Inspired through the progressive efforts of Frans Brüggen, a drive towards professionalism was originated in the 1960’s and accelerated steadily with the emergence of each new generation of vigorously ambitious young players. From this point forward, Amsterdam came to be known as a centre of progressive recorder thought, the pioneers who set new playing standards with their non-stop chain of innovative developments.

Beyond the aesthetics of recorder, or the artistic environment which belongs to, lies its presence in a particular historical context and a particular place, heading towards new boundaries. The transitional period during the 60's lead to redefine playing techniques, which began with the assimilation of technical knowledge, repertory, and performance practices. First Brüggen, and later Walter van Hauwe and Kees Boeke, acted as one of the major protagonists for the re-emergence and development of an instrument that had fallen into disuse for about 150 years of music history. Walter van Hauwe comments: "Brüggen forced us to an unknown region, full of problems, far beyond the reach of a common technique, he would not show the way out, we always had to find the way out. As a logical consequence a systematically discredit of the blindly believed technical conventions, appeared".

The Amsterdam school has given birth not only to pioneers in the field of soloists, but also to remarkable recorder ensembles such as Quadro Hotteterre (W. van Hauwe & Kees Boeke, 1969), Sour Cream (K. Boeke, F. Brüggen, W. van Hauwe, 1972), Amsterdam Loeki Stardust Quartet (D. Brüggen, B. Driever, P. Leenhouts, K. van Steenhoven, 1978). The importance of these reformers resides not only in their skills but also in their mentality, having breathed new values into the empty shell of "recorder practice". The best professional method ever written for the instrument (Van Hauwe’s 'The Modern Recorder Player', three volumes, 1984-1992), the largest recorder catalogue worldwide (Catalogue of Recorder Repertory, on-line since 1998) and the best International Recorder Festivals, have been also a product of the Amsterdam Recorder School.

Sour Cream, 1982 (left to right: W. van Hauwe, F. Brüggen, K. Boeke)	Walter van Hauwe, 1983

Walter van Hauwe and Kees Boeke founded in the 70's a controversial education system, the BLOK (block), a system which has become a conception for numerous recorder players around the world, and still of vital importance in the Recorder Department of the Conservatorium van Amsterdam. Kees Boeke's teaching activities lasted till 1980. In 2007, after thirty six-years stronghold as a professor in the BLOK, Walter van Hauwe decided to retire from recorder teaching and happily gave way to a new generation and approaches for further recorder developments.

Paul Leenhouts joined the faculty in 1993. Since then, special attention has been also given to ensemble playing, historical development and methodological aspects of the instrument. In 1997 Paul Leenhouts founded the 'Royal Wind Music', a unique double sextet of renaissance recorders, specialised in Dutch, German, Spanish, Italian and English instrumental (consort) music written between 1500 and 1640. All members of this ensemble studied at the Conservatorium van Amsterdam. In 2010 Paul Leenhouts ended his teaching activities at the Conservatorium van Amsterdam and moved to USA, where he currently is the head of the Early Music Department at the University of Northern Texas

Jorge Isaac was appointed Recorder Teacher in 2006 as successor of Walter van Hauwe and he has been since 2010 the head of the Recorder Department. Erik Bosgraaf joined the Recorder Department in September 2010, succeding Paul Leenhouts, until the season 2016-2017. Since 2017 Jorge Isaac is the main teacher of the Amsterdam Recorder Department and he invites yearly world renowned recorder players as guest teachers every month.

Walter van Hauwe and Kees Boeke, BLOK 1979		BLOK students 1979

The main thread of the BLOK system has been the outgrowth of essential elements in the student's attitude and capacity, such as: solid instrumental knowledge, strategy, awareness, innovation, independence, and curiosity. From the very beginning the BLOK attracted students from all over the world and it typically contains about ten nationalities every year. Having studied in Amsterdam seems for many students to be a guarantee for becoming recognized professionals. As a matter of fact, most of the best recorder players worldwide have studied in the BLOK.

Jorge Isaac & Paul Leenhouts (2007)

The Amsterdam School keeps on walking. Lots of things have changed to remain the same. Through a continuous change we stay up-to-date with the needs of the recorder world and the international music scene, profiting from the wonderful heritage transmitted by generations.

With Jorge Isaac & Michael Form	With Jorge Isaac & Kees Boeke

With Jorge Isaac & composer Giorgio Tedde	With Jorge Isaac & Erik Bosgraaf