Recorder31 Day 28 | Introducing LIFEM's New Patron, HSH Dr Donatus, Prince of Hohenzollern

Last week, the London International Festival of Early Music (LIFEM) shared this year's artists, along with the announcement of the festival's new patron.  In today's instalment of Recorder31, Festival Director Chris Butler talks to His Serene Highness, Dr Donatus, Prince of Hohenzollern, the newly-appointed patron of LIFEM.

Prince Donatus, a member of the German royal family, has long been a supporter of the arts and historical preservation. His commitment to cultural endeavours is well-known, with his involvement in various philanthropic and educational initiatives, which includes Teahouse Baroque, a network for advanced and amateur players and singers. His patronage is expected to further elevate the festival’s profile, gaining even more international attention and participation.

To read the full Press Release about Prince Donatus' appointment as patron, please click here.

Prince Donatus shared some of his thoughts on the festival and recorder music with LIFEM Festival Director Chris Butler.

Chris Butler: As the newly appointed patron of LIFEM what draws you to early music, and how did your passion for this genre begin?

HSH Prince Donatus: I struggle with the term 'Early Music'. The implication suggests that it is not yet fully developed and somehow incomplete, especially since the period after 'Early Music' is not referred to as 'Late Music'. However, the Baroque period is for me driven by a very positive, joyous mindset, celebrating the moment, outweighed by the memento mori idea. Because we live a life long ‘forward’ it is so difficult to sit still and enjoy the moment. Frederick the Great, the powerful Prussian monarch, subjected himself subservient to the arts when he performed before his courtiers, for this very reason. My music path led me from the recorder to the clarinet (I wasn’t bad at it), oboe (I was bad at it) and double bass (I transported it on my bicycle which nearly killed me) but I returned to the recorder.

CB: What is it about the recorder that fascinates you, and how do you think it contributes to the distinct sound of the Baroque era?

HSH: I also struggle with the term ‘recorder’ which sounds like a domestic appliance like a toaster and affirms the prejudice in wide circles that it is not a ‘real’ music instrument, simple like the triangle and not on the level of a cello or flute. This prejudice is as politically incorrect and, of course, nonsense as vital in people’s minds. The unique asset of the recorder is the intimacy of its sound which has not been surpassed by any other instrument. Intimacy may have been one focus of the culture of the Baroque, following the Renaissance period that has been, in the dialectics of the history of thought, very analytical, conscious of logic and form, ‘classical’, ‘straight’ in design, architecture, masculine in a way etc. The Baroque was softer, rounder, supra-symmetrical etc. Since reality is not black and white but always a mixture, these criteria are blending always. However, each period has a drive in it which gives the time its distinct character.

CB: Baroque music is known for its expressive and ornamental style. In your opinion, how does the recorder’s sound and versatility enhance this particular style of music? 

HSH: The sound of the family of flutes has always and across different cultures been recognised as the means to express the soul, emotions, love and suffering, for example, the Persian Ney, celebrated by Rumi. In Europe, it has been the accomplishment of two families, the Hotteterres and Philidors to develop the recorder to its maximum aesthetics, as we all know. The sweetness of its sound qualified it the ‘flauto dolce’ which was the ideal instrument, together with the oboe d’amore to represent reflections of the soul – a subject of relevance in a society strongly influenced by reformation and anti-reformation.

CB: Do you have favourite composers or specific works from the recorder repertoire? What about these pieces or composers resonates with you?

HSH: For me, talking about the recorder, the Actus Tragicus Cantata of Johann Sebastian Bach [BWV 106] is unparalleled in beauty, exceeded only by its truth. It was a revelation to play the Sonatina, feeling a relief, as a spiritual person I would even say, a moment of redemption from the timeliness of my existence.

As we all know there is a universe of compositions written for the recorder and always new galaxies to discover. Gottfried Keller is one of the bright shining ones among them. His Sonata in d minor for two recorders and b.c. is a firework (N3550).

CB: Baroque pitch is always an interesting topic of conversation amongst recorder players. I understand you have a preference for a392, so what appeals to you about this particular pitch and which instruments do you use?

HSH: I must confess that I terrorised the dozens of participants of the ‘Baroque Week’, the annual event founded by Walter Bergman with the Old French Opera Pitch. If you play a short phrase at 392 Hz, and repeat it at 415 Hz and 440 Hz you let your instruments on the higher pitches fall like two hot potatoes (a German expression). The sound of the deep pitch is unbelievably rich, colourful, and mellow and supports the ideal sound on the recorder. String players may I have a different opinion, but for the recorder, there is no doubt about the French pitch being advantageous. When I played here at ‘Teahouse Baroque’, the network for senior musicians in the South, an organ trio sonata by JSB, arranged for violin and flute (BP470) but unlawfully performed by two recorders (at 392 Hz), I used an instrument from Ernst Meyer which he developed together with Maurice Steger to a relatively open tone with a beautiful strength even in the lower range of tones. The cellist was perplexed about the gesamt sound. Not knowing that it was originally written for organ, she commented: “That sounded like organ music.” Mission accomplished!

I commissioned an SATB set on 392 Hz from Jack Darach which is without historical example. I like my Wenners, Ohanessians and am in love with my van der Poels. However, all established recorder makers I know produce excellent instruments and I am convinced that the real top-notch quality is not subject to knowledge and handicrafts alone. They are lucky ‘accidents’.

A boxwood alto recorder at a392 by Peter van der Poel, similar to one played by HSH Prince Donatus.

CB: As patron of LIFEM, how do you envision helping the appreciation of the recorder and Baroque music to a broader audience, especially among younger generations?

HSH: That touches a wide spectrum, including the changing politico-sociological context, all the initiatives in place like the programmes of the colleges, the initiatives of the Musician’s Livery in schools, the concert societies that occasionally organise recorder concerts, even they are feared as hall-emptiers. I think the recorder should be presented in its true sound aesthetics as Michael Form does it with his interpretation of one of the ‘French Suites’. [See below.] As fine, convincing taste comes from clarity, I believe, the beautiful intonation of the clear sweet sound is the best PR for the instrument within the wider audience. The use of extreme soloist parameters, tempi and dynamics, rocks the recorder community to heaven but displays to the general audience the instrument’s limitations, potentially supporting the prejudice that it is a stressed kinder instrument. It is nothing more and nothing less than an organ pipe with eight holes and not suitable for the virtuosity we know from the 19th century. I am not a moralist or purist but more care in that respect would help the reputation and approach the younger generation.

The festival is an irreplaceable forum to support all sorts of interests, creativity and communication which enriches our lives.

CB: Thank you.

Click below to watch Michael Form's interpretation of J S Bach's French Suite, BWV 814, as discussed by HSH Prince Donatus.

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The Sound of Recorder Music!

The Mollenhauer Denner Edition range offers professional-quality instruments which have been voiced over an extended period to offer a greater balance and stability to the tone and intonation. These clips demonstrate the Denner Edition Soprano in Grenadilla at a440, and this model is also available at a415 baroque pitch. Listen to the clips below or follow this link to find out more about this instrument.

Van Eyck Nightingale:

Sammartini Allegro:

Scale: