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The Recorder in English Newspapers, 1730-1800

By David Lasocki t is well known that the recorder had a golden era in England from the The author writes about finishing a history of the recorder for 1670sI to about 1730. The instrument woodwind instruments, their history, Yale University Press (and many other was popular among amateurs, inspiring repertory, and performance practices. unfinished writings and editions) a large number of tutors (method The third edition of his book as well as to the practice of energy books). It was also played by many with Richard Griscom, medicine. See his web site, professionals, who were primarily The Recorder: A Research and www.instantharmony.net. oboists, sometimes violinists, cellists, Information Guide, was published or even trumpeters (John Banister II, by Routledge in 2012. Those attending the ARS Festival Francesco Barsanti, John Baston, and Conference in July will have the Johann Ernst Galliard, John Granom, He retired in 2011 from his position as opportunity to meet the author during Jean Christian Kytch, John Loeillet, Head of Reference Services in the Cook the ARS awards ceremony there. Luis Mercy, James Paisible, Giuseppe Library at Indiana University Sammartini, etc.). These and is now devoting himself to worked primarily at the Court, the opera houses, and the public theaters. Large quantities of for the and for the alto, fifth (soprano), or sixth flute (soprano in D) were published by professional performers as well as such compos- ers resident in as William Babell, Giuseppe Bononcini, Francis Dieupart, , Johann Christoph Pepusch and Robert Woodcock. Henry Purcell, Handel and others scored for the recorder in opera arias. Large quan- tities of high-quality recorders were made by leading makers such as Peter Bressan and the Stanesbys.

What’s in a Name? From its origins in the 14th century, the recorder was clearly distinguished in name from the (“flute”). Complications in terminology set in when the newly remodeled Baroque style of recorder—made in three pieces, with elaborate turnery at the joints—was introduced from France in 1673. The instrument then took on the French name flute douce, soon abbreviated to simply flute. References to “flute” between the 1670s and at least the 1740s, therefore, almost always mean the recorder rather than the transverse flute. The switch in terminology was possible only because the Renais­sance style of transverse flute was almost obsolete in England in the 1670s. When the Baroque style of transverse flute was imported from France around 1700, it was given a new name, “German flute,” a translation of flûte allemand or flûte d’Allemagne. As the flute grew in popularity, the recorder began to be given the contrasting names “common flute” around 1722, and “English flute” around 1735.

www.AmericanRecorder.orgwww.AmericanRecorder.org March 20122012 2929 Many modern writers Makers Recorders by the celebrated French have gained the impression emigré Peter Bressan (1663-1731) are cited in advertisements and that the recorder died auction catalogs after his death. out in England after An auction of the belongings of “a noble Peer, lately deceas’d” about 1730, only to be included “a complete Case of , made by the late famous Mr. Bres­ revived magically by san” (Daily Journal, May 17, 1732). The surviving case described by Arnold Dolmetsch in William Waterhouse in 1993 con- the early 20th century. tained a pair of alto recorders by Bressan. The adjective “complete” repeated in his The Elements of before the case advertised here sug- Edgar Hunt’s book The Recorder Musick (1767), although “Consort- gests a larger selection of recorders. and its Music (1962) set out most of Flute” is replaced by “Con­cert Flute,” That larger cases existed is what we have known up until now “Sorts” by “Sizes,” and the section demonstrated by the following about the recorder in England from heading “Of the Flute” confusingly by instruments in the auction catalog about 1730 to the end of the 18th “Of the Common Flute, or Flagelet.” for the combined possessions of century. The instrument was the sub- (The French in exclusive use a Colonel John Moore and the ject of a number of tutors, or method until the late 18th century was a duct famous architect Nicholas Hawks­ books, over the course of this period, flute with four finger holes above and moor in 1740: “1. A Case with five all intended for amateurs: Directions two thumbholes below.) for Playing on the Flute (1730), Nevertheless, many modern Fluits by Bresan / 2. A ditto with The Second Book of the Flute Master writers have gained the impression a German Fluit, Houtboy and Improv’d (.1730), The Compleat Tutor that the recorder died out in England twelve other Fluits, and a pitch for ye Flute (c.1734, c.1760), Thomas after about 1730, only to be revived by Bresan ... 10. A curious Stanesby Jr.’s A New System of the Flute magically by Arnold Dolmetsch in fluit Cane by Bresan.” a’bec or Common English Flute (c.1735), the early 20th century. The present A “fluit cane” was a walking The Compleat Tutor for the Flute article makes a contribution towards stick in which a recorder was incor- (c.1745, c.1746, 1754, c.1760, c.1765), dispelling this myth with advertise- porated. It doubtless came in handy The Complete Flute Master (1745, ments taken from 18th-century for a gentleman out on a stroll who c.1755, c.1760), The Delight English newspapers, supplemented wished to stop and play a few tunes. (1754), The Compleat Tutor for the by a few from Dublin and Glasgow. It first appears in 1691 in advertise- Common Flute (c.1765), Compleat Although these newspapers have ments by two different Amsterdam Instructions for the Common Flute been examined piecemeal by scholars workshops, Michiel Parent and Jan (c.1780), and New and Compleat before, they can now be searched virtu- van Heerde’s widow and sons. The Instructions for the Common Flute ally in totality in a facsimile database probate inventory of the celebrated (c.1794). (17th–18th Century Burney Collection French recorder player James Paisible William Tans’ur’s A New Musical Newspapers, published on subscription (1721), resident in London from 1673 Grammar (1746) suggested that other by Gale). I have supplemented the onwards, included “an old cane flute”; sizes of recorder than the alto contin- advertisements with other sources, the inventory was taken by his execu- ued in use: “Of Flutes there are many such as a catalog of instruments in tor, Bressan, who had presumably Sorts, as a Consort-Flute; a Third- Dutch auctions. made the instrument himself. There Flute; a Fifth, and a Sixth, and are further references in The Nether­ -Flute....” (alto, alto in A, lands and France, the last clear exam- soprano, soprano in D, and sopra- ple, “Een Wandelstok zynde een fluyt nino). Almost the same text was

30 March 2012 American Recorder By this time the term “flute” was shifting towards its modern meaning of transverse flute— but again, it still means recorder here.

Doux,” being auctioned in The Bressan alto, with inset showing maker’s Hague as late as 1784. mark (photos by Jan Bouterse). The probate inventory of the celebrated Amsterdam music pub­- “consort flute” for the alto recorder, • 1743: “Just imported ... lisher Michel Charles Le Cène found as early as the James Talbot Schuchart’s best German Flutes, (d. 1743) included: manuscript (compiled 1692-95), had and common Flutes of all Sizes” • No. 1 Two black recorders with by this time metamorphosed into its • January 17, 1744: “Schuchart’s ivory by Bressan... near homophone “concert flute.” choicest German and common • No. 2 A brown ditto by Bressan... The auction catalog of the pos- Flutes, of all sizes” • No. 3 A black “sang fluyt” with sessions of the late Nicolas Selhof, • April 29, 1746: “ Schuchart’s ivory by Bressan... bookseller, in The Hague in 1759 German and Common Flutes • No. 4 A brown altfluit (tenor lists, alongside many Dutch instru- of all Sizes” recorder?) by Bressan... ments: “131. Une Flute douce longue • November 14, 1747: “Schukhart’s • No. 5 A brown fourth flute de Basse (a long recorder) by German and Common Flutes by Bressan.... P. I. Bressan.... / 145. Two recorders of all sizes” • No. 9 A brown basfluit (basset by Bressan.” The “long” • April 1, 1749: “Shuckart’s Flutes recorder) by Bressan.... may well have been a true bass in C, of all sizes” Like many London music pub- not what we now call a basset in F. • May 21, 1754: “Shuchard’s lishers, including John Walsh, Le Cène Talbot, who included measurements German Flutes, Hautboys, evidently had a sideline selling instru- for tenor and basset recorders by and small Flutes of all sizes” ments. The Dutch term sang fluyt, Bressan in his manuscript, called These are the earliest advertise- placed in quotation marks, is a direct the basset bass and the bass pedal ments I have found that include the translation of the English term or great bass. phrase “of all sizes” in reference to “,” an alto recorder in D. Finally, more than 40 years after recorders or flutes. The next in chrono- An auction in London in 1743 Bressan’s death, “a Set of Basan’s Flutes” logical order is one from 1754 by included “a fine Set of Flutes, by was auctioned in 1774 (Daily Adver­ Stanesby’s sole apprentice, Caleb Brassan....” (Daily Advertiser, tiser, April 6). By this time the term Gedney (bap. 1726; d. 1769), which December 22, 1743). Although the “flute” was shifting towards its modern mentions “Travers or German Flutes term “flute” was beginning to be meaning of transverse flute—but again, of all Sizes, English Flutes ditto” ambiguous, it clearly still referred to the it still means recorder here. (London Evening Post, November 21). recorder here. Another auction, of the In Dublin, William Manwaring, The advertisements bring to light goods of a silk-dyer named William music publisher, instrument seller a previously unknown woodwind Strong, included “two fine Concert and violinist, advertised that he had maker, apparently an important one. Flutes by Bressan” (Daily Advertiser, the following in stock, probably all George Brown (fl. 1716-66) is first April 1, 1745). We see that the term made by John Just Schuchart (fl. documented in a Dublin newspaper of 1720; d. 1759): 1747. Although he still listed “common www.AmericanRecorder.org March 2012 31 Flutes,” his specialities were transverse January 26). He was in the midst Another advertisement flutes, a detachable for of another dispute: this time with focusing the tone of these instruments, Brown and the Irish maker Henry provides evidence and cane transverse flutes. By 1753, he Colquhoun (d. 1791) over who had had moved to London. From there invented the detachable mouthpiece that recorders by he occasionally made forays to Oxford, for the transverse flute as well as the where in 1754 he advertised that he “bass” (more likely alto or tenor) flute. the famous “MAKES all Sorts of Wind Musical Colquhoun, who also claimed to be Instruments in the greatest Perfection, maker to the Guards, said he “makes Thomas Stanesby Jr. true and pleasant toned.... Hautboys, and sells all Kinds of Wind Instru­ , Clar[i]nets and Common ments, as Bas­soons, Hautboys, German (bap. 1692; d. 1754) Flutes ... especially a good Concert and Com­mon Flutes, &c. &c. for Common Flute which is the Founda­ Exportation or Home Con­sumption” were still in use as tion of all Instruments” (Jackson’s Oxford (Gazetteer and New Daily Advertiser, Journal, November 30). A “concert February 20, 1765). common flute” was presumably a Another advertisement provides late as 1770. high-quality alto recorder. Brown’s evidence that recorders by the famous idea about the recorder’s fundamental Thomas Stanesby Jr. (bap. 1692; appears to be unique for the d. 1754) were still in use as late as 18th century, but it became common- 1770: “To the Pawnbrokers, Music- place among music educators of the sellers, &c. STOLEN from a House 20th century and remains so today. at Islington the following Articles ... Alas, these educators have not been as several common Flutes tipped with concerned about quality as Brown was. Ivory, by Stanesby, jun” (Public Adver- In 1766, Brown made a surprising tiser, June 26). announcement that completely changes At the Old Bailey, London’s cen- any ideas we may have had about his tral criminal court, on April 21, 1784, origins: he “has been esteemed by great a flute maker named William Bailey Judges to be a complete Master of his accused a young shoemaker and a boy Trade, having practised that Art in of stealing “one flute, called an English (his native Country) and flute, value 4 s., and two fifes, value 1 s.” in England, for near 50 Years past” from his house. (There were 20 shil- (Daily Advertiser, January 1). lings, s., to the pound, £ or l; and 12 John Mason (fl. 1754-78) has pre- pence, d, to the shilling.) A witness viously been known only as the maker said he saw “the lads” go to an iron- who advertised in 1756 that he had monger’s shop to sell them, “and they invented the C-foot for the transverse played on them to try them.” The lads flute, a claim that was refuted by both were convicted of burglary, but not Gedney and Charles Schuchart (John breaking and entering, and each sen- Just’s son). The newspapers reveal more tenced to transportation for seven about Mason’s career. In 1765 he adver- years—a typical harsh punishment at tised that he “assures the Public, he has the time. been Fife-maker to his Majesty’s three An undated trade card of Thomas Regiments of Guards these 18 Years.... Cahusac Sr. (1714-1798) offers He makes the most curious German “Common Flutes of all Sizes.” Around and Common Flutes, Fifes, Hautboys, 1787, his young son Thomas Cahusac , Bassoons, Vox Humanes, Jr. (b. 1756) set up a workshop in &c. his Work being well known, and Reading, Berkshire, about 40 miles Alto by Thomas Stanesby Jr. used through all Parts of his Majesty’s west of London. He advertised that he (photo by Jan Bouterse). Domin­ions Abroad and at Home” “Manufactures and sells every article in (Gazetteer and New Daily Advertiser, the musical line as cheap as in London;

32 March 2012 American Recorder A trial in the courtroom of Old Bailey, late 1700s.

and all instruments bought of him, if 1 Silver ditto / Ditto, 1 ditto / not approved of may be exchanged A Plain Flute / Ditto, 2d ditto / Ditto, after one week’s trial. German Flutes 3d ditto / Ditto, 4th ditto / Ditto, 5th from 7s 6d to 6l 6s.... Common Flutes ditto / Ditto, 6th ditto / Ditto, Octave / 2s 6d to 6s each. Fifes from 1s to 7s Ditto, English Concert Flute / Ditto, each....” This advertisement is useful in 2d ditto / Ditto, 3d ditto / Ditto, 4th showing us the relative price of trans- ditto / Ditto, 5th ditto / Ditto, 6th ditto verse flutes, recorders, and fifes. A year / Ditto, Octave ditto ... A Flagelet / later, Cahusac advertised “Common A French Flagelet....” Flutes and Fifes of all sizes....” The “dittos,” employed to save Hoyle’s dictionary of 1770 claims: typesetting costs, are difficult to under- “Now we have in use the concert, the stand at first sight. But these entries second, third, fourth, fifth, and eighth show that Astor was selling transverse flutes.” Further light is shed on the flutes with between one and six term “all sizes” of recorder by two cata- keys; “plain” flutes pitched at the stan- logs of makers and dealers from the dard pitch level, and also such flutes end of the 18th century. George Astor a second, third, fourth, fifth, sixth and (1752-1813) arrived in London from octave higher; as well as recorders at Germany by 1778 and established the normal level, presumably alto, as himself as a flute maker. By the mid- well as a second, third, fourth, fifth, 1790s he had vastly expanded his busi- sixth and octave higher. ness to manufacturing, making and These higher instruments may be selling instruments of all kinds, but surprising to us, but “Common Flutes, especially wind and keyboard instru- from a Concert to an Octave” (from ments. His range of goods is illustrated an alto up to a sopranino) had already by his detailed catalog dated 1799, in been mentioned in an American adver- which the following entries are relevant tisement of 1762 (Pennsylvania Gazette, for our purposes: “A Flute, tipp’d with March 25); and flutes and recorders Ivory, 6 silver Keys, and extra Joints / a second, third, and fourth above the Ditto, 5 silver Keys / Ditto, 4 ditto / standard instrument 15 years later: Ditto, 6 Brass ditto, and extra Joints / “... lately imported, and to be sold by Ditto, 5 ditto / Ditto, 4 ditto / Ditto, J. Rivington.... English, or common

www.AmericanRecorder.org March 2012 33 Goulding, Phipps, & D’Almaine catalog of 1800, with the page listing German and English flutes.

Concert Flutes, / English, second Concert Flutes, / English, Sellers and Auctions third Concert Flutes, / English, fourth Concert Flutes....” Besides the auctions mentioned above, a number of other (New-York Loyal Gazette, November 22, 1777). London auctioneers and dealers advertised recorders until The catalog dated 1800 of another London firm, the end of the 18th century. At an auction at a coffee house Goulding, Phipps, & D’Almaine, lists similar instruments in 1731, “There are also fine German and Concert Flutes....” to Astor’s: transverse flutes with one key to six keys; trans- (Daily Journal, February 20). In 1745, “the entire Collection verse flutes a second, third, fourth, fifth, sixth, even seventh, of an eminent Virtuoso, deceas’d” being auctioned included and octave higher than normal; and “English Flutes, “several German and English flutes”—the first time the Concerts, plain / Do. do. Seconds and Thirds / Do. do. plain term “English flute” is documented for the recorder Fifths, Sixths, and .” in England (Daily Adver­tiser, February 26). (The word “vir- Astor’s catalog distinguished tersely between “A Flagelet tuoso” here is used in an alternative sense of a person inter- / A French Flagelet,” presumably the new English flageolet ested in the arts and sciences, or just in the fine arts.) and its longstanding French counterpart. Goulding’s catalog The general merchant John Carlile in Glasgow sold calls both instruments by name. The idea of the English “Wholesale or Retail ... German and common Flutes of type was simple: a recorder (“English flute”) was fitted with all Kinds” in 1755 (Glasgow Courant, September 22). a sponge chamber similar to that of the French flageolet The London dealer Maurice Philips Whitaker and given a new name to make it stylish. This ploy (fl. 1760-82) placed an ad in 1760 that may have been worked: the flageolet gained a new lease of life and became intended to announce the opening of his shop. He the duct flute of choice for the entire 19th century. announced that he “MAKES and sells all Sorts of Musical

34 March 2012 American Recorder Instruments, viz. , Tenors, John’s shop sold “all kind of musical In 1745, “the entire Basses, Bassoons, German and Com­ instruments as cheap as in London, mon Flutes, Harpsi­chords, Spinnets, as ... German flutes, common flutes, and Hand Organs, &c. &c.” (Public & fifes, plain or tipt with silver, ivory Collection of an eminent Advertiser, March 11, 1760). Auctioned or brass....” Mr. Cole, a mathematical the following year, the goods of the late instrument maker in London, was Virtuoso, deceas’d” being organist William Popely of Bishop’s selling “two large common Flutes, Stortford, Hertfordshire, included “sev- at reasonable Prices” in 1774 auctioned included eral German and common Flutes....” (Daily Advertiser, August 26). (General Evening Post, November 28). An advertisement by the music “several German and Another London dealer, Henry dealers Longman and Broderip dating Thorowgood, advertised in 1764 that from around 1775 mentions “German English flutes”­­—the he “makes and sells, Wholesale and Flutes, Ivory, Ebony, Cocoa & Box, Retail ... all sorts and sizes of English tip’d or plain ... English Flutes ditto first time the plain and German Flutes, Flutes for Birds, all Sizes, Bird Flutes ditto ... made by Flagelets for ditto” (New Daily Adver­ the most eminent Makers in London.” tiser, 29). Virtually the same The auction of the “valuable effects term “English flute” list appeared in 1770, except that the of A NOBLEMAN” in 1784 listed “flutes for birds” are now “of all sorts “English and German Flutes” is documented for the and sizes” (New Daily Advertiser, June (Morning Herald and Daily Adver- 13). The tradition of using duct flutes tiser, January 2). And finally, the recorder in England. to train birds to sing tunes goes back to going-out-of-business sale of a book- at least 1717, when The Bird Fancyer’s seller and stationer in Cheltenham, Delight was published, devoted to a Gloucestershire, in 1796 included small flageolet. Thorowgood’s adver- “German and English Flutes, in tisements suggest that both recorders ivory, ebony, cocoa, and box wood, and of different sizes were beautifully mounted with silver, &c.” used for this purpose. (Star, November 18). The Leicester performer, com- poser, promoter and dealer John Valen­ Pedagogy tine (bap. 1730; d. 1791) was the great In addition to the wealth of tutors nephew of the famous woodwind mentioned above, the music seller and composer Robert Valen­ Robert Bremner announced in 1763 tine, who settled in Rome. In 1769 that he had just published “A Scale for Join us!

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www.AmericanRecorder.org March 2012 35 outside the walls of the City of London, see map] ... where Gentlemen are taught to play on the German or Common Flute, , French-Horns, &c. Dancing and Fencing; an Assembly weekly, where those that are not Scholars are admitted on subscribing for a Month. The Expence is very moderate. Those that chuse to be taught at home, will be waited on by sending a Line” (Daily Advertiser, May 17). Finally, in 1768, “The ACAD­EMY for DANCING and MUSIC, No. 8, Bolt-court, Fleet-street. MR. PATENCE, dancing and music-master, teaches ladies and gentlemen+ the minuet, louvre [i.e., loure], county and dancing, in the most concise and expeditious mander [i.e., manner], and defies any French or English master to teach more polite or better; as likewise the organ, , and violin, German flute or common flute, on very reasonable terms” Gazetteer and New Daily Adver­tiser, April 21).

Players Besides the owners of recorders mentioned in connection with auctions above, the newspapers are almost silent about the identity of the amateurs who played the recorder after about 1730. A gossip column of 1787 headed “Tonish Musicians” mentions that “Lord Cholmondeley, on the German Flute, is nearly as fine a player as Lord Abingdon— they were both scholars of [Carl] Weiss. On that simple instrument, the English flute, the Ladies say the Duke of Dorset has been a better performer than either” (Word and Fashionable Advertizer, January 13). John Frederick Sackville, the third Duke of Dorset (1745-1799), then British ambas- sador to France, was noted more for playing cricket than the Common Flute, calculated to render that Instrument fit for music; and alas, the statement about his recorder playing for performing any Music, adapted for the German Flute or is somewhat doubtful, because two days earlier another Hautboy” (Public Advertiser, April 16). In a sales catalog newspaper asserted that “His Grace’s instruments are included with a tutor he published around 1765, Bremner the violoncello and violin; he excel­led some years since in refers to “English flutes all sizes.” In 1799 and 1800, the cat- the first mentioned instrument. His present practice is alogs of both Astor and Goulding still listed “Common chiefly the violin” (London Chronicle, January 11, 1787). Flute” among the “instruction books” they sold. Three advertisements mention recorder lessons: “To all Music LOVERS of MUSICK, THAT are willing to learn to play Publications of recorder sonatas and concertos died away on the Violin, German Flute, Common Flute, French , after about 1730. It is well known that, when John Walsh Clarennet, or any other Instrument, may be taught by Mr. published Handel’s solo sonatas around 1732, he didn’t HART, sen. next Door to the Arms, Rotherhith-stairs, even put the recorder on the title page, only “a German on Monday, Tuesday, Wednes­day, Thursday, from Ten in the Flute, a Hoboy or Violin,” relegating the information Morning ’till Six at Night at 2s. 6d. the first Lesson, 1s. each about the recorder’s presence (“Flauto Solo”) to the foot Lesson after; and those Gen­tle­men that chuse to be taught of the first page of each of its four sonatas. at Home may be waited on at a very reasonable rate” Similarly, in what seems to have been Walsh’s last (General Advertiser, November 23, 1748). advertised instrumental publication to mention the recorder, An advertisement of 1749 refers to “the new Academy Robert Valentine’s Op. 13 was billed as for “a German Flute in Windsor-Street, adjacent to Widegate Alley, without or Common Flute” (London Evening Post, April 26, 1735); Bishopsgate [i.e., the section of the street Bishopsgate

