Published by the American Recorder Society, Vol. XLIV, No. 5
©2004 Yamaha Corporation of America www.yamaha.com thoughtful choiceforteachersthatcare. Playful withseriousqualityYamaha isknownfor, Yamaha Recorders arethe effortless controlandanaccuracyofintonationthatprovidesarich,fullsound. range.They offertheidealamountofairresistancefor are easytoplayinevery Yamaha 20SeriesRecordersarespeciallydesignedforbeginningstudentsand Pink colorsaddthatextrafunforstudentsbeginningtheirmusiceducation. students aresuretoenjoy. SourAppleGreen,CottonCandy BlueandBubbleGum The world’s mostdependableandchosenrecordersarealsotheplayfulthat Antonio de Cabezon: "Himnos" for ATTB recorders / viols. Intermediate A set of four fantasias on religious tunes. The pieces have a meditative quality with rich polyphonic invention, and no part is stuck with trying to stay awake during an endless cantus firmus! Item# TR00042 Score & Parts $5.50 EDITOR’S ______NOTE ______Volume XLV, Number 1 January 2004
Announced by all the trumpets of FEATURES the sky, arrives the snow.”--Ralph Waldo “Fantasia & Echo” ...... 14 Emerson Jacob van Eyck’s Ultimate Mastery, The cover artist for this issue of AR, Jeff by Thiemo Wind Jurich (also the artist for the March 2003 Setting a Name to Music ...... 21 AR cover), seems to have substituted a A work commissioned as a gift to ARS members for recorder for the trumpet—and that idea 4 Play-the-Recorder Month 2004, fits nicely with my frame of mind, as I look by Adam Knight Gilbert out from my office at snow that covers well the dry grass and brown earth underneath. Looking back like Janus at last year, DEPARTMENTS we will find more appearances in this issue Advertiser Index ...... 44 by the November 2003 AR cover—as Book Reviews ...... 40 Rebecca Arkenberg examines more Chapters & Consorts ...... 35 closely the music in the image (page 6), 14 and readers write of their reactions to the Classified ...... 44 “Vanitas,” in Response (page 25). With this first issue of a new year, we Compact Disc Reviews ...... 42 welcome a new department editor whose Education ...... 12 writings will focus on education (page 12). Music Reviews...... 27 Jody Miller teaches band at McCleskey Middle School in Marietta, GA, and On the Cutting Edge...... 37 applied recorder and early music at Emory Opening Measures ...... 13 36 University in Atlanta. In previous AR President’s Message ...... 3 issues, you have read of three performanc- es at the Boston Early Music Festival by the Q&A ...... 10 McCleskey Middle School Recorder ON THE COVER: Response ...... 25 Ensemble, which he directs, plus his own Illustration Tidings ...... 4 ARS Great Recorder Relay performances. by Jeff Jurich Recorder residency at Sitka, new recorder orchestra to debut, Questions, comments or suggestions can ©2004 be e-mailed to him at
ALABAMA ILLINOIS Long Island: Margaret H. Brown Birmingham: Ken Kirby Chicago: Kim Katulka (708-484-4578) (516-765-1867) (205-822-6252) Chicago-West Suburban: New York City: Michael Zumoff ARIZONA Christopher Culp (630-690-7304) (212-662-2946) AMERICAN Rochester: Frank Amato Phoenix: Donald Harrington LOUISIANA (602-956-1344) (716-225-6808) Baton Rouge: John Waite RECORDER Tucson: Scott Mason (520-721-0846) Rockland: Lorraine Schiller (225-925-0502) (845-429-8340) ARKANSAS SOCIETY New Orleans: Chris Alderman Westchester: Carol B. Leibman Aeolus Konsort: Don Wold INC (504-862-0969) (914-241-3381) . (501-666-2787) Honorary President Bella Vista: Barbara McCoy MARYLAND NORTH CAROLINA ERICH KATZ (1900-1973) (479-855-6477) Northern Maryland: Dawn Culbertson Triangle: Cindy Osborne Honorary Vice President CALIFORNIA (410-235-2354) (919-851-1080) INIFRED AEGER W J Central Coast: MASSACHUSETTS OHIO Statement of Purpose Margery Seid (805-474-8538) Boston: Laura Conrad (617-661-8097) East Bay: Kathy Cochran Greater Cleveland: Edith Yerger The mission of the American Recorder Society is Recorders/Early Music Metro-West (440-826-0716) (510-483-8675) Boston: Sheila Beardslee to promote the recorder and its music by Monterey Bay: Sandy Ferguson Toledo: Marilyn Perlmutter developing resources and standards to help (831-462-0286) (978-263-9926) (419-531-6259) people of all ages and ability levels to play and North Coast: Kathleen Kinkela-Love Worcester Hills: Madeline Browning study the