Recorder I. The instrument 2. Structure. (ii) Renaissance.: Table 1
Recorder I. The instrument 2. Structure. (ii) Renaissance.: Table 1
Woodcut from the title-page of Ganassi’s ‘Opera intitulata Fontegara’ (Venice, 1535)
Woodcut from the title-page of Ganassi’s ‘Opera intitulata Fontegara’ (Venice, 1535)
‘Great consort’ of recorders, (from left to right) Grossbass (F), Bass (B♭), Basset (f), Tenor (c′). Alt (f′), Discants (c″, d″), klein Flötlein (Exilent, g″) and gar klein Flötlein (with one thumb- and three fingerholes): woodcut from Praetorius’s ‘Synta
‘Great consort’ of recorders, (from left to right) Grossbass (F), Bass (B♭), Basset (f), Tenor (c′). Alt (f′), Discants (c″, d″), klein Flötlein (Exilent, g″) and gar klein Flötlein (with one thumb- and three fingerholes): woodcut from Praetorius’s ‘Syntagma musicum’ (2/1619)
(a) Pair of recorders: detail from the ‘Triumph of Venus’, upper register of the ‘Allegory of April’ (‘Taurus’), fresco by Francesco del Cossa, c1468–70 (Salone dei Mesi, Palazzo Schifanoia, Ferrara); (b) one-piece recorder: detail of ‘Vanitas Still-life’
(a) Pair of recorders: detail from the ‘Triumph of Venus’, upper register of the ‘Allegory of April’ (‘Taurus’), fresco by Francesco del Cossa, c1468–70 (Salone dei Mesi, Palazzo Schifanoia, Ferrara); (b) one-piece recorder: detail of ‘Vanitas Still-life’ by Jan Davidsz. de Heem, 1664 (Museées Royaux des Beaux-Arts, Brussels)
