Luogo e data di registrazione		Bennebroek (Olanda) - aprile e maggio 1969 (van Eyck, Carr, Pepusch)
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42050 AP - (1 LP - durata 40' 56") - (p) 1966 */** 1969 ***/*****/****** & 1972 **** - Analogico
	Originale LP		TELEFUNKEN - SAWT 9482-A - (1 LP - durata 48' 01") - (p) 1966 - Analogico (van Eyck, Parcham) TELEFUNKEN - SAWT 9545-A - (1 LP - durata 41' 45") - (p) 1969 - Analogico (Carr, van Eyck, Pepusch) TELEFUNKEN - SAWT 9582-A - (1 LP - durata 52' 43") - (p) 1972 - Analogico (van Eyck)
	Prima Edizione CD		TELDEC "Frans Brüggen Edition" Vol. 4 - 4509-97466-2 - (1 CD - durata 58' 32") - (c) 1995 - ADD (van Eyck) TELDEC "Frans Brüggen Edition" Vol. 3 - 4509-97465-2 - (1 CD - durata 64' 20") - (c) 1995 - ADD (Parcham, Carr, Pepusch)
	Note		Long playing compilation.

This selection of recorders from a few of the large number of woodwind makers working in Holland at the end of the 17th century and the beginning of the 18th shows less of a peculiarly national characteristic than would be the case if such a selection were to be made from, say, the English or German instruments of the same period. Rather, there is an independence which may perhaps equally be viewed as a national characteristic, but which did not result in a consistently identifiable character in the recorders produced by these makers. Instead, the instruments show some individuality, with variety in both tonal quality and compass, and also in the form of the tumery. As there are elements in the design of a recorder which relate specifically to compass, tonal behaviour, and quality of sound, the variety of form seen in these Dutch recorders provides the possibility of isolating to some extent the causes of their musical individuality. The physical reasons for the compass and sound quality of a particular recorder type can be found mainly in the profile of the internal bore, and the size, placing, and undercutting of the finger holes. However, the basic dimensions and adjustment of the windway surfaces and labium play a very large part in establishing the fmal quality of the tone dictated in the first place by the bore of the instrument. The first instrument, 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. The soprano by Richard Haka, while it also has the full compass of the Terton, has a much gentler tone. This is partly due to the lower window sides which result from thinner walls at the block line and a nearly straight labium, but of even greater importance is the smaller than usual jet length (the distance from windway to labium). The W Beukers soprano has a narrower compass, c" - roughly a'", but has very large voicing dimensions. This gives a strong tone of less subtlety than either the Terton or the Haka, but rather more vigorous in its effect. The Wijne alto, with its very small voicing, has a tone of quite unusual gentleness, but with the full alto compass. The remaining two instruments, altos by van Heerde and van Aardenberg, also have the limited compass of f' - d'". However, the fine adjustment of the block/labium relation gives them a full, clear, and responsive sound. The peculiarities of bore which cause the smaller compass also give the second lowest note a very round, firm, and clear tone. Frederick Morgan