recorder, presenting the instrument (707-822-8835) (508-842-5490) OREGON Oregon Coast: Corlu Collier to new constituencies, encouraging increased Orange County: Doris Leffingwell MICHIGAN career opportunities for professional recorder (949-494-9675) (541-265-5910) Sacramento: Robert Foster Ann Arbor: David Goings performers and teachers, and enabling and PENNSYLVANIA (916-391-7520) or (734-663-6247) supporting recorder playing as a shared Elsa Morrison (916-929-6001) Kalamazoo: Wade Lawrence Philadelphia: Dody Magaziner social experience. Besides this journal, San Diego County: Richard Chang (269-353-9885) (215-886-2241) or ARS publishes a newsletter, a personal study (760-726-8699) Metropolitan Detroit: Joanne Ford (215-844-8054) program, a directory, and special musical San Francisco: Florence Kress Claudia Novitzsky (248-548-5668) Pittsburgh: Helen Thornton editions. Society members gather and play (415-731-9709) Northwinds Recorder Society: (412-781-6321) together at chapter meetings, weekend and South Bay: Joanna Woodrow Janet Smith (231-347-1056) RHODE ISLAND summer workshops, and many ARS-sponsored (408-266-3993) Western Michigan: Marilyn Idsinga Southern California: Lynne Snead Rhode Island: David Bojar events throughout the year. In 2000, the (231-894-8415) (401-944-3395) Society entered its seventh decade of (661-254-7922) MINNESOTA service to its constituents. COLORADO TENNESSEE Twin Cities: Jean Fagerstrom Boulder: Rose Marie Terada Greater Knoxville: Ann Stierli (612-722-4967) Board of Directors (303-666-4307) (865-637-6179) Alan Karass, President Colorado Springs: Jeanne LeClercq MISSOURI Nashville: Janet Epstein Carolyn Peskin, Vice President; (719-473-0714) St. Louis: Norm Stoecker (615-297-2546) Chair, Scholarship; Co-Chair, Education Denver: Anne Chetham-Strode (636-532-3255) Marilyn Perlmutter, Secretary (303-422-6677) TEXAS Ann Stickney, Treasurer; Chair, Finance Fort Collins: Roselyn Dailey NEVADA Austin: Susan Page (512-467-7520) John Nelson, Asst. Secretary; Chair, Publications (970-282-1097) Sierra Early Music Society: Dallas: Bill Patterson (214-696-4892) Kathy Sherrick, Asst. Treasurer; CONNECTICUT Karlene Dickey (775-832-9124) Rio Grande: Joyce Henry (505-522-4178) Chair, Fund-raising Connecticut: Dorothy Vining NEW HAMPSHIRE Rebecca Arkenberg (203-267-6513) Monadnock: Barbara George VERMONT Letitia Berlin Eastern Connecticut: Joyce Goldberg (860-442-8490) (802-257-1467) Upper Valley: Barbara Prescott Frances Blaker, Chair, Upper Valley: Barbara Prescott (603-643-6442) DISTRICT OF COLUMBIA Special Events/Professional Outreach (603-643-6442) Richard Carbone, Chair, Chapters & Consorts Washington: Myrl Powell VIRGINIA Kathryn Cochran (301-587-4799) or NEW JERSEY Northern Virginia: Edward Friedler Sheila M. Fernekes, Co-Chair, Education Jane Takeuchi Udelson Bergen County: Mary Comins (703-425-1324) (703-369-3022) Sue Roessel, Chair, Membership (201-489-5695) WASHINGTON Navesink: Lori Goldschmidt DELAWARE Moss Bay: Gerrity Shupe (732-922-2750) Brandywine: Roger Matsumoto (425-820-2003) Princeton: Janice Arrowsmith Staff (302-731-1430) Seattle: Belinda Frazier (609-883-9874) Brock Erickson, Executive Director FLORIDA (206-522-7342) Erin Spletzer, Administrative Asst. Somerset Hills: Keith Bernstein Gainesville: Russell D. Moore WISCONSIN P. O. Box 631 (352-378-0567) (908-722-6572) Milwaukee: Diane Kuntzelman Littleton, CO 80160-0631 U.S.A. Miami: Zulema Garraffo NEW MEXICO (305-374-1879) (414-654-6685) 303-347-1120 Albuquerque: Lois Ario Sarasota: Valerie Sizemore Southern Wisconsin: Margaret Asquith Faxes & membership questions: (505-881-1303) (941-484-9589) (608-233-4441) 303-347-1181 or Rio Grande: Joyce Henry GEORGIA
6 American Recorder PRESIDENT’S MESSAGE ______In Memoriam David Goldstein
n September 24, 2003, I received the of original compositions and arrange- of others. For many Osad news that David Goldstein had ments. He wrote numerous pieces for friends and musi- passed away in his New York City apart- friends and fellow musicians, sometimes cians, David’s life was ment. David was a long-time recorder and inspired by performers or challenges a remarkable gift. viola da gamba player, composer, arranger (“Could you arrange my favorite tune for I wish you a and ARS friend. David touched many peo- my ensemble?”). His musical interests peaceful and music- ple through his enthusiasm, generosity were extremely varied; his personal library filled New Year! and kind spirit. The May issue of American included Elizabethan consort music, com- Alan Karass, Recorder will include a tribute to David. positions by G. F. Handel and Richard ARS President,
