ABSTRACT
Livre plaisant et tres utile pour apprendre a faire & ordonner toutes tabulatures… (Antwerp, 1529). The last part of Livre plaisant is devoted to the recorder, and on the opposite page from a fingering chart for bass, tenor, and discant (g1) recorders is a part to “Een vrolic wesen,” which the author suspects is to be played with the two-part lute accompaniment found earlier in the volume. Fox surmises that this is the oldest known duet for two specified instruments. Includes a transcription of the duet. 1730. Hunt, Edgar. “Exploring the Repertoire 2: Renaissance Music.” Recorder and
Music Magazine 4, no. 6 (June 1973): 194-95. Continues item 1680. Describes three collections of importance, “the staple diet for a
renaissance group”: the Danserye (1551) of Tielman Susato, the Pariser Tanzbuch (1530) of Pierre Attaingnant, and Liber Fridolini Sichery (ca. 1500). The second half of the article surveys individual works and miscellaneous collections in modern editions. 1731. Margules, Anna. “Ars subtilior con flauta de pico?” [Ars Subtilior on the
recorder?]. Revista de flauta de pico, no. 7 (January 1997): 25-26. A short but discursive essay on the Ars Subtilior, concluding that recorder players can
“rescue the essence of this music, using our instrument and making good use of its fortunate limitations to suggest, by subtlety of articulation and distinct colors, the character and idiosyncrasy of each of the voices that constitute these marvelous pieces.” * Polk, Keith. German Instrumental Music of the Late Middle Ages: Players, Patrons
and Performance Practice. Cited above as item 122. 1732. Rowland-Jones, Anthony. “The Recorder’s Medieval and Renaissance Repertoire:
A Commentary.” In item 33, pp. 26-50. Begins by identifying four different categories of repertory: designated (the composer
specifies the recorder), probable (the composer, or more likely the publisher, allows the music to be played on any instrument), extended (sounds good on the recorder), and arranged (when “the recorder version, designed primarily for the delectation of recorder players, is manifestly less effective than the composer’s conception of the original”).
