Three Castel recorders: Rome, Edinburgh and especially Nice Visualizza ingrandito

Three Castel recorders: Rome, Edinburgh and especially Nice

Autore Inês de Avena Braga
Collana Recercare - Rivista per lo studio e la pratica della musica antica - Journal for the study and practice of early music
Dimensioni 17×24, pp. 186
Anno 2014
ISBN 9788870967760

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The focus of this article is the unique alto recorder by N. Castel now preserved in the Lascaris Museum in Nice. As the only Italian Baroque recorder extant to have double holes, and one of only eleven preserved today to have such features, it documents a rare example of this “facilitation” which became the standard in modern times, though typically modifying the original design of the instrument. Little is certain about Castel, though in the context of Italian Baroque recorders his known output is as significant as that of Giovanni Maria Anciuti, both in number and in the quality of the instruments. An overview of his extant recorders is presented, including what little information is to be found from the catalogues and private communication with the various collections. A link with Venice is established, also possibly situating the repertoire it was meant for. In order to contextualize Castel’s output, other two recorders now in Rome (MUSA) and Edinburgh (EUCHMI) are also included in the discussion: a voice-flute and a sopranino. The article discusses building traits of the instruments, as well as their playing qualities when possible, focusing on observations of voicing. Modern attempts of updating but also repairing the instruments are brought into question. Pictures support and illustrate the study, and a chart of the bore profiles of the three aforementioned instruments is included, in which, guarding the differences of sizes, it is possible to distinguish a design concept by Castel. Finally, considering that so little is known of Castel as a maker, his instruments are used as means of trying to determine his active working years as well as a possible impact as a maker on his musical environment by attempting to make a link with a possible repertoire for the alto in Nice. The practical use of an instrument with double holes is questioned, and the adjacent Venetian repertoire is briefly scanned for proof of the real necessity or benefit of this unique feature.