is astonishing to think that the recorder fell into disuse in
the nineteenth century and that even its name was forgotten. In 1919,
Arnold Dolmetsch, an English instrument maker and musicologist,
became interested in early music and built his first recorder based
on a baroque model.
In the manner of Johann Cristoph Denner
Boxwood, granadilla wood
Die-stamped marking: "Jean-Luc Boudreau Montréal 190490"
During the baroque period, the recorder was no longer built in a single
section as it was during the Renaissance, but in three movable sections. This important
change enabled musicians to better tune the instrument by lengthening
or shortening it slightly. Because the instrument had shorter sections,
instrument makers were able to craft the bore with greater care. This method
appears to have been developed by Jean Hotteterre,
a wind instrument maker in the court of Louis XIV, and
was subsequently adopted by the great recorder makers such
as Bressan and Stanesby. Thick, elegantly turned ivory mounts on each
joint made the recorder highly decorative, a reflection of baroque precepts
This instrument is based on a sopranino recorder by Johann Christoph
Denner (1655-1707), whose family was noted for its wind instruments.
When French recorders consisting of three sections appeared in Germany,
Denner took an interest in them and promptly adopted the new construction
method. This recorder is in two sections and is tuned to A=415.
Opus 12 - Alto Recorder
In the manner of Debey
Boxwood, moulded polyester resin
Die-stamped marking: "Jean-Luc Boudreau Montréal 220790"
Jean-Luc Boudreau based this recorder on an instrument by an
eighteenth-century instrument maker named Debey, which is preserved at the
University of Utrecht, in Holland. It has three sections, with moulded
polyester resin mounts, and is tuned to A=415.