Editing Recorder (musical instrument) (section)

===Modern revival===
==== The "revival" ====
The concept of a recorder "revival" must be considered in the context of the decline of the recorder in the eighteenth and nineteenth centuries. The craft of recorder making was continued in some form by a number of families, such as the {{Lang|de|Berchtesgaden Fleitl}} produced by the Oeggle family, which traces its lineage to the Walch family of recorder makers<ref>MacMillan, D. (2007). "The Recorder 1800–1905". ''Recorder Magazine'' 27(4): 126–131.</ref> the careers of the Schlosser family of [[Zwota]]. Heinrich Oskar Schlosser (1875–1947) made instruments sold by the firm of [[Moeck Musikinstrumente + Verlag|Moeck]] in Celle and helped to design their Tuju series of recorders.<ref>Tarasov, N. (2005). "{{Lang|de|Bahn frei! Kreative Blockkonstruktionen im 19 Jahrhundert}}". ''Windkanal'' 4: 14–17. {{in lang|de}}</ref> The firm [[Conrad Mollenhauer GmbH|Mollenhauer]], currently headed by Bernhard Mollenhauer, can trace its origins to historical instrument makers.<ref>{{Cite web|title=Csakan ...  rediscovered|url = http://www.csakan.de/en|website = www.csakan.de|access-date = 10 February 2016|last=Mollenhauer|first=Bernhard|date=n.d.|archive-date = 10 February 2016|archive-url = https://web.archive.org/web/20160210130857/http://csakan.de/en|url-status = dead}}</ref>

The recorder, if it did persist through the nineteenth century, did so in a manner quite unlike the success it enjoyed in previous centuries, or that it would enjoy in the century to come in. Among the earliest ensembles to begin use of recorders in the twentieth century was the [[Bogenhauser Künstlerkapelle]] (Bogenhausen Artists' Band) which from 1890 to 1939 used antique recorders and other instruments to play music of all ages, including arrangements of classical and romantic music. Nonetheless, the recorder was considered primarily an instrument of historical interest.

The eventual success of the recorder in the modern era is often attributed to [[Arnold Dolmetsch]]. While he was responsible for broadening interest in the United Kingdom beyond the small group of early music specialists, Dolmetsch was not solely responsible for the recorder's broader revival. On the continent his efforts were preceded by those of musicians at the Brussels Conservatoire (where Dolmetsch received his training), and by the German [[Bogenhauser Künstlerkapelle]]. Also in Germany, the work of [[Wilibald Gurlitt|Willibald Gurlitt]], [[Werner Danckert]]s and Gustav Scheck proceeded quite independently of the Dolmetsches.<ref>Eve E. O'Kelly, ''The Recorder Today'', Cambridge University Press, 1990. {{ISBN|0-521-36681-X}}. Chapter 1: The Revival</ref>

==== Players ====
{{see also|List of recorder players}}
{{more citations needed section|date=May 2019}}
Carl Dolmetsch, the son of Arnold Dolmetsch, became one of the first virtuoso recorder players in the 1920s; but more importantly he began to commission recorder works from leading composers of his day, especially for performance at the Haslemere festival which his father ran. Initially as a result of this, and later as a result of the development of a Dutch school of recorder playing led by [[Kees Otten]], the recorder was introduced to serious musicians as a virtuoso solo instrument both in Britain and in northern Europe.

Among the influential virtuosos who figure in the revival of the recorder as a serious concert instrument in the latter part of the twentieth century are Ferdinand Conrad, Kees Otten, [[Frans Brüggen]], [[Roger Cotte]], [[Hans-Martin Linde]], [[New York Pro Musica|Bernard Krainis]], and [[David Munrow]]. Brüggen recorded most of the landmarks of the historical repertoire and commissioned a substantial number of new works for the recorder. Munrow's 1975 double album ''The Art of the Recorder'' remains as an important anthology of recorder music through the ages.

Among late twentieth-century and early 21st-century recorder ensembles, the trio [[Sour Cream Trio|Sour Cream]] (led by [[Frans Brüggen]]), [[Flautando Köln]], the [[Flanders Recorder Quartet]], [[Amsterdam Loeki Stardust Quartet]] and [[Quartet New Generation]] have programmed remarkable mixtures of historical and contemporary repertoire. Soloists such as [[Piers Adams]], [[Dan Laurin]] and [[Dorothee Oberlinger]], [[Michala Petri]], [[Maurice Steger]].

