The repertoire we are playing is various and varied but also it has focal points resulting by our membership to a church and because the place of activity is the service. Furthermore it is a result of the manner playing in a way that originally was dued to the recorder and of mannerisms that are accessible by intuition. If one gets out of the classical concept of measures even the amateur recognizes the charm of renaissance pieces and the versatile possibilities to form these peaces. This leads to a homogenous ensemble-sound and during the play everybody soon recognizes his role in context with the others. This forwards by an intuitive way the listening and the interaction. You don't no more count the beats and "compile" a peace but you will be lead to a differentiated dialogue with statement, objection, question and and answer etc.

Based on these results one proceeds to a better understanding of more modern recorder-literature. Most of our pieces come from 1550 to 1650. Several contemporary pieces (later than 1980) are standing to those in contrasting opposition. We also have romantic pieces (e.g. Grieg) that one can play very well on recorders. Strange to say we had the greatest difficulties to perform pieces from J.S. Bach in an acceptable way.

The selection of a piece always is determined whether it leads to new musical experiences and insights. This is my utmost concern! And is there anymore to desire when at the end of a rehearsal or a performance all say: "Never we believed that a recorder ensemble can produce such a marvellous sound".