block, perhaps in an attempt to remove it. The recorder appears to be of French manufacture. | |||||||
| Australia-Sydney: Powerhouse | 2012/41/3 | Tonette Co. (Aman) | c’ | soprano | 1938 | 440 | 2 | ‘durez’, probably ‘tenite’ — a cellulosic plastic | ? chromed steel | Stampled Aman RECORDER / MADE IN USA. German-style fingering. Designed and manufactured by the Frank Aman Company; marketted by Tonette Co., Chicago, a subsidiary of Gibson Guitar Company. In original box with information and fingering chart. The Aman recorder appears to have been the first plastic recorder made. | |||
| A-Vienna | SAM 156 | Schnitzer | alto | 3 | box | Baroque-style instrument. Head and foot carved with acanthus leaves; head also with flowers; beak with a man’s face. | |||||||
| N-Trondheim: Ringve Mus. | Adler | ?alto | c. 1900 | 478 | Macmillan (2008: 179) | ||||||||
| N-Trondheim: Ringve Mus. | Unknown, ? English | soprano | 1800s | 1 | Macmillan (2008: 179) | ||||||||
| N-Trondheim: Ringve Mus. | ? soprano | 1800s | 310 | blackwood | 6 | Macmillan (2008: 179) | |||||||
| USA-NY-New York: MMA | 1989.194.2 | Goulding | f’ | alto | 1800-1810 | 3 | 470 | stained boxwood | Stamped GOULDING & CO./LONDON The letters ‘RW 1840’ are scratched on the head of this recorder. A recorder by Lorenz Walch II in Berchtesdaden bears a similar mark, the significance of which is unknown. The foot-joint is in the style of a transverse flute, first seen on recorders by Thomas Stanesby, jr (1692-1745). Windway flat. Formerly collection of Frederick Oster. Image here MacMillan (2008: 43) | ||||
| F-Paris: Sallaberry | Lucien Lot | soprano | 328 | 6 | palisander | nickel silver | Stamped LOT/FRANCE/BREVET S.G.D.G., the mark given for Lucien Lot by Waterhouse (1993). Identical to an instrument by Lucien Lot offered for sale by Initial Music, Paris, in 2003. Sallaberry (2003) MacMillan (2008: 91-92) | ||||||
| GB-Stockport:: Turner | Hawkes | alto | 1889-1930 | 550 | 4 | stained wood | metal | Stamped HAWKES & SON/DENMAN STREET/PICADILLY/LONDON Bell short, clarinet-like. MacMillan (2008: 99-100) | |||||
| A-Graz: Landesmus. | KGW 1.422 | Schweffer | d’ | soprano (sixth-flute) | 19C | plum | Described as ‘without beak’ in the catalogue which might indicate a ‘folk’ recorder. Another soprano in this collection is also described as ‘without beak’, but is of anonymous origin. MacMillan (2008: 57) | ||||||
| DK-Copenhagen: Musikhist. Mus. | E.64 | Unknown | soprano | 370 | grenadilla | German silver ferrules and foot ring | acquired, together with e.65 and e.66, by the musuem in 1900, when all three were catalogue ad langsFlöten, hinting at a 19th-century german origin. e.64 is keyless with a clarinet-like bell, similar to a ‘csakan’ described in zimmermann’s catalogue of ca 1900 (leipzig). macmillan (2008: 74) | ||||||
| NL-Hague | 1933 1008 | Unknown | sopranino | c. 1875 | 1 | 224 | fruitwood | MacMillan (2008: 78) | |||||
| NL-Hague | 1933 1041 | Unknown | alto | c. 1850 | 3 | 514 | 3 | boxwood | horn rings | brass | Long for an alto. MacMillan (2008: 75-76) | ||
| Australia-Sydney: Powerhouse | 2012/41/1 | Unknown, ? England | f’ | alto | ?1890-1910 | 440 | 3 | unidentified wood | The work of an amateur or folk craftsman. The walls are unusually thin and the instrument very light in weight. The underside of the beak is crudely shaped and was originally probably either truncate or slightly beaked. A shim on the windway floor may also be an alteration. The tuning is odd and it, too, has probably been altered. The fingerholes for the lowermost two are single. Currently it responds to a mixture of neo-baroque and baroque fingering. It can be played more or less easily over two octaves. However, its tone lacks any vibrance or character. Renovated by Femke Bergsma (Canada). Purchased on EBay in April 2008. The seller purchased it some years ago in the UK from an elderly person whose father and grandfather before him had played it. Image here. | ||||
| USA-PA-Philadelphia: Vintage Instruments | S Koch | c. 1820 | 852 | 1 | boxwood | ivory rings; ivory bushed thumbhole | silver | Head and middle-joint stamped (Hapsburg eagle)/S.KOCH/WIEN A walking-stick reocorder. Windcap perforated with two holes. Offered for sale at US$25,000 (December 2008) Image here | |||||
| USA-Claremont: Fiske | Unknown | soprano (sixth-flute) | c. 1840 | 1 | boxwood | Stamped ‘D’, probaby a pitch mark. MacMillan (2008: 83) | |||||||
| CH-Reinach: Tarasov | Unknown, French | b♭’ | soprano (fourth flute) | c. 1790-1815 | boxwood | From a French estate. It has a compass of more than two octaves. | |||||||
| Unknown | Bainbridge | 19C | Present whereabouts unknown. Catalogue of the International Inventions Exhibition, London (1885) MacMillan (2008: 87) | ||||||||||
| B-Brussels | 2650 | Destuyver | f’ | alto | fl. late 19C – early 20C | 3 | 480 | stained boxwood | horn ferules, beak & foot | No other woodwind instruments by Destuyver are known. Mahillon, Vol. 4 (1912/1978) MacMillan (2008: 89). Images & further details. | |||
| Unknown ex GB-London: Bingham | Goulding D’Almaine & Co. | alto | fl. 1803-1824 | Waterhouse (1993) MacMillan (2008: 90-91) | |||||||||
| D-Leipzig | 1116 | Sattler | soprano | ?18-19C | ?375 | boxwood | Middle and foot joints stamped ‘S’ and in addition there is a less clear mark ‘A’ on the middle joint. Heyde (1978) The head of this recorder was lost in WW2. MacMillan (2008: 93-94) | ||||||
| D-Leipzig | 1116 | Sattler | soprano | ?18-19C | ?375 | boxwood | The head of this recorder was lost in WW2. Middle and foot joints stamped ‘S’ and in addition there is a less clear mark ‘A’ on the middle joint suggesting either Carl Andreas Wilhelm (1738-1788) or possibly Friedrich Ausust (1775-1850). Heyde (1978). MacMillan (2008: 93-94) | ||||||
| USA-DC-Washington: Smithson. | 214487 | Unknown | alto | ?19C | 485 | maple | ivory | Acquired by the Smithsonian from Galpin in 1902. Probably the work of an amateur or folk craftsman and of either 18th or 19th century origin. MacMillan (2008: 97) | |||||
| Unknown | Unknown | g’ | alto | 17C | 1 | wood | head & foot of ivory | For image see here A copy of this instrument is made by Francesco Li Virghi. | |||||
| Sotheby’s (London) | Sale L05253, Lot 386, 8 November 2005 | Stanesby Sr & Harris | f’ | alto | 3 | stained box | ivory beak, ferrules & foot | Image here Sold at 10,200 GBP. | |||||
| USA-NC-Durham: Duke | M6 | Huene | f’ | alto | boxwood | ivory | After J.C. Denner. | ||||||
| USA-NC-Durham: Duke | M5 | Küng | c | bass | 20C | ||||||||
| USA-NC-Durham: Duke | M7 | Dolmetsch | soprano | 20C | rosewood | ||||||||
| USA-NC-Durham: Duke | M30 | Huene | Alto | ||||||||||
| USA-NC-Durham: Duke | M31 | Huene | tenor | ||||||||||
| USA-NC-Durham: Duke | M16 | Levin/Silverstein | basset | renaissance-style | |||||||||
| USA-NC-Durham: Duke | M2 | Küng | soprano | ||||||||||
| USA-NC-Durham: Duke | M1 | Küng | sopranino | 20C | |||||||||
| USA-NC-Durham: Duke | M17 | Levin/Silverstein | soprano | 20C | renaissance-style | ||||||||
| USA-NC-Durham: Duke | M15 | Levin/Silverstein | alto | renaissance-style | |||||||||
| USA-NC-Durham: Duke | M11 | Levin/Silverstein | tenor | renaissance-style | |||||||||
| USA-NC-Durham: Duke | M3 | Küng | soprano | 20C | box | After J.C. Denner | |||||||
| USA-NC-Durham: Duke | M10 | Hopf | basset | renaissance-style | |||||||||
| USA-NC-Durham: Duke | M9 | Hopf | bass | renaissance-style | |||||||||
| Unknown | Riley | alto/tenor | 19C | 3 | 51 cm | 1 | wood | ivory rings on head-, centre- and foot-joints | brass | Auctioned on ebay (24 September 2009) by Margie’s Attic. Mouthpipe possibly missing. Image here | |||
| GB-Birmingham: Conservatoire | 1.4 | Foley | f’ | alto | c.1780 | 420 | 3 | 495 | ? box | Sounding length 438.2 mm. Stamped on all three joints: FOLEY/ [motif: a fan or plume shape within a square]. Slightly warped, and there is quite a large chip off the foot-joint (not affecting the bore). Slight damage to lip. Donated to Birmingham School of Music, by Mrs A. Scott-James (1936) Image here. | |||
| GB-London: Horniman | M43-1983 | Dolmetsch | f | basset | 1929 | 3 | 1045 | 1 | maple + brass bocal with plastic mouthpiece | brass | Crook enters head joint at rear of cap. Sounding length 1042 mm. Dolmetsch Collection. Image & further details here (from GB-London: Horniman). | ||
| USA-Greenville: Sigal Music Museum | 2015.02 | Bressan | f’ | alto | 405 | 3 | 495/488 | boxwood (dark stained) | ivory beak, ferules & foot | Stamped on all 3 sections PUI/BRESSAN/[cingquefoil rose]. Formerly USA-MA-Boston: von Huene Additional middle joint ?by von Huene. Powers (1991: 20); Haynes (2002); Burgess (2015: pl. 47); Rice (2021); Lynn (2021: 11 & pls 1-2, col.) | |||
| F-Paris: Louvre | OA422 | Unknown | alto | 17C | 3 | 33 + | boxwood | Baroque recorder of German origin; foot missing; body possibly not original; head highly carved; 33 cm long (head & body only). Image here Note that the inventory number is shared with an instrument in 3 parts and 500 mm long said to be by Kynseker. | |||||
| D-Celle: Moeck | Unknown | alto | ivory | Beak has crack above the windway; foot slightly damaged where it meets the body. | |||||||||
| Unknown | Proser | f’ | alto | late 18C | 3 | 445 | ? box | All three pieces stamped 2 / PROSER An alto recorder by Proser was sold on ebay on 3 February 2009 for $985.69 Image here. | |||||
| Unknown | Lot 436 | Unknown, possibly French | alto | early 17C | 517 | box | ivory | Sale 7410 Musical Instruments 20 November 1996 London, South Kensington, UK | |||||
| GB-London: V&A | W.12-2006 | Dolmetsch | c’ | tenor | c. 1945 | 3 | rosewood | ivory beak, ferules & foot | Images & further details here. | ||||
| GB-London: V&A | W.13:1, 2-2006 | Goble | c” | soprano | 1939 | tulipwood | Numbered 448. Images & further details here | ||||||
| F-La Couture-Boussey: Musée | 2 | c” | soprano | 19C | 2 | 340 | wood | ‘copiée d’un modèle non précisé de la famille de luthiers lyonnais Rafi (16e-17e siècles)’ Image here | |||||
| F-Nice: Musée du palais Lascaris | 279 | Unknown | c’ | tenor | 20C | 3 | 643 | 1 | wood | metal | metal | Probably of German manufacture. Image here. | |
| F-L’Aigle | 980.2.6 | Tegekhout | alto | 17th or 18th century | 3 | 515 | wood | Stamped (crown) / TEGEKHOUT / (lion) Image here. | |||||
| F-Nice: Musée du palais Lascaris | 167 | Unknown, English | f’ | alto | c. 1730 | 3 | 505 | ivory | Block replaced; head cracked. Forneris & Debrabandère (1991: 166-167). Image here. | ||||
| F-Bourg-en-Bresse | 97.23.01 | Bressan | f’ | alto | 415 | 3 | 500 | wood | ivory beak and mounts | Image here. | |||
| F-Nice: Musée du palais Lascaris | PL.2007.3.1 | Denner | f’ | alto | c. 1700 | 3 | 501 | wood | ivory beak & mounts | Image here. | |||
| F-Nice: Musée du palais Lascaris | 287 | Unknown | basset | 20C | 3 | 2 | wood | metal | Head joint missing, apart from windcap. Probably of German manufacture. Image here. | ||||
| F-La-Couture-Bussey: Musée | 110 | Picard | tenor | 1896 | 5 | 62.9 | 2 | wood | 4 horn ferrules | brass | This instrument is in flute-form with a flageolet-like windcap (bocal missing). It appears to have been made to be played sideways since there is an octave key on the right hand side of the instrument. Images here and there | ||
| F-Clamecy | 78.2.12 | Heinrich | c’ | tenor | 1918-1935 | A school recorder of little interest. | |||||||
| F-Colmar: Musée d’Unterlinden | MU.9 | Unknown | basset | 18C | 4 | 1020 | 1 | ||||||
| E-Tartu: Linnamuseum | unknown | sopranino | 14C | 1 | 246.7 | maple | image here. utt (2006) reports that a fourth 14th-century recorder has been found during an archeological dig in august 2005 by andres tvauri in tartu, estonia (near the border with russia). like both the gã¶ttingen and esslingen instruments, the ‘tartu recorder’ was also found in a latrine in the backyard of 15 ãikooli street. other atifacts found with the tartu recorder allow it to be dated from the second half of the 14th century. during the late medieval period tartu was an important hanseatic city connecting russia, especially novgorod, with western europe. the body of the tartu recorder is made from maple; the block from birch. the total length is 246.7 mm and the Sounding length 225.4 mm. | ||||||
| GB-Edinburgh: Univ. | 5817 | Foster | g” | sopranino | a.1989 | 1 | 227 | box | Renaissance fingering. Image & further details here. | ||||
| GB-Edinburgh: Univ. | 5816 | Foster | f” | sopranino | <1989 | 1 | 251 | box | Stamped CVF. Renaissance fingering. Image & further details here. | ||||
| GB-Edinburgh: Univ. | 565 | Dolmetsch | f” | sopranino | c.1966 | 2 | 240 | boxwood, varnished | ivory beak | Stamped DOLMETSCH / BS3499 with British Standards Institution kitemark and 13113 (serial number). Thumbhole bushed in ivory by J. & R. Glen. Images & more information here. | |||
| GB-Edinburgh: Univ. | 3323 | Castel | f” | sopranino | 18C | 2 | 258.8 | ivory | Both sections stamped: CASTEL. Images and more information here. Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 299-301, figs 57-61). | ||||
| GB-Edinburgh: Univ. | 5813 | Bärenreiter | f” | sopranino | c. 1970 | 2 | 252 | ?plumwood, varnished | ivory ferule | English fingering; broad flat windway. Images & more information here. | |||
| GB-Edinburgh: Univ. | 5844 | Foster | c” | soprano | 1989 | 1 | 327 | light-coloured pearwood | Stamped CVF. Renaissance fingering. Images & more information here | ||||
| GB-Edinburgh: Univ. | 5749 | Goble | c” | soprano | c. 1950 | 3 | 323 | rosewood | Stamped ROBERT GOBLE / 1330 on head, with serial number 1330 stamped again on other sections. Curved windway. Images & more information here. | ||||
| GB-Edinburgh: Univ. | 5751 | Hug | c” | soprano | c. 1952 | 2 | 327 | mid-brown wood, varnished | Stamped hug. German fingering. Image & more information here. | ||||
| GB-Edinburgh: Univ. | 568 | AdlerJ | c” | soprano | c. 1955 | 2 | 326 | lightly stained maple | Printed on back of head ADLER and on lower section stamped MADE IN GERMANY. German fingering. Image & further details here. | ||||
| GB-Edinburgh: Univ. | 1528 | Dolmetsch | c” | soprano | c. 1957 | 3 | 317 | satinwood | beak with ivory sleeve | Stamped DOLMETSCH in a circle around serial number 7002. Image & further details here. | |||
| GB-Edinburgh: Univ. | 5891 | Bärenreiter | c” | soprano | a.1968 | 2 | 329 | brown wood, varnished | very small vent-hole pierced in back of instrument, 23mm above base of foot. Belonged at one stage to David Munrow. Image & further details here. | ||||
| GB-Edinburgh: Univ. | 258 | Staub | f’ | alto | 1700-1734 | 6 | 491 | ivory | Stamped with very faint scroll containing the letters —VB and a few curved lines beneath [forming part of the monogram NST]; stamped L on base of foot. Mouthpiece screws into short barrel, bell screws into short foot, and bottom of foot screws on. Image & further information here. | ||||
| GB-Edinburgh: Univ. | 3906 | Oberlender | f’ | alto | 18C | 3 | 495 | box | Head and foot ornately carved; beak with fish face. The widely flared foot bell is not original. Stamped on body in tilted scroll I.W. OBERLENDER / 0; inscription now faint. Image & further information here. | ||||
| GB-Edinburgh: Univ. | 260 | Dolmetsch | f’ | alto | c. 1928 | 3 | 493 | light-coloured wood, varnished | English fingering. Crudely made; lip crudely cut up with beard built round opening; large windway; has a home-made look. Image & more information here. | ||||
| GB-Edinburgh: Univ. | 3536 | Chaplin | f’ | alto | 1941 | 3 | 488 | African hardwood | Image & further details here. | ||||
| GB-Edinburgh: Univ. | 5753 | Dolmetsch | f’ | alto | c. 1947 | 3 | 475 | rosewood, varnished | ivory beak | Stamped + DOLMETSCH around 2471 (serial number). English fingering. Image and more information here. | |||
| GB-Edinburgh: Univ. | 5750 | Goble | f’ | alto | c. 1950 | 3 | 476 | rosewood | Stamped ROBERT GOBLE / 1327 on head, with the serial number 1327 stamped on other joints. Curved windway, English fingering. Images & more information here. | ||||
| GB-Edinburgh: Univ. | 262 | Dolmetsch | f’ | alto | c. 1955 | 3 | 480 | bakelite | English fingering. Moulded on back of head MADE IN ENGLAND / DOLMETSCH / TREBLE RECORDER / BRITISH PATENT NO. 628268. Image & further details here. | ||||
