For a long time some artists have been improving the knowledge of the recorder, and although we do not publish currently all the biographies, we can mention :
Pierre Boragno has studied with Kees Boeke and Walter
van Hauwe in Amsterdam, where he got his solist prize in 1985 ; he
plays with "La Simphonie du Marais" (Hugo Reyne),
"Les Arts florissants" (William Christie), "La Chapelle Royale" (Ph. Herreweghe),
"Il Seminario Musicale" (G. Lesne), "Les talents lyriques" (C. Rousset),
"Le concert spirituel" (H. Niquet) and J.P. Nicolas'
"Fitzwilliam ensemble" ; he has also performed and recorded with the "Ensemble
Gilles Binchois" (Vellard), the "Compagnie
Maître Guillaume" (Sophie Rousseau) and "Le hautbois d'Henri
IV" (Barreau). He founded the "Alta" trio (high instruments) in 1989.
He teaches at the conservatoire of Garches, and at the conservatoire national de région in Versailles ; he also teaches in several summer academies (Barrèges, Dinard, Arras).
He has translated and adapted Walter van Hauwe's "Modern technic of the recorder", and writes for the "Cahiers de musique médiévale".
With C. Michon, N. Stroesser and J.N. Catrice, he has written "10 ans avec ... la flûte à bec" (10 years with ... the recorder), an annotated bibliography of the recorder's repertoire published by "La Cité de la Musique", Paris (january 98).
Jean-Noël Catrice has studied the recorder with Michel Piguet at
the Schola Cantorum in Basel, and Renaissance reed instruments at the Centre
de Musique Ancienne in Genève with Lorenzo Alpert.
Former member of "Les Menestriers", he plays with the ensembles "Dulzainas" and "La compagnie Maître Guillaume" since their beginnings ; "La compagnie Maître Guillaume" recorded in 1997 "Si pour t'aimer" , a CD devoted to the music by Pierre Phalèse which was warmly received by the critics. Because of the activities of these two ensembles (concerts, recordings, Renaissance ballets, classes) he takes part in the main European festivals (Ambronay, Chambord, Utrecht, Bruges, ...)
He plays the baroque repertoire with Freddy Eichelberger (harpsichord) or Pascale Boquet (lute), and also contemporary pieces with the guitar player Thierry Mercier.
He teaches in the parisian region at the Conservatoire in Bourg-la-Reine and Sceaux.
He has written a "Méthode pour les débutants" (method for beginners) published by Lemoine (Paris) and has collaborated with C. Michon, N. Stroesser and Pierre Boragno in writing "10 ans avec... la flûte à bec" (10 years with ... the recorder), an annotated bibliography of the recorder's repertoire published by "La Cité de la Musique" (January 98).
Elsa Frank has studied recorder (with Conrad Steinmann) and baroque
oboe at the Scola Cantorum Basiliensis. She participated in the European
Community baroque orchestra, plays with "Le
Parlement de Musique" , the baroque orchestra of Nice (Bezzina), and
also in the quatuor "Diferencias" (with C. Steinmann).
She is also a member of the ensemble "Doulce Mémoire" conducted by Denis Raisin-Dadre, with which she performed many times and recorded several CD. Elsa Frank has taught the recorder since Sept. '97 at the Conservatoire National de région in Caen, Normandy.
As he was getting his diploma of scientist, Pierre Hamon was studying
the recorder with Walter
van Hauwe in Amsterdam. In the same time, he joined the "Ensemble Gilles
Binchois" (D. Vellard), where he still thoroughly goes into the medieval
repertoire, while building new ways of teaching medieval instruments. In
1989, he founded with Emmanuel Bonnardot and Brigitte Lesne the "Alla francesca"
ensemble with which he has recorded many CD awarded by the critics.
He also takes part in recordings and concerts all around the world with "Les Arts florissants" (William Christie), "Il Seminario Musicale" (Gérard Lesne), "Fitzwilliam" (J.P. Nicolas), "A sei voci", "Hesperion XX" (Jordi Savall) ; he also performs as a solist in a program mixing medieval pieces and contemporary music. He plays in sonata-group with his ensemble "La Canzona".
