Surviving Renaissance Recorders

Found during an archaeological dig in Amsterdam's Jordaan district, the instrument was being preserved with PEG solution when measured. It has a very large ivory ring at the bell which was fractured. For a while the instrument was on display at the Amsterdam museum (formerly Historical museum) but has now been confined to a depot.

My own observations and measurements. Brown (2004).

Extended recorder. Lowest note is C#, with all 10 holes closed. F# is produced by the fingering 0 123 4567. Originally had four keys, now replaced

Museum Vleeshuis (1981).

This instrument has a small mark below the window, which could almost be a trefoil with a left pointing stalk, similar to Brussels M1024.

Adriana Breukink (pers. comm.); Lerch (1996).

Voicing: windway, window and blowing side, towards the player.

Scheck (1975/1984); Lerch (1996).

Marvin (1972).

Voicing: windway, window and blowing side, towards the player.

Marvin (1972).

Unusual stubby window proportions.

My own observations and measurements.

Puglisi (1981), Tiella (2005).

Puglisi (1981), Tiella (2005).

Puglisi (1981), Tiella (2005).

Puglisi (1981), Tiella (2005).

This instrument has been shortened at the foot.

Puglisi (1981), Tiella (2005).

Puglisi (1981), Tiella (2005).

Puglisi (1981), Tiella (2005).

Large piece missing from the body below hole 3

Puglisi (1981), Tiella (2005).

Puglisi (1981), Tiella (2005).

This instrument is in two parts and has no crook. It is blown through a hole drilled in the wall with an enclosed cap.

Puglisi (1981), Tiella (2005).

This instrument is in two parts and has no crook. It is blown through a hole drilled in the wall with an enclosed cap.

Puglisi (1981), Tiella (2005).

My own observations and measurements.

Meer (1993).

My own observations and measurements.

Meer (1993).

New baroque foot added, with clarinet-type keys!

My own observations and measurements.

Meer (1993).

New baroque foot added, with clarinet-type keys!

Hole positions given in catalogue are highly incorrect.

My own observations and measurements.

Meer (1993).

Instrument has very thin walls.

Plays with Ganassi fingerings.

My own observations and measurements.

Two-piece construction.

My own observations and measurements.

Cylindrical bore with bell expansion, very large fingerholes.
Plays with Ganassi fingerings.
Large ivory ring where joint would be above thumbhole. Joint is glued and instruments effectively in one piece. Mark is only on bell

Personal communication with owner.
Brown (2002).

Attributed to the Rafi family in the museum catalogue, but radically different in construction to known recorders by these makers. Maker's mark is a shield with an unknown animal, very different from the shield and griffin found on instruments with additional Rafi mark and very similar in mark and construction to M2646 and M2647 in Brussels, with which it probably originally formed a set.

My own observations and measurements. Museum catalogue: Awouters, M, de Keyser, I & Vandenberghe, S (1985)

Broken in two pieces.

Henri Gohin(pers. comm.)

This recorder has the same or similar mark just below the window as Berlin 659. It could almost be interpreted as a trefoil.

My own observations and measurements.

Adriana Breukink (pers. comm.)

Plays with Ganassi fingerings.

My own observations and measurements.

Direct blown (no cap), with key.
Fontanelle looks original, but bell rim has been almost entirely replaced.

My own observations and measurements.

This instrument was originally part of the collection of the Hansa Huis in Antwerp.
Key arrangement has been modified with a slab of wood now filling the space under the fontanelle.
Cap, fontanelle, key and crook are all replacements.

My own observations and measurements.

Columnar recorder. Lowest hole gives bottom note.
Mate to Tokyo (H Lino collection)and originally part of the collection of the Hansa Huis in Antwerp.

My own observations and measurements.
Henri Gohin (pers. comm.)

Cap is a replacement.

My own observations and measurements.
Johnathan Swayne (pers. comm.)

Plays with van Eyck/Jambe de Fer fingerings.

Morgan (1984).

Plays with van Eyck/Jambe de Fer fingerings.

Morgan (1984).

Ture Bergstrom (pers. comm.)

The sides of the window are cut away, as with Merano 6851 and 6858.

Please note that due to a mix-up, earlier measurements given here about this instrument were incorrect.

Ture Bergstrom (pers. comm.)

Fjordside (1986).

This instrument is very similar to Frankfurt X4261, although it obviously stems from a different original set.

My own observations and measurements.

Bär (2001).

Legêne (1995).