| GB-Edinburgh: Univ. | 566 | Dolmetsch | f’ | alto | c. 1968 | 3 | 477 | boxwood, varnished | ivory beak | Stamped DOLMETSCH / BS 3499 with British Standards Institution kitemark and 14964 (serial number). English fingering. Images & more information here. | |||
| GB-Edinburgh: Univ. | 4081 | Lerch | c’ | tenor | 1 | 1 | polymethyl methacrylate with aluminium hydroxide | brass ferules on fontanelle | brass | Renaissance style and fingering. Stamped with fleur-de-lys. One-piece construction; 6 finger-holes plus thumb-hole; brass key for lowest tone-hole, under fontanelle; removable fontanelle has protective brass inlay at each end; double (butterfly) keytouch; curved windway; sloping lip as on original (GB-Edinburgh: Univ. 3921), giving irregular shape to window; finger-hole edges slightly rough; block set slightly low in window as on original. Keyhead type: flat round, open-standing, under fontanelle. Repair History: The size of several finger-holes has been adjusted. | |||
| GB-Edinburgh: Univ. | 4136 | Löbner | c’ | tenor | 2002 | 1 | 2 | wood | brass | Renaissance style and fingering. Stamped with fleur de lis and Margret Löbner Light wood; one-piece construction; 6 finger-holes plus thumb-hole; brass key for lowest tone-hole, under fontanelle; removable fontanelle has protective brass inlay at each end; double (butterfly) keytouch; curved windway; wooden block; straight lip, not sloping as on original (3921); window less tall than on original. Keyhead type: flat round, open-standing, under fontanelle. | |||
| GB-Edinburgh: Univ. | 5814 | Foster | f | basset | 1988 | 3 | 956 | 1 | stained wood | 4 brass ferules | brass | Renaissance fingering. Stamped CVF Image & further details here. | |
| GB-Edinburgh: Univ. | 1717 | Unknown | f | basset | 18C | 3 | 1080 | 1 | light brown wood | brass | Image & further information here. | ||
| GB-Edinburgh: Univ. | 259 | Dolmetsch | f’ | alto | c. 1928 | 3 | 470 | ?service tree | English fingering. Given to Geoffrey Rendall by Arnold Dolmetsch as a token of gratitude for the finding by Rendall of the Bressan recorder lost by Dolmetsch at Waterloo railway station in 1918. Images & more information here. | ||||
| D-Nuremberg GNM | MIR203 | Eggl | f’ | alto | 1715-1735 | 403 | 3 | 530.5 | plumwood | PE.EGL in a scroll. Image and further information here and there. | |||
| I-Bologna | Manfredo Settala | armonia di flauti | 1650 | A complex instrument comprising 5 duct-flutes joined together. The central one is a recorder. The others appear to be drone pipes. Puglisi, F. (1981). Signor Settala’s ‘armonia di flauti.’ Early Music 9(3): 320-324. Weber, R. (1992). Der Flauto Harmonico – ein seltenes Instrument und sein Erbauer. Tibia 17(1): 20-26. Image here | |||||||||
| E-Valladolid: JoaquÃn DÃaz | Mollenhauer | soprano | 2 | dark-stained wood | Neo-baroque instrument. Image here. | ||||||||
| E-Valladolid: JoaquÃn DÃaz | Mollenhauer | soprano | 3 | light-stained wood | Neo-baroque instrument. Image here. | ||||||||
| PL-Nysa: Muzeum | Unknown | soprano | 14C | 1 | 27 | elder | A medieval recorder found after the Second World War in a latrine in the city of Nysa in Silesia, Poland, and dating from the 14th century. Although the block is missing, details of the window and labium are unmistakable. The blowing end of the instrument is truncate rather than beaked. It has single holes for 7 fingers as well as the usual thumbhole. Like other surviving medieval recorders, the lowest interval of the Nysa recorder seems to have been a semitone. There is a copy of this instrument by Rainer Weber in the Museum of Musical Instruments in Poznan, Poland (PL-Poznan: Muzeum) (Kirnbauer 2014; Arnold den Teuling, pers comm., 2014). | ||||||
| B-Brussels | 0436 | Unknown (Leipzig) | alto | 1744-1769 | 3 | 520 | ivory | Braggard & Hen (1973: pl. IV-12. Images & further details. The online catalogue of the museum gives Mathäus Hirschstein as the ‘author’ of this instrument. However, Hirchstein was a musical instrument dealer in Leipzig rather than a maker. | |||||
| I-Venice: Museo Correr | JC Denner | basset | 1700-1710 | 4 | 515 | 1 | wood | brass ferrule on windcap | box | ||||
| D-Göttingen: Musikinstrumentensammlung | L-132 | Reiners | d#” | soprano | 1994 | 390 | 1 | 256 | plum | On loan from -Göttingen: Stadtarchäologie. Reconstruction of L-131. Lowest note is semitone lower than 0 123 456-; instrument is diatonic. | |||
| D-Göttingen: Musikinstrumentensammlung | 11 Slg. Moeck | Lemme (Berlin) | 1930-1939 | Lemme was an amateur maker. | |||||||||
| D-Göttingen: Musikinstrumentensammlung | 598 Slg. Moeck | Schumann | alto | a. 1964 | 1 | bamboo | The work of an amateur maker. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 946 Slg. Moeck | Schumann | alto | a. 1964 | 1 | bamboo | The work of an amateur maker. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 91 Slg.l Moeck | King | f” | sopranino | 1920-1938 | ||||||||
| D-Göttingen: Musikinstrumentensammlung | 60 Slg. Moeck | Couesnon & Cie | c” | soprano | 1920-1939 | cocobolo | Stamped COUESNON & CIE A PARIS. Gift of William Lemit(Paris) to Herman Moeck in 1939. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 82 Slg. Moeck | Schmiedl | c” | soprano | op. 1934 | maple | Stamped Flower/HS/C. Purchased by Herman Moeck from the builder in 1934. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 472 Slg. Moeck | Unknown | a’ | soprano | 1926-1945 | ebony | Stamped PETER HARLAN MARKNEUKIRCHEN. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 473 Slg. Moeck | Mollenhauer | c” | soprano | 1945-1950 | pear | Stamped with icons representing a bear and a star. Sold under the name Bärenreiter. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 474 Slg. Moeck | Eckert | c” | soprano | 2 | oak & pear | Stamped COMPAGNONS DE FRANCE A.J. Eckert. LYON | ||||||
| D-Göttingen: Musikinstrumentensammlung | 475 Slg. Moeck | Hüller or Mollenhauer | c” | soprano | 1920-p.1950 | zapatero | ivory | Stamped BÃRENREITER KASSEL. | |||||
| D-Göttingen: Musikinstrumentensammlung | 476 Slg. Moeck | ? Niclas | soprano | 1930-1952 | 2 | maple | Stamped on the front NICLAS and on the back DIAMOND. Purchased by Herman Moeck in 1953 at a music store in Reimer. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 477 Slg. Moeck | ? Götz | c” | soprano | a. 1954 | wood | Stamped Maienzauber. Purchased in 1954 by Herman Moeck from Ernst Stieber who handled instruments from the GDR. Maienzauber (May Magic) appears to be a brand name. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 939 Slg. Moeck | Otto | c” | soprano | 1930-1960 | 2 | grenadilla | Stamped: Tuju-BLOCK-FLUTE / Hermann Moeck / Celle. | |||||
| D-Göttingen: Musikinstrumentensammlung | 1036 | Hopf | c” | soprano | 1980 | pear | Renaissance style instrument. Gift of Peter Thalheimer. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 1254 Slg. Reinhard | Unknown | c” | soprano | 1926-1945 | Stamped: PETER HARLAN MARKNEUKIRCHEN. | |||||||
| D-Göttingen: Musikinstrumentensammlung | I.S.13 a | Unknown | c” | soprano | a. 1951 | 2 | Stamped: WMKG / D. RGM. 1222287 / C, WALTER MERZ MARKNEUKIRCHEN VILLAGE / 15 440. Instruments sold by Walter Merzdorf were made for him by other Vogtland makers, amongst them Karl Gofferje. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 1 Slg. Moeck | Thibouville-Cabart | c” | soprano | 1920-1939 | 2 | ebony | Stamped: Cabart A PARIS | |||||
| D-Göttingen: Musikinstrumentensammlung | 54 Slg. Moeck | Unknown | f’ | alto | 1930-1933 | maple | Stamped: PETER HARLAN MARKNEUKIRCHEN and PEOPLE’S FLUTE. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 81 Slg. Moeck | Schmiedl | g’ | alto | 1930-1938 | pear | Stamped: HAUSA Schmiedl CARINTHIA HEILIGENBLUT. Purchased by Herman Moeck, possibly in 1934. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 471 Slg. Moeck | HO-Schlosser | g’ | alto | 1933 | cocobolo | Stamped: Tuju-BLOCK-FLUTE / Hermann Moeck Celle. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 482 Slg. Moeck | Otto | f’ | alto | 1930 | Stamped: Hermann Moeck / Celle | |||||||
| D-Göttingen: Musikinstrumentensammlung | 881 Slg. Moeck | Ferrera | f’ | alto | 1930-1964 | maple | Stamped: FERRERA BARCELONA. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 77 Slg. Moeck | Unknown | a. 1928 | cocobolo | Stamped with the dealer’s name, A.C. Wunderlich. A Schulczakan or Flûte douce, in effect a 6-holed pipe extended to by means of a hole for the little finger of the lowermost hand and an octaving thumb-hole. other specimens from the same series of experiments are in the private collection of Peter Thalheimer. | ||||||||
| D-Göttingen: Musikinstrumentensammlung | 107 Slg. Moeck | Pastalit | c” | soprano | 1920-1936 | 2 | plastic (head) & cocobolo (body) | Acquired by Hemann Moeck in 1936. | |||||
| D-Göttingen: Musikinstrumentensammlung | 108 Slg. Moeck | Stark | c” | soprano | 1920-1936 | head-joint plastic (phenolic resic), body stained maple | Marketed with trademark PASTALIT | ||||||
| D-Göttingen: Musikinstrumentensammlung | 479 Slg. Moeck | Unknown | c” | soprano | 1930-1950 | 2 | plastic (head-joint), maple (body) | Stamped: SVENSKA SKOLFLÃJTEN / mint mark. | |||||
| D-Göttingen: Musikinstrumentensammlung | 106 Slg. Moeck | Stark | c” | soprano | a. 1936 | 2 | head-joint plastic (phenolic resin); body wood | Stamped: BRAND PASTALIT-musician-C. Probably purchased by Hermann Moeck from the maker. | |||||
| D-Göttingen: Musikinstrumentensammlung | L-158 Slg. Brenner | Yamaha | c” | soprano | 3 | ivory-coloured plastic | Head-joint stamped: [Yamaha Trademark] YAMAHA (front) & MADE IN INDONESIA (back) | ||||||
| D-Göttingen: Musikinstrumentensammlung | 1588 Slg. Brenner | Unknown | a. 2007 | light-brown hardwood (head), body plumbing pipe | Purchased by Klaus-Peter Brenner in Vienna from a 75-year-old street musician from the border region of Serbia & Romania. | ||||||||
| D-Göttingen: Musikinstrumentensammlung | 468 Slg. Moeck | Unknown | a’ | tenor | 1930-1950 | 1 | maple | Marketted by Moeck but not made by them. | |||||
| D-Göttingen: Musikinstrumentensammlung | 466 Slg. Moeck | Unknown | bass | 1930-1950 | 1 | maple | Marketted by Moeck but not made by them. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 1018 | Moeck | f | basset | c. 1960 | maple | |||||||
| D-Göttingen: Musikinstrumentensammlung | 467 Slg. Moeck | Moeck | f | basset | 1930-1950 | 2 | maple | Stamped: Tuju-RECORDER and Hermann MOECK / CELLE. | |||||
| D-Göttingen: Musikinstrumentensammlung | 1017 | Moeck | c | bass | p. 1064 | 5 | Stamped: Tuju-BLOCK-FLUTE & Hermann Moeck / Celle / III 57. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 70 Slg. Moeck | Otto | c” | soprano | 1938 | 1 | maple | Stamped: TUJUBLOCK-FLUTE & Hermann Moeck / Celle. | |||||
| D-Göttingen: Musikinstrumentensammlung | 72 Slg. Moeck | HO-Schlosser | c” | soprano | 1940 | pear | Stamped TUJUBLOCK- FLUTE & Hermann Moeck / Celle. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 109 Slg. Moeck | King | c” | soprano | 1920-1936 | Stamped: Pan-Herwiga R.P angem. (patent pending). Sold to Hermann Moeck in 1936 by Wilhelm Herwig. | |||||||
| D-Göttingen: Musikinstrumentensammlung | 98 Slg. Moeck | HO-Schlosser | f’ | alto | 1935 | 1 | cocobolo | Marketed by Bärenreiter as a copy of a recorder of Bach’s time. | |||||
| D-Göttingen: Musikinstrumentensammlung | I.S.13 b Alter Bestand | Unknown | alto | p. 1964 | 1 | ||||||||
| D-Göttingen: Musikinstrumentensammlung | 467 Slg. Moeck | Moeck | f | basset | 1930-1950 | 2 | maple | Stamped: Tuju-RECORDER & Hermann MOECK / CELLE. | |||||
| D-Göttingen: Musikinstrumentensammlung | 1017 | Moeck | c | bass | p. 1964 | 6 | maple | Stamped: Tuju-BLOCK-FLUTE & Hermann Moeck / Celle / III 57. | |||||
| D-Göttingen: Musikinstrumentensammlung | 70 Slg. Moeck | Otto | c” | soprano | 1938 | 1 | maple | Stamped: TUJUBLOCK-FLUTE & Hermann Moeck / Celle. | |||||
| D-Göttingen: Musikinstrumentensammlung | 72 Slg. Moeck | HO-Schlosser | c” | soprano | 1 | pear | Stamped TUJUBLOCK-FLUTE & Hermann Moeck / Celle. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 109 Slg. Moeck | King | c” | soprano | 1920-1936 | 1 | pear | Stamped: Pan-Herwiga R.P angem. Key is a universal semitone key. Sold by Wilhelm Herwig to Herman Moeck in in 1936. | |||||
| D-Göttingen: Musikinstrumentensammlung | 98 Slg. Moeck | HO-Schlosser | f’ | alto | 1935 | 1 | Marketed by Bärenreiter as a copy of a recorder of Bach’s time. | ||||||
| D-Göttingen: Musikinstrumentensammlung | I.S.13 b Alter Bestand | ? Merzdorf | a. 1951 | 1 | Stamped: WMKG / D. RGM. 1222287 / F / WALTER MERZ / VILLAGE MARKNEUKIRCHEN / 15 573. | ||||||||
| D-Göttingen: Musikinstrumentensammlung | 156 Slg. Moeck | Moeck | c’ | tenor | 1960 | 1 | pear | Stamped: Hermann Moeck Celle (centre joint), 8 (head joint), 63 B (under the key touch). | |||||
| D-Göttingen: Musikinstrumentensammlung | 481 Slg. Moeck | Schuster | d’ | tenor | 1926-1950 | 1 | maple | Stamped HeMoSch & (partly illegible) […] NEUKIRCH […] | |||||
| D-Göttingen: Musikinstrumentensammlung | I.S.13 c Alter Bestand | ? Merzdorf. | c’ | tenor | a. 1951 | 1 | Stamped: WMKG / D. RGM. 1222287 / C / WALTER MERZ VILLAGE MARKNEUKIRCHEN / 15518. | ||||||
| D-Göttingen: Musikinstrumentensammlung | 97 Slg. Moeck | Moeck | c’ | tenor | ? 1952 | 3 | maple | Stamped: Tuju-BLOCK-FLUTE & Hermann Moeck Celle. | |||||
| D-Göttingen: Musikinstrumentensammlung | 16 Slg. Moeck | Hüller / Kruspe | tenor | 1920-1950 | 1 | maple | Stamped: BÃRENREITER KASSEL This model was designed by Manfred Ruetz (1907-1944) | ||||||
| D-Göttingen: Musikinstrumentensammlung | 469 Slg. Moeck | Hüller / Kruspe | c’ | tenor | 1920-1950 | 1 | grenadilla | Stamped: BÃRENREITER KASSEL | |||||
| D-Göttingen: Musikinstrumentensammlung | 470 Slg. Moeck | Moeck | d’ | tenor | 1930-1950 | 1 | grenadilla | ||||||
| D-Göttingen: Musikinstrumentensammlung | 443 Slg. Moeck | Unknown | 19C | 1 | black lacquered wood | ||||||||
| F-Bellenaves: Renard | Barth | ? c’ | soprano | c. 1900 | 2 | 307 | 4 | cocus wood | nickel | Sounding length is 267 mm. Currently offered for sale by Jean-Michel Renard. | |||
| USA-MI-Ann Arbor | 405 | Sattler | f’ | alto | mid-19C | 415 | 3 | stained box | First and second sections stamped crown/I.C.E. Sattler/S. Beak and windway restored (1970). Images here | ||||
| S-Stockholm | ?Eichentopf | basset | 1 | wood | brass | Possibly by Eichentopf but lacking any stamp (Dan Laurin, pers. comm. 2012) | |||||||
| Australia-Sydney: Powerhouse | 2012/41/6 | Pan | c” | soprano | 1951-1970 | 440 | 2 | wood | A low quality school recorder. This crudely made instrument is completely unvoiced and lacks the usual chamfers on the roof and floor of the windway exit. | ||||
| Australia-Sydney: Powerhouse | 2012/41/4 | Dushkin | c” | soprano | 1934-1956 | 440 | wood with composite wood and plastic block | plastic | |||||
| Australia-Sydney: Powerhouse | 2012/41/5 | Schott | c” | soprano | 1940-1965 | 440 | 2 | beechwood & plastic | plastic | Marked SCHOTT’S / C / MADE IN / ENGLAND / PAT. NO. / 692491 | |||
| Australia-Sydney: Powerhouse | 2012/41/2 | Dolmetsch | f’ | alto | 1925 – 1939 | 415 | 3 | box | Stamped ARNOLD / DOLMETSCH on each joint. This instrument, formerly in my own collection, is not numbered, in common with several made during this period (Brian Blood, pers. comm.) It has the narrow curved windway and single finger-holes of the original on which it is based. Image and further details here | ||||
| B-Brussels | 1997.02 | BeukersW | alto | 1725-1750 | 3 | 580 | box | Image & further details here. | |||||
| D-Leipzig | 4011 | Künig / Herwiga | c” | soprano | 1935 | 3 | 320 | wood | Stamped: Original Herwiga-Rex / 4479 Image here. | ||||
| D-Leipzig | 4371 | AdlerO | a’ | alto | 1920-1932 | 3 | 387 | wood | Stamped SONORA/Schutzmarke/A Image & information here. | ||||
| D-Leipzig | 4632 | Harlan | a’ | alto | 1920-1930 | 3 | 393 | ?rosewood | brass ferrules | Stamped PETER HARLAN / MARKNEUKIRCHEN. Images & more information here. | |||
| D-Leipzig | 3019 | Unknown | soprano | 1920-1940 | 2 | 334 | wood | Images and more information here. | |||||
| D-Leipzig | 4638 | Harlan | tenor | 3 | 475 | light-coloured wood | ivory beak, ferrules & foot | Stamped PETER HARLAN / MARKNEUKIRCHEN. Image & more information here, | |||||
| D-Leipzig | 4083 | Harlan | soprano | 1925-1935 | 3 | 390 | dark wood | brass ferrules | Stamped PETER HARLAN / MARKNEUKIRCHEN. Images & more information here. | ||||
| D-Leipzig | 4633 | Harlan | a’ | alto | 1920-1950 | 2 | 393 | 3 | ?rosewood | ferule silver-coloured metal | silver-coloured metal | Stamped PETER HARLAN / MARKNEUKIRCHEN. Images & more information here. | |
| D-Leipzig | 4128 | Harlan | alto | 1925-1940 | 3 | 490 | 1 | ?boxwood | ?ebony | silver-coloured metal | Baroque-style. Stamped PETER HARLAN / MARKNEUKIRCHEN. Images & more information here. | ||
| D-Leipzig | 4127 | Harlan | alto | 1920-1940 | 3 | 473 | ?boxwood | Stamped PETER HARLAN / MARKNEUKIRCHEN. Images & more information here. | |||||
| D-Leipzig | 4012 | Heinrich | f’ | alto | 1950 | 3 | 482 | 1 | wood | silver-coloured metal | Stamped ALEXANDER / HEINRICH. Images & more information here. | ||
| D-Leipzig | 4082 | Harlan | c’ | tenor | 1935-1945 | 3 | 633 | 1 | light-coloured wood, stained | brass | brass | Stamped PETER HARLAN / MARKNEUKIRCHEN. Images & more information here. | |
| D-Leipzig | 4126 | Harlan | f’ | alto | 1920-1940 | 3 | 512 | ?boxwood | Baroque style. Stamped PETER HARLAN / MARKNEUKIRCHEN. Images & more information here. | ||||
| D-Leipzig | 3084 | Zimmerman | alto | 1915-1923 | 3 | 520 | 1 | ebony | ferrule of silver-coloured metal | silver coloured metal | Stamped JUL. HEINR. / ZIMMERMANN / LEIPZIG Thumbhole appears to be very small with a metal bush. Images & more information here. | ||
| D-Leipzig | 3083 | Moeck | alto | 1920-1950 | 3 | 485 | ?boxwood | metal ferules | Headjoint front stamped HERMANN MOECK / CELLE, back stamped TUJU-BLOCK-FLÃTE. Images & more information here. | ||||
| D-Leipzig | 3546 | Moeck | basset | 1930-1960 | 3 | 958 | 1 | ?boxwood | 3 silver-coloured metal ferules & bocal | silver-coloured metal | Front of headjoint stamped HERMANN MOECK / CELLE. Bocal entering at top of windcap. Images & more information here. | ||
| D-Leipzig | 3080 | Unknown | basset | 1920-1940 | 3 | 1017 | 1 | dark-coloured wood | Baroque style. Bocal entering at top of windcap. Images & more information here. | ||||
| D-Leipzig | 4411 | Unknown | ?soprano | 1920 | 3 | 376 | dark-coloured wood | Neo-baroque style. Stamped B. Images & more information here. | |||||
| D-Leipzig | 3085 | Unknown | alto | 1920-1940 | 3 | 510 | dark stained wood | Images & more information here. | |||||
| D-Leipzig | 4954 | GEWA-Walthari | alto | 1960s | 3 | 470 | 1 | wood | metal | Stamped Walthari. Walthari was the signature of GEWA from the 1960s. Georg Walther founded the company in Adorf (Vogtland) in 1925. In the early 1950s the company was relocated to Mittenwald / Bayern. Images & more information here. | |||
| S-Stockholm | M3142 | Küng | c” | soprano | 1970 | 2 | wood | Image & further information here. | |||||
| S-Stockholm | N131519 | Unknown | ? alto | 3 | wood | beak with a sheath of ?horn | Labium very badly damaged. Instrument appears to have been shortened at some time and then lengthed again with a crude barrel. Image & further information here. | ||||||
| S-Stockholm | M367 | Unknown | dark brown wood | Image & further details here. | |||||||||
| S-Stockholm | X5267.5 | Dolmetsch | bass | 3 | 4 | light-coloured wood | brass | brass bocal enters at top of windcap. Image here. | |||||
| D-Leipzig | 1125 | Adler | f’ | alto | 1700-1800 | 3 | 500 | dark wood (?ebony) | ivory beak, ferules & foot | Marked Adler. Inscribed M / MEYER, possibly the name of a dealer. Image & further details: Heyde (1978:, 16). | |||
| D-Ilshofen: Thalheimer | 859/515 | AdlerJ | e’ | alto | 1934 | 435 | 3 | 511 | cocobolo | 2 nickel silver ferrules | Marked on the body: Johannes Adler [with arrow] MARKNEUKIRCHEN Harlan fingering Thalheimer (2013: 50-51) | ||
| D-Leipzig | 1119 | Unknown | a” | soprano | 1750-1800 | 43.5 | dark brown wood | foot joint only survives. see herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 38.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 14. image & further information here | |||||
| D-Leipzig | 4405 | Unknown | c’ | tenor | 1875-1885 | 3 | 442 | 2 | ?ebony | silver-coloured metal | silver-coloured metal | This is a csakan. It has seven finger-holes, 1 thumb-hole and 4 keys. There is an open hole in the bell. Image & further information here. | |
| D-Leipzig | 5445 | Pastalit | c” | soprano | 1920-1930 | 2 | 337 | plastic (bakelite) | 1 silver-coloured metal ferule | Stamped MARKE PASTALIT / – MUSIKUS / C. Finger-holes are raised. Image & further information here. | |||
| D-Leipzig | 4730 | Unknown | c” | soprano | 1920-1950 | 3 | 329 | dark rosewood or ebony | 2 silver-coloured ferules | Head stamped EPTO (mark of handler Ernst Paul Todt) & body above thumbhole stamped PETER RENK LEIPZIG (another handler or retailer). Image & further information here. | |||
| D-Leipzig | 1133 | Unknown | d’ | tenor | 1700-1750 | 3 | 620 | ivory | headjoint stamped with an engraved shield. see herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 45.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 19. image & further information here. | ||||
| S-Stockholm | M688 | Unknown | 3 | wood | Image & further information here. | ||||||||
| D-Leipzig | 4408 | Hüller / Kruspe | b” | soprano | 1925-1935 | 2 | 388 | 5 | black wood | 2 silver-coloured metal ferules | silver-coloured metal ferules | This is a csakan or keyed recorder. | |
| D-Leipzig | 3551 | Zimmerman | c” | soprano | 1940-1960 | 2 | 325 | pale wood (?maple) | 1 metal ferule | Stamped ZIMMERMAN. Image & further information here. | |||
| D-Leipzig | 3081 | Moeck | c’ | tenor | 3 | 643 | 1 | dark wood (?rosewood) | 2 silver-coloured metal ferules | silver-coloured metal | Head stamped TUJU-BLOCK-FLÃTE and HERMANN MOECK / CELLE. Image & further details here. | ||
| D-Nuremberg GNM | MI 963.0 | Bürenreiter | tenor | c1935 | 3 | 657 | 1 | ?maple | brass | Window/labium rear-facing. Image & further information here. | |||
| D-Nuremberg GNM | MI 966.0 | Goldon | basset | 1936 | 3 | 954 | 2 | ?pearwood, with dark varnish | Bocal (missing) enters from rear of windcap. Image & further information here. | ||||
| D-Leipzig | 4409 | Hüller / Kruspe | g” | sopranino | 1925-1935 | 2 | 255 | dark wood, varnished | Image & further details here. | ||||
| D-Leipzig | 4407 | Hüller / Kruspe | d” | soprano | 1925-1935 | 2 | 303 | 1 | black wood (?ebony) | 2 silver-coloured metal ferules | silver-coloured metal | Key for lowermost finger-hole. Image & further information here. | |
| D-Leipzig | 1141 | JC Denner | f | basset | 1695-1705 | 3 | 900 | 1 | brown wood | 1 broad ferule on windcap | brass | stamped j.c.denner/ d/i. bocal enters at top of windcap. herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 50.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 22. herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 50.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 22. image & further information here. | |
| D-Leipzig | 3087 | Unknown | soprano | 1920-1940 | 3 | 385 | wood, dark-stained | Baroque-style instrument. Image & further information here. | |||||
| Leipzig | 4013 | Heinrich | c’ | tenor | 1950-1960 | 3 | 643 | 1 | varnished wood | silver-coloured metal | Neo-baroque style instrument. Stamped Alexander / Heinrich. Image & further information here. | ||
| D-Leipzig | 3021 | soprano | 1950-1970 | 2 | 330 | reddish-brown-stained wood | Image & futher information here. | ||||||
| D-Leipzig | 4008 | Heinrich | alto | 1952-1965 | 3 | 472 | wood, varnished | Stamped Alexander Heinrich. Image & further information here. | |||||
| D-Leipzig | 4635 | Hüller / Kruspe | d’ | tenor | 1910-1925 | 3 | 575 | dark-coloured wood | 2 silver-coloured ferules | Stamped HÃLLER-ORPHEUS / BLOCKFLÃTE / D | |||
| D-Leipzig | 4010 | Heinrich | basset | 1952-1965 | 3 | 916 | 4 | silver-coloured metal | Stamped Heinrich. Neo-baroque instrument. Window/labium rear-facing; direct blow. Image & further information here. | ||||
| D-Leipzig | 4009 | Heinrich | tenor | 1952-1965 | 3 | 644 | 1 | varnished wood | 2 ferules in darker wood | silver-coloured metal | Stamped Alexander Heinrich. Image & further information here. | ||
| D-Leipzig | 4007 | Heinrich | soprano | 1952-1965 | 3 | 321 | varnished wood | Stamped Alexander Heinrich. Image & further information here. | |||||
| D-Leipzig | 4751 | Herwiga | c” | soprano | 1950-1960 | 2 | 311 | reddish-brown-stained wood | Head stamped Herwiga / Chor below window/labium and PETER RENK / LEIPZIG below the thumbhole. Image & further information here. | ||||
| D-Leipzig | 3239 | Unknown | soprano | 1930-1935 | 3 | 323 | reddish-brown varnished wood | Image & further information here. | |||||
| D-Nuremberg GNM | 2236 | Unknown, Turkish | soprano | 19C | 1 | 391 | wood | Although labelled a ‘duduk’ by the GNM, this instrument is, to judge by its appearance, a baroque-style recorder. It has holes for seven fingers and the thumb of the uppermost hand. Georg Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Cöln: Kleiner Katalog der Sammlung Alter Musikinstrumente, Cöln 1913, Seite 216 (Duduk, arabische Schnabelflöte). Image & further information here. | |||||
| D-Leipzig | 3091 | AdlerO | ? soprano | 1912-1920 | 2 | 303 | 2 | ?rosewood | 2 silver-coloured metal ferules | silver-coloured metal. | A one-handed recorder, stamped SONORA. Image & further information here. | ||
| D-Leipzig | 4634 | Kanler | f’ | alto | 1950-1970 | 3 | 485 | 1 | dark-varnished wood | Stamped KANZLER, possibly the name of a dealer rather than maker. Neo-baroque recorder. Image & further details here. | |||
| D-Nuremberg GNM | MI 943 | Pastalit [Otto Schmidt] | f” | sopranino | 2 | 248 | Original-Pastalit-Kleinblockflöte Sekundus Nr. 91 P). Image & further information here. | ||||||
| D-Leipzig | 3198 | Unknown | bass | 1685-1705 | 4 | 1090 | 1 | dark brown wood | 3 ivory ferules, 1 brass | brass | bocal enters top of windcap herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 53 (dort verzeichnet unter der falschen nr. 3546). image & further information here. | ||
| D-Leipzig | 1114 | Thibouville-Cabart | g” | sopranino | 1885-1901 | 3 | wood | horn | herbert heyde: Flöten. musikinstrumenten-museum der karl-marx-universität leipzig. katalog, bd. 1, leipzig 1978, s. 34.georg kinsky: musikhistorisches museum von wilhelm heyer in cã¶ln, bd. 3: blas- und schlaginstrumente [unverã¶ffentlichtes manuskript, ca. 1912], s. 13. image & further information here. | ||||
| B-Brussels | 1994.022 | Unknown | soprano | 1901-1950 | 2 | 330 | 5 | palisander | 1 silver-coloured metal ferule | silver-coloured metal | Of French construction. Image & further details. | ||
| B-Brussels | 1037 | Unknown | alto | 1701-1800 | 3 | 460 | wood | Images & further details. | |||||
| B-Brussels | 2645 | Unknown | alto | 18C | 3 | 5 | pear | 2 ivory ferules | silver | Image & further details. | |||
| B-Brussels | JT0439 | Mousseter | alto | c.1950 | 3 | 485 | 1 | wood | brass | Neo-baroque design, apparently 20th rather than 19th-century. Images & further details. | |||
| B-Brussels | LD0062 | Mousseter | alto | c.1940 | 3 | 490 | 1 | wood | 1 silver-coloured metal ferule | silver-coloured metal | Image & further details. | ||
| B-Brussels | JT0440 | Dolmetsch | alto | c.1946 | 480 | More details. | |||||||
| B-Brussels | JT0438 | Mousseter | alto | c.1900 | 480 | pear | More details. | ||||||
| B-Brussels | 1997.004 | Hulsens | alto | c.1997 | 3 | 500 | ?box | ivory beak, ferules & foot | Baroque copy, after ?Bressan. Images & further details. | ||||
| B-Brussels | 4356 | Unknown | basset | 18C | 3 | 995 | wood | 1 brass ferule on windcap | brass | Images & further details. | |||
| B-Brussels | 1028 | Unknown | tenor | 18C | 3 | 660 | 1 | ebony | Ivory ferules on head & foot | brass | The online catalogue gives this as a ‘descant reorder’ with a length of 66 cm! From their image it is clearly a tenor. The ivory ferule on the beak is unusually wide. Image & further details. | ||
| B-Brussels | 1996.005 | Hulsens | soprano | 3 | 343 | box | Baroque style instrument. Images & further details. | ||||||
| B-Brussels | 1996.006 | Hulsens | soprano | a.1996 | 2 | 334 | box | Renaissance-style instrument. Image & further details. | |||||
| B-Brussels | 0435 | Unknown (German) | soprano | 18C | 3 | ivory | Image & further details. | ||||||
| B-Brussels | 0439 | Unknown | tenor | 18C | 3 | 660 | 1 | box | ivory beak, ferules & foot | brass | Images & further details. | ||
| D-Blankenburg: Kloster Michaelstein | SM 166 | Bauman | alto | c.1720 | |||||||||
| Unknown | Bauman | alto | 1730 | A recorder by this maker dated c. 1730 was restored by Wolfgang Wenke in 1997, see here. | |||||||||
| USA-MA-Boston: MFA | 17.1738 | Unknown [? English] | a’ | alto | late 19C | 3 | 375 | walnut | Image & further detail here. | ||||
| D-Dresden: Schloss Pillnitz | Unknown | f’ | basset | 1 | Key Denner-like. Lyndon-Jones (1994: 52) | ||||||||
| NL-Private | Aardenberg | f” | sopranino | 2 | brown stained European boxwood | Listed by Bouterse (2013). | |||||||
| D-Berlin: Private | Aardenberg | f’ | alto | 3 | box, stained brown | ivory rings | Bouterse (2013). | ||||||
| NL-Schoonebeek: Private Collection | Beukers | f’ | alto | box, stained brown | Bouterse (2013) | ||||||||
| NL-Brielle: Historisch Museum Den Briel | Terton | alto | box, stained | Head only survives (Bouterse 2013). | |||||||||
| NL-Amsterdam: Rijksmuseum | BK-NM-9690 | Aardenberg | f | alto | 3 | 505 | Stamped deer/AARDENBERG/fleur-de-lys in a scroll. Image and details here. | ||||||
| GB-Manchester: Anthony Burgess Foundation | f’ | sopranino | 2 | This is a neo-baroque instrument. It belonged to the writer and composer [John] Anthony Burgess [Wilson] (1917-1993) There is an image here. | |||||||||
| GB-Manchester: Anthony Burgess Foundation | f’ | alto | 3 | wood | This is a neo-baroque instrument. It belonged to the writer and composer [John] Anthony Burgess [Wilson] (1917-1993). There is an image here. | ||||||||
| GB-Manchester: Anthony Burgess Foundation | c” | soprano | 1 | wood | This appears to be a renaissance-style instrument. It belonged to the writer and composer [John] Anthony Burgess [Wilson] (1917-1993). There is an image here. | ||||||||
| PL-Poznan: Museum | MNP-1-599 | Weber | soprano | 1962 | 1 | 30-32 cm | wood | A copy of the 14th-century recorder from Nysa, Poland (Arnold den Teuling, pers. comm., 2014; Kirnbauer 2014). | |||||
| USA-NY-New York: MMA | 2009.125aâe | Schell | basset | 3 | 982 mm | 1 | fruitwood | brass | Ivory mouthpiece on brass bocal. Image here | ||||
| F-Vincennes: Petit | Bressan | f’ | alto | 3 | boxwood | ivory | Sold. For image see here | ||||||
| D-Berlin | 93 | Pappe | c | bass | 18C | Image and further details here | |||||||
| D-Berlin | 2823 | Souuc [Souve] | f | basset | 18C | 3 | 1 | brass | Image & further details here | ||||
| I-Private Collection (Rossi) | Unknown | f’ | alto | 17-18C | 405 | 3 | ivory | A baroque ivory recorder. It belongs to the private collection of the former owner of Tactus, the record company: Serafino Rossi. You can listen to this instrument being played (inexpertly) here. | |||||
| Unkown | Boisselot | alto | 18C | 3 | wood | ivory ferrules and foot | Sold in Vichy, December 2007. Image here | ||||||
| CH-Basel: Hist. Mus. | 2009.592 | Heitz | f’ | alto | c.1720 | 3 | 556.5 / 4955 | boxwood covered in tortoisehell | ivory beak, ferrules & foot | Sounding length 495.5 mm. Image and other details. | |||
| CH-Basel: Hist. Mus. | 1956.634 | Unknown | c’ | tenor | 20C | 3 | 625 / 558 | plumwood | Sounding length 558 mm. Image and further details. | ||||
| PL-Krakow: Czartoryski Museum | XIII-1781 | Gahn | alto | 1698-1711 | 6 | 440 | ivory | Stamped JBG under the label band. six, ideally matched parts, assembled on threads. Decorated by an abundantly carved ornament which comprises dry acanthus leaves, rings with raised knobs and a monsterâs mask turned into a mouthpiece. There is an inscription in the middle section of the recorder, which was originally painted black: Memoriae causa a Doctore Medicinae Petro Samson Reg. Polon. Archiater. His initials PâS had been carved at the base of the instrument. The inscription refers to Piotr Samson, appointed court physician at the court of StanisÅaw August Poniatowski. Image here. | |||||
