Luogo e data di registrazione		- Palais Schwarzenberg, Vienna (Austria) - novembre 1965 [1-7] - Bennebroek (Olanda) - febbraio 1970 [8-14] - Doopsgezinde Kerk, Amsterdam (Olanda) - gennaio & novembre 1971 [16-21]
	Registrazione: live / studio		studio
	Producer / Engineer		Wolf Erichson [8-12] - Heinrich Weritz [13-16]
	Prima Edizione LP		- Telefunken "Das Alte Werk" - SAWT 9482-A - (1 LP) - durata 48' 01" - (p) 1966 - Analogico [1-7] - Telefunken "Das Alte Werk" - SAWT 9570-B - (1 LP) - durata 45' 46" - (p) 1970 - Analogico [8-14] - Telefunken "Das Alte Werk" - SAWT 9582-A - (1 LP) - durata 52' 43" - (p) 1972 - Analogico [15-21]
	Edizione CD		Teldec - 4509-97469-2 - (1 CD) - durata 44' 46" - (c) 1995 - ADD
	Note		-

Virtually nothing is known about the life of Philibert de Lavigne. His set of six Sonatas op. 2, from which the present work is taken, was published around l740. Their title-page mentions not only the recorder but also the musette (a small bag-pipe) and vielle (hurdy-gurdy), both of which were then fashionable among the Paris aristocracy, who thought of them nostalgically as the indispensable concomitants of pastoral music and bergeries. The descant recorder used in the present recording proves superior to the treble recorder demanded by the composer, not least in the vigour and verve that it lends to the final movement, which is described as a Tambourin. Joseph Bodin de Boismortier was a deft and prolific composer who cornered the market in Paris and almost literally flooded it with his simple, unpretentious music. That he was capable of writing more demanding works is clear, however, from the present sonata for three flutes, recorded here in a transcription for three treble recorders. (In keeping with a suggestion by Boismortiers contemporary Hotteterre, the work has been transposed up a minor third. A similar transposition will be also found in the case of Dornel's sonata, which is likewise included in the present recording.) Anne Danican Philidor hailed from a large family of musicians well known in 17th- and 18th- century France. The name "Philidor" is said to have been given to Michel Danican (who may have been the brother of Annes grandfather) by Louis XIII in memory of the Sienese oboist Filidori, a particular favourite of the kings. The present sonata is one of the few original French works for the recorder. Stylisticallyg, too, it stands apart from Philidor’s other works, the majority of which are cast in the form of a suite, its stricter compositional style suggesting, rather an affinity with the sonata da chiesa. The second and fifth movements are fugal in character while the fourth is notable for its use of invertible counterpoint, with the upper voice and bass line interchanged. Little is known about Louis-Antoine Dornel. In 1706 he was appointed organist at Ste Madeleine-en-la-Cité in Paris, a post for which no less a composer than Jean-Philippe Rameau had been a fellow contestant. In 1725 he became maître de musique to the Académie Française. Like Philidor’s Sonata, his B flat major Sonata (first published in 1723) is preponderantly fugal in texture, with the lowest voice joining in the contrapuntal writing in spite of its function as a bass line supporting the harmonies above it. François Couperin's Le rossignol-en-amour is a character piece notable for its poetic tone-painting, with the nightingale's singing depicted by numerous ornaments, some of which are described as accents plaintifs. Although originally written for the harpsichord, Couperin himself suggested entrusting the upper voice to a flute, a practice that would “ensure a greater effect, provided only that it is well played”. Frans Brüggen's decision to use a sopranino recorder, with its silvery higher register further adds to the charm of the work. Martin Nitz ····· A brief history of the recorder 7. The recorder in the 18th century National styles: Germany (II) Second only to the Denners as Nuremberg’s leading family of 18th-century woodwind-instrument makers were the Oberlenders, with almost 60 instruments surviving from the workshop of Johann Wilhelm Oberlender (1681-1763) and his son, also called Johann Wilhelm (1712-1779). The majority of these instruments are soprano recorders, but their number also includes sopranino, tenor and bass recorders, as well as flutes, a single flûte d'amour, oboes and several clarinets. Like Denner's instruments, they are distinguished by the clarity of their tone, especially in the higher register a clarity due to their relatively narrow bore. Preferred materials are boxwood, maple, plum and ivory. Many of the Oberlenders’ instruments are elaborately carved. The woodwind-instrument maker Johann Heinrich Eichentopf (c. 1686-1769) was active in Leipzig at the time of Johann Sebastian Bach. In 1710, on the occasion of his marriage in the city's Thomaskirche (where Bach was to be appointed Cantor in 1723), he was described as a "maker of instrumental pipes". Only two of Eichentopf’s recorders have survived, a soprano and a tenor instrument, both in boxwood and clearly German in their construction, with a narrow bore and correspondingly bright-toned upper register. They may be heard in Vol. 12, tracks 1-4. A glance at the German Baroque repertory for recorder shows that it is generally the higher register that is preferred, with its very highest reaches being explored by Bach in his later cantatas and by Telemann in his sonatas and concertos. This does not present any great difficulties on instruments by Denner, Eichentopf and Oberlender. It is not unlikely that Nuremberg recorders found their way to Venice in the 18th century and that they encouraged Vivaldi to write his brilliantly virtuosic recorder works, with their exploitation of the instrument's highest register. At all events, the Red Priest’s recorder concertos are particularly effective when played on instruments by Denner or on ones related to them. Peter Holtslag Translation: Stewart Spencer