This fresco is very different from the stereotyped frescoes found elsewhere in the region, and it is possible that it records a theatrical performance of an earlier time (see Marjanović & Major 1995). The Mocking of Jesus by Michael Astrapas and Eutychios,Ĭhurch of St George, Staro Nagoričane, Macedonia, detail Perhaps the earliest illustration of a recorder as such is The Mocking of Jesus (after 1315), a fresco from the Church of St George, Staro Nagoričane, a village E of near Kumanova in (Yugoslav) Macedonia, painted by the court painters Michael Astrapas and Eutychios, in which a musician plays a cylindrical duct flute, the beak and window/labium of which are clearly visible, as are open holes beneath three lifted fingers of the player’s uppermost (left) hand and four holes for the fingers of the lowermost hand (also off the instrument). Thus, it should be noted that any attempt to do so (here or elsewhere) is a matter for informed speculation. Internal bore profiles of recorders are shown diagrammatically by Loretto (1995) who has quite rightly cautioned against the practice of extrapolating the bore of a recorder from an illustration of its external profile and, to some extent, the context in which it is depicted. These are assumed to represent variously the so-called Renaissance-bore (choke-bore or ‘Ganassi’) recorders (often depicted in consorts of like instruments) or van Eyck-bore ( hand fluyt) recorders, often shown alone or in combination with instruments other than recorders.ĭepictions of certain slender-form duct flutes may represent flageolets.
Of these early recorders, several external forms are generally depicted: Often the lowest tone hole is paired, with one hole plugged with wax. Medieval and early renaissance illustrations of duct flutes which are unequivocally recorders are those in which tone holes for seven fingers are clearly shown. duct flutes, where the disposition of holes and/or fingers are shown in insufficient detail to categorise them as either flageolets or recorders.Such instruments may be flageolets or recorders, but where the characteristic pirouette or mouthpiece is not in place or shown, may possibly represent shawms, straight and ‘mute’ cornetti or even trumpets. Pipes, in which the beak and window characteristic of duct flutes are lacking.On inspection, the ambiguous illustrations of wind instruments fall into two camps namely: Accounts and reproductions of some of these various depictions of recorders and recorder-like instruments have been given by Sachs (1942), Thomson (1968), Munrow (1976), Hunt (2002), Bowles ( 1977, 1983), Godwin (1977), Brown (1984, 1995), Zaniol (1984), Salmen & Besseler (1969, 1976), Thomson & Rowland-Jones (1995), Boragno (1998), in the many publications by Rowland-Jones (see Bibliography) and most comprehensively in the online catalogue of some 4,300 artworks featuring the recorder or recorder-like instruments on the Iconography page on this web-site, which includes links to many reproductions.
BEST TENOR RECORDER SMALL HANDS CHIFF AND FIPPLE MANUAL
The situation has been aggravated by Brown & Lascalle (1972: 79) whose influential manual for cataloguing musical subjects in Western art listed all duct flutes as recorders, regardless of the number of finger holes thus giving rise to much confusion, not the least of it in Brown’s own articles (see below). However, these are generally considered to be unreliable and it is far from clear whether flageolets (six-holed pipes), recorders, shawms, or even bagpipes were intended.
Instruments that have been interpreted as recorders are depicted in many illustrations and carvings from the eleventh century onwards.
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