Editing Recorder (musical instrument) (section)

==== Repertoire ====
Recorders were probably first used to play vocal music, later adding purely instrumental forms such as dance music to their repertoire. Much of the vocal music of the fifteenth, sixteenth and seventeenth centuries can be played on recorder consorts, and as illustrated in treatises from Virdung to Praetorius, the choice appropriate instruments and transpositions to play vocal music was common practice in the Renaissance. Additionally, some collections such as those of [[Pierre Attaingnant]] and [[Anthony Holborne]], indicate that their instrumental music was suitable for recorder consorts.<ref name=":18">Anthony Holborne, ''Pavans, Galliards, Almains and other short Aeirs, both grave and light, in five parts, for Viols, Violins, recorders or other Musicall Winde Instruments'', published in 1599</ref> This section first discusses repertoire marked for the recorder, then briefly, other repertoire played on recorder.

In 1505 Giovanni Alvise, a Venetian wind player, offered Francesco Gonzaga of Mantua a motet for eight recorders, however the work has not survived.

[[Pierre Attaingnant]]'s ({{floruit}} 1528–1549) {{Lang|fr|Vingt & sept chansons musicales a quatre parties a la fleuste dallement...et a la fleuste a neuf trous}} (1533) collects 28 (not 27, as in the title) four-part instrumental motets, nine of which he says were suitable for performance on flutes ({{Lang|fr|fleustes dallement}}, German flutes), two on recorders ({{Lang|fr|fleuestes a neuf trous}}'','' nine-holed flutes, "recorders"), and twelve suitable for both. Of the twelve marked for both, seven use ''[[Chiavette|chiavi naturali]]'', or low-clefs typically used for recorders, while the others use the {{Lang|it|chiavette}} clefs used in the motets marked for flutes. Hence, the seven notated in {{Lang|it|chiavi naturali}} could be considered more appropriate for recorders. {{Lang|fr|Vingt et sept chansons}} is the first published music marked for a recorder consort. Earlier is a part for [[Jacobus Barbireau]]'s song "{{Lang|nl|Een vrolic wesen}}", apparently for recorder, accompanying the recorder fingering chart in {{Lang|fr|Livre plaisant et tres utile}}''...'' (Antwerp, 1529), a partial French translation of Virdung's {{Lang|de|Musica getutscht}}.

[[Jacques Moderne]]'s {{Lang|fr|S'ensuyvent plusieurs basses dances tant communes que incommunes}} published in the 1530s, depicts a four-part recorder consort such as those described in Virdung, Agricola, Ganassi and others, however the dances are not marked for recorders. His {{Lang|fr|Musique de joye}} (1550) contains ricercares and dances for performance on "{{Lang|fr|espinetes}}, {{Lang|fr|violons}} & {{Lang|fr|fleustes}}".

In 1539–40, Henry VIII of England, also a keen amateur player (see Cultural significance), imported five brothers of the Bassano family from Venice to form a consort, expanded to six members in 1550, forming a group that maintained an exceptional focus on the recorder until at least 1630 when the recorder consort was combined with the other wind groups. Most wind bands consisted of players playing [[sackbut]]ts, [[shawm]]s, and other loud instruments doubling on recorder. Some music probably intended for this group survives, including dance music by Augustine and Geronimo Bassano from the third quarter of the sixteenth century, and the more elaborate fantasias of Jeronimo Bassano ({{circa}} 1580), four in five parts and one in six parts. Additionally, the Fitzwilliam wind manuscript (''GB-Cfm'' 734) contains wordless motets, madrigals and dance pieces, including some by the Bassano family, probably intended for a recorder consort in six parts.<ref>{{Cite journal|url = http://www.instantharmony.net/Music/AR-08-84.pdf|title = The Recorder Consort at the English Court 1540–1673: Part I|last = Lasocki|first = David|date = 1984|journal = American Recorder|issue = 8|access-date = 14 February 2016|archive-date = 22 February 2016|archive-url = https://web.archive.org/web/20160222211343/http://www.instantharmony.net/Music/AR-08-84.pdf|url-status = dead}}</ref>

The English members of the Bassano family, having originated in Venice, were also probably familiar with the vocal style, advanced technique, and complex improvised ornamentation described in Ganassi's ''Fontegara'', and they were probably among the recorder players whom Ganassi reports having worked and studied with: when they were brought to England, they were regarded as some of the best wind players in Venice. While most of the music attributed to the consort uses only a range of a thirteenth, it is possible that the Bassano's were familiar with Ganassi's extended range.<ref name=":19">''The Cambridge Companion to the Recorder'', p. 15: "By far the largest amount of space in [Ganassi's treatise published in 1535] is devoted to details about ornamentation, which suggest a high level of extravagant embellishment in a remarkably rhythmically free manner..."</ref>

Recorders were also played with other instruments, especially in England, where it was called a mixed consort or "broken consort".

Other sixteenth-century composers whose instrumental music can be played well on recorder consorts include:
* [[Anthony Holborne]] (c. 1545{{Snd}}1602)
* [[Tielman Susato]] (c. 1510{{Snd}}c. 1570)
Other notable composers of the Renaissance whose music may be played on the recorder include:
* [[Guillaume Dufay]] (1397{{Spaced en dash}}1474)
* [[Johannes Ockeghem]] (1410/1425{{Spaced en dash}}1497)
* [[Josquin des Prez]] (1450/1455{{Spaced en dash}}1521)
* [[Heinrich Isaac]] (1450{{Spaced en dash}}1517)
* [[Ludwig Senfl]] (1486{{Snd}}c. 1542)
* [[Orlando di Lasso]] (c. 1530{{Snd}}1594)
* [[William Byrd]] (c. 1539{{Snd}}1623)
* [[John Dowland]] (1563{{Spaced en dash}}1626)