Silver ring bears an inscription and the date 1696.

Bouterse (2001).

This is a very different instrument from the one-piece Haka soprano in the Amsterdam Historical Museum

Museum plan.

Legêne, Eva. (1995).

Voicing: windway, window and blowing side, towards the player.

This instrument is dated 1682.

Columnar recorder; lowest finger-hole gives the bottom note.

The plinth and cap are missing, replaced by a later bell and cap.

Keywork and covers not original.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Originally part of eleven recorder set with case X4266.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Originally part of eleven recorder set with case X4266.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Originally part of eleven recorder set with case X4266.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Originally part of eleven recorder set with case X4266.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Originally part of eleven recorder set with case X4266.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Case for eleven recorders including X 4261-5.

Unmarked.

Lengths of chambers: 2 × 208 mm, 2 × 278 mm, 2 × 322 mm, 2 × 412 mm, 2 × 589 mm and 1 × 905 mm.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Tulip-shaped head moulding.

Plays with van Eyck/Jambe de Fer fingerings.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Mate to Historisches Museum (Frankfurt) X 4268.

My own observations and measurements.

Epstein (1927), Postel, (1974).

Case for five recorders including 114 and 115 marked PM.

Lengths of chambers: 2 × 315 mm, 1 × 423 mm and 2 × 570 mm.

My own observations and measurements.

Epstein (1927), Postel, (1974).

My own observations and measurements.

Young (1993).

Marvin (1972).

Repaired? with reed binding just above the blockline - small visible cracks below.

Very Dutch looking recorder with only the normal renaissance range.

My own observations and measurements.

Heyde (1978).

Wave-form turning on head.

Heyde (1978).

Wide bored instrument with key and fontanelle for 7th hole

Measurements by Tom Lerch published in museum plan

Heyde (1978).

Single 7th finger-hole.

Holes and window cut on slab side of wood.

Very similar to basset MU2.

My own observations and measurements.

Young, Humer, and Gschwendtner. (1997).

Huge tone holes and bottom bore flare suggest original pitch was nearer to f#.

Very similar construction methods to MU1, so almost certainly made by C C S too.

My own observations and measurements.

Young, Humer, and Gschwendtner. (1997).

Neither fontanelle nor original cap have survived; key is a replacement

Stamp is not like the other AA recorders and appears almost as a BB

Window is so damaged, no measurement was posssible

My own observations and measurements.

Alvarenga (1994); Monteiro (2001).

Found during an archaeological dig around 't Huys Dever in Lisse, The Netherlands.

Tenon at foot for a now missing decorative ring.

Bouterse (2001).

ex. Adam Carse collection

Museum online catalogue.

Mate to 306-1882.

Replacement cap glued on to instrument. Window badly damaged, no cutup measurement possible

My own observations and measurements.

Baines (1968/2002: 85).

Mate to 303-1882.

Windway shortened; replacement cap: block split in two pieces, one of which is loose in the bore. Window too damaged to measure cutup

My own observations and measurements.

Baines (1968/2002: 85).

The sides of the window are cut away, as tenor, (Inv nr. 6858) and basset in Copenhagen E78/kat38.

Extensive woodworm.

My own Measurements and observations. Roos (1987).

Direct blown (no cap)

Mate to Merano 6853.

Fontanelle is missing.

Large scraped section in bore, giving large maximum bore diameter above. Probably done as necessary once the instrument was made for tuning the octaves.

My own Measurements and observations. Roos (1987).

Direct blown (no cap).

Mate to Merano 6852.

Large scraped section in bore, giving large maximum bore diameter above. Probably done as necessary once the instrument was made for tuning the octaves.

My own Measurements and observations. Roos (1987).

Made from two pieces, with a glued joint above fontanelle.

Much woodworm and a large crack from hole 4 to above fontanelle.

Crook and key look later replacements.

My own Measurements and observations. Roos (1987).

Window sides cut away, as basset (Inv nr 8651) and basset in Copenhagen.

My own Measurements and observations. Roos (1987).

Wave type turning.

My own observations and measurements

Kirnbauer (1995).

My own observations and measurements.
Cervelli & Meer (1982).

Mate to Bayerisches Nationalmuseum (Munich) MU163.

My own observations and measurements.

Wackernagel (2005).

Mate to Bayerisches Nationalmuseum (Munich) MU152.

My own observations and measurements.

Wackernagel (2005).

Cap band has similar engraving to Salzburg basset M244.

Wackernagel (2005).