| USA-PA-Philadelphia: | Goulding | alto | c.1786-1834 | 470 | The foot-joint is in the style of a transverse flute, first seen on recorders by Thomas Stanesby, jr (1692-1745). MacMillan (2007: 199) | ||||||||
| D-Leipzig | 4129 | Harlan | tenor | 1925-1940 | 3 | 676 | 1 | light-coloured wood | brass | Stamped PETER HARLAN / MARKNEUKIRCHEN. Images & further details here. | |||
| D-Leipzig | 3545 | Harlan | a’ | tenor | c.1933 | 435 | 3 | 746 | 1 | wood | 3 metal ferules | Stamped “Peter Harlan/ Markneukirchen”. Hyde 1978: 49). This instrument belonged to a SATB consort developed by Harlan in the 1920s. Image & further details here. | |
| I-Genova: Vagge | Anciuti | f’ | alto | 1720 | 440 | 3 | 427.5 | box | Head stamped: [lion of Venice] | ANCIVTI | A MILAN | 1720 Currently kept by C. Caco, Genoa. Photographs, x-rays, measurements: Gandolfi & Biella (2012); de Avena Braga (2015: 43, 271-273, figs 12-17). | ||||
| I-Parma: Private | Anciuti | f’ | alto | 1729 | 440 | 3 | 483 | box | Stamped: [lion of Venice] | ANIVTI | A MILAN Measurements and technical drawing (by Francesco Virghi): de Avena Braga (2015: 278, fig. 24) who notes: “The existence of this instrument is only known thanks to the website of Francesco Li Virghi (Francesco Li Virghi. What is known is that the instrument is in a private collection (supposedly in Parma) and was measured during a Verdi exhibition in 1982-83 by Li Virghi, who very kindly provided a copy of his drawing and measurements.” | ||||
| Ecuador-Quito: Museo Pedro Pablo Traversari | 3261 | Castel | L | alto | 3 | 508 | stained pearwood | Each joint stamped: N. | CASTEL | lion (or griffin) rampant Photograph, measurements & notes(by Richard Rephan): de Avena Braga (2015: 290). | |||||
| Unknown | sopranino | 1715 | Marked ANCIVTI / A MILAN / 1715 Sold at Sotheby’s on 17 November 1994 (LN6484, LOT 23). de Avena Braga (2015: 31, footnote 119). | ||||||||||
| Unknown | Anciuti | alto | Auctioned by Christies, Sale 8419, 16 June 1999, Lot 40, but sale not recorded. Bernardini & Meucci (2002); de Avena Braga (2015: 31, footnote 119). | ||||||||||
| Unknown | Anciuti | sopranino | 1715 | Stamped: ANCIVTI | A MILAN / 1715 Auctioned by Sothebys, Sale LN6484, 17 November 1994, Lot 23, but sale not recorded. Bernardini & Meucci (2002); de Avena Braga (2015: 31, footnote 119). | |||||||||
| D-Celle: Moeck | Montazeaud | alto | 3 | box | All three sections stamped: MONTAZEAUD | [globus cruciger] Crudely constructed. Notes and photographs: de Avena Braga (2015: 32, 346, figs 129-131). | ||||||||
| I-Rome: Museo dSM | 77, I.R.ms | Unknown | L | sopranino | 18C | 3 | ivory | Well preserved apart from the foot which is severely cracked in three places. One of these cracks runs the length of the instrument and is held together with a metal choker. There is a dark stain where a maker’s mark would have been stamped. Both top and bottom chamfers are present at the windway exit. The museum’s general inventory lists the maker of this instrument as âJoan Panormoâ, without reason. Photograph and notes: de Avena Braga (2015: 348, figs 135-136). | |||||
| A-Vienna | SAM 155 | Unknown | f’ | alto | 440 | 3 | 475.8 | box | All three sections stamped: · | PuI | · · | BRESSAN | [Tudor rose] | · Double holes for fingers 3, 6 & 7. de Avena Braga (2015) describes this as a “fake Bressan”. Adrian Brown comments that this instrument is enigmatic: Mark is unlike others by Bressan and workmanship, wod and manufacturing details are close that found on SAM 153 and 154. Windway entrance nicely curved, but exit completely flat; block correspondingly low and step is small, in the style of factory instruments. Pitch high for Bressan. Cutup very small, 3.5 mm. Turning more German than English. Under edge very long, c. 35 mm, not machine cut but crude Photograph, measurements and notes (by Adrian Brown): de Avena Braga (2015: 362-364, figs 162-165). | ||||
| J-Tokyo: Ueno Gakuen | Unknown | soprano | ivory | Montagu (1990) | |||||||||
| GB-London: RAM | 2012.451 | Koch | c’ | tenor | 1950s | 440 | 3 | 589 | wood | Rear of block stamped ‘Koch / USA’. Block fixed with brass pins. Formerly in the possession of Baron Menuhin of Stoke d’Abernon (Yehudi, to his friends). Image here. | |||
| GB-London: RAM | 2002.814 | Unknown | soprano | wood | A renaissance style instrument. | ||||||||
| GB-London: RAM | 2002.815 | Unknown | g’ | alto | wood | A renaissance style instrument | |||||||
| GB-London: RAM | 2002.816 | Unknown | g’ | alto | wood | A renaissance style instrument | |||||||
| GB-London: RAM | 2002.817 | Unknown | tenor | wood | A renaissance style instrument | ||||||||
| GB-London: RAM | 2002.82 | Unknown | basset | wood | A renaissance style instrument | ||||||||
| GB-London: RAM | 2002.823 | Moeck | contrabass | wood | A renaissance style instrument | ||||||||
| GB-London: RAM | 2002.824 | Unknown | tenor | wood | Stamped 2990 | ||||||||
| GB-London: RAM | 2002.825 | Unknown | tenor | wood | Stamped 2880 | ||||||||
| GB-London: RAM | 2012.625 | Unknown | basset | wood | Â | ||||||||
| GB-London: RAM | 2015.456 | Unknown | soprano | wood | Stamped 2790Â | ||||||||
| D-Ilshofen: Thalheimer | 450/188 | Graessel | c” | soprano | 1922 | 477 | 2 | 316 | walnut | 2 horn ferrule | N | After Kinsecker (1670) Rectangular windway Bore widened at foot later Possibly from the circle of Werner Danckert Thalheimer (2013: 12-13) | |
| D-Ilshofen: Thalheimer | 542/255 | Max Hüller | c” | soprano | 1924 | 458 | 2 | 322 | cocobolo | 1 horn ferrule | After Georg Graessel (1922) after Kinsecker (1670) Marked C. KRUSPE / ERFURT Historical fingering Wave profile head Rectangular windway Bore of the body more conical than the original Made for Werner Danckert or for Max Hüller himself Thalheimer (2013: 12-13) | ||
| D-Ilshofen: Thalheimer | 1074/686 | Max Hülle | f’ | alto | 1924 | 465 | 2 | 455 | maple | 1 horn ferrule (lost) | After George Graessel (1922) after Kinsecker Marked on headjoint 3 / C. KRUSPE / ERFURT / G / GES Marked on body C. KRUSPE / ERFURT / 4 / GES Historical fingering Wave profile head Windway rectangular Bore of the body more conical than the original Thalheimer (2013: 12-13) | ||
| D-Ilshofen: Thalheimer | 1073/685 | Max Hülle | g’ or a’ | alto | 1924 | 465 | 2 | 400 | maple | 1 horn ferrule | After George Graessel (1922) after Kinsecker alto in f’ at c. 477 Hz Marked on head-joint C. KRUSPE / ERFURT / 1 / B*AS Marked on body C. KRUSPE / ERFURT / C Historical fingering Wave profile head Slightly curved windway Bore of foot more conical than the original This instrument was Max Hüller’s first model in ab’, the same head-joint was also provided for recorders in b’ Thalheimer (2013: 12-13) | ||
| D-Ilshofen: Thalheimer | 1075/687 | Max Hülle | c’ | tenor | 1924 | 440 | 2 | 645 | maple | 1 horn ferrule | After Graessel (1922) after Kinsecker Historical fingering Wave profile head Bore of body more conical than the original Thalheimer (2013: 12-13) | ||
| D-Markneukirchen | 4920 | Kehr or Jacob | e’ | alto | 1926/1927 | 435 | 3 | 500 | cocobolo | After an 18th-century original in the D-Berlin No maker’s mark Historical fingering The first in a little series built for Peter Harlan Thalheimer (2013: 14-15) Image here | |||
| D-Ilshofen: Thalheimer | 1009/641 | Kehr | a’ | soprano | 1927/1928 | 435 | 3 | 416 | cocobolo | 1 narrow brass ferrule on the foot-joint | Built for Peter Harlan as the model for his a’ recorders No maker’s mark Thalheimer (2013: 14-15) | ||
| D-Ilshofen: Thalheimer | 280/041 | Kehr | d’ | tenor | 1929/1929 | 435 | 3 | 580 | cocobolo | 1 ivory ferrule on the head-joint | Test instrument (long d’ flute) No maker’s mark Harlan fingering Presumably from the collection of Waldemar Woehl | ||
| D-Ilshofen: Thalheimer | 397/150 | Kehr | a’ | soprano | 1935 | 435 | 3 | 384 | maple | 2 narrow brass ferrules | Harlan-Chorflöte, medium-wide-bore model Head-joint marked PETER HARLAN / MARKNEUKIRCHEN [small version] ‘Harlan fingering Thalheimer (2013: 17) | ||
| D-Ilshofen: Thalheimer | 398/151 | Kehr | e’ | alto | 1938 | 435 | 3 | 510 | maple | 2 narrow brass ferrules | Harlan-Chorflöte, medium-wide-bore model Head-joint marked PETER HARLAN / MARKNEUKIRCHEN [large version] Harlan fingering Thalheimer (2013: 17) | ||
| D-Ilshofen: Thalheimer | 192/060 | Kehr | a | tenor | c.1930 | 435 | 3 + windcap | 750 | 1 | maple | 1 wide + 2 narrow brass ferrules | brass | Harlan-Chorflöte Head-joint marked PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingereing Thalheimer (2013: 17) |
| D-Ilshofen: Thalheimer | 422/168 | Kehr | e | basset | c.1927 | 435 | 3 + windcap | 750 | 1 | maple | 2 wide + 1 narrow brass ferrules | brass | Harlan-Chorflöte Head-joint marked PETER HARLAN / MARKNEUKIRCHEN [small version] Brass bocal entering at top of windcap Harlan fingering Thalheimer (2013: 17) |
| D-Ilshofen: Thalheimer | 965/605 | König / Gofferje / Merzdorf | c” | soprano | 1932-1937 | 435 | 2 | 326 | pearwood | 1 narrow brass ferrule | Mark on head-joint: WMKG / DRGM. / 122287 Made for Karl Gofferje, Zwota; distributed by Walter Merzdorf, Markneukirchen Harlan fingering Serial number: 18076 Thalheimer (2013: 20-21) | ||
| D-Ilshofen: Thalheimer | 132/086 | Jahn | a’ | soprano | 1930-1936 | 435 | 3 | 392 | cocobolo | 2 narrow brass ring on head-joint | Body with distributor’s mark: G. HERRNSDORF Harlan fingering Thalheimer (2013: 18-19) | ||
| D-Ilshofen: Thalheimer | 111/093 | Jahn | d” | soprano | 1930-1936 | 435 | 2 | 302 | cocobolo | 1 narrow brass ring on head-joint | Body with distributor’s mark: G. HERRNSDORF Harlan fingering Thalheimer (2013: 18-19) | ||
| D-Ilshofen: Thalheimer | 171/071 | Jahn | d’ | alto | 1930-1936 | 435 | 3 | 587 | cocobolo | 2 narrow brass ferrules | Body with distributor’s mark: G. HERRNSDORF Harlan fingering Thalheimer (2013: 18-19) | ||
| D-Ilshofen: Thalheimer | 189/063 | Jahn | a | tenor | 1930-1936 | 435 | 3 + windcap | 767 | 1 | cocobolo | 3 narrow brass ferrules | Body with distributor’s mark: G. HERRNSDORF Harlan fingering Thalheimer (2013: 18-19) | |
| D-Ilshofen: Thalheimer | 666/361 | Jahn | d | basset | 1930-1936 | 435 | 3 + windcap | 767 | 3 | cocobolo | 3 narrow brass ferrules | silver-coloured metal | Body with distributor’s mark: F.G. Uebel / Wohlhause / MARKNEUKIRCHEN [in ellipse] Brass bocal enters at top of windcap Harlan fingering Thalheimer (2013: 18-19) |
| D-Ilshofen: Thalheimer | 750/427 | König / Gofferje / Merzdorf | f” | alto | 1932-1937 | 435 | 3 | 490 | 1 | maple | 2 narrow brass ferrules | brass | Handler’s mark on head-joint: WMKG / DRGM. / 122287 Made for Karl Gofferje, Zwota; distributed by Walter Merzdorf, Markneukirchen Harlan fingering Serial number: 18720 Thalheimer (2013: 20-21) |
| D-Ilshofen: Thalheimer | 538/251 | König / Gofferje / Merzdorf | c” | tenor | 1932-1933/4 | 435 | 3 | 648 | 1 | pearwood | 2 narrow brass ferrules | brass | Handler’s mark on head-joint: WMKG / DRGM. / 122287 Made for Karl Gofferje, Zwota; distributed by Walter Merzdorf, Markneukirchen Harlan fingering Serial number: 9000 Thalheimer (2013: 20-21) |
| D-Ilshofen: Thalheimer | 538/251 | König / Gofferje / Merzdorf | f” | basset | 1932-1935 | 435 | 3 + windcap | 970 | 1 | pearwood | 3 wide brass ferrules | brass | Handler’s mark on head-joint: WMKG / DRGM. / 122287 Made for Karl Gofferje, Zwota; distributed by Walter Merzdorf, Markneukirchen Nickel-plated brass bocal enters at top of windcap Harlan fingering Serial number: 9000 Thalheimer (2013: 20-21) |
| D-Ilshofen: Thalheimer | 096/095 | EL-Schlosser | f” | sopranino | c.1935 | 435 | 1 | 315 | cocobolo | Without maker’s mark Harlan fingering Acquired from the workshop of Rüdinger Schlosser Thalheimer (2013: 22-23) | |||
| D-Ilshofen: Thalheimer | 445/183 | Jahn | d’ | alto | 1940 | 435 | 3 | 588 | 1 | maple | 2 narrow brass ferrules | nickel silver | Head-joint with distributor’s mark: G. HERRNSDORF / MARKNEUKIRCHEN i. S. Harlan fingering Thalheimer (2013: 62) |
| D-Ilshofen: Thalheimer | 113/09 | EL-Schlosser | c” | soprano | probably 1943 | 435 | Zwota | 315 | pearwood with brown lacquer | Without maker’s mark Windway curved Double holes for 2 lowermost fingers Dolmetsch fingering Formerly belonged to Werner Tietz Thalheimer (2013: 22-23) | |||
| D-Ilshofen: Thalheimer | 138/080 | EL-Schlosser | f’ | alto | probably 1943 | 435 | 3 | 485 | pearwood with brown lacquer | Without maker’s mark Windway curved Double holes for 2 lowermost fingers Dolmetsch fingering Formerly belonged to Werner Tietz Thalheimer (2013: 22-23) | |||
| D-Ilshofen: Thalheimer | 204/055 | EL-Schlosser | c’ | tenor | probably 1943 | 435 | 3 | 658 | 1 | pearwood with brown lacquer | brass | Without maker’s mark Windway curved Double holes for second lowermost finger Dolmetsch fingering Formerly belonged to Werner Tietz Thalheimer (2013: 22-23) | |
| D-Ilshofen: Thalheimer | 195/057 | EL-Schlosser | f | basset | probably 1943 | 435 | 3 + windcap | 962 | 1 | maple stained dark brown | brass | Without maker’s mark Windway curved Double holes for second lowermost finger Dolmetsch fingering Formerly belonged to Werner Tietz and is probably the instrument used by him in the première of the Concertino (1944) for Viola, 2 recorders and lute by Johann Nepomuk David (1895-1977). Thalheimer (2013: 22-23) | |
| D-Ilshofen: Thalheimer | 1024/652 | EL-Schlosser & R-Schlosser | c | bass | 1945 | 440 | 3 + windcap | 1275 | 5 | maple stained light brown | nickel silver | Without maker’s mark Nickel silver bocal entering at rear of windcap Windway curved Dolmetsch fingering Thalheimer (2013: 22-23) | |
| D-Ilshofen: Thalheimer | 1058/672 | Hüller / Kruspe | c” (at a’=410 Hz) or b’ (at a’=435 Hz) | soprano | 1938 | 410 | 2 | 350 | zapatero boxwood | 3 ivory ferrules | Manfred Ruëtz Model Middle-joint marked: BÃRENREITER / KASSEL Serial number 1 Double holes for 2 lowermost fingers Dolmetsch fingering Formerly belonged to Konrad Lechner, Bernhard Böhm Thalheimer (2013: 24) | ||
| D-Ilshofen: Thalheimer | 1060/674 | Hüller / Kruspe | c’ (at a’=410 Hz) or b (at a’=435 Hz) | tenor | 1938 | 410 or 435 | 3 | 687 | 1 | zapatero boxwood | 4 | brass | Manfred Ruëtz Model Middle-joint marked: BÃRENREITER / KASSEL Blown with head reversed Double holes for 2 lowermost fingers Dolmetsch fingering Formerly belonged to Konrad Lechner, Bernhard Böhm Thalheimer (2013: 24) |
| D-Ilshofen: Thalheimer | 1059/673 | Hüllerr / Kruspe | f’ (at a’=410 Hz) or e’ (at a’=435 Hz) | alto | 1938 | 410 or 435 | 3 | 518 | 1 | zapatero boxwood | 4 ivory ferrules | brass | Manfred Ruëtz Model Middle-joint marked: BÃRENREITER / KASSEL Serial number 901 Double holes for 2 lowermost fingers Dolmetsch fingering Formerly belonged to Konrad Lechner, Bernhard Böhm Thalheimer (2013: 24) |
| D-Ilshofen: Thalheimer | 1059/673 | Hüller / Kruspe | f (at a’=410 Hz) or e (at a’=435 Hz) | basset | 1938 | 410 or 435 | 3 | 1018 | 3 | maple | 4 ivory ferrules | brass | Manfred Ruëtz Model Middle-joint marked: BÃRENREITER / KASSEL Serial number 901 Direct-blown with head reversed Double holes for 2 lowermost fingers Dolmetsch fingering Formerly belonged to Konrad Lechner, Bernhard Böhm Thalheimer (2013: 24) |
| D-Ilshofen: Thalheimer | 451/1894 | König / Hell | f” | sopranino | 1936 | 435 | 2 | 248 | brown precious wood | 1 ivory ferrule on the head-joint | Wide-bore Chorflöten model; stamped on the head-joint: Hell-Werstat / Markneukirchen [the Hell workshop of Albert Lorenz in Markneukirchen]; formerly owned by Thomas Reil (Thalheimer 2013: 25-27) | ||
| D-Ilshofen: Thalheimer | 514/236 | AdlerO | d” | soprano | 1935 | 435 | 2 | 301 | 6 | cocobolo | 1 brass ferrule | nickel silver | A recorder with 6 semitone keys Body stamped: SONORA Formerly belonged to Thomas Reil Thalheimer (2013: 30-31) |
| D-Ilshofen: Thalheimer | 655/454 | Hüller / Kruspe | c’ | soprano | 1938 | 435 | 2 | 332 | 6 | cocobolo | 1 nickel silver ferrule | nickel silver | This is a recorder with semitone keys Marked on the head-joint SANSSOUCI Thalheimer (2013: 30-31) |
| D-Ilshofen: Thalheimer | 661/356 | Hüller / Kruspe | e’ | soprano | 1935 | 432 | 2 | 326 | cocobolo | 1 narrow nickel silver ferrule | Body marked: GLORIA-BLOCKFLÃTE Harlan fingering Thalheimer (2013: 74) | ||
