Editing Recorder (musical instrument) (section)

==== 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>