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We meet together every Wednesday from 8 p.m. to 9:30 p.m. at our parish hall, 4 Pellahöhe,  exept during school vacancies. Everybody with interest in playing recorder is welcome. But she or he should dispose over a certain eagerness for learning the other instruments of the recorder-family. This applies particularly with regard to those playing only descant-recorder. We expect you to be able to read music. With regard to all other abilities concerning the recorder-playing we'll always find a solution to integrate new members in our group.

I reemphasize the following: what counts is enthusiasm, openess to new situations and the desire to learn more in a very wide sense.

Today there are 9 to 12 members in our ensemble. Nobody is forced to visit the rehearsals but I expect to keep given promises. During the rehearsal we are working on for about 3 to 4 pieces. I try to attain a homogenous ensemble sound without neglecting certain peculiarities an mannerisms of the players. Several instruments in my possession are very helpful: especially these are recorders larger than the bass recorder. Great- and contrabass in different constructions.

Hence the sound spectrum opens downwards and receives more volume. When playing early music (renaissance to early baroque) and looking for an appropriate sound I orientate myself to historic organs.

From time to time we select some pieces that will be played in a service. The visitors are very open minded. In consequence there are hardly a piece that is inapplicable to a performance in a service.


The philosophy behind all

You may ask for the motivation of those who come in such an ensemble. Probably you suppose now that they should be driven by musical reasons as I've claimed before. More insisting inquiries conclude that this is rarely the whole truth. Most of them surely want to have more musical experience and understandig but in a delightful and relaxing manner.

In addition they aim for being in a group and undergoing the feeling of lived solidarity and the nonverbal communication during playing. It is very exciting when we play polyphonic pieces. My underlying concept assumes that just the pieces of the 16th century are narrations with statements, replies, questions and answers. Furthermore this "conversation" ist associated with the affects and emotions everybody is acquainted with (so I dare to suggest). And even thoug our rehearsals have great intnsity - there I dont speak so much as I'm writing here - they are not sensed as hard work but mostly as an personal enrichment.