He is co-director of the Medieval Music Centre of Paris, and teaches in the Conservatoire National Supérieur de Musique in Lyon, and in the Conservatoire Erik Satie of Paris (7è) ; he also conducts master classes in many countries (Spain, Belgium, Brazil, New Zealand,...).
Sébastien Marq has studied in France with Pierre Ginzbourg and
Robin Troman, then in the Netherlands with Marijke Miessen, Kees Boeke
van Hauwe ; he got his diploma of the Sweelinck Conservatorium of Amsterdam
in 1985. In 1984, he won the first prize of chamber music at he international
competition Musica Antiqua in Bruges with the Lous Landes Consort.
He performs in many countries with "Les Arts florissants" (William Christie), "Les Musiciens du Louvre" (Marc Minkowski), "l'ensemble baroque de Limoges" (Christophe Coin), "Il Seminario Musicale" (Gérard Lesne) and also in ensembles conducted by Ton Koopman.
With Claire Michon and Denis Raisin-Dadre he has formed the "Dilettanti Trio", and he takes part in the "La Canzona" ensemble conducted by Pierre Hamon ; with these ensembles, he recorded many times.
As a solist he has recorded (with "Le Concert Français" conducted by Pierre Hantaï) the "Esserzicii Musici" sonatas by Telemann, "Maskes & Fantazies" by Giovanni Coperario, and op. 111 concerti grossi by Arcangelo Corelli. his recording of "Fluyten Lust-Hof" by J. van Eyck (with Jill Feldman and Rolf Lieslevand) has been warmly received by the critic ; these records are available by Astrée-Auvidis.
Sébastien Marq teaches at the Paris Conservatory of the 7th arrondissement, where he conducts the baroque orchestra ; he also conducts master classes in Netherlands and Israel, and teaches at the Royal Conservatory in Den Haag, Netherlands.
Susi Möhlmeier first studied the recorder at the Conservatoire
in Dortmund with Monika Jakoviak, as a Jungstudentin. In 1985, she began
to study at the Sweelinck Conservatorium in Amsterdam with Walter
van Hauwe, and also followed lessons from Kees Boeke, Marijke Miessen,
and Frans Brüggen. She received her solist diploma in 1991, then she
went in France, and passed the Certificat d’Aptitude for the recorder.
Since that she has taught at the C.N.R. in Grenoble, at the E.N.M. in Annecy, and since september 1995, she teaches the recorder and the ancient music at the C.N.R. in Lyon.
She performs with various ensembles in France and abroad, often with the ensemble “ La Turbulente ” founded by Frédérique
Thouvenot, baroque ensemble who also plays contemporary music, invited by several European festivals.
Some of her recordings : “ Arcangelo Corelli, Sonates da Chiesa & da Camera ”, “ Arcangelo Corelli, La Follia & Sonates
da Camera ”(Ligia Digital) et “Matthew Locke, Consorts… for several friends ” (Oui’dire).
She works with the publisher Jean-Marc Fuzeau on the edition of fac-similés of ancient music for the recorder. She also translates editions for several publishers.
Claire Michon has studied the recorder in Utrecht (Netherlands) with
and got there her concertist diploma in 1982. She is a member of "Les Musiciens
du Louvre" (M. Minkowski), and founder with Sébastien
Marq and Denis Raisin-Dadre of the "I dilettanti"
trio ; this ensemble, associated with "Dulzainas" and "Sweet Musick" has
recorded the complete version of "Capricci a tre voci" by V. Ruffo (awarded
by a "Diapason d'or" and "Choc du Monde de la Musique"). Claire Michon
is also member of "Castalie" (with P. Dubreuil, harpsichord and H. ter
Brugge, cello) and founder of "Les Witches".
She teaches at the conservatoire national de région and at the CEFEDEM of Poitiers.