In the 2012 Charlotte Barbour-Condini became the first recorder player to reach the final of the biennial [[BBC Young Musician of the Year]] competition. Recorder player Sophie Westbrooke was a finalist in the 2014 competition.<ref>{{citation|author=BBC|title=BBC Young Musician|url=http://www.bbc.co.uk/programmes/profiles/2z5sMZbDZKnvmdml5FjxnLH/sophie-westbrooke|access-date=25 November 2014|year=2014}}</ref>

==== Structure ====
{{more citations needed section|date=May 2019}}
The first recorders to be played in the modern period were antique instruments from previous periods. Anecdotally, Arnold Dolmetsch was motivated to make his own recorders after losing a bag containing his antique instruments. Recorders made in the early twentieth century were imitative of baroque models in their exterior form, but differed significantly in their structure. Dolmetsch introduced English fingering, the now standard fingering for "baroque" model instruments, and standardised the doubled 6th and 7th holes found on a handful of antique instruments by the English makers [[Thomas Stanesby|Stanesby]] and [[Peter Bressan|Bressan]]. Dolmetsch instruments generally had a large rectangular windway, unlike the curved windways of all historical instruments, and played at modern pitch.

==== Repertoire ====
Nearly twice as many pieces have been written for the recorder since its modern revival as were written in all previous epochs.<ref>{{Cite web|title = Catalogue of Recorder Repertoire: Home|url = http://www.blokfluit.org/|website = www.blokfluit.org|access-date = 12 February 2016}}</ref> Many of these were composed by avant-garde composers of the latter half of the twentieth century who used the recorder for the variety of extended techniques which are possible using its open holes and its sensitivity to articulation.

{{Listen|type=music
|filename    = Colin Ross - Etherea.ogg
|title       = Etherea (Colin Ross, 1995)
|description = [[New-age music]] performed on the recorder. 03:08 minutes}}
Modern composers of great stature have written for the recorder, including [[Paul Hindemith]], [[Luciano Berio]], [[Jürg Baur]], [[Markus Zahnhausen]], [[Josef Tal]], [[John Tavener]], [[Michael Tippett]], [[Benjamin Britten]], [[Leonard Bernstein]], [[Gordon Jacob]], [[Malcolm Arnold]], [[Steven Stucky]], [[Sean Hickey]], and [[Edmund Rubbra]].

Owing to its ubiquity as a teaching instrument and the relative ease of sound production, the recorder has occasionally been used in popular music by groups such as [[The Beatles]];<ref>For example, in "[[The Fool on the Hill]]", according to [http://www.recorderhomepage.net/torture5.html The Recorder Home Page maintained by Nicholas S. Lander] {{webarchive|url=https://web.archive.org/web/20070818095832/http://www.recorderhomepage.net/torture5.html |date=18 August 2007 }}</ref> [[the Rolling Stones]] (see, for example, "[[Ruby Tuesday (song)|Ruby Tuesday]]"); [[Yes (band)|Yes]], for example, in the song "[[I've Seen All Good People]]"; [[Jefferson Airplane]] with [[Grace Slick]] on ''[[Surrealistic Pillow]]'';<ref>[https://observer.com/2017/02/jefferson-airplane-birthed-psychedelic-rock-surrealistic-pillow/ "The Enduring Mystery of Jefferson Airplane's ''Surrealistic Pillow''"] by [[John Kruth]], ''[[The New York Observer]]'', 1 February 2017</ref> [[Led Zeppelin]] ("[[Stairway to Heaven]]"); [[Jimi Hendrix]];<ref>For example, in the song "[[If 6 Was 9]]", according to [http://www.recorderhomepage.net/torture5.html The Recorder Home Page maintained by Nicholas S. Lander] {{webarchive|url=https://web.archive.org/web/20070818095832/http://www.recorderhomepage.net/torture5.html |date=18 August 2007 }}</ref> [[Siouxsie and the Banshees]];<ref>For example in the song "Green Fingers", according to [http://www.discogs.com/release/386971 Discogs.com's page] on the album ''[[A Kiss in the Dreamhouse]]''</ref> [[Judy Dyble]] of [[Fairport Convention]]; [[Dido (singer)|Dido]] (e.g. "Grafton Street" on ''[[Safe Trip Home]]'').<ref>{{cite news|url=https://www.smh.com.au/entertainment/dido-queen-of-the-road-20081115-gdt2pt.html|access-date=21 March 2025|title=Dido: Queen of the road|author=Sheryl Garrat|date=15 November 2008|newspaper=[[The Sydney Morning Herald]]}}</ref>