Not only is there the obvious fact that state jurists far outnumber those who have served on the federal bench, but state judges are presented with a far fuller array of subject matter and generally larger dockets. So, too, it might be assumed, would our selection of a state jurist be tough. We selected as well, the late United States Circuit Judge Jerome Frank for, among other things, his marketing of a then new "right to publicity." The choices were difficult, for any of dozens (perhaps hundreds) of federal jurists could have told the tale. In the end, we selected two United States Supreme Court Justices, Louis Brandeis for his broad privacy jurisprudence, and Sandra Day O'Connor for her more narrow pursuit of the "guarantee clause" as a potential new weapon in the states' rights arsenal. Among Linde's better known books on flute playing is the Handbuch des Blockflötenspiels, originally published in 1962 in German and in English in 1981.Several years ago, we embarked on a study of judges as idea entrepreneurs-as individuals who assume the risks of aggressively pursuing concepts of particular interest in the legal marketplace.(1) In order to explore this premise in depth, we limited ourselves to a mere four case studies out of a universe of thousands of jurists. Among his more recent recordings is the 2006 CD entitled Music for Recorder from Renaissance & Baroque, issued by Deutsche Harmonia Mundi (distributed by Sony Classical). Throughout the 1990s and into the new century Linde remained active both on the concert stage and in the recording studio. He also began conducting Baroque operas: his 1989 reading of Vivaldi's Griselda in Ludwigshafen was a great success. By the early '80s Linde and the Linde Consort regularly appeared on recordings, particularly in the J.S. Linde taught music for three years (1976-1979) at the Musik Akadamie der Stadt Basel, while remaining active as a conductor and flutist. In 1971 he began serving as co-conductor of this ensemble. In 1957 he accepted the post as flutist with the Schola Cantorum Basiliensis in Basel, where he relocated. He began working for the Cologne-based West German Radio in 1955, serving as flutist in the Cappella Coloniensis and appearing on several recordings. After graduation, Linde taught flute and freelanced as a choral conductor for several years. From 1947 to 1951 he studied music in Freiburg at the Staatliche Hochschule für Musik, where his principal teachers were Gustav Scheck (flute) and Konrad Lechner (conducting). Hans-Martin Linde was born in Werne, Germany, on May 24, 1930. Linde has made numerous recordings, many available on EMI, Virgin, Sony Classical, Vanguard, Capriccio, and other labels. He favors Baroque and early music in general in his repertory choices, hardly a surprise considering his fondness for the recorder, transverse flute, and other early instruments. Linde has appeared as conductor on the larger part of his recordings, often leading the ensemble he founded, the Linde Consort.
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He has also performed in concert as a baritone singer has drawn notice as a composer, particularly for his 1993 Concerto for recorder and strings and has authored several authoritative books on flute and recorder performance. He began his career as a flutist, but eventually turned to conducting, without, however, abandoning the flute or recorder. Some biographers will call him a flutist and recorder player first, then a conductor. German musician Hans-Martin Linde has established impressive credentials in so many fields of endeavor that it is difficult to give him a primary classification.