Luogo e data di registrazione		Bennebroek (Olanda) - aprile e maggio 1969 (Loeillet, Couperin) Doopsgezinde Kerk, Amsterdam (Olanda) - gennaio e novembre 1971 (Dieupart, Telemann, Babell)
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42811 AP - (1 LP - durata 53' 24") - (p) 1969 */*** & 1972 - Analogico
	Originale LP		TELEFUNKEN - SAWT 9545-A - (1 LP - durata 41' 45") - (p) 1969 - Analogico (Loeillet, Couperin) TELEFUNKEN - SAWT 9582-A - (1 LP - durata 52' 43") - (p) 1972 - Analogico (Dieupart, Telemann, Babell)
	Prima Edizione CD		TELDEC "Frans Brüggen Edition" Vol. 12 - 4509-97474-2 - (1 CD - durata 68' 46") - (c) 1995 - ADD (Loeillet) TELDEC "Frans Brüggen Edition" Vol. 6 - 4509-97468-2 - (1 CD - durata 47' 52") - (c) 1995 - ADD (Dieupart) TELDEC "Frans Brüggen Edition" Vol. 7 - 4509-97469-2 - (1 CD - durata 44' 46") - (c) 1995 - ADD (Couperin) TELDEC "Frans Brüggen Edition" Vol. 1 - 4509-93688-2 - (1 CD - durata 74' 44") - (c) 1995 - ADD (Telemann) TELDEC "Frans Brüggen Edition" Vol. 3 - 4509-97465-2 - (1 CD - durata 64' 20") - (c) 1995 - ADD (Babell)
	Note		Long playing compilation.

From the host of recorder makers of the late seventeenth and early eighteenth centuries, three stand out strongly, firstly because of the opinion of their contemporaries, and secondly because of the quality of their instruments. These three are Peter Bressan, Thomas Stanesby Senior and Junior, and the Denners, father and son, Many surviving examples of their work are known to present day players and makers, and while relatively few of these instruments are still in good playing order, those that are suggest that they can hardly be surpassed, whether for workmanship, quality of sound, intonation, playing behaviour, or durability. The two instruments by Denner are both remarkable in their form. The treble instrument has an unusually sharply contracting bore, and combines firm and easy low notes with a broad, clear und easy-speaking high register. The sopranino, made of ivory, has a windway which is relatively large for so small an instrument, but which results in a sound of clarity, breadth and openness. This makes it effective and easy to listen to despite its high pitch. The voice flute (in d') by Bressan is an instrument which is rather mysterious to us today. While there are several pieces which specify the voice flute in their instrumentation, these hardly constitute a repertoire which can account for the number of examples of voice flutes surviving. The works by Dieupart calling for voice flute demand a compass of only one octave and a sixth, and the quintet by Loeillet asks for only one note more. Of four Bressan voice flutes in collections in England and Holland, all have a range of one octave and a seventh, perfect for this small repertoire, but surprising by comparison with Bressan’s other recorders, tenors and trebles, with their wide compass and strong tone. The physical reason for the smaller range lies in the placing of the lower tone holes, which does result in a slightly easier reach for the hand, but concerning Bressan’s reasons for so placing these holes we are at present ignorant. A possibility is the extremely firm 2nd and 3rd notes (e' and f'sharp) which also result from the hole spacing. Perhaps one day it will be possible to be certain; in the meantime,the Bressan voice flutes have a quality of soundwhich compensates us for the smaller range, and which may in itself` have been Bressan’s reason for making these instruments. The treble in f' and the sixth flute in d' by the Stanesbys are beautiful examples of the English school of recorder making. While they are essentially similar to instruments by Bressan, Bradbury, and Urquhart, they nonetheless show characteristics peculiar to the Stanesbys in both voicing and external profile. The treble is remarkable for its evenness of tone right down its low f', and the balance of its registers across the whole range. In particular the fulness and ease of the hight e''' and f''' can be regarded as especially characteristic of the Stanesbys and Bressan at their very best. The sixth flute, so called because it is six notes higher than the concert flute (treble in f'), had many concertos written for it by Babell, Baston, Woodcock, and other English composers. The instrument played here is in ivory, very full and fmely carved with a Cupid’s face, grapes, vine leaves, and other floral motifs. Its sound matches the quality of its decoration, being very clear, flexible, and, for a recorder, strong. Frederick Morgan