| D-Ilshofen: Thalheimer | 236/111 | Hüller / Kruspe | a’ | soprano | 193o | 435 | 2 | 390 | 6 | grenadilla | 1 nickel silver ferrule | nickel silver | This is a recorder with semitone keys Without maker’s or distributor’s mark Harlan fingering The lowermost key is closed at rest, as on a Boehm flute. The attribution to Max Hüller is based on turning features on which are those of Hüller’s ‘Orpheus’ model. Acquired from Martin Wenner Thalheimer (2013: 30-31) |
| D-Ilshofen: Thalheimer | 464/202 | EL-Schlosser | f’ | alto | 1938 | 425 | 3 | 485 | 6 | maple stained dark brown | nickel silver with fittings in brass | This is a recorder with semitone keys Distributor’s mark: G. HERRNSDORF /MARKNEUKIRCHEN Harlan fingering Formerly owned by Thomas Reil Thalheimer (2013: 30-31) | |
| D-Ilshofen: Thalheimer | 384 | Unknown | c” | soprano | 435 | 3 | 375 | 6 nickel | grenadilla | 3 ni | nickel silver ferrules | This is a Wiener csakan, Johann Ziegler model Unknown Vogtländ manufacturer Distributor’s mark on middle-joint: JUL. HEINR. / ZIMMERMANN / LEIPZIG and the initials J. H. R. [in a heart] Semitone key for little finger of uppermost hand closed Thumbhole bushed with ivory Ziegler csakan fingering Formerly owned by Thomas Reil Thalheimer (2013: 32-33) | |
| D-Ilshofen: Thalheimer | 913/563 | AdlerO | e’ | alto | 1930 | 435 | 2 | 519 | 4 | cocobolo | 1 brass ferrule | nickel silver | A recorder with semitone keys Body with O. Adler trademark Harlan fingering Thalheimer (2013: 32-33) |
| D-Ilshofen: Thalheimer | 854/510 | Kehr | d’ | alto | 1930 | 435 | 2 | 570 | 3 | cocobolo | 1 nickel silver ferrule | nickel silver | This is a recorder with semitone keys Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Formerly belonged to Thomas Reil Thalheimer (1-13: 32-33) |
| D-Ilshofen: Thalheimer | 488/221 | Kehr | c’ | tenor | 1938 | 435 | 2 | 644 | 4 | cocobolo | 1 nickel silver ferrule | nickel silver | This is a recorder with semitone kyes Without maker’s mark This is the late Harlan-Chorflüten-Modell but probably custom made Harlan fingering Bell in a different (lighter-coloured) wood Thalheimer (2013: 32-33) |
| D-Ilshofen: Thalheimer | 478/216 | Hüllerr | a | tenor | 1930 | 435 | 3 | 760 | 5 | maple, stained light brown | 2 nickel silver ferrules | nickel silver | This is a recorder with semitone keys Marked on middle-joint: HÃLLER / ORPHEUS / BLOCKFLÃTE All parts stamped: A 870 Harlan fingering Thalheimer (2013: 32-33) |
| D-Ilshofen: Thalheimer | 836/499 | AdlerJ | c” | soprano | 1932-1934 | 435 | 2 | 324 | cocobolo | 1 nickel silver ferrule | Embossed on the head-joint: JOHANNES ADLER [monogram JA]. Marked on the body: Johannes Adler [with arrow] MARKNEUKIRCHEN Harlan fingering Thalheimer (2013: 50-51) | ||
| D-Ilshofen: Thalheimer | 859/515 | AdlerJ | d’ | alto | 1934 | 435 | 3 | 551 | pearwood | 2 nickel silver ferrules | Marked on the body: Johannes Adler [with arrow above and below] MARKNEUKIRCHEN Harlan fingering Thalheimer (2013: 50-51) | ||
| D-Ilshofen: Thalheimer | 1012/643 | AdlerO | c” | soprano | 1932 | 435 | 2 | 330 | cocobolo | 1 nickel silver ferrule | Body embossed: SONORA [round Adler trademark] Harlan fingering Thalheimer (2013: 54) | ||
| D-Ilshofen: Thalheimer | 504/233 | AdlerO | a’ | soprano | 1932 | 435 | 3 | 388 | cocobolo | 2 nickel silver ferrules | Body embossed: SONORA [round Adler trademark] Harlan fingering Thalheimer (2013: 54) | ||
| D-Ilshofen: Thalheimer | 491/223 | AdlerO | c’ | tenor | 1938 | 435 | 3 | 634 | 1 | pearwood | nickel silver | Middle-joint embossed: CARADL Harlan fingering Thalheimer (2013: 54) | |
| D-Ilshofen: Thalheimer | 696/387 | Hammerschmidt | f’ | alto | 1935 | 435 | 3 | 494 | 1 | cocobolo | 1 nickel silver ferrule | nickel silver | Head stamped: KLINGSON [obliquely] / KARL HAMMERSCHMIDT / WATZENREUTH / 8 / FLEISEN / B. [in an ellipse] Middle-joint stamped: HHV Head-joint with wave-profile decoration Harlan fingering Thalheimer (2013: 57) |
| D-Ilshofen: Thalheimer | 496/227 | Hammerschmidt | c’ | tenor | 1940 | 435 | 3 | 638 | 1 | cocobolo | 1 nickel silver ferrule | nickel silver | Head stamped: SUDETENDEUTSCHE / BLOCKFLÃTE KARL HAMMERSCHMIDT / & SÃHNE / WATZKENREUTH BE FLEISSEN [in ellipse], KLINGSON Middle-joint stamped: HHV Head-joint with wave-profile decoration Harlan fingering Thalheimer (2013: 57) |
| D-Ilshofen: Thalheimer | 487/220 | Hinkeldei | c” | soprano | 1935 | 435 | 2 | 332 | cocobolo | 1 nickel silver ferrule | Embossed on body: HARO / Ges. Gesch. Harlan fingering Thalheimer (2013: 59) | ||
| D-Ilshofen: Thalheimer | 762/436 | Hinkeldei | a’ | soprano | 1935 | 435 | 3 | 494 | cocobolo | 2 nickel silver ferrules | Embossed on body: HARO / Ges. Gesch. Harlan fingering Thalheimer (2013: 59) | ||
| D-Ilshofen: Thalheimer | 967/607 | Hinkeldei | f’ | soprano | 1935 | 435 | 3 | 482 | maple | No maker’s or distributor’s marks Harlan fingering Attributed to Hinkeldei workshop on the basis of its resemblence to other instruments bearing the HARO stamp Thalheimer (2013: 59) | |||
| D-Ilshofen: Thalheimer | 835/498 | Jahn | d” | soprano | 1935 | 435 | 2 | 305 | cocobolo | 1 nickel silver ferrule | Distributor’s mark on head-joint: AUG. CLEMENS GLIER / MARNEUKIRCHEN Harlan fingering The attribution to the Jahn workshop is based on turning characteristics, such as the two notches on the bottom piece Thalheimer (2013: 61) | ||
| D-Ilshofen: Thalheimer | 373/125 | Jahn | f’ | alto | 1940 | 435 | 3 | 493 | cocobolo | 2 nickel silver ferrules | Distributor’s mark on head-joint: G. HERRNSDORF / MARKNEUKIRCHEN I. s Harlan fingering Formerly owned by Thomas Reil Thalheimer (2013: 61) | ||
| D-Ilshofen: Thalheimer | 814/487 | Jahn | c’ | tenor | 1935 | 435 | 3 | 651 | 1 | cocobolo | nickel silver | Without maker’s or distributor’s marks Harlan fingering Attributed to the Jahn workshop on the basis of the turning of the foot-piece Thalheimer (2013: 18-19) | |
| D-Ilshofen: Thalheimer | 768/442 | Jahn | f’ | alto | 1938 | 435 | 3 | 480 | 1 | maple, laquered | nickel silver | Middle-joint marked: ** K J ** [Kurt Wilhelm Jahn (1810-1941)] Head-joint with distributor’s mark: O. Lederer / * [Erdmann Oswald Lederer (1860-1941), Wernitzgrün, a maker of fifes drum-sticks and batons] Harlan fingering Formerly owned by Thomas Reil Thalheimer (2013: 61). | |
| D-Ilshofen: Thalheimer | 562/275 | Kehr | d’ | alto | 1930 | 435 | 3 | 570 | cocobolo | 2 narrow brass ferrules | Harlan-Chorflöte, wide-bore model Head-joint marked PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Formerly owned by Hans-Martin Linde, from his father’s belongings Thalheimer (2013: 65) | ||
| D-Ilshofen: Thalheimer | 448/187 | Kehr | f’ | alto | 1935 | 435 | 3 | 480 | 3 | cocobolo | 2 brass ferrules | Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Thalheimer (2013: 65) | |
| D-Ilshofen: Thalheimer | 892/545 | Kehr | f’ | alto | 1938 | 435 | 2 | 475 | maple | Head-joint marked PETER HARLAN / MARKNEUKIRCHEN [large version] Body marked: VOLKSFLÃTE Harlan fingering Thalheimer (2013: 66) | |||
| D-Ilshofen: Thalheimer | 415/162 | Kehr | a’ | soprano | 1938 | 432 | 3 | 387 | 1 | maple | nickel silver | Without maker’s or distributor’s mark Curved windway Harlan fingering The exterior profile corresponds to that of the the Harlan Barockflöte, but this model was only offered in C_F or E-B pitches. The outstanding quality of the instrument and its pitch of a’ suggest that it is custom-made. Formerly owned by Otto Bock, and by Jens Borleis Thalheimer (2013: 66) | |
| D-Ilshofen: Thalheimer | 1020/648 | Kehr | f’ | alto | 1938 | 435 | 3 | 481 | maple | 2 narrow brass ferrules | Harlan-Chorflöte, smooth model Head-joint marked PETER HARLAN / MARKNEUKIRCHEN [large version] Harlan fingering Thalheimer (2013: 65) | ||
| D-Ilshofen: Thalheimer | 565/277 | Kehr | c’ | tenor | 1938 | 410 | 3 | 684 | 1 | rosewood | 2 ivory ferrrules | nickel silver | A Harlan-Barockflöte Head-joint marked: PETER HARLAN / MARKNEUKIRCHEN [large version] Dolmetsch fingering Curved windway Formerly owned by Margrit Fietcher Thalheimer (2013: 66) |
| D-Ilshofen: Thalheimer | 970/611 | König / Heinrich | c’ | tenor | 1938 | 435 | 3 | 646 | 1 | pearwood | nickel silver | Heinrich-Chorflöte (later version) Head-joint with distributor’s mark: ALEXANDER HEINRICH / MARKNEUKIRCHEN [in ellipse] Harlan fingering Thalheimer (2013: 68-69) | |
| D-Ilshofen: Thalheimer | 587/298 | König / Herwiga | d’ | alto | 1935 | 435 | 3 | 579 | 1 | pearwood | 2 narrow nickel-sliver ferrules, one lost & replaced with brass | nickel silver | “Herwiga 2” model Head-joint with distributor’s mark:Herwiga 2 [in ellipse]; foot-joint marked: Wilhelm Herwig, Markneukirchen Harlan fingering Thalheimer (2013: 68-69) |
| D-Ilshofen: Thalheimer | 891/544 | König / Weissgerber | d’ | alto | 1935 | 435 | 3 | 580 | 1 | pearwood | 2 narrow nickel-sliver ferrules, one lost & replaced with brass | nickel silver | Weissgerber model or “Herwiga 3” Head-joint with distributor’s mark: >WEISSGERBER [Richard Jacob, Markneukirchen] Harlan fingering Thalheimer (2013: 68-69) |
| D-Ilshofen: Thalheimer | 906/558 | König / Heinrich | c’ | tenor | 1935 | 435 | 3 | 646 | 1 | pearwood | nickel silver | Heinrich-Chorflöte (early version) Head-joint with distributor’s mark: ALEXANDER HEINRICH / MARKNEUKIRCHEN [in ellipse]; middle-joint marked : W……/ DANZIG [in ellipse] Harlan fingering Thalheimer (2013: 68-69) | |
| D-Ilshofen: Thalheimer | 300/005 | König / Weissgerber | f’ | alto | 1935 | 435 | 3 | 489 | 1 | pearwood | nickel silver | “Herwiga Chor” model Head-joint with distributor’s mark: >WEISSGERBER Distributor Wilhelm Herwig, Markneukirchen] Harlan fingering Formerly owned by Ferdinand Conrad, Armgard Pudelko Thalheimer (2013: 68-69) | |
| D-Ilshofen: Thalheimer | 786/459 | König / Heinrich | d’ | alto | 1935 | 435 | 3 | 580 | 1 | pearwood | nickel silver | “Herwiga Solist” or Heinrich “Royal-Barock” model Head-joint with distributor’s mark: >WEISSGERBER Distributor Wilhelm Herwig, Markneukirchen] Harlan fingering Formerly owned by Erwin Glier Thalheimer (2013: 68-69) | |
| D-Ilshofen: Thalheimer | 893/546 | König / Herwiga | f” | alto | 1935 | 435 | 3 | 486 | 1 | pearwood | nickel silver | “Herwiga Selekta” or “Herwiga Regina” or Heinrich “Solist” model Mark on headjoint: Herwiga / Selekta [Distributor: Wilhelm Herwig, Markneukirchen] Harlan fingering Thalheimer (2013: 70-71) | |
| D-Ilshofen: Thalheimer | 812/484 | König / Gofferje / Merzdorf | d” | tenor | probably 1933 | 435 | 3 | 582 | 1 | maple | 2 narrow nickel silver ferrules | nickel silver | Gofferje-Merzdorf model Handler’s mark on head-joint: WMKG / DRGM. / 122287 Made for Karl Gofferje, Zwota; distributed by Walter Merzdorf, Markneukirchen Harlan fingering, large mensur Serial number: 8484 Thalheimer (2013: 20-21) |
| D-Ilshofen: Thalheimer | 643/342 | König / Hell | c” | soprano | 1938 | 432 | 3 | 311 | palisander | Baroque model Stamped on the head-joint: HELL-WERSTAT / MARKNEUKIRCHEN [The Hell Workshop of Albert Lorenz in Markneukirchen] Serial number (on foot-joinnt): 34 Thalheimer (2013: 70-71) | |||
| D-Ilshofen: Thalheimer | 372/124 | Hüller / Kruspe | e’ | alto | 1930 | 435 | 3 | 528 | cocobolo | 2 nickel silver ferrules | Middle-joint marked: HÃLLER-ORPHEUS / BLOCKFLÃTE Harlan fingering Formerly owned by Thomas Reil Thalheimer (2013: 74) | ||
| D-Ilshofen: Thalheimer | 765/439 | Hüller / Kruspe | f’ | alto | 1935 | 432 | 3 | 482 | cocobolo | “Imperial” model Middle-joint marked: HÃLLER-ORPHEUS / BLOCKFLÃTE Distributor’s mark on middle-joint: DETMERING / HAMBURG [in an ellipse] Harlan fingering Thalheimer (2013: 74) | |||
| D-Ilshofen: Thalheimer | 663 / 358 | Hüllerr / Kruspe | e’ | alto | 1930 | 432 | 3 | 518 | maple | 2 nickel silver ferrules | Marked C. KRUSPE / ERFURT Harlan fingering Thalheimer (2013: 75) | ||
| D-Ilshofen: Thalheimer | 446/185 | Hüllerr / Kruspe | c’ | tenor | 1938 | 432 | 3 | 1 | grenadilla | brass | Manfred Ruetz model Middle-joint marked: BÃRENREITER KASSEL Thumb-hole with brass bush Formerly owned by Thomas Reil Thalheimer (2013: 75) | ||
| D-Ilshofen: Thalheimer | 868/523 | Otto | f’ | alto | 1940 | 432 | 3 | 475 | 1 | cocobolo | nickel silver | Head-joint marked: RUDOLF OTTO’S / CHORFLÃTE Harlan fingering Thalheimer (2013: 77) | |
| D-Ilshofen: Thalheimer | 1028/656 | Otto | c’ | tenor | 1940 | 432 | 3 | 638 | 1 | maple, stained | 2 nickel silver ferrules | nickel silver | Head-joint marked: RUDOLF OTTO’S / WERKFLÃTE Harlan fingering Formerly owned by Hans Frenz, Martina Kunert Thalheimer (2013: 77) |
| D-Ilshofen: Thalheimer | 2000/632 | Otto | c” | soprano | 1940 | 432 | 3 | 320 | zapatero boxwood | Head-joint marked: RUDOLF OTTO’S / MEISTERFLÃTE Harlan fingering Thalheimer (2013: 77) | |||
| D-Ilshofen: Thalheimer | 790/463 | Otto | f’ | alato | 1935 | 432 | 3 | 484 | 1 | cocobolo | 2 nickel silver ferrules | nickel silver | Head-joint rear marked: HERMAN MOECK / Celle Head-joint front marked TUJU-BLOCKFLÃTE Harlan fingering Formerly owned by Erwin Glier Thalheimer (2013: 77) |
| D-Ilshofen: Thalheimer | 1015 | Otto | d’ | alto | 1935 | 432 | 3 | 582 | 1 | zapatero boxwood | 2 nickel silver ferrules | nickel silver | Marked: J. MOLLENHAUER & SO / FULDA Harlan fingering Formerly owned by Ernst Stieber, Dorothee Stieber Thalheimer (2013: 78-79) |
| D-Ilshofen: Thalheimer | 374/126 | Otto | f’ | alto | 1936-1940 | 432 | 3 | 492 | 1 | palisander | 2 nickel silver ferrules | nickel silver | No maker’s or distributor’s mark Exterior shape of the Bärenreiter-Ruétz model made by Max Hüller’s Carl Kruspe, company in Erfurt. Identified by Rudolf Otto in 2002 as his own work Harlan fingering Formerly owned by Thomas Reil Thalheimer (2013: 78-79) |
| D-Ilshofen: Thalheimer | 739/419 | EL-Schlosser | c” | soprano | 1940 | 432 | 3 | 330 | cocobolo | All 3 parts marked: HERMANN MOECK / CELLE Double holes for finger 6 Dolmetsch fingering Thalheimer (2013: 80-81) | |||
| D-Ilshofen: Thalheimer | 136/082 | EL-Schlosser | g’ | alto | 1935 | 432 | 3 | 437 | cocobolo | 2 nickel silver ferrules | Without maker’s or distributor’s mark Harlan fingering Formerly owned by Rüdinger Schlosser, from his workshop Thalheimer (2013: 80-81) | ||
| D-Ilshofen: Thalheimer | 588/300 | EL-Schlosser | a’ | soprano | 1940 | 432 | 3 | 379 | pearwood | Without maker’s or distributor’s mark Double holes for finers 6 and 7 Dolmesch fingering Formerly owned by Kurt and Helma Janetzky Thalheimer (2013: 80-81) | |||
| D-Ilshofen: Thalheimer | 163/074 | Schwabe | f’ | alto | 1940 | 432 | 3 | 480 | 1 | maple | brass and nickel silver | Without maker’s mark Harlan fingering Formerly owned by Sebastian Kelber Thalheimer (2013: 83) | |
| D-Ilshofen: Thalheimer | 851/507 | Schwabe | c’ | tenor | 1940 | 432 | 3 | 645 | 1 | maple | brass and nickel silver | Middle joint marked: E. Schwabe Harlan fingering Thalheimer (2013: 83) | |
| Unknown | Unknown | alto | 18C | 3 | 487 | ivory | tortoise-shell sleeve on beak, 2 ferrules and foot ring | An unusual instrument from the Auction of Musical Instruments, Gardiner Houlgate, Corsham, UK, 17-18 Sep. 2015, Lot 854. “Ivory treble (alto) recorder, probably German, second quarter 18th century, screw tenons, the beak, lower head joint tenon socket mouldings, the upper bell joint tenon socket mouldings and the bell rim all overlaid with gilt-backed tortoiseshell, duplicate lower F holes, the left one plugged with cork, in wooden case bearing Arnold Dolmetsch’s name and address, Length 48.7cm.(2) *Sold with a letter dated 6th June 1927 from W. Howard Head to Ursula Margaret Waterhouse, giving the provenance of the instrument. The recorder was originally in the collection of Thomas William Taphouse (b. 1838, d. 1905). His large collection of musical instruments was dispersed by auction at a sale conducted by Sotheby, Wilkinson & Hodge on 7th June 1905 … … The instrument was acquired by the organist, composer, teacher and writer Sir John Frederick Bridge CVO (b. 1844, d 1924), seemingly through a dealer intermediary … … Following Bridges death the recorder was either sold to or consigned for sale by Lady Bridge to W. Howard Head. Head was a fellow organist and also a viol player. He was another friend of Arnold Dolmetsch and played in his concerts from at least 1899. The asking price at the time was £15. Ursula Waterhouse (b. 1902, d. 1990) made the purchase. She was the daughter and granddaughter of two distinguished British architects , respectively Paul Waterhouse (b. 1861, d. 1924) and Alfred Waterhouse (b. 1830, d. 1905). Her father would have almost certainly known Arnold Dolmetsch as they were both members of the Art Workers’ Guild.” Images here | |||||
| Unknown | Schott | 1940 | 3 | cocus wood | From the Auction of Musical Instruments, Gardiner Houlgate, Corsham, UK, 17-18 Sep. 2015, Lot 838. Stamped: Schot, Made in England. No further details given. It has several unusual features, including the head-joint profile, the foot profile, and the shape of the V-shaped base of the labium. Image here | ||||||||
| D-Ilshofen: Thalheimer | 706/394 | Kehr | e’ | alto | 1926/1927 | 435 | 3 | 509 | grenadilla | After an 18th-century original The first in a small series of narrow-bore instruments made for Peter Harlan Historical fingering Formerly owned by Mariechen Keht, Ralf Schneider Thalheimer (2013: 86-87) | |||
| D-Ilshofen: Thalheimer | 392/143 | Kehr | e’ | alto | 1927-1929 | 435 | 3 | 500 | cocobolo | 2 brass ferrules | Early, narrow-bore model Distributer’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Formerly owned by Neidhart Bousset Thalheimer (2013: 86-87) | ||
| D-Ilshofen: Thalheimer | 981/619 | Kehr | e’ | alto | 1928-1930 | 435 | 3 | 503 | maple | 2 brass ferrules | Early, narrow-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Thalheimer (2013: 86-87) | ||
| D-Ilshofen: Thalheimer | 435/178 | Kehr | e’ | alto | 1928-1935 | 435 | 3 | 500 | cocobolo | 2 brass ferrules | Early, wide-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Formerly owned by Thomas Reil Thalheimer (2013: 86-87) | ||
| D-Ilshofen: Thalheimer | 829/494 | Kehr | e’ | alto | 1928-1930 | 435 | 3 | 506 | maple | 2 wide brass ferrules | Early, wide-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Thalheimer (2013: 86-87) | ||
| D-Ilshofen: Thalheimer | 036/583 | Kehr | e’ | alto | 1935 | 435 | 3 | 516 | cocobolo | 2 brass ferrules | Early, medium-bore model Distributor’s mark on head-joint: PETER HARLAN MARKNEUKIRCHEN [small version] Harlan fingering Thalheimer (2013: 88-89) | ||
| D-Ilshofen: Thalheimer | 936/583 | Kehr | e’ | alto | 1935 | 435 | 3 | 516 | cocobolo | 2 brass ferrules | Early, medium-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Thalheimer (2013: 88-89) | ||
| D-Ilshofen: Thalheimer | 1019/647 | Kehr | e’ | alto | 1935 | 435 | 3 | 508 | 1 | maple | 2 brass ferrules | brass | Early, medium-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Thalheimer (2013: 88-89) |
| D-Ilshofen: Thalheimer | 929/577 | Kehr | e’ | alto | 1935 | 435 | 3 | 510 | cocobolo | 2 brass ferrules | Early, medium-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [large version] Harlan fingering Formely owned by Herta Hansemann Thalheimer (2013: 88-89) | ||
| D-Ilshofen: Thalheimer | 264/048 | Kehr | e’ | alto | 1935 | 435 | 3 | 510 | 1 | maple | 2 brass ferrules | brass | Early, medium-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [larage version] Harlan fingering Formely owned by Winfried Schmitz Thalheimer (2013: 88-89) |
| D-Ilshofen: Thalheimer | 987/624 | Kehr | e’ | alto | 1938 | 435 | 3 | 515 | maple | Late, narrow-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [large version] Harlan fingering Thalheimer (2013: 90-91) | |||
| D-Ilshofen: Thalheimer | 421/167 | Kehr | e’ | alto | 1938 | 435 | 3 | 500 | maple | 2 brass ferrules | Late, narrow-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [large version] Harlan fingering Formerly owned by Karl Ventzke Thalheimer (2013: 90-91) | ||
| D-Ilshofen: Thalheimer | 566/278 | Kehr | e’ | alto | 1938 | 435 | 3 | 502 | maple | Late, narrow-bore model Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [large version] Curved windway Harlan fingering Formerly owned by Marianne Lüthi Thalheimer (2013: 90-91) | |||
| D-Ilshofen: Thalheimer | 095/096 | EL-Schlosser | g” | sopranino | 1935 | 435 | 1 | 184 | cocobolo | This model was made for Hermann J. Moeck Harlan fingering Formerly owned by the workshop of Rüdinger Schlosser Thalheimer (2013: 93) | |||
| D-Ilshofen: Thalheimer | 797/469 | AdlerO | d” | soprano | 1940 | 435 | 2 | 303 | cocobolo | 1 nickel silver ferrule | Distributor’s mark on middle joint: SONORA [round Alder trademark] Harlan fingering Formerly owned by Erwin Glier Thalheimer (2013: 94-95) | ||
| D-Ilshofen: Thalheimer | 297/038 | Kehr | f” | sopranino | 1940 | 435 | 3 | 348 | maple | Harlan-Borockflöte Middle joint marked: LEIPZIG [Distributor was J.H. Zimmermann, Leipzig] Harlan fingering Formerly owned by J.H. Zimmerman, Rainer Weber Thalheimer (2016: 93) | |||
| D-Ilshofen: Thalheimer | 984/612 | Kehr | c” | soprano | 1934 | 435 | 3 | 323 | grenadilla | Distributor’s mark on middle joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Double holes for fingers 6 & 7 Dolmetsch fingering Thalheimer (2013: 94-95) | |||
| D-Ilshofen: Thalheimer | 481/218 | Unknown (Vogtland maker) | b’ | soprano | 1935 | 435 | 2 | 359 | coco | 1 narrow brass ferrule | Harlan fingering Thalheimer (2013: 94-95) | ||
| D-Ilshofen: Thalheimer | 1002/634 | Novinsky & Hüller | a’ | soprano | 435 | 4 | 386 | cocobolo | 2 nickel silver ferrules | Middle joint stamped: K. NOVINSKY / FRANKFURT-M Harlan fingering Formerly owned by Adelheid Knoop Thalheimer (2013: 04-95) | |||
| D-Ilshofen: Thalheimer | 472/210 | König & EL-Schlosser | g’ | alto | 1933 | 435 | 3 | 440 | cocobolo | 2 nickel silver ferrules | Head-joint with Distributor’s mark: WILH. HERWIG / MARKNEUKIRCHEN [in ellipse], [Monogramm] Wh Harlan fingering Thalheimer (2013: 94-95) | ||
| D-Ilshofen: Thalheimer | 1038/662 | Hüller / Kruspe | f’ | alto | 1935-1939 | 435 | 3 | 491 | 1 | grenadilla | brass | Manfred Ruëtz model Distributor’s mark on back of middle-joint: BÃRENREITER Harlan fingering, long mensur Thalheimer (2013: 96-97) | |
| D-Ilshofen: Thalheimer | 898/551 | Hüller / Kruspe | e’ | alto | 1935-1939 | 435 | 3 | 525 | 1 | pearwood | brass | Manfred Ruëtz model Distributor’s mark on back of middle-joint: BÃRENREITER / KASSEL Harlan fingering, long mensur Thalheimer (2013: 96-97) | |
| D-Ilshofen: Thalheimer | 1072/684 | Hüller / Kruspe | e♭’ | alto | 1935-1939 | 435 | 3 | 546 | 1 | zapatero boxwood | 4 ivory ferules | brass | Manfred Ruëtz “Bach-Blockflöte” model Distributor’s mark on back of middle-joint: BÃRENREITER Dolmetsch fingering, long mensur Formerly owned by Max H1üller, Kurt Hüller, Ralf SchneiderThalheimer (2013: 96-97) |
| D-Ilshofen: Thalheimer | 900/553 | Hüller / Kruspe | d’ | alto | 1935-1939 | 435 | 3 | 588 | 1 | pearwood | brass | Manfred Ruëtz model Distributor’s mark on back of middle-joint: BÃRENREITER / KASSEL Harlan fingering, long mensur Thalheimer (2013: 96-97) | |
| D-Ilshofen: Thalheimer | 877/530 | Hüller / Kruspe | d’ | alto | 1935-1939 | 410 | 3 | 625 | 1 | grenadilla | 4 ivory ferrules | brass | Manfred Ruëtz “Bach-Blockflöte model Distributor’s mark on back of middle-joint: BÃRENREITER / KASSEL Dolmesch fingering, long mensur Thalheimer (2013: 96-97) |
| D-Ilshofen: Thalheimer | 176/068 | Hüller / Kruspe | c’ | tenor | 1935-1939 | 435 | 3 | 645 | 1 | pearwood | brass | Manfred Ruëtz model Distributor’s mark on back of middle-joint: BÃRENREITER / KASSEL Harlan fingering Formerly owned by Winfried SchmitzThalheimer (2013: 96-97) | |
| D-Ilshofen: Thalheimer | 186/066 | EL-Schlosser | c’ | tenor | 1943-1944 | 410 | 3 | 675 | 1 | pearwood | nickel silver | Distributor’s mark: [Monogramm] HJ [in Gambencorpus] Double hole for finger 6 Dolmetsch fingering Formerly owned by Werner Tiertz, Lisedore Praetorius, Eva Praetorius Thalheimer (2013: 98-99) | |
| D-Ilshofen: Thalheimer | 188/064 | König / AdlerO | b | tenor | 1930 | 435 | 3 | 724 | 1 | pearwood | nickel silver | Distributor’s mark on head-joint: R. OSWALD ADLER / MARKNEUKIRCHEN / Roa Harlan fingering A very good instrument probably custom-made for its former owner, Waldemar Woehl Thalheimer (2013: 98-99) | |
| D-Ilshofen: Thalheimer | 537/250 | Hüller / Kruspe | a | tenor | 1935 | 435 | 3 | 753 | 1 | maple | 2 nickel silver ferrules | nickel silver | Early Bärenreiter model Distributor’s mark on rear of head-joint: BARENREITER / KASSEL Originally Harlan fingering, modified by Arndt von Lüpke to play with Dolmetsch fingering Formerly owned by Arndt von Lüpke, Gisela Sedlak Thalheimer (2013: 98-99) |
| D-Ilshofen: Thalheimer | 971/612 | Kehr | f’ | basset | 1938 | 435 | 3 + windcap & bocal | 953 | 3 | maple | 3 brass ferrules | brass | Distributor’s mark on head-joint: PETER HARLAN / MARKNEUKIRCHEN [large version] bocal enters at top of head-joint Harlan fingering Thalheimer (2013: 100-101) |
| D-Ilshofen: Thalheimer | 766/440 | Hüller / Kruspe | e | basset | 1935 | 435 | 3 + windcap & bocal | 1006 | 5 | flamed maple | 3 brass ferrules | nickel silver | Marked: HÃLLER ORPHEUS / BLOCKFLÃTE Harlan fingering Thalheimer (2013: 100-101) |
| D-Ilshofen: Thalheimer | 717/402 | Kehr / AdlerJ | d | bassET | 1935 | 435 | 3 + windcap & bocal | 1140 | 3 | maple | nickel silver | nickel silver | Head-joint marked: JOHANNES ADLER / MARKNEUKIRCHEN Harlan fingering Harlan model, halfmade by Kehr and supplied to Adler who fitted the two keys on the middle-joint and completeted it. Formerly owned by Klaus Helbig Thalheimer (2-13: 100-101) |
| D-Ilshofen: Thalheimer | 582/291 | Kehr | c | bass | 1940 | 435 | 3 + windcap & bocal | 1295 | 5 | maple | nickel silver | nickel silver | Without maker’s or Distributor’s marks Harlan fingering This is the only known recorder in c from the Kehr workshop. It plays with good tone, but only with especially forceful instruments. Thalheimer (2013: 100-101) |
| D-Markneukirchen | L 7 | Hüller / Kruspe | F | contrabass | 1940 | 435 | 3 + windcap & bocal | 1870 | 3 | maple | nickel silver | nickel silver | Marked G.H. HÃLLER / HOLZBLASINSTRUMENTE / SCHÃNECK Harlan fingering One of two contrabass recorders has, this has remarkable quality of sound Formerly owned by the Hüller family Thalhemier (2013: 100-101) |
| D-Ilshofen: Thalheimer | 389/140 | Kehr | c” | soprano | 1931 | 435 | 2 | 320 | cocobolo | 1 brass ferrule | This is a school recorder Distributor’s mark on rear of head-joint: PETER HARLAN / MARKNEUKIRCHEN [small versions] Distributor’s mark on rear of middle-joint: NAGEL Harlan fingering In1931 Peter Harlan commenced distributing school recorders via the company Adolph Nagel in Hannover which was led by Alfred Grenzzer. Formerly owned by Neidhart Bousset Thalheimer (2013: 104-105) | ||
| D-Ilshofen: Thalheimer | 605/313 | Kehr | c” | soprano | 1934 | 435 | 2 | 324 | maple | This is a Harlan-Volksblockflöte school recorder Distributor’s mark on rear of head-joint: PETER HARLAN / MARKNEUKIRCHEN [large versions] Harlan fingering The Harlan-Volksblockflöte was the easiest and least expensive school recorder marketed by Harlan. Thalheimer (2013: 104-105) | |||
| D-Ilshofen: Thalheimer | 344/026 | AdlerO | c” | soprano | 1940 | 435 | 2 | 330 | cocobolo | 1 nickel silver ferrule | Middle-joint marked: SONORA; head-joint marked with the round arrow Adler tradmark Harlan fingering Former owner was Herbert Grünwald Thalheimer (2013: 104-105) | ||
| D-Ilshofen: Thalheimer | 417/163 | Schlosser | c” | soprano | 1935 | 435 | 2 | 324 | head-joint plastic; body pearwood | 1 nickel silver ferrule | A school reocrder Made by HO Schlosser or Ernst Paul Schlosser, Zwota, or by John Adler, Markneukirchen c. 1935 Distributor’s mark on head-joint in cursive: Götz Harlan fingering Thalheimer (2013: 104-105) | ||
| D-Ilshofen: Thalheimer | 802/474 | Hammerschmidt | c” | soprano | 1940 | 435 | 2 | 329 | cocobolo | A school recorder Marked on head-joint: “KLINGSON” / HAMMERSCHMIDT’S / “SPEZIAL” Harlan fingering Formerly owned by Erwin Glier Thalheimer (2013: 104-105) | |||
| D-Ilshofen: Thalheimer | 680/376 | Hinkeldei | c” | soprano | 1935 | 435 | 2 | 334 | cocobolo | Without maker’s or distributor’s marks Harlan fingering Formerly owned by Bernd Hinkeldei, from the family workshop Thalheimer (2013: 106-107) | |||
| D-Ilshofen: Thalheimer | 541/254 | Jahn | c” | soprano | 1935 | 435 | 2 | 334 | cocobolo | 1 nickel silver ferrule | Distributor’s mark on middle-joint: G. Mollenhauer / & Söhne / Kassel Harlan fingering Attributed to the Jahn workshop Jahn based on their characteristic mark, namely two notches on the bottom joint Formerly owned by Helmut Bartschies, Thomas Beltinger Thalheimer (2013: 106-107) | ||
| D-Ilshofen: Thalheimer | 462/201 | König | c” | soprano | 1935 | 435 | 3 | 309 | plumwood | Herwiga Solist or Heinrich Royal-Barock model, made in the König workshop Distributor’s mark: Herwiga Solist [in an ellipse] Harlan fingering Max König supplied this model to the Distributors Wilhelm Herwig and Alexander Heinrich. The three-partite construction of these recorders indicates the superior quality of the instrument. Formerly owned by Thomas Reil Thalheimer (2013: 106-107(. | |||
| D-Ilshofen: Thalheimer | 804/476 | Hüller / Kruspe | c” | soprano | 1930 | 435 | 2 | 329 | cocobolo | 1 nickel silver ferrule | A school recorder Marked on both joints: C. KRUSPE / ERFURT Windway entrance curved Harlan fingering Formerly owned by Erwin Glier Thalheimer (2013: 108-109) | ||
| D-Ilshofen: Thalheimer | 409/256 | Hüller / Kruspe | c” | soprano | 1940 | 435 | 2 | 325 | pearwood | 1 nickel silver ferrule | A school reocorder Distributer’s mark on head-joint: BARENREITER /KASSEL Harlan fingering Formerly owned by Thomas Reil Thalheimer (2013: 108-109) | ||
| D-Ilshofen: Thalheimer | 738/418 | Otto | c” | soprano | 1940 | 435 | 2 | 331 | cocobolo | 1 nickel silver ferrule | A school recorder Maker’s mark: RUDOLF OTTO’S / CHORFLÃTE Harlan fingering Thalheimer (2013: 108-109) | ||
| D-Ilshofen: Thalheimer | 1926/654 | Otto | c” | soprano | 1940 | 435 | 3 | 326 | maple, stained light brown | 1 nickel silver ferrule | a school recorder maker’s mark: rudolf otto’s / werkflãte harlan fingering double holes for finger 4 otto offered different quality levels: Schulflöte., chorflã¶te and meisterflã¶te formerly owned by hans frenz, martin kunert thalheimer (2013: 108-109)thalheimer (2013: 108-109) | ||
| D-Ilshofen: Thalheimer | 438/180 | Stark | c” | soprano | p.1936 | 435 | 2 | 328 | plastic (phenolic resin) | 1 nickel silver ferrule | A school-recorderMaker’s mark on body: MARKE PASTALIT / -MUSICUS- Raised fingerholes Harlan fingering Pastalit recorders were identical further hergestelt after 1945. A more precise dating of the instruments is therefore not possible. Thalheimer (2013: 110) | ||
| D-Ilshofen: Thalheimer | 600/310 | Kehr /Harlan | d” | soprano | 1935 | 435 | 2 | 290 | cocobolo | 1 brass ferrule | A school recorderDistributor’s mark on rear head-joint: PETER HARLAN / MARKNEUKIRCHEN [kleine version] Harlan fingering Thalheimer (2013: 111) | ||
| D-Ilshofen: Thalheimer | 412/157 | Hüller / Kruspe | a’ | soprano | 1930 | 435 | 3 | 403 | pearwood | 1 brass ferrule | A school recorder Distributor’s mark on middle-joint: SANSSOUCI Harlan fingering This a’-flute was certainly designed as a beginner instrument, because it is equipped with recessed finger-holes which was registered as a Reichsgesbrauchsmuster (Reich utility model) by Johannes Adler in 1932. “Sanssouci” was a trademark known to have been used only by Max Hüller Thalheimer (2013: 111) | ||
| D-Ilshofen: Thalheimer | 698/389 | AdlerO | g’ | alto | 1935 | 435 | 3 | 433 | cocobolo | 2 nickel silver ferrules | A school recorder Distributor’s mark on middle-joint: “SONORA” Round Adler trademark on head-joint Harlan fingering The alto recorder in g’, then called “Diskantflöte” as in the 16th century, was especially recommended by Robert Goetz in his Blockflötenschule (1930) as a beginner instrument. Thalheimer (2013: 111) | ||
| D-Ilshofen: Thalheimer | 809/481 | Kehr | f’ | alto | 1938 | 435 | 3 | 476 | plumwood | 2 ivory ferrrules | A recorder made for solo use Harlan-Barockflöte or “Empfindsame Flöte, narrow-bore Distributor’s mark on rear head-of joint: PETER HARLAN / MARKNEUKIRCHEN [large version] Double holes for fingers 6 and 7 Curved windway Dolmetsch fingering Formerly owned by Erwin Glier Thalheimer (2013: 113) | ||
| D-Ilshofen: Thalheimer | 942/589 | Kehr | f’ | alto | 1938 | 435 | 3 | 490 | 1 | maple | grenadilla beak, 2 ferrules + foot ring | nickel silver | A recorder designed for solo use Distributor’s mark on rear of head-joint: PETER HARLAN / MARKNEUKIRCHEN [large version] Dolmetsch fingering Peter Thalheimer (2013: 9) notes that Harlan himself was photographed holding an identical looking recorder, from which he concludes that Harlan preferred this variant of the narrow-bore. This particular example has a strong rich tone and works very well. |
| D-Ilshofen: Thalheimer | 754/429 | König / Herwiga | f’ | alto | 1938 | 435 | 3 | 477 | maple | “Herwiga Rex” model Distributor’s mark: Herwiga Rex Serial number 457 Double-holes for fingers 6 and 7 Curved windway Short mensur Dolmetsch fingering The “Herwiga Rex” model was built on the desgn of the English Dolmetsch recorders and was among the top instruments. Due to the short scale the low register is relatively quiet. Thalheimer (2013: 114-115) | |||
| D-Ilshofen: Thalheimer | 549/262 | König / Herwiga | f’ | alto | 1940 | 435 | 3 | 479 | cocobolo, heavily lacquered | “Herwiga Dea” model Distributor’s makr: Herwiga-Dea Repairer’ or onwner’s monogram: MH Serial number 1096 Double holes for fingers 6 and 7 Dolmetsch fingering Short mensur “Herwiga Dea” was their top quality model. Originally, it was only offered in “historically faithful fingering (buttress technique)” rather than with Dolmetsch fingering. Thalheimer (2013: 114-115) | |||
| D-Ilshofen: Thalheimer | 656/354 | König / Merzdorf | f’ | alto | 1938 | 435 or 445 | 3 + alternative middle-joint | 484 or 479 | plumwood | 2 nickel silver ferrules (repairs) | Distributor’s mark on front of head-joint: WALTER / MERZDORF / MARKNEUKIRCHEN Dolmetsch fingering Labium and windway lightly curved Short mensur An unusual instrument with two middle pieces. The exterior profile corresponds to the later “Champion” model marketed by Alexander Heinrich.Thalheimer (2013: 114-115) | ||
| D-Ilshofen: Thalheimer | 904/566 | König | f’ | alto | 1935 | 435 | 3 | 469 | 1, for b♭ operated by little finger of upper hand | maple | ?nickel silver | A recorder intended for solo use Distributor’s mark: HEL-WERKSTATT / MARKNEUKIRCHEN [device of Hell-Werstat] Serial number on rear of all parts: 33 Repairer’s mark on head-jont: V 57 Double holes for finger 6 Harlan fingeringing Thalheimer (2013: 116-117) | |
| D-Ilshofen: Thalheimer | 878/531 | König / Gofferje / Merzdorf | f’ | alto | 1933 | 435 | 3 | 497 | 1 | cocobolo | 2 nickel silver ferrules | nickel silver | Gofferje-Merzdorf model, intended for solo use Distributor’s mark on the head-joint: W M K G / D.R.G.M. / 1 222 287 Serial number on all joints: 3685 Gofferje-Merzdorf-Blockflten were usually made of maple or pearwood. Cocobolo was used only if ordered because repeatedly exposure to the wood and its dust caused allergic reactions. Thalheimer (2013: 116-117) |
| D-Ilshofen: Thalheimer | 878/531 | König / Gofferje / Merzdorf | f’ | alto | 1938 | 435 | 3 | 495 | 1 | pearwood | 2 ivory ferrules | nickel silver | Gofferje-Merzdorf-Barockflöte, intended for use as a solo instrument Distributor’s mark on the head-joint: WALTER / MERZDORF/ MARKNEUKIRCHEN Harlan fingering Double holes for finger 6 Windway slightly curved; very long mensur This acoustically interesting instrument is of similar design as certain purely overblown postwar recorders. However, it has not served as a model for the new models Formerly owned by Karl Gofferje, Hadwig Gofferje Thalheimer (2013: 116-117) |
| D-Ilshofen: Thalheimer | 834/497 | Hüllerr / Kruspe | f’ | alto | 1940 | 435 | 3 | 493 | 1 | rosewood | nickel silver | Intended for use as a solo instrument Maker’s mark: HÃLLER / IMPERIAL BOCKFLÃTE Harlan fingering Thalheimer (2013: 118-119) | |
| D-Zwota: Schneider | Hüller / Kruspe | f’ | alto | 1940 | 443 | 3 | 483 | palisander | Intended for use as a solo instrument Marked: C. Kruspe / Erfurt Marked on middle-joint: 875 Dolmetsch fingering Double holes for fingers 6 and 7 curved windway Formerly owned by Kurt Hüller Thalheimer (2013: 118-119) | ||||
| D-Ilshofen: Thalheimer | 954/597 | Hüller / Kruspe | f’ | alto | 1935 | 435 | 3 | 500 | 1 | grenadilla | 3 ivory ferrules + footring | brass | Intended for use as a solo instrument Mandred Ruëtz model Distributor’s mark on middle-joint: BARENREITER / KASSEL Double holes for finger 6 Dolmetsch fingering, long mensur Thalheimer (2013: 118-119) |
| D-Ilshofen: Thalheimer | 139/079 | EL-Schlosser | f’ | alto | probably 1943 | 435 | 3 | 477 | palisander | Intended for use as a solo instrument Without maker’s mark Double holes for fingers 6 and 7 Dolmetsch fingering, short mensur Curved windway This is good solo instrument with the bright tone of alto recorders made from hardwood. Formerly owned by Werner Tiertz, Lisedore Praetorius, Eva Praetorius Thalheimer (2013: 118-119) | |||
| D-Ilshofen: Thalheimer | 734/414 | Otto | f’ | alto | 1940 | 435 | 3 | 477 | boxwood | Intended for use as a solo instrument Otto “Meister” model Distributor’s mark on head-joint: Hermann Moeck / Celle Marked on middle-joint: ÏÏÏÏÏÏÏÏÏÏ / MEISTERFLÃTE [probably means Rudolf Otto] Harlan fingering, slightly curved windway, short mensur. Formerly owned by Hermann A. Moeck Thalheimer (2013: 118-119) | |||
| D-Ilshofen: Thalheimer | 648/347 | AdlerO | c” | soprano | 1940 | 435 | 2 | 328 | Acolit (plastic) head-joint, cocobolo body | 1 nickel silver ferrule | Mark on headjoint: “Sonora”-Acolit-Blockflöte Distributor’s mark on body: “SONORA” Harlan fingering Various recorder makers explored the use of plastics. An Oscar Adler brochure states: “The head-joint of the recorder is made from resistant and almost unbreakable “Acolit”, the lower piece of wood.” Thalheimer (2013: 129-121) | ||
| D-Ilshofen: Thalheimer | 975/615 | AdlerJ | c” | soprano | 1932 | 435 | 2 | 325 | head-joint plastic (with wooden block), body cocobolo | 1 nickel silver ferrule | Head-joint embossed: JOHANNES aDLER, / MARKNEUKIRCHEN [circle], JH Middle-joint with maker’s mark: D.R.G.M. / 1229605 Harlan fingering “Tiefbett” recessed finger-holes From 1932, the recessed inger-holes” were protected for John Adler by Deutsches Reichs- Gebrauchsmuster 1229605 (in effect a patent). However, instruments with such fingerholes were made in other workshops, such as Max Hüller in Erfurt. Thalheimer (2013: 120-121) | ||
| D-Ilshofen: Thalheimer | 764/438 | Otto | c’ | tenor | 1933 | 435 | 3 | 647 | 1 | cocobolo with ebonite beak | 2 nickel silver ferrules; beak ebonite-sheathed | nickel silver | Distributor’s mark on beak: NAGEL Mark on beak: D.R.G.M. 1. 249 532 / D.R.G.M. 1 248 339 Harlan fingering The Deutches-Reichs-Gebrauchs Muster (a sort of patent) for ebonite recorder blocks was issued to Rudolf Otto in 1932; that for the ebonite sheathing on the beak was issued in 19323. Otto supplied this model exclusively to the firm Adolph Nagel in Hanover. Franz Julius Giesbert noted of a corresponding soprano recorder that “… the sound is slightly softer than the soprano recorder made entirely of Cocopolo [sic]”. Thalheimer (2013: 122-123) |
| D-Ilshofen: Thalheimer | 1003/635 | Jahn | f’ | alto | 1933 | 435 | 3 | 475 | cocobolo with a celluloid beak | 2 nickel silver ferrule (repair) | Without maker’s or distributor’s mark Curved windway.Harlan fingering The Deutsches Reichs Gebrauch Muster (a sort of patent) for a celluloid beak issued to Karl August Jahn was sufficiently different to the similar ebonite beak and block made by Rudolf Otto. In the Jahn model, the beak and block were made in one piece. Formerly owned by Adelheid Knoop Thalheimer (2013: 12) | ||
| D-Ilshofen: Thalheimer | 603/312 | König | c” | soprano | 1930 | 435 | 2 | 333 | cocobolo | 1 brass ferrule | Distributor’s mark on rear of head-joint: MERZDORF / MARKNEUKIRCHEN Double hole for finger 7, the two holes arranged vertically rather than horizontally Harlan fingering In 1930, Walter Merzdorf filed for a Deutsches Reichs Gebrauchs Muster 1 150 368 to be recognized as protectable. In the event he was unsuccessful so it is not known on what basis he was applying for design protection. On this instrument the two small holes for finger 7 are arranged one above the other, not next to each other, as was the case with some 18th-century instruments. Thalheimer (2013: 122-123) | ||
| D-Ilshofen: Thalheimer | 346 | Otto | c” | soprano | 1935 | 435 | 2 | 334 | cocobolo | 1 nickel silver ferrule | Mark on body: D.R.G.M. 1 354 947 Double holes for finger 4 Harlan fingering Under the utility model number Rudolf Otto received a patent protection for a “widened gripping surface for halftone double holes on recorders”. Otto to make it possible to produce a perfectly in-tune Fâ®. Formerly owned by Herbert Grünwald Thalheimer (2013: 123) | ||
| D-Ilshofen: Thalheimer | 595/296 | Jahn | c” | soprano | 1936 | 435 | 2 | 350 | 1 extension key for b♭’ | cocobolo | 1 nickel silver ferrule | nickel silver | Distributor’s mark on front of head-joint: G. HERRNSDORF / MARKNEUKIRCHEN / D.R.G.M. Harlan fingering, bâ’ extension key operated with little finger of uppermost (left) hand Downward extensions for the recorder date back to examples made by Hans Rauch von Shrattenbach and members of the Bassano family in the 16th century. They were quasi-reinvented yet again by Joachim Paetzold (1966) and Maarten Helder 1996) and then transferred to the Mollenhauer-Paetzold Tarasov recorder and, more recently, to the Breukink-Bollinger “Eagle” recorder. Thalheimer (2013: 124) |
| D-Ilshofen: Thalheimer | 805/477 | König | c” | soprano | 1937 | 435 | 2 | 324 | 1 universal semitone key | pearwood | 1 nickel silver ferrule | nickel silver | Distributors mark on front of head-joint: Herwiga-Pan / D.R.P. 671 814 Harlan fingering The semitone key, operated by the little finger of the uppermost (left) hand, can also be used as an echo key Felix König, elder son of Max König and manager of Max König & Söhne, acquired the 1937 patent D.R.P.671 814 for “a recorder with the attraction of a universal semitione key”. Instead of forked fingerings, double holes or more semitone keys the new key was to lift all of the notes of the instrument’s natural scale by a semitone. In practice, however, the device works only conditionally since opening the key raises each note by a different interval. This innovation was rediscovered later with the development of Arnfred Strathmann’s fully keyed recorder (1987 & 1996), Maarten Helder’s “Harmonic Recorder” (1996) and, most recently the Breukink-Bollinger Eagle recorder. Formerly owned by Erwin Glier Thalheimer (2013: 125) |
| D-Ilshofen: Thalheimer | 964/604 | AdlerJ | c” | soprano | p. 1936 | 435 | 3 | 312 | 1 semitone key for f#” | plumwood | nickel silver | Head-joint marked on rear: JOHANNES ADLER / MARKNEUKIRCHEN Head-joint marked on front [Round stamp with a treble cleff] SUPERBAL Harlan fingering The specical features of the “Superbal” model are the window/labium with its long ramp and cheeks narrowed at the sides. The key closes finger-hole 4 but the key has a small hole drilled through it which allows it to be also used as a semitone key. This key was developed by Adler between 1934 and 1936. Similar keys were used later on bass recorders by Max König & Söhnen. This instrument has a strong tone. Thalheimer (2013: 126) | |
| D-Ilshofen: Thalheimer | 860/516 | König | f | basset | 1937 | 435 | 3 + windcap & bocal | 958 | 2 | flamed maple | nickel silver | Distributor’s mark on the middle-joint: R. OSWALD ADLER / MARKNEUKIRCHEN / ROA [in cursive script] Marked on middle-joint near bass key: D.R.G.M. 1 409 610 The key for finger-hole 4 is of the perforated kind developed by Johannes Adler; it allows production of b(â®). Harlan fingering Thalheimer (2013: 127) | |
| D-Ilshofen: Thalheimer | 456/194 | Otto | c’ | tenor | 1940 | 435 | 3 | 640 | 2 | maple | 2 nickel silver ferrules | nickel silver | Distributor’s mark: C.A. Wunderlich / Siebenbrunn (Vgtl.) Harlan fingering One of the keys is for the lowermost finger-hole; the other, operated by the little finger of the uppermost hand, opens a hole between fingerholes 4 and 5 to give a bâ®’. This construction is to be found in instruments built by Otto for Hermann J. Moeck in Celle after 1945. These keys were subsequently adopted by other workshops. Thalheimer (2013: 127) |
| D-Ilshofen: Thalheimer | 735/415 | EL-Schlosser | d’ | alto | 1935 | 435 | 3 | 563 | 2 | cocobolo | 2 nickel silver ferrules | nickel silver | Distributor’s mark on front of head-joint: TUJU-BLOCK-FLÃTE; and on rear: HERMANN MOECK / CELLE Double key for finger 7; double holes for finger 6 According to Hermann A. Moeck, this was an experimental model with historical fingering – not Dolmetsch fingering – with double holes and the attraction of not needing double keys. Another innovation here was the positioning of two keys one above the other on the foot-joint. After 1945, this arrangement by Friedrich von Huene in analogy to the Boehm flute was virtually reinvented. Formerly owned by Hermann A. Moeck Thalheimer (2013: 128) |
| D-Ilshofen: Thalheimer | 895/548 | Jahn | f | basset | 1938 | 435 | 3 + windcap & bocal | 965 | 2 | cocobolo | 3 nickel-silver ferrules | nicklel-silver | Distributor’s mark on head-joint: G. HERRNSDORF Double holes for finger 6 The elegant double-keys are for the lowermost finger, giving f and f# respectively. The two keys are side by side which facilitates their construction but is less useful to the player than the having them one above the other. Harlan fingering Thalheimer (2013: 128) |
| D-Ilshofen: Thalheimer | 533/246 | Hüller / Kruspe | c” | soprano | 1938 | 435 | 3 | 334 | zapatero boxwood | 1 ivory ferrules + foot ring | Manfred Ruëtz model Ivory patch on labium Double holes for fingers 6 & 7 Dolmetsch fingering Formerly owned by Ardt von Lüpke, Gisela Sedlak The Göttingen physicist and recorder player Arndt von Lüpke (1911-1990) was in close contact with Manfred Ruëtz. Since he received his recorders directly from Ruëtz they do not carry the Bärenreiter stamp. In the years 1940 to 1953 Lüpke published several articles in professional journals, on the acoustics of the recorder, on articulation and intonation. Lüpke has modified this instrument by gluing an ivory patch on the labium (Thalheimer 2013: 129) | ||
| D-Ilshofen: Thalheimer | 261/050 | Kehr | a’ | soprano | 1928 | 435 | 3 | 392 | cocobolo | 2 brass ferrules | Distributor’s mark on rear of head-joint: PETER HARLAN / MARKNEUKIRCHEN [small version] Harlan fingering Formerly owned by Walter Kiefner, Elisabeth Kiefner Walter Kiefner (1900-1982) was a theologian and church musician and was active in the German Youth Music Movement. After the war, he lived as a college church cantor and church musician in Tübingen. According to his daughter, Elisabeth Kiefner, her father acquired his Harlan recorders before 1928.Thalheimer (2013: 130) | ||
| D-Ilshofen: Thalheimer | 467/205 | König | a’ | sopran | 1932 | 435 | 3 | 39.3 | cocobolo | 2 nickel silver ferrules | Distributor’s mark on the front of the middle-joint: Merzdorf / Markneukirchen Harlan fingering formerly owned by Reinhold Heyden, Helga Mortzfeld showing translation for Reinhold Heyden (1904-1946) Wechselte unter dem Einfluss der Singbewegung vom Medizin- sum Musik- studium. er leitete verschiedene Singkreise und das Siminar für Volks- und Jugendmusik an der Musikhochschule Weimar. Die Musikhochschule Graz ernannte ihn zum Professor. sein “Flöten-spielbuch” für Schulflöten in c” oder Sopranoblockflöten war weit verbreitet und erlebte mehrer auflagentranslate instead Reinhold Heyden (1904-1946) weshselte unter dem einfluss der singbewegung vom medizin- sum musik- studium. er leitete verschiedene singkreise und das siminar für volks- und jugendmusik an der musikhochschule weimar. Die musikhochschule graz ernannte ihn zum professor. sein “Flöten-spielbuch” für Schulflöten in c” oder Sopranoblockflöten war weit verbreitet und erlebte mehrer auflagenunder the influence of the movement, Reinhold Heyden (1904-1946) changed from medical to musical studies. He led several singing circles and a seminar for fok and youth music at the Weimar Musikhochschule. the Graz Musikhochschule appointed him professor. his “Flöten-spelbuch” for Schulflöten in c” or soprano recorder was widespread and appeared in several editions. Thalheimer (2013: 130) | ||
