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Holding paper
I owned this alto recorder only briefly. Despite the well-known praise often lavished upon it—namely that it is meticulously hand-voiced and ideally suited for the virtuosic performance of the late Baroque repertoire—I ultimately had to return it, as I found the Moeck Ehlert Grenadilla, which I purchased in place of the Mollenhauer Denner Edition Grenadilla, to be a substantially superior instrument.
In my opinion, the Mollenhauer Denner Edition Grenadilla suffers from limited acoustic power; it is almost as though the instrument itself were afflicted with shortness of breath. Admittedly, it is remarkably agile, and its tone—particularly in the second octave—possesses that characteristic “violin-like tearfulness” which many players admire. However, it entirely lacked the silvery brilliance that I seek in a recorder's sound. While I am aware that some instrument makers and recorder builders consider the absence of such brilliance to be a desirable quality, for me it was one of the decisive reasons for returning the instrument.
It is, of course, possible that I simply received an unsatisfactory specimen. Nevertheless, the Moeck Ehlert Grenadilla strikes me as a far more substantial and robust instrument. Even after only a week of playing, it has begun to reveal that elusive “silver” in its tone, albeit still cautiously and gradually. More importantly, I find myself developing a much deeper musical and personal affinity with it than I ever did with the Mollenhauer Denner Edition Grenadilla.
In my opinion, the Mollenhauer Denner Edition Grenadilla suffers from limited acoustic power; it is almost as though the instrument itself were afflicted with shortness of breath. Admittedly, it is remarkably agile, and its tone—particularly in the second octave—possesses that characteristic “violin-like tearfulness” which many players admire. However, it entirely lacked the silvery brilliance that I seek in a recorder's sound. While I am aware that some instrument makers and recorder builders consider the absence of such brilliance to be a desirable quality, for me it was one of the decisive reasons for returning the instrument.
It is, of course, possible that I simply received an unsatisfactory specimen. Nevertheless, the Moeck Ehlert Grenadilla strikes me as a far more substantial and robust instrument. Even after only a week of playing, it has begun to reveal that elusive “silver” in its tone, albeit still cautiously and gradually. More importantly, I find myself developing a much deeper musical and personal affinity with it than I ever did with the Mollenhauer Denner Edition Grenadilla.
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