January 2004 7 TIDINGS ______Reflections of Sitka, European trio meets American quartet, ______Suzuki workshop takes new location and leadership Oregon Coast Recorder Recorder Residency at Sitka Center
Letitia Berlin and I were lucky to be the Tish (for our Tibia duo playing), and hik- I came to an im- first recorder players awarded the Oregon ing. I found the setting—surrounded by passe. Coast Recorder Society’s recorder residen- trees, and only a five-minute walk to the After the cy at the Sitka Center for Art and Ecology. open spaces of Cascade Head, with views month was My project was to finish composing a of the ocean and the Salmon River estu- over, I had to re- piece for two recorders and narrator, on ary—very refreshing and inspiring. sume normal which I had been working bit by bit over I soon discovered that the hour of com- activities, so I the last couple of years. Tish and I had per- position began to spread. By the end of the have not been formed it in its half-finished form several month, I was composing several hours a able to devote times, and it had been very positively day, and also snatching brief moments to time to this received. work on pieces each time I walked past my piece since re- However, I had never had an opportu- small desktop built into the stair landing. turning home. I nity to really focus on composition for It faced out of a large round window don’t know longer than an hour here or there. That is through which, when I looked up from my what to do with why the residency was such a great gift to manuscript paper, I could see between it; either I must me. Here was an opportunity to focus ex- large sitka spruce down to the ocean, greatly simplify clusively on composing and practicing where the locally-famous Polly Rock, and the story, or recorder for an entire month! I looked for- an unnamed rock, jutted out of the water. greatly expand ward to it the entire year, planning how I the piece. Letitia Berlin (left) and Frances Bla would spend my days so as to best take ad- Throughout perform a new composition by Fran vantage both of the gift of unclaimed time the month at Here was an opportunity at an open house for all Sitka reside and of the open coast, rugged headlands, Sitka, I was woods and streams of the area. I wanted to to focus exclusively writing other pieces as well. Once I started make sure that the time did not simply slip composing every day, I found music just through my fingers. on composing and welling up, and I wrote it all down. Having Having never composed for more than practicing recorder time and freedom from care allowed my an hour in one month, a half-hour the musical ideas to flow. next, I did not know if I would be able to for an entire month! I wrote several shorter recorder duos, maintain a daily schedule of composing. I with such titles as Rain (it was April in started by setting aside one hour for com- I now have a photograph of this view on Oregon...), and People on the Outer Edge. I position each day, and devoted the re- my computer desktop, so that, each time I wrote a number of recorder trios, includ- maining hours to practice, rehearsal with do computer work, I am reminded of this ing Slow Circling of Condors (played by incredible month by the sea, spent writing some of our readers at the recent recorder Frances Blaker (left) and Letitia Berlin during music and playing the recorder. I can Elderhostel in Carmel Valley, CA) and one of the workshops they gave during the Sitka scarcely imagine anything I would rather Foxes, Ravens and Maybe a Porcupine. Center residency do. It helps me keep things in perspective. Since returning home, I have tried to As to what I composed...my main proj- continue making time for composing. I ect was to complete my piece for two have not always succeeded, but I find recorders and narrator, Vejen til island more time than in the past. I have just skrives på vandet (the way to Iceland is completed a recorder quartet (as yet unti- written on the