3/23/2023 0 Comments Simple recorder mouthpiece design![]() by Hans Rauch von Schrattenbach and by members of the Bassano family, though this might not have been known in the 1930s. However, downward extensions to the recorder’s range were explored in the 16th century, e.g. The impetus for this came from modern reed instruments, all of which are equipped with downward extensions below the fundamental. This new key operated by the little finger of the uppermost (left) hand and it also made an easy speaking low c#’ possible. In 1936, the Gustav Herrnsdorf firm acquired the right to protection of a c”-recorder with a b♭’ key, (D.R.G.M. 1960) with 6 semitone keys (auctioned on eBay, 2007) Soprano recorder in c” by Johannes Adler (c. The German firm Johannes Adler made keyed recorders in c” as late as the 1960s. Soprano recorder in c” with 6 semitone keys by Max Hüller, c. 1930, several workshops started to offer recorders with between three and six semitone keys, among them German instrument-makers Oscar Adler, Max Hüller, Ludwig Schlosser, Martin Kehr, and Karl Hammerschmidt & Söhne. Peter Thalheimer (2013: 28-29) has described how, as the early twentieth-century revival of the recorder gained momentum, flautists who began to play the recorder wanted to have an instrument fitted with the familiar keys rather than having to get used to historical forked fingerings. Wiener csakan in c” by an unknown maker, Johann Ziegler model ![]() A smaller version in c” was being made in the Vogtland region as late as c. Csakans were mainly built in Vienna and Pressburg (modern-day Bratislava) between 18. KeyworkĪs early as 1636 Marin Mersenne (a French polymath, whose works touched a wide variety of fields) advocated the use of extra chromatic keys on recorders (see Schmidt 1959: 25), a suggestion not explored until the 19th century with the development of what later became the Wiener csakan in about 1820, a recorder in a♭’ with a thumb hole and seven tone-holes, originally with one key, later with up to 11 keys, culminating in the development of the Komplizierte Csakan. However, even virtuosi have, for the most part, preferred instruments designed after historical (i.e. There have been a number of attempts to re-design the recorder and extend its capabilities for use in a contemporary context.
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