Georg Philipp Telemann (1681-1767), Fantasie X in A minor: Tempo giusto/ Presto/Moderato (transposed version of the Fantasie in F-sharp minor from the "Fantasie per il Violino (sic!) senza Basso Telemann", probably 1732,TWV 40:2-13).

Conrad Steinmann, alto recorder by Etienne Holmblat after an instrument by Johann Heytz, Berlin, around 1720.

You can read the following story about the origin of this extraordinary instrument: "Schildkrötenwege oder die Firma Johann & Etienne", in: Conrad Steinmann, Drei Flöten für Peter Bichsel , vom Zauber der Blockflöte". Rüffer & Rub 2016.

Recorded on July 8, 2022 in the Gobelinzimmer of the Wildtsches Haus, Basel.

An Entry/ La Beauford/ New Provo/ Nightingale/ Budro, an Irish Dance

With the exception of "Nightingale," first published in the "Pleasant Companion: OR NEW LESSONS and INSTRUCTIONS for the Flagelet By Thomas Greeting, Gent. LONDON, the other pieces are from "Apollo's Banquet, Containing Instructions and a Variety of the Latest Melodies, Ayres, Jiggs, and Minuets for the TRIPLE VIOLIN, now in Use in the Public Theaters and in the Schools of Dancing, most of them being in the Range of both Flute and Flagelet.

Flageolet by Frederick G. Morgan, Daylesford/Australia, 1984, after an anonymous instrument around 1800 in Hz. 415.

Recorded on June 24, 2022 on the Mörsburg, Switzerland.

Trad. from northern Thrace/Greece, after a field photo 1973 with Nikos Strikos, lýra, and Ioannis Poulimenou, daoúli.

Conrad Steinmann plays a soprano recorder in c'' (Rosenborg) by Evgenij Ilarionov, Kiev.
Played in front of the 3-part "Rorschach Screen" by Peter Randall-Page on the occasion of his solo exhibition in the monastery Schönthal/Langenbruck (Switzerland).

8th sound of the church Qale Gnizza, ev. from the 6th century, handed down by the archdeacon Asmar from Beirut, with a comment of August 20, 2019 by Conrad Steinmann.

Conrad Steinmann plays a Renaissance bass recorder in C by Bob Marvin, 1991.
Played in front of the sculpture "Envelope of pulsation 1" by Peter Randall-Page on the occasion of his solo exhibition in the monastery Schönthal/Langenbruck (Switzerland).

Virgo, sidus aureum from the Codex Las Huelgas (Burgos), around 1300.
Processing Conrad Steinmann.

Instrument: Soprano recorder (Rosenborg) in 465 Hz. by Frederick G. Morgan, 1983; maple.

After the madrigal "Io son ferito" by Palestrina, ca. 1525 - 1594, and the diminutions by G. B. Bovicelli, 1550 to ca. 1594, from his "Regole, passaggi di musica", Venezia 1594. Solo version by Conrad Steinmann 2020.

Instrument: recorder in g' after Bassano by Taavi-Mats Utt, 2001; in mammoth ivory.

Conrad Steinmann: alfabet (2010)
for a bass recorder
inspired by the poem "alfabet" by the Danish poet Inger Christensen and written for "Alif Beh" by the Egyptian artist Hazem El Mestikawy.

Conrad Steinmann: sopra il lamento di Reso per soprano solo (2014)
Paraphrase of the " Lamento " for flute solo by Reso Kiknadze (Georgia)

Conrad Steinmann: 4pm (2013)
for a renaissance or flute in c''with as narrow a bore as possible

Conrad Steinmann  plays on a tenor flute by Evgenji Ilarionov (Kiev) after a model by Claude Rafi, Lyon, c. 1540, on the pitch of 465

Plačí, plačí, naplačí se (trad. from Bulgary)

Wine, wine, Marí Máro ejo,
wine you out,
your girlhood is over...

Conrad Steinman plays on a Rafi tenor flute by Evgenji Ilarionov (Kiev)

Jacob van Eyck (c. 1590-1657):
Pavaen Lachrymae, from: Der Fluyten Lust-hof, Utrecht 1644
after "Lachrimae Antiquae" by John Dowland.

Conrad Steinmann plays on a renaissance flute in g' from Mammut, by Taavi-Mats Utt (Estonia), 2003.

Conrad Steinmann: vivace e suave (2017)
for 1 alto recorder.

With thanks to Sylvestro (Ganassi) and Ivo (Dimchev) for inspiration.

Iktsuarpok (2020) by Conrad Steinmann (*1951)
Plexiglas overtone flute in F on 465 Hz. by Lukas Rohner, 2006

Iktsuarpok is a word from the language of the Greenlandic Inuit and describes the yearning feeling of an Inuit who steps out of his igloo to scan the wide horizon with his eyes, in the vague hope of discovering a possible visitor.

Alrune (original version, 1979) by Roland Moser (1943*)
Conrad Steinmann, Ocarina.

Instrument: Ocarina in c'', EWA Vienna, around 1920, from the estate of Roland Moser's grandfather; fired clay.

This whole video series with Conrad Steimann awakens in me what Heidegger calls "uncanny". Not uncanny in the sense of spooky, but in the sense of non-native.

When you suddenly step into a completely strange landscape, in which everything you know disappears and the structures of what you are and know dissolve, so that something really new can happen. It's very nice how the tranquility of the artist's posture merges with the silence of the surroundings and the music seems to come almost completely out of nowhere. Almost as if the music here is a playing of what otherwise possesses neither language nor sound.

Andrew D'Ambrosi