Besides that, she is an artistic manager for recordings (for "Doulce Mémoire" and "La compagnie Maître Guillaume"), and has written with N. Stroesser, P. Boragno and J.N. Catrice "10 ans avec... la flûte à bec" (10 years with ... the recorder), an annotated bibliography of the recorder's repertoire published by "La Cité de la Musique", Paris (january 98).
Since 1983 Jean-Pierre Nicolas has played with "Les Arts Florissants" conducted by William Christie, and takes part in several ensembles: "Ensemble baroque de Limoges" (Christophe Coin), "Il seminario musicale" (Gérard Lesne), "A sei voci", "Le concert spirituel" (H. Niquet), "La grande écurie et la chambre du Roy" (J.C. Malgoire), "La Simphonie du Marais" (Hugo Reyne). With these various groups he has performed all over the world and recorded about thirty records. With Michèle Dévérité, he has founded the ensemble "Fitzwilliam" of which he is musical director. This ensemble has made recordings devoted to T. Merula and A. Falconeri (vocal and instrumental pieces), and to G. Frescobaldi (canzone, partite), all available on Astrée-Auvidis. The ensemble has also recorded two other CDs featuring works by Marin Marais (Suites en Trio) and G.P. Telemann (trio and quartets). Jean-Pierre Nicolas has taught for 10 years at the CNR in Tours, and in several international academies. He currently teaches at the Ecole Nationale de Musique de la vallée de Chevreuse in Orsay (Paris region).
Laurence Pottier is both performer and musicologist. In 1989 she was
awarded her Maîtrise at The Sorbonne for her work on "The recorder
in Italy in the XVIth century", and in 1993 she completed her major thesis
which concerned "The repertoire of the recorder in France during the baroque
She performs regularly in chamber music ensembles and as soloist ; she is interested in the relations between music and early or contemporary dance, and so collaborates with the companies "Chapitre XVI" and "Chorégraphe".
In 1996 she recorded the complete set of the suites by Jacques Hotteterre "le Romain" with Ph. Allain-Dupré, Ph. Pierlot and Y. Uyama-Bouvard (Naxos label).
She teaches the recorder and conducts the baroque orchestra "Les musiciens de Mademoiselle de Guise" at the Conservatoire du IXè arrondissement of Paris, and usually conducts master classes in France and Brazil.
Laurence Pottier published in "The recorder in the seventeenth century" an article about the iconography of the recorder in France in the XVIIth century, which she had presented at the International Recorder Symposium in Utrecht (1993).
She also published in 1996 ( Zurfluh) , the three french "méthodes de flûte à bec" of the baroque period (Hotteterre, Freillon-Poncein and Loulié), and is currently preparing a method for alto recorder for publication in 1998 (Zurfluh).
Denis Raisin-Dadre leads the ensemble "Doulce Mémoire" which
specialises in Renaissance music. This ensemble recorded in 1996 "Fricassées
Lyonnaises" , with works by Jacques Moderne, and "Castiglione: Le Livre
du Courtisan" (Music at the Court of Urbino), each of them awarded with
a "Diapason d'Or".
Raisin-Dadre is also member of the "Dilettanti Trio" .
He teaches the recorder at the Conservatoire National de Région in Tours.
Philippe Renard received diplomas of musicology at the University
of La Sorbonne (Paris), and at the department of ancient music of the Conservatoire
of Boulogne Billancourt. He studied with Robin
Troman and Kees Boecke for the recorder, Alain Sobczak
for the ancient reed instruments, Thierry Schorr and Martha Cook for the
As he prefers contemporary artistic expression, he creates works by French composers : Bernard Rolland and François Rosse ; at the same time, he takes part with Philippe Bolton in the conception of a new electroacoustic tenor recorder. This work lead him to perform new works by composers such as Philippe Dulat and Donald Bousted ; some of these pieces written for the electro-acoustic recorder have been dedicated to him.