water); however the more I tled) that our ensemble, the Farallon worked on it, the longer and larger, it grew. Recorder Quartet, will perform in The story that forms the narration—a tale Phoenix, AZ, this month. of a sea voyage in Viking times, and how it An added, special aspect of our stay at affects the people involved—grew, ex- Sitka was time spent with our recorder panded and hasn’t stopped yet. It got to friends in the area. We have been teaching the point where I thought, “If I write any- the yearly “Winds and Waves” workshop more, this piece will need to become an each April for five years now, so we know opera, or else it will take hours to speak all most of the members of the Oregon Coast the words and then play all the music!” So Recorder Society. It is a small, but active,
8 American Recorder chapter with great vision and drive. Their How it started, and Early Music America accomplishment in creating this residen- How to apply for a Sitka Residency cy shows that ARS chapters can do any- In 2001, members of the Oregon Coast Announces thing, even with only 12 members. Recorder Society raised more than Several times a week Tish and I got to- $10,000 to establish a recorder residen- Performance gether with various chapter members: ear- cy at Sitka Center for Art and Ecology. ly morning hikes through woods, stream Competition This amount will provide a residency of Early Music America (EMA), with the banks and tall, wet grasses with Jane; an average of two to three weeks each support of a private donor, will sponsor learning to sea kayak with Corinne, and year, or a month every other year. A the EMA Medieval/Renaissance Per- having French fries and beer afterwards in dwelling and studio are provided. formance Competition. The winner of the local pub with her and husband To be eligible for the residency, appli- the competition will receive a cash prize Wade; and numerous other occasions cants are required to earn part of their in- and a concert sponsored by EMA as a with other chapter members. come from recorder performance or concurrent event at the Boston Early Mu- We also met the two other artists- composition; this is to indicate that ap- sic Festival (BEMF) in June 2005. in-residence, both finishing four-month plicants have a degree of professional- The purpose of this competition is to stints at Sitka Center: Gabby, an installa- ism. Those at the beginning of a encourage the development of emerging tion artist, and Patricia, a writer working career are as welcome as mature artists. artists in the performance of Medieval on a book about immigrant gardens. Frances Blaker and Letitia Berlin and Renaissance music. Patricia was happy to finally have the com- were chosen as the first recorder resi- Applicants must be EMA members pany of women after three months; we dents and spent a month at Sitka in the (individual or organizational), residents went for hikes on the headlands, far above spring of 2003. During their stay, of the U.S. or Canada, and active as the ocean, and to Neskowin for pumpkin Frances completed several new composi- soloists or ensembles using voice(s) pancakes. Through Gabby, I broadened tions, while Tish worked on an instruc- and/or period instrument(s). Repertoire my concept of art, and saw things in a new tion book. Together they rehearsed new is limited to Medieval and Renaissance light. repertoire. They, along with Cléa Gal- periods, roughly A.D. 800-1620, per- The time spent at Sitka has made a hano, presented a concert and workshop formed in an historically informed style. lasting and powerful impression on my during the first weekend of May. Applicants should be able to define life. I will never forget it, and I hope I will The deadline for applications for the themselves as “emerging artists”— never underestimate its importance. next residency is April 21. Dates can be ensembles that have not performed to- Thank you, Oregon Coast Recorder Soci- chosen from mid-April to late May of aker gether for more than five years, and where ety. 2005. Applications are available at nces most or all of the performers are age 35 or Frances Blaker
