The album's title is that of a book of instructions and tunes for the recorder published in 1683, floated on the tide of the instrument's popularity, but it is not the source of the recorded music. Some items may be generally familiar (Side 1 and Greensleeves) but some are not: the Leclair Sonata isn't in the catalogue, nor is there anything of Dalla Casa or Finger (his first digital recording), the latter well known to viola da gamba buffs. Van Eyck's variations are played with magical effect-aided by a degree of resonance the composer would not have enjoyed in his churchyard perambulations. What is particularly striking is the more substantial, less piping sound of the recorders (historical copies made by Friedrich von Huene of Boston) at A = 415—the only uncomfortable aspect of Michala Petri's performances is her use of today's standard-pitched instruments. But no less noteworthy is the beutifully fluid playing of Harvey, whose virtuosity, though remarkable, is best measured by the musical end-product. Fittingly, he is provided with 'genteel companions with whom he is tune in every sense, and together they offer one of the most delightful programmes to have come my way in a very long time, and the recording does them proud.'