Hugo Reyne has studied the recorder very young and then the oboe, and
he got quickly diplomas and first prizes in conservatories. He won in 1981
the first prize in the international recorder competition in Hurtebise,
and in 1984 the first prize in chamber music at the international competition
As an orchestra musician, has has worked with Franz Bruggen, William Christie, Philippe Herreweghe and Gustav Leonhardt, and in 1987, he founded the baroque orchestra "La Simphonie du Marais", with which he has made several records warmly received by the critic, and has performed many times in France and abroad. This ensemble aims to thoroughly explore the French music from early baroque to classical period. "La Simphonie du Marais" has recorded amongst others the complete version of the "Symphonies pour les soupers du Roy" by M.R. Delalande (Harmonia Mundi), the "Symphonies pour le Festin Royal" by F. Francoeur (Arcade), "Jean de La Fontaine : un portrait musical" : musics by Charpentier, Couperin, etc..(Virgin), and "La Diane de Fontainebleau" by H. Desmarest (coming soon by Astrée-Auvidis).
As a solist, Hugo Reyne has recorded amongst others the complete set of the sonatas for recorder by Haendel (Harmonia Mundi), the six suites by François Dieupart (EMI), "A collection of ayres for recorders" by H. Purcell (Virgin), and the Symphonies by P. Gautier "de Marseille" (Astrée-Auvidis).
Hugo Reyne teaches at the Conservatoire national de région in Bordeaux, and devotes himself to musicological research and publication of ancient editions, and is also since 1997 guest conductor of the Orchestre National de Bordeaux-Aquitaine for baroque concerts.
Cécile Roumy received her diplomas from the Centre de Musique Ancienne in Genève and the Schola Cantorum in Basel. She has made a thorough study of Italian music of the XVIIIth century, from which she has developped her approach to the performance of the melody, ornamentation and rubato. She continues this work with the Mancini ensemble (Dirk Börner harpsichord, Shizuko Noiri theorbo) with which she performs widely and has broadcast on radio. A recording devoted to the Napolitan composer Francisco Mancini (Carpe Diem label) is in preparation.
Cécile Roumy has been invited to play with Gabriel Garrido (Ensemble Elyma), Michel Corboz
(Ensemble vocal de Lausanne), Olivier Schneebeli (Ensemble Baroque de Versailles) and at ancient music festivals (Ambronay, La Chaise-Dieu, ...).
She has also recorded several CD by Symphonia with Ariane Maurette and the ensemble
"Isabella d'Este". She teaches at the Conservatoire National de Région de Limoges.
While studying the harmony with M. Duruflé and the musical analysis
with J. Charpentier, Michel Sanvoisin studied the recorder in London with
Carl Dolmetsch and the interpretation of ancient music with Antoine Geoffroy-Dechaume.
He was a member of the Ensemble Polyphonique de la Radio from 1963 to 1984
; in 1965 he founded with Joseph Sage (counter-tenor) and Guy Robert (lute)
the ensemble "Ars Antiqua de Paris" (3 to 9 members) which gives many concerts
all around the world.
As a solist, he recorded the concerto for flautino by Vivaldi (EMI), the Suite in A Minor by Telemann (Arion), the Brandenburg Concertos of J.S. Bach (RCA) . . .
With the "Ars Antiqua de Paris", he has recorded "L'art de Guillaume de Machaut", "L'art de Guillaume Dufay", "Danceries et airs de cours" (Arion), la "Messe de Notre-Dame" (Edelweiss) . . .
He has edited much music for the recorder, many of which have been published by Zurfluh, Heugel and Billaudot editions (e.g. "Concerts royaux" by F. Couperin), and has published several musicological works (e.g. "21 sonates e canzoni" by G. Gabrieli).
Alain Sobczak has studied the recorder, the baroque oboe, the Renaissance
reed instruments, as well as the lute, first in France and then in Switzerland
at the Schola Cantorum in Basel and in Genève.
He has worked with many early music ensembles in France, Belgium and Switzerland and he collaborates at the moment with the ensemble A Sei Voci.
