his famous book of variations Der Fluyten Lusthoff of 1645 Jakob van Eyck described and showed in an illustration a type of recorder which points to the future of the High Baroque, while in its appearance still containing the simple formal principles of the Renaissance. The fingering being described in detail, it is possible to reconstruct the boring. Quite a number of 17th century paintings seem to show the same instruments, mostly soprano and alto recorders. I have adopted the name handfluyt for these recorders which was coined by van Eyck and his contemporaries. Unfortunately no specimen of this type has survived. The Nuremberg instrument maker F. Kynsecker, a contemporary of van Eyck´s, made a recorder very similar to the handfluyt. Several specimens in different sizes can be seen in instrument collections. Kynsecker's work is valuable evidence for the assumption that recorders in -Achtfußlage- were built and obviously used well into the second half of the 17th century. He prompted me to derive an alto recorder in g from the handfluyt. Recently I developed a Tenor recorder in c as an ideal supplement for both ensemble and solo playing.
Handfluyt in c, ither a=443 or 415Hz, plumwood: 850 Euro, extra joint: 200 Euro
Bassano alto in g, ither a=443 or 415Hz, plumwood: 1000 Euro, extra joint : 250 Euro sample: Sohrab Uduman: Chants Airs and Dances, Helge M. Stiegler
van Eyck Tenor in c: either a=443 or 415Hz, pearwood: 1200 Euro, extra joint : 300 Euro