Extended recorder, lowest note is G#, with all 10 holes closed. c# is produced by the fingering 0 123 4567.

Fontanelle band engraved, Hans Ravch von Schratt.

Wackernagel (2005).

Martin Kirnbauer: Das war Pionierarbeit. Die Bogenhauser Künstlerkapelle, ein frühes Ensemble Alter Musik. In: Alte Musik, Konzert und Rezeption (= Basler Jahrbuch für Historische Musikpraxis, Sonderband zum 50. Jubiläum der Freunde alter Musik in Basel). Winterthur 1992, S. 37–67.
Martin Kirnbauer: Die Holzblasinstrumente der Bogenhauser Künstler-Kapelle. In: Michaelsteiner Konferenzberichte 1994, S. 21–30.

Museum website

Kirnbauer (1994).

Kirnbauer (1994).

Kirnbauer (1994).

Kirnbauer (1994).

Kirnbauer (1994).

Kirnbauer (1994).

Makers mark includes name: Hieronymus Franziskus Kynseker - in Nürnberg

Kirnbauer (1994).

Finger-holes 3 and 6 are angled towards the foot of the recorder.

Kirnbauer (1994).

Kirnbauer (1994).

Kirnbauer (1994).

This tiny recorder with its turned wooden case came form a private colletion in Vienna and was erroneously catlogued as a recorder in f'' by both Martin Kirnbauer and Eva Legêne in their 1995 articles. It was bought by the museum after Martin Kirnbauer's catalogue was published.

TOL: 178

Bär (1998). see also museum page

Columnar recorder with extension with three additional keys and fingerholes and a back-bore, in the manner of a bassoon.

Henri Gohin (pers. comm.)

Two-piece construction with a joint between finger-holes 3 & 4. Carved head on cap

My own observations and measurements.

This instrument was direct blown (no cap).
It shows sign of woodworm damage!
Finger-hole 1 is angled towards top of the recorder. Holes 3 and 6 are angled downwards towards the foot.

My own observations and measurements.

Only one trefoil mark below window.

Henri Gohin (pers. comm.)

Columnar recorder with extension (has three additional keys and fingerholes and a back-bore, in the manner of a bassoon.)
Minimum bore diameter is at tone-hole 11 on the back-bore, namely 19.0 mm.

Henri Gohin (pers. comm.)

Makers mark includes name, Hieronimus Kynseker
Bell is turned and carved in the form of tree roots. Bell is Marked 1630 according to Tellier (1985). and the museum web site. Kirnbauer (1995) has it as the more believable 1670

My own observations and measurements.

Same maker as Paris E.1935.
The bell is turned cylindrical.
This instrument is cracked, falling to pieces, and unplayable.

My own observations and measurements.

'Waisted' turning, two ivory mounts, look like Nuremberg.

Recess for decorative plaque (missing) below window.

Brown (2002).

Earlier in the Germanisches Nationalmuseum, Nuremberg, with the inventory number MI 142, Kirnbauer (1994).

Bouterse (2001), Kirnbauer (1994)

Case for seven recorders including those held at the Schloss Museum, Quedlinburg.

My own observations and measurements.

Kirnbauer (1995); Rüdiger (2003).

Replacement block? This is the alto having no score mark on bell, hence alto 1!

My own observations and measurements.

Kirnbauer (1995); Rüdiger (2003).

Infected by woodworm in the past.

Replacement block?

This is the tenor with no marks on the bell.

My own observations and measurements.

Kirnbauer (1995); Rüdiger (2003).

Heavy undercutting of tone-holes.

Replacement block?

This tenor has two score marks on bell

My own observations and measurements.

Kirnbauer (1995); Rüdiger (2003).

Identified by two marks on the bell end, hence alto 2!

Seems in better condition than the other alto size.

Replacement block?

My own observations and measurements.

Kirnbauer (1995); Rüdiger (2003).

Seperate foot joint that may have been glued in the past.

Baroque makeover of fontanelle mounts but original fontanelle survives, but with very irregular rose hole pattern.

Replacement block?

My own observations and measurements.

Kirnbauer (1995); Rüdiger (2003).

ex Gorga collection.

Cervelli and van der Meer (1982); Lyndon-Jones (1999).

ex Marcello collection.

Cervelli and van der Meer (1982); Lyndon-Jones (1999).

ex Marcello collection.

