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Featured Maker • Von Huene
Our Featured Maker Blog returns during this year's Recorder31, our annual celebration of all things recorder. Today we're hearing from Patrick Von Huene about the Von Huene Workshop, and The Early Music Shop of New England (no relation to our business, although they are very much friends of ours!).
We asked Patrick about their popular recorders, and the family history that has led to today's Von Huene range, along with their shop and other endeavours.
The Early Music Shop: The von Huene range includes recorders after several of the most famous historical models including Denner, Stanesby Jr., Terton, and Bressan as well as flutes after Rottenburgh, Kirst, Grenser, and Denner. Do you have any personal favourites, or are there are any that are particularly satisfying in the manufacturing process?
Patrick von Huene: My favorite recorders to make and play are our Bressan voice flute, Rippert alto, Terton soprano, and Scherer alto. The larger instruments are so rich and warm sounding. Customizing instruments with mounts, 'antiquing', or other options always inspires me and makes each recorder uniquely special.
EMS: This year marks ten years since the sad passing of your father Friedrich von Huene, who founded your workshop in 1960. Do you think he would be surprised by any changes in the recorder world in the last decade, or would he broadly recognise the scene he retired from?
Patrick von Huene: Friedrich, both as a player and visionary anticipating the needs of future performers, was always experimenting and developing new ideas, from special keywork to larger and longer bores to extend the range and volume. Many makers today are building on these ideas and innovations to make recorders that players require for their ever-expanding repertoire.
EMS: Your father also collaborated with other makers, contributing to other high-profile models including the Moeck Rottenburgh and the Zen-On plastic ranges. Does it feel special to be continuing, and adding to, such an important family legacy?
Patrick von Huene: Don't forget the Mollenhauer great bass project (Friedrich designed both the Canta and Denner model C-basses). He was passionate about designing recorders to improve their sound and response for both students and professional players alike. This, of course, increased our business, but also expanded the selection of instruments available to all.
EMS: Aside from the aforementioned collaborations, the von Huene workshop develops new models such as your own design of a440 tenor recorder. Do you have any new models in the pipeline at the moment?
Patrick von Huene: I did not design the von Huene a440 tenor - it's basically the model my father designed in the 1960s but with the exterior turnings and voicing updated for modern tastes. However, I was involved in developing our 'Loeki' (a415) tenor, the Scherer (a392) alto, Ganassi soprano and Rippert soprano, and other innovations and refinements. I am always interested in new ideas and projects, but we have to balance R+D costs (design time, prototyping and testing, new tooling, etc.) against possible customer interest.
EMS: As well as making new instruments, you are involved in the running of The Early Music Shop of New England – which could be described as the US equivalent of our shops in the UK! For our international readers, could you tell us a little bit about the early music scene in the US at the moment?
Patrick von Huene: Though my family name is on the door, the running of the office and Early Music Shop falls to my very dedicated staff. Eric Haas runs the retail shop, wearing many hats to keep instruments, music, and books in stock and everything running as smoothly as possible. All of our staff are professional performers, composers, arrangers, and teachers, and lend an important understanding to the historical music scene and beyond.
The early music scene in the US is still vibrant, but it's not so widely visible as it is in Europe, nor such an integral part of the culture. We are always encouraged by new players, hoping to inspire wider and long-term interest.
EMS: This week’s promotion during Recorder31 focusses on modern and high-end instruments, some of which are factory-made and others crafted by hand. From your perspective as a maker, what are the main differences between playing a handmade instrument in comparison with a factory-made model?
Patrick von Huene: These days, many factory instruments are quite good, having been redesigned for improved playability and articulation. All instruments can be modified to some degree, but the general playing characteristics of specific models must be understood and kept in context to the music to be played and the design limitations.
Maintenance will always be necessary, but should be done by a trained recorder expert. Beware of advice offered by internet 'experts' and quick fixes: amateur self adjustments can have drastic negative consequences very quickly. Our shop offers complete service and restoration capabilities for recorders and traversos, as well as custom modifications. We are the authorized repair and service agents for most major makers and several smaller firms.
A fine handmade recorder will have a more refined and complex sound, better and more reliable articulation and response, and more delicate nuances of timbre and dynamics throughout its range than a factory made instrument. Still, the recorders of larger firms provide good quality at an affordable price, and smaller firms offer specialized designs and tunings.
It is an honor coming in (quite) early each day and being responsible for continuing the legacy begun by my parents Friedrich and Ingeborg von Huene. I hope my continued efforts will bring a smile to someone when they play their new or newly serviced recorder. If it makes them happy, it may delight an audience as well. That is the point.
Click here to watch a short video introducing the Von Huene Workshop with Patrick von Huene and Eric Haas: