Editing Recorder (musical instrument) (section)

===== Csakan =====
The csakan (from Hung. {{Lang|hu|csákány}} 'pickaxe'), also known by the recorder's old French name {{Lang|fr|flute douce}}, was a duct flute in the shape of a walking stick or oboe popular in [[Vienna]] from about 1800 to the 1840s. The csakan was played using the fingerings of a recorder in C, and was typically pitched in A{{music|flat}} or G and played as a transposing instrument. The first documented appearance of the csakan was at a concert in [[Budapest]] on 18 February 1807 in a performance by its billed inventor, Anton Heberle ({{floruit}} 1806–16). Tarasov has contested Heberle's status as the inventor of the instrument, and has argued that the csakan grew out of a Hungarian war hammer of the same name, which was converted into a recorder, perhaps for playing military music. Around 1800, it was highly fashionable for make walking sticks with additional functions (e.g., umbrellas, swords, flutes, oboes, clarinets, horns) although the csakan was the most popular of these, and the only one that became a musical instrument in its own right.<ref>{{Cite journal|title = Was ist ein Csakan? Von der Waffe zum Musikinstrument|last = Tarasov|first = Nikolaj|date = 2009|journal = Windkanal|issue = 1|trans-title = What is a csakan? From war hammer to musical instrument|issn = 1864-6204|pages = 14–19}}</ref>

The earliest instruments were shaped like a walking stick with a mouthpiece in the handle and had no keys, although they could eventually have up to thirteen keys, along with a tuning slide and a device for narrowing the thumb hole. In the 1820s a csakan "in the pleasing shape of an oboe" was introduced in a "simple" form with a single key and a "complex" form with up to twelve keys like those found on contemporaneous flutes. Well-known makers of the csakan included Johann Ziegler and Stephan Koch in Vienna, and Franz Schöllnast in [[Bratislava|Pressburg]]. According to accounts left by Schöllnast, the csakan was primarily an amateur instrument, purchased by those who wanted something simple and inexpensive, however there were also accomplished professionals, such as Viennese court oboist Ernst Krähmer (1795–1837) who toured as far afield as Russia, playing the csakan with acclaimed virtuosity.<ref>{{Cite web|title = Csakan|last = Betz|first = Marianne|publisher = Oxford University Press|work = Grove Music Online|url = http://www.oxfordmusiconline.com/subscriber/article/grove/music/06917}}{{Dead link|date=October 2019 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

Around 400 works for the csakan were published in the first half of the nineteenth century, mainly for csakan solo, csakan duet or csakan with guitar or piano. The csakan's repertoire has not yet been fully explored. Notable composers for the instrument include Heberle and Krähmer, and Tarasov notes that piano works by Beethoven were arranged for csakan and guitar ([[Ludwig van Beethoven|Beethoven]] is reported to have owned a walking-stick csakan). Modern recorder makers such as [[Conrad Mollenhauer GmbH|Bernhard Mollenhauer]] and Martin Wenner have made csakan copies.<ref>{{Cite web|title = Csakan|url = http://csakan.de/en|website = csakan.de|access-date = 14 February 2016|last = Mollenhauer|first = Bernhard|archive-date = 10 February 2016|archive-url = https://web.archive.org/web/20160210130857/http://csakan.de/en|url-status = dead}}</ref><ref>{{Cite web|title = J. Ziegler, Csakan, A flat|url = http://www.wennerfloeten.de/en/products/blockfloeten/j-ziegler-csakan-a-flat/|website = www.wennerfloeten.de|access-date = 14 February 2016}}</ref>

Similarities in fingering and design make the csakan at least a close relative of the recorder. Accounts of Krähmer's playing, which report his "diminishing and swelling the notes, up to an almost unbelievable loudness" imply a developed technique using shading and alternate fingerings, far beyond a purely amateur culture of house music. Additionally, Tarasov reports that some recorders by Baroque makers were modified, around 1800, through the addition of keys, including a [[Johann Christoph Denner|J.&nbsp;C. Denner]] (1655–1707) basset recorder in Budapest and an alto by Nikolaus Staub (1664–1734) with added G{{music|#}} keys, like the D{{music|#}} key on a baroque two-key flute. Another modification is the narrowing of the thumb hole, by way of an ivory plug on the J.&nbsp;C. Denner basset and an alto by Benedikt Gahn (1674–1711), to allow it to serve purely as an octaving vent, as found on many flageolets and csakans. These changes may be archetypal to those found on csakans and flageolets, and constitute an inchoate justification for the continuous development of the Baroque recorder into its nineteenth-century relatives.<ref>{{Cite journal|title = Barockblockflöten 2.0: Indizien für die Verwendung von Barockblockflöten um 1800|last = Tarasov|first = Nikolaj|date = 2010|journal = Windkanal|issue = 1|trans-title = Baroque recorders 2.0: indicators of the use of Baroque recorders around 1800|pages = 12–15|issn = 1864-6204}}</ref>