Cervelli and van der Meer (1982); Lyndon-Jones (1999).

ex Marcello collection. Extended basset with two extra keys, descending to d#

Cervelli and van der Meer (1982); Lyndon-Jones (1999).

ex Marcello collection. This instrument has a brass edge.

Cervelli and van der Meer (1982); Lyndon-Jones (1999).

Highly unusual instrument with unique key arrangment.

Touch activates upside-down flap under a pierced brass cover. Score mark below cover, but wood seems to match and therefore bell is probably original. The instrument probably originally had a fontanelle, the mounts having been removed to install this key arrangement. Slight ''waisting'' at this point seems to confirm this.The voicing is damaged.

My own notes and observations.

Birsak (1973).

One piece, but baroque style instrument with typical open standing baroque key.

All looks pretty original with no sign of modification.

No fontanelle or cap.

Although elliptical,the bore is almost cylindrical.

My own notes and observations.
Birsak (1973).

Finger-holes 3 and 6 are angled towards the foot of the recorder.

The cap band includes the name "Hans Ravch von Schratt" and that of the fontanelle, "Ihesvs Maria Anna 1535".

Very nicely made and well preserved instrument.

Window is very neatly cut and the workmanship throughout is impressive.

My own notes and observations.
Birsak (1973).

My own notes and observations.

Bali (2007).

Body joint only, foot is missing

My own notes and observations.

Bali (2007).

My own notes and observations.
Bali (2007).

My own notes and observations.
Bali (2007).

No key, window facing the player. It is a longer version of the Eisenach Rafi

Bär (1995).

Extended recorder, would have had two extra keys, in which case the logic should imply that the extra notes are Bb and G# (see extended bassets in Rome and Verona, around a fifth above this instrument.) This instrument was made with some experimentation, with signs of tone holes being plugged and redrilled. The largest surviving instrument in boxwood!

My own observations and measurements

Hunt (1962/2002)

Of typical Nürnberg design.

L&R holes 7.

Quite roughly made.

Baroque type bore with no back reaming.

My own observations and measurements (10 april 2014).

Bouterse (2001).

Columnar recorder.

Mate to Brussels 189.

Ex. van Zuylen Collection, sold at Christies sale, March 1988.

Speaking length is TOL.

Young (1993).

Ex Galpin collection.
The maker of this instrument is from Rošmberk, Bohemia; the mark is quite different to that found on the Schnitzer instruments.

My own observations.
Bruce Haynes (pers. comm.)

Similar in workmanship to 13.253, but has a much larger bore and is badly out of tune.

Finger-holes three and six are heavily angled towards the foot of the recorder.

My own observations and measurements.

Meer & Weber (1982).

Neatly made brass edge is covering the labium, as extended basset 13.249.

Finger-holes three and six are heavily angled towards the foot of the recorder.

My own observations and measurements.

Meer & Weber (1982).

Mate to basset 13.254.

Made in two parts with a separate foot, as 13.245 and 13.246.

My own observations and measurements.

Meer & Weber (1982).

Finger-holes three and six are heavily angled towards the foot of the recorder.

Mate to Acadamia Filarmonica (Verona) 13.246, but more bent and the bore more elliptical.

My own observations and measurements.

Meer & Weber (1982).

Ture Bergstrøm, (pers. comm.)

See notes for 13.245

My own observations and measurements.

Meer & Weber (1982).

Like its sibling, 13.248, the fingerholes are very small and heavily undercut.

The crook could be original and is of an unusual form.

Cap is a modern replacement.

My own observations and measurements.

Meer & Weber (1982).

Cap, crook and fontanelle are all replacements.

See notes for 13.247

My own observations and measurements.

Meer & Weber (1982).

Extended recorder, with two additional keys.

With reference to a-440hz, lowest note with all three keys closed is d#- and with two keys closed is f-.

Fingering 0 123 4567 produces f#-.

Instrument has a neat brass edge covering the labium.

See notes for 13.243.

My own observations and measurements.

Meer & Weber (1982).

One of four bassets (13.250-53) originally forming a consort of 22 recorders with basses 13.245-6 and great bass 13.242.

My own observations and measurements.

Meer & Weber (1982).

See notes for 13.250

My own observations and measurements.

Meer & Weber (1982).

See notes for 13.250

My own observations and measurements.

Meer & Weber (1982).

See notes for 13.250

My own observations and measurements.

Meer & Weber (1982).

Similar in workmanship to 13.250-3, this instrument does not play as well and is in a higher pitch.

Originally in a separate consort with 13.244

My own observations and measurements.

