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Plays Pretty Well on the Common Flute: the Recorder in Colonial North America and the Early U.S

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Plays Pretty Well on the Common Flute: the Recorder in Colonial North America and the Early U.S 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 record ers 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 Thomp son 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, Phila delphia, 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. Some times 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 Con cert 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.
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