January 2004 9 Iconography Detectives on the Case The study of musical iconography is truly ments at The Metropolitan Museum of appeared on the cover of the November detective work, requiring research into art Art, and one of the founders of the field of 2003 American Recorder, the painting was and music, as well as literature, history, musical iconography. thoughtfully and engagingly discussed by and science. Leslie Hansen Kopp honored Win- Debra Pring, Goldsmiths College, Uni- Beginning with a close examination of ternitz in a multi-media biographical versity of London. Pring, a recorder play- the work of art, sleuths count strings, lo- sketch, including her own experiences er herself, projected details of the painting cate fingerholes, and try to sing the tunes and memories. Of special interest to and played a recording of the page of mu- of painted music. recorder players, a film clip from the sic that, stained with wine, lies partially But questions remain. Is that angel 1950s showed Winternitz handing an hidden under a pair of crossed recorders. playing a real lute or an artistic idiosyn- ivory alto recorder from the Museum’s More information about this work of art crasy? Who is the musician in that por- collection to a young man, who then will appear in a forthcoming issue of AR. trait—a real performer or a model posed played a tune on it—a young man identi- Inspired by the work of these re- as a performer? fied by Martha Bixler as Bernard Krainis. searchers, I did a little detective work of Clues lurk in such mundane docu- Martha was one of several recorder my own and can now point out the simi- ments as inventories, wills, or records of players I encountered who either present- larities between the tune in the Hensten- payment. Mythologies and literature may ed or attended conference sessions. Su- burgh “Vanitas” and Jacob van Eyck’s shed light on symbolic meanings. Political san Thompson (Yale University Collec- O slaep, o zoete slaep. Below is the tune as and religious documents provide tantaliz- tion of Musical Instruments) presented a it appears in the Amadeus edition, and a ing descriptions of ceremonies, proces- paper on hautboists depicted in Dutch transcription from the painting. When I sions, and lives of patrons and musicians. etchings and engravings. The presenta- get a chance to examine this work with a Musical manuscripts, letters, and other tion by Mauricio Molina (CUNY) was magnifying glass and the help of the cura- ephemera may hold a key to understand- on square drums. Adam Gilbert (Case tor, I will follow up with our findings. ing the meaning of a work of art. In many Western Reserve University) played the Visit the Research Center for cases, we will never know, but the re- bagpipe to illustrate his lecture on pas- Music Iconography at the CUNY search itself tells a fascinating story. torelle pipes and carnal humor in Les Cent Graduate Center on-line at In November I attended the ninth con- Nouvelles Nouvelles. Christa Patton and
10 American Recorder Suzuki Method Recorder Institute Bits & Pieces at New Location, under New leadership To relieve Katherine White from her double duties as teacher trainer and institute di- rector in the past, Irmi Miller has agreed to serve as the 2004 Suzuki Method La Notte, a Vivaldi CD recently recorded Recorder Institute director. In collaboration with Iowa State University in Ames, IA, by Musica Pacifica—Judith Linsenberg, the program is taking shape for the 2004 Summer Institute approved by the Suzuki recorder; Elizabeth Blumenstock, violin; Association of the Americas (SAA). Gonzalo Ruiz, oboe; Marilyn Boenau, Scheduled for July 11-23, the Suzuki Method Recorder, Flute, and Violin In- bassoon; David Morris, ’cello; Michael stitute offers intensive music study, observation and fellowship among a diverse Eagan, archlute; and Charles Sherman, group of people touched by Shinichi Suzuki’s Talent Education. The program will harpsichord—was chosen September CD include student classes in Suzuki recorder, Suzuki flute, and Suzuki violin. At the core of the Month by Toccata-Alte Musik Aktuell of the offerings are master classes, group lessons, technique classes, mixed ensem- of Regensburg, Germany. Quoting the bles, play-ins and performances, with enrichment classes also offered. journal, “The best compliment I can give Beginners and non-Suzuki students are welcome. They are expected to communi- to these transparent, driving, and always cate with the teacher at least one month before the