Luogo e data di registrazione		Palais Schwarzenberg, Vienna (Austria) - 14/16 Novembre 1965
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9482-A | 1 LP - durata 46' 15" | (p) 1966 | ANA
	Edizione CD		Teldec Classics | LC 6019 | 4509-97475-2 | 12 CDs  | (c) 1995 | ADD - Teldec Classics "Frans Brüggen Edition" - Vol. 3 | 4509-97465-2 | 1 CD - durata 64' 20" | (c) 1995 | (Parcham) - Teldec Classics "Frans Brüggen Edition" - Vol. 4 | 4509-97466-2 | 1 CD - durata 58' 32" | (c) 1995 | (van Eyck) - Teldec Classics "Frans Brüggen Edition" - Vol. 12 | 4509-97474-2 | 1 CD - durata 68' 46" | (c) 1995 | (Loeillet) - Teldec Classics "Frans Brüggen Edition" - Vol. 6 | 4509-97468-2 | 1 CD - durata 47' 52" | (c) 1995 | (Dieupart) - Teldec Classics "Frans Brüggen Edition" - Vol. 1 | 4509-93688-2 | 1 CD - durata 74' 44" | (c) 1995 | (Telemann)
	Cover		"Der Blockflötenspieler", von Kupecki. Reproduktion mit Genehmigung des Budapester Museums (Museum des Beaux Arts).
	Note		Non esiste, tale e quale, una ripubblicazione in Compact Disc di questa registrazione. I singoli brani sono però disseminati in diversi volumi che compongono la "Frans Brüggen Edition" che è composta da 12 Compact Disc..

Nothing is known about Parcham’s life, and of his compositions only this “Solo” - a common 18th century name for a sonata with basso continuo accompaniment - has survived in a collection of recorder music published in 1701/02 by Roger in Amsterdam. Asset of 12 other recorder sonatas, also published by Roger in 1701, has not yet come to light. The “Solo” consists of four movements, the third of which is especially attractive, a kind of fantasy with rapidly changing tempi and moods. Van Eyck was born in Utrecht in about 1590 and died there in 1657. He was a blind carillon player, organist and flautist, and as part of his duties he also had to entertain churchgoers by playing the recorder in the churchyard. In the middle of the 17th century he published “Der Fluyten Lust-Hof” which contains a great number of well known contemporary tunes: psalms, folk-songs, dances, airs etc. with variations for descant (soprano) recorder. The art of improvising such variations, called diminuitions, belonged to the style of his time and he has surely practised it in the churchyard. We are lucky to have some of his diminuitions preserved in the “Lust-Hof”. This book was not only intended for recreation but also as a descant (soprano) recorder method containing a complete fingering chart for this instrument. The tune chosen for this record seems to have been especially dear to van Eyck as the “Lust-Hof” contains it twice, the first time with one, the second time with three variations all of which are played on the record. It is the pavana “Flow my tears” by John Dowland, probably the most famous tune of the whole century, but surely the best known one, not only in England but also in most European countries. Recent research has established that the works published in the 18th century under the name of Jean Baptiste Loeillet were in fact the compositions of three different members of the same family that settled in Ghent in the middle of the 17th century: Jean Baptiste “de Gant” (1688 - ca. 1720) and his cousins John of London (1680-1730) and Jacques (1685-1748), John’s brother. J.B. “de Gant” published all in all 48 sonatas for treble (alto) recorder and basso continuo which were reprinted by different publishers at different times, a sign of their popularity. The present sonata is No. 5 of Opus 2. The first and third movements show J. B.’s beautiful cantabile style, the second and fourth his ardour and also - especially in the fourth movement - his contrapuntal skill. Dieupart came from France to England in about 1700 and settled for the rest of his life in London where he died in 1740. In 1705 he published 6 suites for harpsichord, two of which (together with their table of ornaments) were copied by J. S. Bach; it has even been suggested that Bach modelled his own English Suites on them - they have one theme in common. In the same year Dieupart republished the suites in a version for violin or flute or recorder with basso continuo. Each suite contains a note saying which kind of recorder should be used: for numbers 1-4 a “flûte de voix” (recorder in D) and for numbers 5 and 6 a “flûte du quatre” (recorder in B flat). On this record No. 5 is played as it should be played on a B flat recorder. Even without the connection with Bach, Dieupart’s suites deserve attention, for they are excellent examples of French music. Though the only extant copy of the 12 solo fantasies by Telemann (1681-1767) in the Conservatoire Royal de Musique in Brussels indicates neither composer nor instrument, there is no doubt that they are the 12 fantasies