Zephyrus Flutes
Zephyrus Flutes’ new CD, Pierre Attaingnant Chansons Musicales, Paris, 1533, was released in November, 2013
(to purchase, see ‘new CD releases’ above).  First of a series of CDs to record French and Italian Renaissance music.
Flautists Nancy Hadden, Elizabeth Walker, Isabelle Sainte-Marie, David Hatcher, programmes also with lutenist Jacob Heringman.

Nancy Hadden, director of the Renaissance flute consort ZEPHYRUS FLUTES, has made a name for herself as one of the leading players of the Renaissance flute, and her many recordings and research publications have earned her world-wide recognition.  Her comprehensive guide, Playing the Renaissance Flute, is available as a download on her website (Volume II of her PhD dissertation), and will be published as A Handbook for the Renaissance Flute by Peacock Press.

ZEPHYRUS FLUTES have performed at the prestigious York Festival, Cambridge Festival, South Bank Festival, Prague Spring Festival. Their new CD release, Pierre Attaingnant, Chansons Musicales, Paris, 1533, features Parisian chansons for flutes by

Sermisy, Certon, Richafort, Gombert, and can be purchased by clicking on the menu above, New CD Releases.
Zephyrus play instruments made by Martin Wenner (Singen, Germany), which are modelled on the flutes now in the Accademia Filarmonica,Verona.  Amongst the best preserved and most beautiful examples of the forty or so original flutes which survive, they are at a low pitch of a=408, keyless, with characteristic narrow cylindrical bore and six finger holes. Their outward simplicity belies a characterful and sophisticated sound and a lightness and flexibility of response.  In the hands of a skilled player, the Renaissance flute is a vehicle for both virtuoso fireworks and the most delicate vocal expressiveness. It is a sound rarely heard today.

Nancy Hadden combines the artistry and technique of a fine flautist with a rare commitment to the Renaissance flute.  As a result, she has long been the leading player of the instrument. With her consort, Zephyrus, at York Guildhall, we heard a very special sound, especially in the French chansons that seem to be the flute consort’s natural repertoire. Early Music Today