Luogo e data di registrazione		- Bennebroek (Olanda) - aprile & maggio 1969 [1-2] - Doopsgezinde Kerk, Amsterdam (Olanda) - gennaio & novembre 1971 [7] - Amsterdam (Olanda) - giugno 1972 [8-10] - Doopsgezinde Kerk, Haarlem (Olanda) - luglio 1979 [11-16]
	Registrazione: live / studio		studio
	Producer / Engineer		Wolf Ericson [1-2] - Heinrich Weritz [8-11]
	Prima Edizione LP		- Telefunken "Das Alte Werk" - SAWT 9545-A - (1 LP) - durata 41' 45" - (p) 1969 - Analogico [1-2] - Telefunken "Das Alte Werk" - SAWT 9482-A - (1 LP) - durata 48' 01" - (p) 1966 - Analogico [3-6] - Telefunken "Das Alte Werk" - SAWT 9582-A - (1 LP) - durata 52' 43" - (p) 1971 - Analogico [7] - Telefunken "Das Alte Werk" - SAWT 9589-B - (1 LP) - durata 40' 54" - (p) 1973 - Analogico (8-10) - Telefunken "Das Alte Werk" - 6.42365 AW - (1 LP) - durata 39' 49" - (p) 1979 - Analogico [11-16]
	Edizione CD		Teldec - 4509-97466-2 - (1 CD) - durata 58' 32" - (c) 1995 - ADD
	Note		-

In the early years of the 17th century when instrumental music was increasingly breaking free from its vocal models and developing its own independent forms, the terms “sonata” and “canzona” were initially interchangeable. Even as late as 1637 a collection of instrumental works by Tarquinio Merula was published in Venice under the title Canzoni overo [or] Sonate. Michael Praetorius attempted a more detailed definition in his Syntagma musicum of 1618, in which he discussed the newest and most modern music of his age: "In my own view, however, this is the difference, namely, that sonatas are set  in a particularly solemn and magnificent style in the manner of a motet, whereas canzonas, with their many black notes, pass by briskly merrily and swiftly." Girolamo Frescobaldi's Canzona (in the edition of the full score published in Rome in 1628 it bore the title “La Bernadina”) certainly contains plenty of "black notes" and elaborate passagework especially towards the end. The numerous adagio interpolations are a modern, canzona-based element, whereas the imitative part-writing reflects the more conservative compositional style associated with the motet. In consequence, the present work is not exactly representative of the canzona an narrowly defined by Praetorius. In Giovanni Battista Riccio's Canzona, “La Rosignola”, contrapuntal passages are similarly contrasted with dancelike episodes and with soli and echo passages (“Pian e Forte”) between the two descant recorders. The result is a piece which, thanks to its use of contrast and its interplay between rhythmic and dynamic elements, "passes by merrily and swiftly". These same characteristics are also found, at least in part, in an anonymous Canzona dating from around 1620 and probably the work of a German or Polish composer living in Breslau. Very little is known about Riccio’s life, except that he was appointed organist of the Confraternita di S Giovanni Evangelista in Venice in 1609. In the case of Giovanni Paolo Cima, we can at least say that he was organist at S Celso in Milan and that in addition to being a prolific composer of instrumental music, he also concerned himself with the theory of counterpoint, a concern that found practical expression in his Sonata in G minor, in which descant and bass are imitatively conceived. (A similar feature had been found in Frescobaldi's Canzona.) Cima's Sonata is further notable for the fact that the initial theme is taken up again and reworked several times in the course of the piece. In keeping with contemporary musical praxis, all these works (including Scheidt’s Pavan) can be played on a variety of different instruments according to the performers’ own discretion. (In his 1628 edition of "La Bernadina", for example, Frescobaldi writes "Violino over Cornetto, come stà".) Only in the case of the pieces from Jacob van Eyck’s Der Fluyten Lust-Hof of 1646 is such discretion out of the question, since all were clearly written for the type of recorder that van Eyck himself appears to have played. In 1648 he received a pay rise of 20 thalers from the Utrecht Town Council for “entertaining passersby in the churchyard [at St John's] by playing on his little recorder”. His works are based on sacred and secular melodies wellknown in his day and ornamented with a series of variations. They demonstrate the high technical level attained by recorder players in the early years of the 17th century. Christian Müller ····· A brief history of the recorder 4. The recorder in the 18th century The first half of the 18th century marked the golden age of the recorder as a solo instrument. The descant and treble instruments were particularly popular, hence the fact that more of these two types have survived than of the tenor or bass members of the family. The most important distinguishing features of the Baroque recorder are to be found in the scaling of the tube and the shape of the windway. Most Baroque instruments are in three sections and elaborately carved; mouthpiece and rings are often of ivory for aesthetic effect. The holes are conically drilled, wider on the outside, narrower on the inside, allowing the player to produce a more individual attack without affecting the pitch. The Baroque treble recorder generally has a range of f' - g"/a'", a range achieved by a complex relationship between its cylindrical and conical dimensions and by a complicated system of fingering. (The windway is slightly curved and conical, with the distance from the end of the windway to the labium or lip being of particular importance.) The descant recorders used in schools today have considerably simplified bores and windways; the sound is far more monotonous, the attack duller. Instruments built in the old way produce a more vibrant sound with fewer overtones. Moreover, each tone and semitone has its own colour, a phenomenon that has been lost from modern wind instruments. Recorder makers of the 18th century used European boxwood by preference, although well-to-do customers often commissioned flutes of pure ivory or with ivory decorations, sometimes even with a tortoiseshell case. As amateurs, such clients no doubt played their precious instruments less frequently than professional musicians, who could presumably afford only the usual wooden recorders. This may explain why such an extraordinarily large number of recorders has survived from the 18th century made solely or partly of ivory. National styles: the Low Countries (I) When Richard Haka moved from London to Amsterdam in around 1650, there were few indications that he was destined to become Amsterdam's first and most famous maker of wind instruments. His earliest instruments date from the 1670s. An advertisement of 1691 describes him as a maker of “flutes, oboes, bassoons and military shawms”. At this time the city’s economy was enjoying something of an upturn, a prosperity reflected in the widespread private cultivation of music among the merchant classes. Among Haka’s surviving instruments are two descant recorders of granadilla with ivory rings (one of them is in Frans Brüggen's private collection and may be heard in track 4). They are somewhat old-fashioned for their period, with a tube made of two sections and a double hole for the little finger. They have a refined and attractive sound relatively high in overtones. Peter Holtslag Translation: Stewart Spencer