Meer & Weber (1982).

This instrument shows signs of woodworm damage!

Meer & Weber (1982).

This instrument shows signs of woodworm damage!

Meer & Weber (1982).

Henri Gohin (pers. comm.)

Highly engraved key and rings.

Blown by a crook (cap and crook are later replacements.)

Unsigned, undated drawing

Marvin (1972)

Unusual key.

Undated drawing by Fredrich von Hune

Highly unusual turning, with deep scored patterns around window and on bell.

Windway is very long and exterior profile tapers towards blowing end.

Mate to SAM 129. Original block is missing.

My own measurements and observations, published in: Darmstädter (2006).

Highly unusual turning, in the style of SAM 126 and 129, but without deep scored patterns around window and on bell.

Windway is very long and tapers in diameter towards blowing end.

My own measurements and observations, published in: Darmstädter (2006).

Tenon turned on mouthpiece, perhaps for missing ornimental mount.

My own measurements and observations, published in: Darmstädter (2006).

Highly unusual turning, with deep scored patterns around window and on bell.

Windway is very long and exterior profile tapers towards blowing end.

Mate to SAM 126. original block is missing

My own measurements and observations, published in: Darmstädter (2006).

Plays with Van Eyck/Jambe de Fer fingerings.

My own measurements and observations, published in: Darmstädter (2006).

Plays with Van Eyck/Jambe de Fer fingerings.

My own measurements and observations, published in: Darmstädter (2006).

My own measurements and observations, published in: Darmstädter (2006).

Instrument is bent.

This Recorder looks suspiciously from a later date. The fingerholes are not undercut, the wood stain looks almost modern. Block is round and edge radius therefore equals that of bore.

My own measurements and observations, published in: Darmstädter (2006).

This recorder does play above note XIII, but with difficulty.

My own measurements and observations, published in: Darmstädter (2006).

Plays with Ganassi fingerings.

For a long time thought to be the only example of this sort of bore (ie cylindrical bore with flare).

Maximum bore diameter is 120-140mm from the top of the instrument. The bell flare has an even larger diameter of 21.5mm

My own measurements and observations, published in: Darmstädter (2006). See also Brown (2005); Darmstädter (2008).

Instrument has been shortened and new window cut.

A trace of the original blockline is visible, so above measurements taken from there.

A clarinet style ligature/decorative band and a (Maltese?) cross in silver have been inlaid into the wood.

My own measurements and observations, published in: Darmstädter (2006).

Well-made professional-looking instrument.

Original block missing.

My own measurements and observations, published in: Darmstädter (2006).

Fairly cylindrical bore, scraped out in places

My own measurements and observations, published in: Darmstädter (2006).

The labium of this instrument has a brass edge, held in place by a brass rivet, or nail, similar to that on SAM 157.

My own measurements and observations, published in: Darmstädter (2006).

Plays with Van Eyck/Jambe de Fer fingerings.

My own measurements and observations, published in: Darmstädter (2006).

This instrument has a brass edge to the labium.

My own measurements and observations, published in: Darmstädter (2006).

Mate to Kunsthistoriches Museum (Viemna) SAM 144 and SAM 143.

My own measurements and observations, published in: Darmstädter (2006).

Mate to Kunsthistoriches Museum (Vienna) SAM 144 and SAM 142.

My own measurements and observations, published in: Darmstädter (2006).

Mate to Kunsthistoriches Museum (Vienna) SAM 143 and SAM 142.

My own measurements and observations, published in: Darmstädter (2006).

Instrument is very bent, making all measurement difficult.

Bore taper is slight

My own measurements and observations, published in: Darmstädter (2006).

This instrument has an ornimental brass edge, held by a screw. Looks more like a repair than an original feature, unlike SAM 139 & SAM 157.

My own measurements and observations, published in: Darmstädter (2006).

New head piece made of pear.

Joint (internal) at 412 mm from south end, visible step in bore at this point. New portion is crudely made and may not represent original speaking length.

My own measurements and observations, published in: Darmstädter (2006).

This instrument has later baroque style mounts over the beak and bell.

Plays well with van Eyck/Jambe de Fer fingerings.

My own measurements and observations, published in: Darmstädter (2006).

Could be mate to SAM 150.

My own measurements and observations, published in: Darmstädter (2006).

Finger-hole seven angled toward foot of recorder.

Could be mate to SAM 149.

Extensive damage to labium and windway.

My own measurements and observations, published in: Darmstädter (2006).