More than 20 years ago he founded the ensemble Le Tourdion which has given concerts in France, Belgium, Switzerland, Italy, Netherlands, etc…
In addition to this activity, he became interested in music publishing and, to this end, has founded Les Cahiers du Tourdion , which specializes in early music and contemporary music and represents composers such as : Michèle Reverdy, François Rossé, Christian Lauba, Pierre-Yves Bosseur, Etienne Rolin…
He collaborates as an engraver with many publishers and with "la Revue de Musicologie".
he has been teaching the recorder for about 30 years at the conservatoire de région in Strasbourg where he has trained many professionnal players. He also taught the baroque oboe. As he wants to share his experience in musical engraving, he has been teaching this and computer-aided publication for 4 years at the conservatoire in Strasbourg to students and colleagues of the Conservatoire in Strasbourg.
To contact Alain Sobczak : email@example.com .
Nicolas Stoesser completed his diploma at the Schola Cantorum in Basel
where he took part in Michel Piguet's class. He divides his time between
teaching recorder and chamber music at the Conservatoire National de Région
In addition, he performs with several early music ensembles (Anaphora, Labyrinthe, A Sei Voci) in France and elsewhere ; he has recorded for the labels Opus 111, Astrée Auvidis and Stil.
He collaborates with the music publisher Les Cahiers du Tourdion with whom he has published original pieces for the recorder, and published a manuscript by Etienne Loulié, who wrote one of the first french method for the recorder at the end of the XVIIº century.
He has collaborated with C. Michon, P. Boragno and J.N. Catrice in writing "10 ans avec... la flûte à bec" (10 years with ... the recorder), an annotated bibliography of the recorder's repertoire published by "la Cité de la Musique" (January 98).
To contact Nicolas Stroesser : Nstroesser@aol.com .
She studied the recorder at the Conservatoire National de Région
in Grenoble, with Sabine Weill and where she got a
gold medal in 1984 ; she also studied there musical composition. She worked
in 1985 with Sébastien Marq, then she went to
the Netherlands to improve her musical knowledge with Marijke Miessen and
Kees Boeke ; she entered Walter
van Hauwe's class in 1985, at the Sweelinck Conservatorium in Amsterdam,
where she received her diploma Docerend Musicus in 1989. She also received
the Diplôme d’Etat de Musique Ancienne (1991) and the Certificat
d’Aptitude for the recorder (1995).
She performs in France and abroad in several ensembles ; amongst them, “ La Turbulente ” she has founded, which members are Susi Möhlmeier, Catherine Latzarus (harpsichord) and Nicolas Hartmann (cello), is a baroque ensemble that also performs contemporary music (winner of the FNAPEC competition “ Musiques d’Ensembles ” in 1991), invited at the Centre de Musique Baroque of the Château de Versailles, at the Vespermusik of the Stiftkirche in Cappenberg, at the Baroque Academy in Lyon, at the Ambronay festival, in Oxford and at the Barock-Festspiele in Thun.
Some of her recordings : “ Arcangelo Corelli, Sonates da Chiesa & da Camera ”, “ Arcangelo Corelli, La Follia & Sonates
da Camera ”(Ligia Digital) et “Matthew Locke, Consorts… for several friends ” (Oui’dire).
She was artistic director of the concerts “ La Musique Ancienne & ses Instruments ” in Grenoble.
Since 1991 she works with the publisher Jean-Marc FUZEAU on the edition of fac-similés of ancient music for the recorder.
She teaches the recorder at the E.N.M. in Villeurbanne since 1989, and was pedagogic advisor at the CEFEDEM in Lyon.
To contact Frédérique Thouvenot : Rodisner@aol.com .
Robin Troman has studied the recorder and the ancient music first at
the Schola Cantorum in Paris, the at the Conservatoire National de Région
in Versailles. He completed his studies in Netherlands with Kees Boeke,
van Hauwe and Marijke Miessen in Amsterdam, and took part from 1973
to 1979 in the sessions on English music given by Alfred Deller.
