Instruments which have been in continuous use since the Middle Ages such as the shawm, hurdy-gurdy and straight trumpet provide an invaluable link with the live sounds of the past which is missing even in the case of surviving original instruments. On the first two sides a number of folk instruments have been employed, as being the nearest equivalent to their mediaeval ancestors.

Where no such information is given, the instrument concerned is a modern replica or reconstruction. In the details of the instruments and their makers given below, dates are provided only for original instruments. A list of the percussion instruments illustrated is included in the side analysis. This is the case with all the non-melodic percussion instruments, since their main purpose is to provide some kind of rhythmic accompaniment the listener will find the relevant illustrations to chapter 5 spread over all four sides of these records. the courtaut, S.3, B.10, and the chitarrone, S.4, B.5). Others are included in ensembles rather than being given a solo to themselves (e.g. In order to keep within the time limits imposed by two gramophone records, a few of the more obscure instruments described in the book have regretfully had to be omitted. As far as possible the illustrations consist of complete pieces of music in one or two cases, however, extracts or abridged versions have been used. Whilst some of the leading composers of the day have been included (Landini, Machaut, Dufay, Byrd, Dowland, Fiescobaldi, Monteverdi, Practorius) these records seemed an excellent opportunity to feature some of the lesser known composers as well. Although many early wind instruments have no specific repertoire of their own, some unusual examples of specific instrumentation have been included, for instance the pieces by the Monk of Salzburg evidently intended for primitive horns and trumpets (S.2, B.Ia, 2b and 2d), Johann Schein’s Padouana for four crumhorns (S.3, B.4) two of the chansons from Attaingnant’s 1533 collection which are marked as suitable for flutes or recorders (S3, B8 and 9) and Monteverdi’s famous Toccata for trumpet band for Orfeo (S.4, B.I).

In the Middle Ages the accent is on solo pieces, sometimes with a suitable accompaniment in the Renaissance the emphasis is more on the development of the complete soprano-to-bass consorts. The illustrations themselves have been chosen to demonstrate as far as possible the function, range and special characteristics of each instrument. Those wishing to listen to the records straight trough may like to simply follow the pictures from the book alternatively the listener may prefer to read the section on any particular instrument first, followed by the relevant musical illustration. They have been carefully planned in conjunction with the book included in the box: both follow the same sequence so that book and records may be used together. These records are designed to illustrate the principal types of instrument in use in Europe before 1600.

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