“As an artist … I need to make it harder for myself, so I’m working on a few personal projects that I can’t describe. But I can tell you that they’re really hard, and I’m totally failing, and it feels great.”
Joss Whedon, via Ian Coyle
I recently wrote about what could probably be the world’s most important photograph of a recorder and the need to get recorder scholars involved in keeping Wikipedia’s recorder article accurate and up to date. But after doing myself a first, unsuccessful attempt at changing the article’s main photograph, I decided not to limit myself to the Wikipedia article. I thought that high quality, professional photographs of high quality, professional recorders would certainly be a first step towards the spreading of the recorder’s fairer image as a fine, handmade, beautiful instrument. For which, besides contributing to Wikimedia Commons, a dedicated, open access website would be the ideal container.
“An initial search of the internet throws up numerous images of plastic, or mass-produced, cheap instruments, while images of historic or professional models need to be sought out. A concerted effort from the recorder community is needed in order to shift perspectives in the opposite direction, and to change the public’s perception of our beautiful instrument.”
For almost forty years (1968–2007), recorder maker Bob Marvin has been generously sharing an impressive amount of knowledge, personal experiences and detailed technical information on the reconstruction of recorders based on original instruments preserved in European museums—which makes him probably the most prolific writer among recorder makers. He has done so in a very personal, concise and sometimes provoking way, always in the hope of generating debate and an exchange of ideas among makers and readers, and always with great insight and a unique sense of humour.
As many recorder players may have noticed, Ernst Meyer’s short-lived website (online from July 2013, when I had the pleasure to help him setting it up during a visit to his workshop), is gone since 2014. Which is a real pity, as it contained some stunning, full-size photos of Ernst’s work, as well as a catalogue of his recorder models.
Archive.org to the rescue: what many people may have not noticed, however, is that archive.org’s Wayback Machine robots saved it partially for posterity. Just a couple of screenshots, though, but, fortunately, one of them was his model list. Check them out:
- Van der Sluijs, L, Lander, N.S. & Short, C. (1996–2015). Recorder Home Page: Recordings. Last accessed Monday, September 7th, 2015. http://www.recorderhomepage.net/recorded-recorders-database/ ↩
As promised in an earlier article, I’ve been collecting some information about Fred Morgan‘s work with the intention of making it publicly available, both for practical and historical reasons but also for the important and highly interesting data contained in his documents: I’m sure they will be really useful for today’s players and makers as a valuable reference source.
As it often happens, someone in a social network just shared one of those sometimes funny and accurate (not this time) memes, in this case about the way many people (unfortunately) see the recorder today. This view is based on the main (most often the only) way they get to know and experience it: as a cheap plastic toy randomly played by children in a crowded classroom. This is obviously not fair.
This is an initiative that should definitely exist. Maybe not for the old-schooled, secret-keeping builders that may still be around, but I already know so many open minded, eager to share their knowledge and experience, and generous recorder makers that I’m still wondering what is stopping them to make that a reality. We’d all certainly benefit from their collaborative work, both makers and players. Bear in mind that professional recorder players and builders are a relatively small community, with still so many things to learn from original instruments, and with so many people working rather isolated and far away from other colleagues, with little or no exchange of information among them. Read more →
Short promotional video of our duo program A Baroque Dream, recorded from our concert on March 15, 2015 at Festival de Música Antigua de Sevilla (FeMÀS). Apologies for the bad quality audio: our recording equipment failed at the very last moment, so the audio is just the one from the video camera—that was placed at the end of the hall. Footage by courtesy of the festival. You can read more about the project here and see some photos from the concert here.