36 March 2012 American Recorder Resource List Vocal music arranged Maurice Byrne, “The Cahusacs and Hallet,” Galpin Society Journal 41 (1988): for the recorder 27-28. continued to David Lasocki, “Lessons from Inventories and Sales of Flutes and Recorders, 1650-1800,” in Flötenmusik in Geschichte und Aufführungspraxis von 1650 be advertised for bis 1850: XXXIV. Wissenschaftliche Arbeitstagung Michaelstein, 5. bis 7. Mai three more decades. 2006, herausgegeben von Ute Omonsky und Boje E. Hans Schmuhl/ Stiftung Kloster Michaelstein; Michaelsteiner Konferenzberichte, Band 73 The last such publication seems (Augsburg: Wißner-Verlag, 2009), 299-330. to have been an edition of Pepusch’s David Lasocki, “New Light on Eighteenth-Century English Woodwind The Beggar’s Opera, “transposed for Makers from Newspaper Advertisements,” Galpin Society Journal 63 the Common Flute” (Thomas (2010): 73-142. Lowndes, 1769). David Lasocki, “New Light on the Recorder and Flageolet in Colonial North America and the United States, 1700–1840, from Newspaper Advertise­ England didn’t turn ments,” Journal of the American Society 36 (2010): 5-80. its back on the recorder David Lasocki, “Woodwind Makers in the Turners Company of London, We have seen how advertisements 1604-1750,” Galpin Society Journal 65 (2012); in process of publication. in English newspapers demonstrate Nikolaj Tarasov, “Blockflöten im 19. Jahrhundert: Fiktion oder Wirklichkeit?” that, after 1730, the recorder continued 22, no. 12 (December 2005- January 2006): 28-31. to be made by leading woodwind Gerard Verloop, Het muziekinstrument op de boekenveiling, 1623-1775 makers and was sold by dealers and (privately printed, 2002). at auctions through the end of the William Waterhouse, “A Case of Flutes by Bressan,” Galpin Society Journal 46 18th century. The instrument had (1993): 162-63. music published with it in mind until 1769, about the time that advertise- indeed the sonatas fit both instruments, • Calliope, engraved by Henry ments for teachers end. but the title page mentions only Roberts, mostly published by The term “all sizes” in adver- “German Flute.” John Simpson, 1737-49 tisements from 1743 to 1787 meant Perfor­mances of concertos contin- • British Melody, or Cole’s Musical record­ers from the alto up to the ued to be advertised until 1738, when a Magazine, “the Trans­position sopranino. In the 16th century, a concert at Marylebone Gardens “by the necessary for the German Flute wide range of recorders had been avail- best Masters” included two concertos (which is now a favourite Instru­ able, from extended great bass through for the “little flute,” a small size of ment) as well as for the Common great bass, bass, basset, tenor, alto, recorder (London Daily Post and Flute, shall be accurately and soprano and sopranino. During the General Advertiser, July 10). distinctly express’d” (London course of the 17th century, especially Yet vocal music arranged for the Evening Post, June 27, 1738) with the advent of the Baroque style recorder continued to be advertised for • Bickham’s Musical Enter­tainer, of recorder around 1670, three more decades. An early landmark engraved by the celebrated etcher, sizes generally dropped out, leaving was Walsh’s publication of “Twenty- engraver, and caricaturist George basset, tenor, alto, soprano and sopra- four Opera’s by Mr. Handel; transpos’d Bickham Jr., 1738-40 nino, along with a new size, the voice for the Common Flute, in three • John Frederick Lampe’s Lyra flute, around 1700. Volumes” (London Daily Post and Britannica, 1740-41 During the 18th century, as General Advertiser, November 26, • John Alcock’s Twelve English the new evidence shows, even the 1735). The last time Walsh, publishing Songs, “transpos’d for the Common basset and tenor were gradually dis- alone, seems to have advertised for Flute in the most easy Keys,” 1743 carded, as players concentrated on the “common flute” is as one of the • The Warbler, Elizabeth Hare, 1743 the smaller sizes. Instruments a alternative instruments for a collec- • Uni­versal Harmony, J. Robinson second, third, fourth, fifth and sixth tion of songs called British Musical & J. Newberry, 1744-48 above the alto were presumably Miscellany, 6 volumes, 1734-37. • The , Mrs. Cooper, 1746 needed to transpose music written But other publishers continued • Amaryllis, Mrs. Cooper, later John for other instruments and the voice this practice: Tyther, James Lewer, 1746-66 into the recorder’s range.

www.AmericanRecorder.org March 2012 37