Plays pretty well on the common flute: The Recorder in Colonial North America and the Early U.S. By David Lasocki used to dream of the day when I Terminology would have enough time and money Before we can look for the recorder The author writes about woodwind toI visit all the archives and libraries in in historical sources, we need to know instruments, their history, repertory, and which 18th-century newspapers are what the instrument was called at performance practices. The third edition held nowadays, then go through all the the time. The original name for the of his book with Richard Griscom, newspapers looking for references to recorder in English, first documented The Recorder: A Research and the recorder. Recently, my dream came in 1388, was actually “recorder,” clearly Information Guide, was recently true, but not in the way I expected. distinguished from the transverse flute published by Routledge. First, I had access to a database (“flute”). Complications set in when that includes facsimile pages of virtu- the Baroque style of recorder—made in His interest in historical instruments ally all surviving London newspapers, three pieces, with elaborately turned played in America won him the Frances reporting the findings in my article joints—was introduced from France in Densmore Prize from the American “The Recorder in English Newspapers, 1673. The instrument then took on the Musical Instrument Society for the most 1730–1800” (AR, March 2012). Then French name flute douce, soon abbrevi- distinguished article-length work in I worked my way in a matter of weeks ated to flute. References to “flute” English published in 2010 for his two- through three databases that include between the 1670s and at least the part article “New Light on the Early facsimile pages or transcriptions of 1740s, therefore, almost always mean History of the Keyed Bugle.” most newspapers from colonial North the recorder, not the transverse flute. America and the early U.S. The switch in terminology was Since he retired from his position as As we will see, these databases possible only because the Renaissance Head of Reference Services in the Cook yielded some fascinating social material style of transverse flute was almost Music Library at Indiana University in about the history of the recorder in obsolete in England in the 1670s. January 2011, he has been devoting early America—also confirming that When the Baroque style was imported himself to many unfinished writings and the instrument did not die out around from France around 1700, it was given editions, to his own publishing company 1740, as the modern myth has it. a new name, “German flute,” a trans- Instant Harmony, and to the practice lation of the French flûte allemand or of energy medicine. See his web site, flûte d’Allemagne. www.instantharmony.net. In colonial North America, recorders are mentioned under that name, along with shawms, in invento- ries from plantations in New Hamp­ shire as early as 1633 and 1635. The two instruments were probably played by the same men, who had some cere- monial function on the plantation. In Beverwijck, a Dutch settlement (later Albany, the state capital of New York), Jan Gerritse van Marcken, a Dutchman who emigrated in 1654, became “farmer of the excise” in 1662. In 1664 he made an inventory of his possessions that included “10 houte fluijten” (10 wooden fluijten, line 4, at Photo by Susan Thompson, courtesy of the Archival Collection left), probably small record­ers for his of the Albany County (NY) Hall of Records children. His tale was recounted by

www.AmericanRecorder.org Summer 2013 15 gentlemen between 1736 and 1791. At tinguished student Benjamin Franklin Benjamin Franklin least through the 1750s, these are likely recorded approvingly that Brownell recorded approvingly to have been recorders, and one refer- “was a skilful master, and succeeded that Brownell “was a ence is explicit: Colonel Henry Fitz­ very well in his profession by employ- skilful master....” hugh, Esquire, plantation owner, Staf­ ing gentle means only, and such as were ford County, 1743: “a case containing calculated to encourage his scholars.” Susan Thomp­son in the November a German and an English flute.” In 1713, King’s Chapel in Boston 2004 AR, which also included her “German flute” for the transverse accepted the bequest of an organ and photo of the detail taken from his instrument first appeared in an adver- hired Edward Enstone from London inventory. tisement for a New York concert in to play it, on the understanding that he The colonies did not react 1736, and was used into the early 19th could supplement his income by teach- instantly to a change of terminology century. By the 1740s, as in England, ing. Alas, his petition to teach music in England. The estate inventory references to plain “flute” had become and dancing was disallowed by the city (1679) of Judith Parker, Surry County ambiguous. The double meaning of in February 1715 and again in April (VA) still uses the older terms to distin- recorders/flutes for “flutes” is implied 1716. Only two weeks later, Enstone guish between “1 Recorder [and] 2 by its alternation with “German and placed an advertisement: “there is lately flutes.” The inventory of John Dyer, English flutes” or “common and sent over from London a choice Col­ an ironmonger and member of the German flutes” in advertisements from lection of Musickal Instruments, con- Artillery Company in Boston (1696), five stores in Boston, Charleston (SC) sisting of Flaguelets, Flutes, Haut- lists “2 flutes 2s.” The instruments and New York over the period 1746– Boys, Bass-Viols, Violins, Bows, were probably fifes that he was 75. The usage of “flutes” for flutes was Strings, Reads for Haut-Boys, Books selling to other militiamen. not firmly established until the 1780s. of Instructions for all these Instru­ By 1716, when instruments were Finally, in the mid-1790s, “com- ments,” to be sold at his dancing imported to Boston from England by mon flute” came to mean the one- school. He added: “Any Person ... Edward Enstone, an organist who had keyed transverse flute, as opposed to may be taught to Play on any of these emigrated two years earlier, he used the one of the newer varieties with up Instruments abovemention’d....” term “flutes,” which presumably now to six keys; by the first decade of the Besides Enstone’s “Books of designated the recorder. 19th century, “English flutes” began Instructions,” tutors for the recorder “English flute” for recorder is first to signify flutes sent from England. were advertised for sale in Boston, documented in 1743, two years ahead In American sources of the second Charleston, New York, Phila­delphia, of British sources. In 1749, the alterna- half of the 18th century, “voice flute” and Williamsburg between 1759 and tive name “common flute,” first docu- did not mean an alto recorder in D, 1773, all apparently imported from mented in England in 1722, also turns as it had in England around 1700, London. up. Some­times both terms appear in but some kind of low transverse flute. Another Boston dancing master, advertisements by the same store about Increase Gatchell, also described as the same time, even presented as alter- Teachers, Players, Instruction “schoolmaster,” had “flutes” in his natives (“English, or common Con­cert Twelve men and one woman in five inventory when he died in 1729, and Flutes,” New York, 1773) or combined cities advertised their ability to teach may have taught them to his students. (“English common Flutes,” Baltimore, the recorder over the period 1713–71. He advertised violin strings for sale in 1785). A “concert” instrument seems to In 1713, at the Boston house of George 1724, so perhaps he also sold recorders. have been one pitched in the customary Brownell, “where scholars may board,” In 1744 in Philadelphia, “Mrs. key: thus F for an alto recorder. “Flute they were taught “Dancing, Treble Dickson, from Scotland” announced doux,” a garbled rendition of flûtes Violin, Flute, Spinnet &c.” in addition her intent “to teach young ladies to douces, occurs in New York in 1794. to two of the 3Rs (“Writing, Cypher­ draw in every kind, and to paint upon Recorders are mentioned in ing”) and several styles of needlework. silk, and japan upon glass or wood, and the estate inventories of two men in Brownell was actually the first dancing varnishing, or to play on the flute.” Boston: Walter Rosewell, sea captain, master permitted to teach in Boston. By contrast, in New York the fol- 1717 (“1 Flute & book”); and James The reference to needlework suggests lowing September, “a gentleman lately Scolley, shopkeeper, 1721 (“1 fflut”). that girls were being taught as well as arrived here” made his pitch to “young The “flute” is also found in several boys, and that his wife, Pleasant, was gentlemen, or others, inclinable to estate inventories of wealthy Virginia involved in the school. Brownell’s dis- learn,” offering that those “who are 16 Summer 2013 American Recorder “Charles Love, a tall thin man ... plays extremely well on the violin, and all wind instruments; he stole when he went away a very good bassoon, made by Schuchart, ... as also a Dutch or German fiddle, with an old hautboy and German flute, which are his own....” willing to divert or improve a tedious may be carefully taught the violin, hour ... may be taught by a very easy hautboy, German-flute and common method, the violin and flute.” He flute, by book, as formerly.” “By note” offered to wait on gentlemen “at their and “by book” both mean “from written respective lodgings” and undertook “to or printed music,” not just by ear. teach the meanest capacity (on strict Charles Love, “musician from application) two tunes in the first fort- London,” advertised in New York in night, and so on in proportion.” The 1753 that he had set up a school “in reference to practicing is a nice touch. Mr. Rice’s consort room in Broad- In Charleston in 1749, Frederick Street” and was “teaching gentlemen Grunzweig, perhaps a recent immi- musick on the following instruments, grant, gave notice to a broad potential viz. violin, hautboy, German and com- clientele—“all young gentlemen, ladies mon flutes, bassoon, French horn, and others, in town and country”—that tenor, and bass violin, if desired.” “besides the spinnet,” singing to the Evidently, Love did not find enough spinnet, “German flute, &c.,” he taught students to make a living, moving on “the English or common flute and to become a servant of Philip Ludwell violincello ... carefully ... at a very cheap Lee, a plantation owner and a member rate”—both during the day, presum- of one of the richest families in Vir­ ably at his students’ houses, and at his ginia. When Love ran away in 1757, house every Wednesday and Saturday Lee offered a large reward, describing evening. his servant as: “Charles Love, a tall thin That same year, John Beals of man, about sixty years of age; he pro- Philadelphia, “musick-master, from fesses music, dancing, fencing, and London,” proposed to teach “the violin, plays extremely well on the violin, hautboy, German flute, common flute, and all wind instruments; he stole and dulcimer, by note” at his house or when he went away a very good bas- to “attend young ladies, or others, that soon, made by Schuchart, … as also may desire it, at their houses.” As a a Dutch or German fiddle, with an bonus, “He likewise provides musick old hautboy and German flute, which for balls or other entertainments.” are his own....” Probably the music business was slow; Other musical runaways are men- three years later he advertised himself tioned in advertisements for their cap- primarily as a maker of nets, only add- ture. There is one clear reference to the ing at the end: “Gentlemen and others recorder: William Mangles, an English www.AmericanRecorder.org Summer 2013 17 A man ... left an alehouse He added that students “may depend 1815. The bulk of the advertisements on his assiduity and punctual atten- lie in the period 1752–77, with a peak “befuddled but in a dance on very reasonable terms, either of 7 sellers per year in 1766–67. good humor with a big at their own houses or at his house....” In the 1760s and ’70s, recorders flute in his pocket.” The mixed-language term flauto a bec were imported from London in sizes for the recorder is also documented from “all” to “various” or “different.” servant of John Leathes, aged about 27, in Germany in the late Baroque. Only three times are sizes specified: Philadelphia, 1753: “He plays pretty Besides teachers and students, the 1. “Common Flutes, from a Con­cert well on the common flute.” references to players of the recorder are to an Octave” (Philadelphia, 1762): In Philadelphia in 1763, a “limner” to amateurs. The earliest is in 1660 in from alto to sopranino (painter) named William Williams Bever­wijck, where a man is reported to 2. “English, or common Concert announced that, “being lately returned have left an alehouse “befuddled but in Flutes ... English, second Concert from the West Indies,” he had set up a good humor with a big flute in his Flutes ... English, third Concert business in his former residence, “viz. pocket.” The flute is far more likely Flutes ... English, fourth Concert painting in general. Also, an evening to have been a fluit, or recorder, than Flutes” (New York, 1777): altos, school, for the instruction of polite a large flute, an instrument that was and other recorders pitched a sec- youth, in different branches of draw- scarcely played by amateurs in Europe. ond, a third, and a fourth above ing, and to sound the houtboy, 3. “English or Shepherd Flutes, German and common flutes....” Sellers 2d, 3d, 4th, 6th and 8th” In 1771, Francis Russworm We are fortunate that American stores (Boston, 1815). begged leave “to inform the young gen- often itemized their wares in their Two London dealers—George Astor tlemen in and about Williamsburg, that advertisements. No fewer than 53 sell- and Goulding, Phipps, & D’Almaine— he shall open a school ... to teach the ers in 11 cities—Baltimore, Boston, advertised similar sizes in 1799–1800. violin, German and common flutes”; Charleston, New York, Newburyport Despite the apparent generosity of he also taught dancing to young ladies. (MA), Newport, Norfolk (VA), Phila­ “all sizes,” these references reflect a fur- Jacob Hood and Philip Hartunoz delphia, Providence (RI), Salem (MA) ther shift in the history of the recorder. informed the public of Charleston in and Williamsburg—advertised record- In the 16th century, a wide range of 1772 “that they teach at home and ers between 1716 and 1815, exactly a recorders had been available, from abroad [away from home], all musical century. Throughout this period, the extended great bass through great bass, instruments of every denomination main sellers were stores for general bass, basset, tenor, discant, soprano and whatsoever, particularly the violin, vio- goods (9), hardware (9), books (6) and sopranino. Over the course of the 17th loncello, harpsichord, hautboy, bassoon, housewares (4). Less than 10 percent of century, especially with the advent of German and English flute, French the sellers were in the music business: the Baroque style of recorder, the low- horn, & etc. Any gentleman, a lover of music stores (5), non-woodwind est sizes dropped out, leaving basset, music, may have his Negroes taught instrument makers (2), music pub- tenor, alto, soprano and sopranino— upon every reasonable terms.... All lisher/store (1) and music teacher (1). along with a new size, the voice flute, musical instruments tuned, repaired, Other sellers included two silversmiths around 1700. During the 18th century, and rectified.” Hood was presumably and one each of bookbinder, clock and as the new evidence shows, even the the man of that name advertising in watch store, cutler, ivory turner, mathe- basset and tenor were gradually dis- Newport, RI (1765), and Charleston matical instrument maker, picture store, carded, as players concentrated on the (1770) as teaching gentlemen the vio- post office, and printer. No makers’ smaller sizes, from alto to sopranino. lin, violoncello and German flute. names are given. The only price we have for record- Hood and Hartunoz soon had The average number of sellers per ers is the “common Flutes of all sizes at competition in Charleston. In 1773, year offering recorders crept up: a Dollar each, and upwards” advertised John William Beck confidently adver- • 0.2 in the 1730s by a “gentleman from London” selling tised “that he teacheth to play on the • 0.3 in the 1740s instruments in New York, Philadelphia, following instruments, viz., clarinet, • 1.4 in the 1750s Newport and Boston in 1762–64. His flauto traverso, flauto a bec, hautbois or • 4.0 in the 1760s, an abrupt rise beginning price for flutes was $3. oboe de Simon [lower oboe?], bassoon, • 2.1 in the 1770s, now falling. A gentleman in New York was also violin, tenor violin, and bass violin as The number stayed steady at around selling flutes at $3 in 1759. perfectly as any master in America.” 0.6 through 1804, ending with 2 in 18 Summer 2013 American Recorder Makers Von Huene voice flute after Bressan At first, recorders were imported from England, as men- Bassoons, Fifes....” Nine years later, a mon Flutes, Hautboys, Clarinets and tioned in the above advertisement by turner named David Wolhaupter—the Soldiers Fifes; he also mends old Ones; Enstone (1716). The primary London same man or a relative—announced and makes all Sorts of other Turner makers in the early 18th century were to “his friends and customers” that he Work.” His German term for recorders Peter Bressan (1663–1731), John Hall had moved his business to Broadway, was gemeinen Floeten, a literal transla- (born c.1655; fl. 1729), and Thomas “where he makes and mends all sorts of tion of “common flutes.” Anthony’s Stanesby Senior (c.1668–1734). musical instruments, such as bassoons, obituary in 1804 stated that he was in Between 1743 and 1795, several German flutes, common d[itt]o. haut- his 68th year, “a German by birth, and stores in Boston, New York, New­ boys, clarrinets, fifes, bagpipes, &c....” resided in this city for more than 40 buryport, Newport and Philadelphia By 1773, perhaps a sign of the impend- years.” A flute, a walking-stick flute, stated that their recorders had just ing Revolution, he emphasized that he and a clarinet by him have survived, been imported via London or Bristol, made “drums, trumpets, fifes, and all but no recorders. sometimes even citing the importing sorts of musical instruments.” In his Joshua Collins, “musical instru- ship and its captain. final year of advertising, 1775, the ment-maker and turner from Man­ The instruments must have recorder is mentioned again: “He also ches­ter,” announced in Annapolis stemmed in part from those London makes Clarinets, Hautboys, German (MD) in 1773 that, in his new business woodwind makers mentioned by name and common Flutes....” None of his at Shaw and Chisholm’s cabinet shop, in American advertisements for other instruments have survived. instruments who are known to have In Philadelphia in 1772, Jacob The earliest known made recorders: Thomas Collier Anthony issued two parallel advertise- woodwind maker in (d. 1785), Caleb Gedney (1729–69), ments, in German and English, “to John Mason (fl. 1754–78), Richard acquaint the Public, that he makes and colonial North America Potter (1726–1806), and John Just sells all Sorts of musical Instruments; came from Germany. Schuchart (d. 1759) and his son as German Flutes, of all Sorts, com- Charles (d. 1765). Gedney advertised in 1754 that he made “the nea[t]est and best Travers or German Flutes of all Sizes, Eng­lish Flutes ditto.... Orders out of the Country shall be punctually obey’d.” Mason advertised in 1765: “He makes the most curious German and Com­mon Flutes, Fifes, Hautboys, Clarinets, Bassoons, Vox Humanes, &c. his Work being well known, and used through all Parts of his Majesty’s Dominions Abroad and at Home.” Recorders by Collier, Schuchart and Thomas Cahusac Senior (1714–98) survive in American collections, although of course they may not be of American provenance. The earliest known woodwind maker in colonial North America came from Germany rather than England. Gottlieb Wolhaupter advertised in New York in 1761 that he “continues to make and mend, all Sorts of Musical Instruments, such as German Flutes, Hautboys, Clareonets, Flageolets,

www.AmericanRecorder.org Summer 2013 19 Instruments in and Around Colo­ nial Boston,” in Music in Colonial prescott Massachusetts 1630–1820, II: Music in Home and in Churches: A Con­ Workshop ference Held by the Colonial Society 14 Grant Road of Massachusetts May 17 and 18, Hanover, New Hampshire 1973 (Boston: The Society, 1985). 03755 • USA 603.643.6442 Phone David Lasocki, “Joshua Collins: an email: [email protected] 18th-Century Woodwind Maker www.prescottworkshop.com (perhaps) from Manchester,” Devoted to making recorders of the finest possible quality for nearly 40 years. Manchester Sounds 8 (2009–10): 8–13. Articles by Lasocki listed “all sorts of turner’s work is executed in everything but name, having seven fin- here are available as free down- www.instantharmony. the compleatest manner; also German ger holes and a thumb hole. Through loads from net/Music/articles.php and common flutes, hautboys, fifes, &c. various patents, or otherwise, it under- of all sorts and sizes; all sorts of musical went rapid development over the next Lasocki, “New Light on 18th-Century instruments repaired....” Furthermore, 20 years, largely to reduce the tendency English Woodwind Makers from “He has opened an evening school for for the windway to clog with moisture, Newspaper Advertisements,” musick, at Mr. John Hepburn’s, where to extend the range, and to make pro- Galpin Society Journal 63 (2010): he teaches the most modern and ducing the octave easier for amateurs 73–142. approved methods of playing the by reducing or eliminating the thumb Lasocki, “New Light on the Recorder German flute, hautboy, clarinet, bas- hole. Keywork was also gradually and Flageolet in Colonial North soon, &c. Having been educated in added, as on the flute. America and the United States, that science, under the care of some The flageolet in the 19th century 1700–1840, from Newspaper of the greatest masters in England.” achieved an even greater popularity Advertisements,” Journal of the Perhaps he had picked up such training than the recorder in the 18th, for the American Musical Instrument by stopping off in London on the way same reasons: it was portable and one Society 36 (2010): 5–80. to America. Was the recorder included could easily learn to play a few tunes Lasocki, “The Recorder in English under the “etc.”? An oboe by him has on it, with or without a teacher. This Newspapers, 1730–1800,” AR 53, survived, dated “November 1771” instrument kept the family of duct no. 2 (March 2012): 29–37. (presumably made while he was still in flutes alive and well among American David W. Music, “The Recorder in England), as well as an octave bassoon, amateurs—and later in the 19th cen- Early America,” AR 24, no. 3 but no members of the flute family. tury, developed a signif­icant body of (August 1983): 102–3. touring professionals. The Performing Arts in Colonial Postscript American Newspapers, 1690–1783 The newspaper advertisements that Resources [PACAN], compiled by Mary Jane form the basis of this article furnish a Accessible Archives (available on sub- Corry, Kate Van Winkle Keller, wealth of information about recorder scription at www.accessible.com). and Robert M. Keller (New York: teachers, players, sellers and makers America’s Historical Newspapers includ- University Music Editions, 1997). that has been virtually unknown to ing Series 1, 2, 3, 4 and 5; 1690– Louis Pichierri, Music in New Hamp­ recorder researchers. These advertise- 1922 and Hispanic American shire, 1623–1800 (New York: ments confirm that, as in England, Newspapers, 1808–1980, publ. by Columbia University Press, 1960). the recorder played a role in musical Readex, a division of NewsBank; Susan E. Thompson, “Wooden Fluijten life as an amateur and educational available on subscription from in Beverwijck, a Dutch Colony in instrument throughout the 18th http://infoweb.newsbank.com. the New World,” AR 45, no. 5 century and into the 19th. The Life of Dr. Benjamin Franklin, (November 2004): 16–18. As interest in the recorder waned Written by Himself, 2nd American Phillip T. Young, 4900 Historical toward the end of the 18th century, the ed. (Philadelphia: Benjamin Woodwind Instruments: An flageolet took its place. Ironically, the Johnson, 1794). Inventory of 200 Makers in so-called English flageolet, invented in Barbara Lambert, “Social Music, International Collections England in the 1790s, was a recorder in Musicians, and Their Musical (London: Tony Bingham, 1993). 20 Summer 2013 American Recorder