| D-Ilshofen: Thalheimer | 597/306 | König | f’ | alto | 1940 | 435 | 3 | 479 | palisander | Distributor’s mark on rear of head-joint: Original / Herwiga-Dea Serial number is 1393. Double holes for fingers 6 & 7. Dolmetsch fingering Short mensur Formerly owned by Eduard Günther, Magda Günther, Brigitte Hladky Thalheimer (2013: 131) | |||
| D-Ilshofen: Thalheimer | 360/102 | Hüller / Kruspe | f’ | alto | 1935 | 453 | 3 | 489 | 1 | rosewood | 4 ivory ferrules | brass | Manfred Ruëtz model Distributor’s mark on rear of middle-joint: BÃARENREITER / KASSEL Serial number on all parts 1203 Double hole for finger 6 Dolmetsch fingering, long mensur Formerly owned by Helmut Bornefeld, Raimund Bornefeld In 1930, Helmut Bornefeld (1906-1990) was inspired by a concert given by Peter Harlan, to teach himself to the recorder. Because at this time there was no sophisticated new music for the instrument he wrote during his composition studies at the Stuttgart Musikhochschule five suites for solo recorder. Bornefeld later worked as a church music director, organist and composer in Heidenheim / Brenz.Thalheimer (2013: 132) |
| D-Ilshofen: Thalheimer | 137/081 | Hüller / Kruspe | g’ | alto | 1930 | 435 | 3 | 425 | maple, not lacquered | 2 nickel silver ferrules | Without maker’s or distributor’s marks. Harlan fingering Formerly owned by Franz Julius Giesbert, Bernhard von Hünerbein. Franz Julius Giesbert (1896-1972) was one of the significant figures in the German recorder revival. Along with emil brauer, he founded the ensemble “Die Sackpfeife”, wrote articles for the magazine “der Blockflötenspiegel” and school material for the recorder. he settled early on a c-f combinations and historical fingering. his collection of instruments included several original baroque recorders also a set of test specimens from the workshop of max Hülle such as this g’ recorder and small instruments with different numbers and dispositions of fingerholes. Thalheimer (2013: 130) | ||
| D-Ilshofen: Thalheimer | 358/100 | Jahn | e’ | alto | 1930 | 435 | 3 | 517 | cocobolo | 2 nickel silver ferrules | Distributor’s mark: DACAPO [with globe] Harlan fingering Formerly owned by Helmut Bornefeld, Raimund Bornefeld This instrument (or a Harlan d’ recorder) was Bornefeld’s the first recorder which he used for whilst composing his five solo suites. A few years later he moved to a Bärenreiter-f’ recorder. Thalheimer (2013: 132). | ||
| D-Ilshofen: Thalheimer | 310/002 | Kehr | e’ | alto | 1928 | 435 | 3 | 516 | cocobolo | 2 brass ferrules | Distributor’s mark on rear of head-joint: PETER HARLAN / MARKNEUKIRCHEN [small versions] Harlan fingering, wide-bore Formerly owned by Walther Pudelko, Fredrich and Agnes Spieser, Ute Reips, Armgard Pudelko Walther Pudelko (1901-1944) was a teacher and employee of Walther Hensel and Fritz Jöde in the Youth Music Movement. In connection with his edition of two fantasias by Orlando di Lasso, Pudelko described as early as 1929 the how recorders are to be used in in the E-A combination. Thalheimer (2013: 133) | ||
| D-Ilshofen: Thalheimer | 167/073 | EL-Schlosser | f’ or e’ | alto | 1943/1944 | 410 or 435 | 3 | 505 | maple | Distributor’s mark on rear of head-joint: HJ [monogram in violin body] This refers to Hans Jordan, Markneukirchen Double holes for fingers 6 and 7 Dolmetsch fingering Formerly owned b Werner Tiertz, Lisedore Praetorius, Eva Praetorius Werner Tietz (1918-1945) was a photographer and a recorder student of Gustav Scheck. He belonged to the “Spielgemeinschaft Ermil Seiler”, a chamber music circle around the violist Emil Seiler. In 1943/1944 Tietz acquired from Jordan two sets recorders from the Schlosser workshop, one in 435 and three instruments in 410 Hz. Thalheimer (2013: 133) | |||
| D-Ilshofen: Thalheimer | 187/065 | Kehr | c’ or b | tenor | 1935 | 410 or 435 | 3 | 674 | 1 | maple | brass | Harlan-barockBlockflöte distributor’s mark on rear of head-joint: peter Harlan / Markneukirchen [small version] Harlan fingeringer formerly owned by Waldemar Woehl Waldemar Woehl (1902-1986) sought Peter Harlan’s advice and support when he was looking for a melody instrument to play with the guiitar and voice. in 1930 woehl 1930 established the first German recorder school. he promoted it as a transposing instrument, in which the keynote of recorder is always notated as c’ regardless of its actual real pitch. he also coined the term Blockflötenszene through his numerous editions old recorder music. Thalheimer (2013: 134) | |
| Brazil-Rio de Janeiro: Museu | 059/2012 | JC Denner ? | f | basset | 3 + windcap & bocal | 1 | wood | 1 brass ferrrule on windcap | brass | Donated by Leopoldo Miguez Block connected loosely and coarsely sealed with wax to the wall of the head joint; it appears to have been damaged or even replaced. The windway is flat! This may be a 19th-century copy made for exhibition purposes rather than an original instrument by Denner. Dolores Castorino Brandão (2013) Patricia Michelini Aguilar (2014) Images and other details here | |||
| F-Vichy: Auction | Urquhart | voice flute | 18C | 415 | 3 | stained boxwood | Auctioned by Vichy Enchères, 16 Ave de Lyon, 03200 Vichy Instruments de musique à vent, Cordes pincès et Guitares vintage, 24 May 2014, Lot 269. Estimate was c. E 1,700. Vichy Enchères (2021). Photo here Nominal and performance pitch from Philippe Allain-Dupré (2014) ex David Lasocki (2020). | ||||||
| J-Saitama | Goddard | f’ | alto | 419 | 3 | ivory | Typical English appearance, resembles Bressan or Stanesby. Undercutting for all of holes not well-finished. There is a crack on the windway. The labium was remade by someone later. Good intonation with support fingering. d#”- 0 12- 456- works better in tune (Nozaki 2016). | ||||||
| J-Saitama | Anonymous | f’ | alto | late 18C | 422 | 3 | box | Sold by Sotheby’s (1982). French. The design of head joint looks similar to a recorder by Charles Bizey in Washington. Large crack on the windway to the end of the head joint has been repaired. Problematic intonation, octaves between first and second register are generally wide but with support finger, it works clearly better. The normal fingerings for f#”,and g” are extremely low. f#”= 0 — —- and g#”=- — —- work well (Nozaki 2016). | |||||
| J-Hamamatsu: Museum | AÂ-0012R | Oberlender | f’ | alto | c.1720 | 416 | 3 | box | With elaborate sculpturing on the head and foot joints, a face on the beak. Perfect condition. Easy response with the wide windway. Clear open sound. Well tuned with support fingering. D#3: 0 12- 456- works better in tune (Nozaki 2016). Nozaki (loc. cit.) doesn’t say which of the two J.W. Oberlender’s he means but the date of c. 1720 he gives would seem to indicate the father, Johann Wilhelm I, rather than the son. | ||||
| J-Tokyo: Private | Bressan | f’ | alto | 402 | 3 | ? box, stained | ivory beak, ferrules and foot | Fine condition even with a crack on the windway. Well-tuned with Hotteterre fingering. Very sweet sound and great quality in the whole range (Nozaki 2016). This may be one of a matched pair of Bressan altos in the collection of J-Tokyo: Iino. | |||||
| B-Dockham | 623 | I.V.H | f#” | sopranino | 1696 | box | silver foot ring | Speaking length is 204.0 mm. Ring bears date 1696. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database. | |||||
| I-Bologna: Leuterius | Anonymous | g’ | alto | c.1550 | 460 | 1 | wood | Currently offered for sale by Luerius, Bologna for £45,000.00 Seller’s Notes: Renaissance flute in G 460, fingering Ganassi, the flute has an internal cylindrical bore with the flared end, I believe there are more than three in the world of this model. Built around 1550, incredibly fascinating sound! The terminal part has been shortened by one / two centimeters, and always in the terminal part the external walls have been trimmed, probably to “correct” an old break. In the sound example I put a bit of wax in the terminal part forward on the last correct note (more lower). The instrument still has the original block. The known history of this instrument is that it comes from the Spanish royal family. You can come to Bologna to see and try the instrument without problems! The link to listen to a short sound example:https://www.youtube.com/watch?v=woeSg5FB1wk | |||||
| I-Bologna: Leuterius | Gahn | alto | c.1700 | wood, elaborately carved | Seller’s notes: Head of a German alto flute of the first of ‘700 made by Gahn (please open this link: http://collections.nmmusd.org/pressler2.html), typical of the engraving work on the body, the head of the instrument sounds perfectly still sadly lacking elsewhere but a good builder could complete the instrument. Shipping in US and Japan £ 90 free withdrawal in Bologna.SOUNDSAMPLE: https://youtu.be/uGVVDQ87ORk Currently offered for sale for £3,299.00 | ||||||||
| I-Bologna: Leuterius | Anonymous | alto | ?1740 | 2(3) | wood | Foot missing. Seller’s Notes: French boxwood flute, built around 1740, unfortunately lacks the foot but can be easily rebuilt, we must also rebuild the block. Shipping in US and Japan £ 90 free withdrawal in Bologna. Currently offered for sale for £2,800.00 LEUTERIUS, 19/C, Via Rialto – 40124 Bologna (BO), Tel. 051 7459355 | |||||||
| I-Bologna: Leuterius | Anonymous | b♭’ | soprano/fourth-flute | c.1680 | 415 | 3 | 375 | ebony | ivory beak, ferules & foot | Seller’s Notes: French recorder (Flute de quatre), fingering of Hotteterre, perhaps it was built by Bressan (circa 1670/1680), Bb 415, perfect conditions, Macassarian ebony, amazing sound, length 375 mm. this flute was found in Australia! The block has been redone by Paolo Sopranzi, a builder and flute expert who has been able to observe and measure all my Flute collection for a long time and who has verified its originality, the original block, however, I have it and I must say that it sounds better with the original block !! You can come to Bologna to see and try the instrument without problems! The link to listen to a short sound example: https://www.youtube.com/watch?v=LVAjCsBTCoE Offered for sale for £45,000.00 by LEUTERIUS 19/C, Via Rialto – 40124 Bologna (BO) Tel. 051 7459355 I see no reason to attribute this to Bressan! | |||
| I-Bologna: Luterius | Anonymous | basset | 1690 | 3 | 1 | wood, ebonised, bocal in brass & ivory | brass | Seller’s Notes: Bass Flute built in Nuremberg in 1690/1700, probably by J.C. Denner, in good condition, needs a restoration because the head has a crack on the back. Length 100 mm. Presents brands with three lilies. Please contact me for any information without problems!Shipping in US and Japan £ 90 free withdrawal in Bologna. Offered for sale at £35.000 by LEUTERIUS 19/C, Via Rialto – 40124 Bologna (BO) Tel. 051 7459355 I see no reason to attribute this to any of the Denners or other Nuremberg makers. The maker’s mark is an unusual one and appears to represent a highly stylised fleur-de-lis, probably indicating a French maker or client. | |||||
| B-St Hubert: Ganty | Anonymous | f’ | alto | 392 | 3 | This is a private collection. A copy is made by Marco Magalhaes. | |||||||
| D-Munich: Bogenhauser | JC Denner | g’ | alto | 3 | Copy made by Lorenzo Lio | ||||||||
| D-Munich: Bogenhauser | J Denner | f’ | alto | 3 | Copy made by Lorenzo Lio | ||||||||
| CH-Bern: Klingendes | 783 | Barth | c” | soprano | c.1940 | 2 | 6 | ebony | ?brass, silvered | Labelled as a csakan | |||
| CH-Bern: Klingendes | 866 | Krompholz | e | ?alto | wood | silver metal ferrules | German-fingering; fingerhole 3 offset. Krompholz is probably the stamp of the music shop in Bern, so this is most likely a restamped Vogtland instrument. Image. | ||||||
| CH-Bern: Klingendes | 868 | Müller-Orpheus | a♭ | tenor | 20C | 3 | 3 | wood | silver metal ferrules | German fingered. The turning on the head and foot is identical to CH-Bern: Klingendes 866, so probably by the same maker. | |||
| CH-Bern: Klingendes | 845 | Anonymous | soprano | 20C | 2 | wood | Provenance given as Markneukirchen. German fingered. Image. | ||||||
| CH-Bern: Klingendes | 1285 | Krompholz | soprano | 20C | 3 | rosewood | silver metal ferrules | German fingered. Krompherz probably refers to the Music shop in Bern rather than to the maker. Image. | |||||
| CH-Bern: Klingendes | 867 | Bärenreiter | c’ | tenor | 20C | 3 | wood | Keyless; German fingering.Image. | |||||
| CH-Bern: Klingendes | 869 | Müller-Orpheus | e | basset | 20C | 3 + cap & bocal | 4 | wood | silver metal ferrules | Bocal of silver metal. German fingering. Image. | |||
| USA-Washington: Smithsonian Museum | 1985.0016 | Powell | soprano | 1943-1951 | 440 | 1 | 33.6 | 7 | ebony | silver | silver |  . | |
| USA-Greenville: Sigal Music Museum | 1998.09 | Rippert | f’ | alto | c.1715 | 3 | 460 | ivory | Maker’s mark: RIPPERT / (shield with six lozenges), on head, body & foot. Rice (2015: 75 & pl.; 2021); Lynn (2021: 16 & pl. 9, col.) | ||||
| USA-Greenville: Sigal Music Museum | 1999.16 | attributed to Gahn | g’ (Rice), f’ (Lynn) | soprano | c.1710 | 3 | 436 | ivory | Attributed to Gahn; upper body stamped with a monogram similar to that on a Gahn ivory recorder at DE-Nuremberg: MIR204. With carving of a fish face on the beak, and acanthus leaves on the head and foot. Ex Barons Nathaniel and Albert von Rothschild Collection, auctioned Christies London 1999. Kirnbauer 1994: 24-25; Rice (2015: 76 & pl.; 2021); Lynn (2021: 14 & pls 6, col.). | ||||
| USA-Greenville: Sigal Music Museum | 2005.17 | Staub | f’ | alto | c.1720 | 415 | 3 | 500 | ivory | Marked N. STAVB (in a scroll with rolled ends) NS Uniquely undulate carving (possibly depicting water) on the head and foot. The lower part of the foot unscrews from the upper, as in some of Gahn’s recorders. Auctioned Hôtel des vents de Vichy, 2005. Kirnbauer (1994: 32-34); Rice (2015: 76 & pl.; 2021); Lynn (2021: 16 & pls 8, col.) | |||
| USA-Greenville: Sigal Music Museum | 2007.07 | Huene | c” | soprano | c.1980 | 3 | 342 | box | decorative silver ferrules on head and foot | Stamped Friedrich Von Huene / Boston / 3120 Copy of soprano by Engelbert Terton, Amsterdam, c.1720, The Hague, Ea 374-1933. Rice (2015) describes this as an alto recorder, in error. Rice (2015: 76 & pl.; 2021). | |||
| USA-Greenville: Sigal Music Museum | 2011.05 | Bernhart | f’ | alto | c.1720 | 3 | 469 | boxwood | Stamped on head BERNHART / 1 Offered at Vichy Enchères, 2011. The beak appears to have been severely cut-down. Dullat (2010: 77); Rice (2015: 77 & pl.; 2021). | ||||
| USA-Greenville: Sigal Music Museum | 2012.02 | Oberlender I | c” | soprano | c.1730 | 3 | 346 | ivory | Thee is a long crack (repaired) running almost the full length of the head joint. There is an additional foot-joint with this recorder, somewhat larger and probably from a different instrument – a ‘fourth flute’ in bâ’, perhaps. Stamped on head OBERLENDER (in scroll) / O Rice (2015: 78 & pl.; 2021); Lynn (2021: 14 & pl. 7, col.) | ||||
| D-Munich: Stadtmus. | BNM Mu 160 | Rippert | f’ | alto | ivory | Wackernagel (2005: 80-82); Rice (2021). | |||||||
| F-Vichy: Auction | Cotton | f’ | alto | 18C | 3 | boxwood | ivory beak, ferrules and foot | Stamped COTTON on the head and foot. Stamped “M.LE. D.DELUYNES/ N°1”, in reference to the original owner: the French Charles Philippe d’Albert, 4th Duke of Luynes. Auctioned, Vichy, 6 November 2021 Vichy Enchères (2021) | |||||
| GB-Norfolk: Stranger’s Hall | NWHCM : 1949.66.SH 16 | Gerock | soprano | c.1800 | 2 | 314 | 1 | box | brass | Stamped C. Gerock / London. The beak is formed from a threaded tenon which may originally have supported a windcap. The head has a shapely brass ferule. The body has buttons before finger holes 1-6, and a single brass key between holes 5-6. Possibly an English flageolet. | |||
| I-Bologna: Rossi | Unknown | f’ | alto | 18C | 405 | 3 | ivory | Listen to it being played (badly) here | |||||
| GB-Kilmarnock | MI/A74 | Gahn | alto | 18C | 3 | 501 | ivory | cracked head retained by 3 silver bands | Faintly marked ‘I B Gahn’ within scroll See MacMillan & Clarke (2017) | ||||
| Collection: Abbreviation | Accession | Maker: Abbreviation | Lowest Note | Size | Year Made | Pitch | Pieces: Number | Length | Keys: Number | Body | Mounts | Keys: Material | Notes |
Cite this article as: Lander, Nicholas S. 1996–2024. Recorder Home Page: Instruments: Historical makers, instruments & collections: Historic Instruments. Last accessed 21 December 2024. https://recorderhomepage.net/historic-instruments/