Finger-hole seven is angled toward the foot of the recorder.

My own measurements and observations, published in: Darmstädter (2006).

A small instrument with fontanelle; direct blown (no cap).

Original block is missing and crude plug is in its place, so almost no sound can be made. Design is unlike all other AA (Schnitzer recorders)

My own measurements and observations, published in: Darmstädter (2006).

Small instrument with key and fontanelle, but no cap. Has a brass edge, held in place by a brass nail or rivet, similar in workmanship to that of SAM 139. Key and rings look similar work to SAM 164

My own measurements and observations, published in: Darmstädter (2006).

Instrument is now bent, has bulges all along exterior surface and a very irregular bore profile. Abnormal shrinkage may be the cause

My own measurements and observations, published in: Darmstädter (2006).

Mate to Kunsthistorisches Museum (Vienna) SAM 160.

My own measurements and observations, published in: Darmstädter (2006).

Mate to Kunsthistorisches Museum (Vienna) SAM 159.

My own measurements and observations, published in: Darmstädter (2006).

My own measurements and observations, published in: Darmstädter (2006).

My own measurements and observations, published in: Darmstädter (2006).

My own measurements and observations, published in: Darmstädter (2006).

Finger-holes 3 and 6 are angled toward the foot of the recorder; finger-hole 4 angled towards the beak.

Beautifully made instrument, keywork and details are of the highest quality, probably a player's instrument.

My own measurements and observations, published in: Darmstädter (2006).

Finger-holes 3 and 6 are angled toward the foot of the recorder.

Ex. Schloss Ambras, Innsbruck, where instrument is now on display.

Marvin (1972) gives bl-hole 7 as 712 mm.

My own measurements and observations, published in: Darmstädter (2006).

Mate to Kunsthistorisches Museum (Vienna) SAM 167 and 168.

Extensive damage to labium.

My own measurements and observations, published in: Darmstädter (2006).

Mate to Kunsthistorisches Museum (Vienna) SAM 166 and 168.

Fontanelle made in maple, figured. Labium is undamaged and cut up seems very small for such a large instrument.

My own measurements and observations, published in: Darmstädter (2006).

Mate to Kunsthistorisches Museum (Vienna) SAM 166 and 167.

Large piece missing from labium.

According to Marvin (1972) this instrument is the best playing of the three.

My own measurements and observations, published in: Darmstädter (2006).

Unlike the fragment 1078 in Sibiu stamped HIER S, this instrument is complete and an outstanding example of a great bass recorder.

My own measurements and observations, published in: Darmstädter (2006).

Case for eight recorders, including Kunsthistorisches Museum (Vienna) SAM 132, 142, 143, 144, 159, and 160. Lengths of chambers: 1 × 26 cm, 2.0 × 38.5 cm, 3 × 55 cm, 2 × 81 cm.

My own measurements and observations, published in: Darmstädter (2006).

Case for four recorders, including Kunsthistorisches Museum (Vienna) SAM 135. Lengths of chambers: 1 × 287 mm, 2 × 432 mm and 1 × 62 cm (Schlosser).

Case was broken for many years but was restored by Alfons Huber in 2007

My own measurements and observations, published in: Darmstädter (2006).

See also: Schlosser (1920/1974); Darmstädter (2008).

Case for five recorders. Lengths of chambers: 1 × 223 mm, 1 × 343 mm, 2 × 507 mm and 1 × 73 5mm.

My own measurements and observations, published in: Darmstädter (2006).

Case for four recorders. Lengths of chambers: 1 × 217 mm, 2 × 316 mm and 1 × 456 mm.

My own measurements and observations, published in: Darmstädter (2006).

This instrument originally had a fontanelle but no cap. Later the foot was remade in baroque style with a closed key.

Aquired at a later date than the Schlosser (1920/1974) catalogue.

Plays with Ganassi's fingerings in the high register.

My own measurements and observations, published in: Darmstädter (2006).

Instrument stamped 1503.

Bore cylindrical with flare.

Voicing damaged but probably played with Ganassi fingerings.

From Schloss Ambras.

My own measurements and observations, published in: Darmstädter (2006).

Scheicher (1977).

Simple instrument with straight drilled fingerholes, no undercutting.

Long ramp for this size instrument.

My own measurements and observations, published in: Darmstädter (2006).

Speaking length is TOL.

Seyfrit (1982).

This instrument is of two-piece construction.

Speaking length is TOL.

Seyfrit (1982).