He has been a member of many ensembles of traditionnal, medieval, renaissance and baroque ensembles such as Les Tregeriz, le groupe d'instruments anciens de Paris, Danceries (Osaka), Sesquitertia, La Chapelle Royale, Les Arts Florissants, l'Orchestre Baroque d'Ile de France, Walsingham, etc... With this different ensembles, he has taken part in a lot of concerts and recordings in nearly all European countries.
Since 1982, with the guitar player Patrick Ruby, he has a large activity in contemporary music, awarded in 1986 by the Menuhin Foundation, and so creates many works by French composers (Rolin, Giner, Rossé, Tosi, Bosseur, ...). Among his CD recently recorded, we can mention : Artus aux Cousteaux (Cyprès), Musicke Divine (BNC), François Rossé (Quantum), "Feu dévorant" (l'empreinte digitale).
In 1991 he passed the C.A. of recorder et in 1992 the C.A. of ancient music ; since 1992, he is teaching advisor at the Conservatoire National de Région in Angers.
After his initial studies at the conservatoire of Lille (recorder,
chamber music, musical writing), DominiqueVasseur continued with Marion
Verbrüggen at the Utrecht Conservatory where he was awarded his
He teaches at the Conservatoire in Lille and at the Ecole Nationale de musique in Charleville Mézières (recorder and chamber music).
He plays with various ensembles but more usually with the Continuum ensemble and the Académie Ste Cécile with which he recorded several CDs.
Dominique Vasseur has also composed for about 15 years. The twenty or so works he has already written include : "Quinta Essentia", for tenor recorder and four "bottle-blowers" - "Musique de scène pour Ennuis de noce" (Ballatum Theatre) - "Avant la nuit" (Before night), for bass recorder and magnetic tape - "Lueur par delà" for alto voice, flute, viol and cello - "5 esquisses de paysages imaginaires" (5 sketches of imaginary landscapes) for recorder and two cellos - "Dans les pas du silence" (In the steps of silence) for symphonic orchestra ...
Jean-Cluade Veilhan studied the clarinet first at the conservatory in
Versailles and received a diploma in chamber music at the Ecole Normale
de Musique in Paris, in Jean Francaix's class. He studied the recorder
using books of the baroque period. Since 1970 he has been a member of the
ensemble "La grande écurie et la chambre du Roy" conducted by Jean-Claude
Malgoire. When he recorded the Opus X Concertos by Vivaldi, he was the
first in France to record with early instruments. He has also recorded
many works for the recorder or the flute by French composers (R. de Visée,
Marin Marais, Michel Blavet, etc...) and many works for the clarinet with
Jean-Claude Veilhan teaches the recorder at the conservatory in Saint-Ouen (near Paris) and early clarinet at the Conservatoire National Supérieur de Musique in Lyon. He has written a method for the recorder "L'enseignement complet de la flûte à bec" (published by Alphonse Leduc, Paris) and a very useful book "Les régles de l'interprétation musicale à l'époque baroque" (The Rules of Musical Interpretation of the Baroque Period) also published by Leduc.
He has recounted his life and opinions as a performer of early music in a book that is often very amusing: "Le cri du canard" ("The Duck's Cry"), published by Zurfluh, Paris.
Sabine Weill began her musical studies at the Conservatoire in Strasbourg
with Elisabeth Schoch. Then she continued at the Schola Cantorum in Basel
with Hans-Martin Linde and Michel Piguet, and received he solist diploma
She collaborates with many ensembles such as "Hesperion XX" (J. Savall), "Ricercare", "Huelgas Ensemble", "A Sei Voci", "Le Tourdion", "Elyma", "The Academy of ancient music", "Le Parlement de musique", and has created with Eugène Ferré the "Labyrinthes" ensemble (Renaissance music). She has taken part in nearly twenty recordings under different labels (EMI, Sony, Astrée, Erato, ...).
She taught the recorder at the conservatoires in Grenoble, Genève, Monaco and at the CNSM in Lyon.
Now she teaches the recorder at the Conservatoire National de Région in Aix-en-Provence where she is also director of the department of ancient music.