for flute enumerated by Telemann in his autobiography of 1739. The fantasies on the record are Nos. 10 and 1, played on the treble (alto) recorder according to common 18th century usage transposed up a minor third. Telemann was himself competent on all contemporary musical instruments, a fact that explains his extraordinary craftmanship which, combined with his gift of ever fresh musical invention produced the richest treasure of chambermusic of the 18th century. Dr. Walter Bergmann A note about the makers The recorder in the sixteenth century was a relatively simple instrument, but after its development during the following century, it reached a degree of perfection in the period from about 1680 to 1740, possibly unequalled until today, and then by only a few makers. For the connisoeur, to play on a really fine old recorder is a rare pleasure, comparable to sipping a port of great age and quality. There are not many such instruments in existance in playing order today, and too many are shut away unplayed in the glass cases of museums. Although the design of the recorder of today is based on the general pattern of eighteenth-century examples, these old recorders differ in many details from their modern counterparts: in tone quality, fingering and pitch. At the beginning of the eighteenth century chamber pitch was nearly a tone lower than the modern standard (a = 880). This may be disturbing to those with an accurate memory for the pitch to which they are accustomed; but at least the music can be heard as the composer conceived it. This chamber pitch was well established in Europe about 1700, to judge by the number of wood-wind instruments: oboes, bassoons and flutes as well as recorders which conform to it, from workshops as far apart as London and Nuremberg. Subsequently instruments were made at various higher pitches before the modern orchestra settled down around a = 880. The differences of fingering are a technicality which the player must face, tone quality, on the other hand, is individual to each maker, and the styles of voicing characteristic of different modern makers vary as much as they did in the eighteenth century. If a generalization may be permitted, the rush of modern life leads to series production and labour-saving techniques and discourages makers from the very fine voicing to be found in some eighteenth-century recorders. It is this personal quality of the voicing which gives the old recorders a reedy tone without harshness, and makes them so pleasing to listen to as well as to play. Of the five recorders used in this recording, the two by P-I. Bressan (London, beginning of eighteenth century) are of boxwood stained a dark reddish brown and marked with the maker’s name and a tudor rose. The treble has ivory mounts of generous proportions and particularly firm and rich tone. Its pitch is the low Kammerton (about three-quarters of a tone below the modern standard). So also is that of the fourth-flute or flûte de quatre in B flat - so called because its lowest note is a fourth above the F of the treble. Its tone is rich and powerful. Before players decided that the recorder should be held with the left hand uppermost and before most instruments were provided with a moveable foot-joint, makers provided for “left-handed” players by duplicating the lowest hole. This gave the instrument nine, instead of the normal eight holes, and the player stopped with wax or a small peg the hole he did not need. The descant recorder by E. Terton (ca. 1700) is one of these flûtes à neuf trous - a late example in fact, as this ninth hole belongs rather to the sixteenth century when recorders were made in one piece, and the first half of the seventeenth century when the moveable headjoint made tuning possible. This descant recorder or fifth flute is of stained boxwood - dark, almost black, and richly ornamented with silver mounts and a plate, making it a particularly handsome instrument. The tone is deep and rich, lending itself to expressive playing. The pitch is slightly above that of the two Bressan recorders. Two other trebles have been chosen for their different tone qualities and appropriateness to the music played on them. That by van Aardenberg, marked with a deer above, and a lily below the name, is of stained boxwood with silver rings. These latter were probably a later addition by the instrument’s owner. Its proportions are slight, and it is not a particularly attractive instrument in appearance; but its tone is soft and mellow: its pitch a semitone below 880. The other, by Johann Heinrich Eichentopf of Leipzig (ca. 1730) is of unstained boxwood, and less than a semitone below modern pitch. Its tone is gentle, but has an edge to it, due to its narrow bore and small lip. Edgar Hunt