start of classes. gripping performances is that they sound The institute requires full-day attendance. Young children six years and younger so authentic, as though they were being can register as short-day students. Classes for these students will be scheduled with played by a Venetian ensemble. In fact, a fewer classroom hours and to allow for longer breaks, but may involve morning and Venetian ensemble of Vivaldi’s time!” afternoon hours. A parent or responsible adult must accompany each student under John West, a 17-year-old student of 18 years old and is expected to participate in the master classes. Cléa Galhano, won the Minnetonka Recorder faculty will include Katherine White (CA), Patrick O’Malley (IL), Alan (MN) Orchestra Young Artist Competi- Thomas (FL) and Irmi Miller (IA). Short-term teacher training for recorder teachers is tion, and will perform Vivaldi’s Concerto planned for Unit 1 Recorder, the Practicum Unit for Suzuki Recorder, and one of Units in C Major with the group in February. 2, 3 or 4, depending on enrollment. Check the SAA web site,
January 2004 11 Flanders Recorder Consort and New Amsterdam Recorder Trio in Concert The Flanders Recorder Consort (Bart Parts were assigned according to who Spanhove, Joris van Goethem, Paul van owned which instruments. Most of the Loey) and the New Amsterdam pieces chosen were known, and in many Recorder Trio (Rachel Begley, Daphna cases recorded, by FRQ, but not all were Mor, Tricia van Oers) will appear in two known by NART. I can’t speak for the quar- concerts together during March. The tet, but our trio certainly rehearsed our Flanders unique program of music from seven cen- parts together ahead of time! Recorder turies for three-six recorders will involve The differences between an ensemble Consort six recorder virtuosi from two compatible that has been together for 16 years, and (above) and complementary ensembles, players one that is barely more than a year old, are and New from four countries and two generations, so hard to quantify. Not surprisingly, we Amsterdam music for three to six recorders from seven felt pretty intimidated to be playing along- Recorder centuries, and a collection of dozens of in- side our idols and mentors. Trio (left) struments from around the world. Miraculously, or perhaps simply due to Flanders Recorder Consort/New The connections between the two en- both the influence of our teachers and the Amsterdam Recorder Trio concerts: sembles go back a long way. In fact, the friendships our ensembles have built, March 14, 3 p.m., First Presbyterian New Amsterdam Recorder Trio (NART) there was an immediate chemistry. It was Church, Southold, Long Island, NY. owes its existence to Bart Spanhove, who not that things didn’t need working out: For tickets, call Arts in Southold suggested in 2001 that the three of us for example, one of our instruments could Town, 631-734 7696. should get together because he thought not play in tune with their consort, so we March 15, 7:30 p.m.,Church of the we might make a had to borrow one of Transfiguration, New York City, NY. good trio. He and Rehearsing, in itself, was theirs. Rehearsing, Contact the New York Recorder Han Tol (both of the in itself, was a bit of a Guild, 212-662-2946, for tickets. Flanders Recorder a bit of a challenge, as we challenge, as we Quartet) knew our drifted in and out of playing well: Daph- both English and na, Tricia and I had drifted in and out of both Dutch! been students of one The concert itself or both of them, and English and Dutch! was a fantastic suc- we’d maintained cess, with Bart at- contact with our mentors over the years. testing that, for him, this was “a concert of The Flanders Recorder Quartet (FRQ) a lifetime.” Audience members felt that had agreed to give a weekend workshop they had heard and seen history in the last March for the Recorder Society of making. Too bad, we all commented, that Long Island, of which I am music director. it was a “one-off.” Both Bart and I thought it would be won- Fast-forward now to the summer of derful for the students at the workshop to 2003: again, the e-mails are bouncing hear some first-rate recorder playing, but, back and forth over the Atlantic. The quar- sadly, our budget couldn’t cover a concert tet wants to return to Long Island in fee for the quartet in addition to the teach- March 2004 for another workshop, and is ing. Almost as a joke—but perhaps it was happy to do more concerts with our trio. more wishful thinking on our part—I sug- Unfortunately, Han Tol is unable to gested that, instead of a formal public con- come—but every cloud has a silver lining: cert, we might have a short private work- as he pointed out, music for six is so much shop concert with the quartet joining more plentiful than for seven (and largely NART. To our complete surprise, they superior too). Rehearsals are once again thought it was a great idea. FRQ’s one limited, yet perhaps not so stringently, stipulation was that our entire rehearsal and this time it’s not so daunting to be time would be no more than one hour. playing with such distinguished friends. E-mails in both Dutch and English By the time you read this, the program bounced back and forth over the Atlantic, will be complete, the parts assigned and as we honed our repertoire choices— maybe even rehearsed—at least on the admittedly limited because we would be western side of the Atlantic! seven players, and the repertoire should Rachel Begley require almost no rehearsal.
12 American Recorder New Recorder Orchestra Celebrates First Season Strange but true: until recently, you could ingly easy. “I cruised the internet for about composed for the recorder orchestra of the find a recorder orchestra in suburban an hour,” Pond reports. One phone call, Indiana Recorder Academy in Blooming- Long Island (NY), and you could find a and she found it: a cavernous Ro- ton and its former director, Weezie Smith. (newly formed) recorder orchestra in the manesque church on Manhattan’s upper MRO’s first full concert—its debut— wilds of Connecticut—but you could not West Side. is scheduled for January 28 at Saint John’s find a regularly performing recorder or- Locating a place to perform was more in the Village Episcopal Church. However, chestra in New York City. At a time when challenging, due to a little-known law of it made its first foray into the public ear in recorder orchestras are becoming an in- nature, according to which affordable re- December, when 13 of its members joined creasingly important aspect of recorder hearsal space and affordable concert space ARTEK (under artistic director Gwen- playing, New York City had little to offer. cannot co-exist. Once again, an on-line dolyn Toth) in a performance of Heinrich That has changed with the founding of search proved useful. Pond found a con- Schütz’s Christmas Story. In addition, the Manhattan Recorder Orchestra, which cert venue at Saint John’s in the Village Maute conducted the group in a presenta- held its first rehearsal in September and Episcopal Church, a brightly-lit contem- tion of Schein’s Suite in G Minor. will present its first concert on January 28. porary structure downtown. She even The orchestra will also perform in Sep- “The Manhattan Recorder Orchestra identified the orchestra’s first patron— tember in Montréal, as part of an exchange was formed because people in New York “an angel in the shape of Stanley Epstein, project with the Canadian recorder or- City—supposedly the cultural capital of who is paying our rent.” chestra Flutissimo. Other concert dates the universe—needed a recorder orches- Maute’s task was to decide upon the have yet to be locked in. tra and there wasn’t one,” explains music. “The recorder is still an underesti- What does the future hold for MRO? founder and president Amanda Pond. mated instrument and its possibilities de- “I hope that the group will be consistent in “The commute to the other two groups serve to be fully explored,” he says. “One terms of membership, rehearsal and con- was horrendous, involving either a two- important part of this exploration is the cert intervals,” Maute says. “And I hope hour train ride at rush hour or a lengthy repertoire of the recorder orchestra.” this collaboration will motivate the mem- drive—and don’t forget, most New York- The program he chose begins with late bers to intensify their personal exploration ers don’t own cars. The pressure was Renaissance and Baroque compositions of the recorder, because we plan to per- mounting to create something in the city.” by Johann Hermann Schein, Samuel form regularly in New York and else- Things started to fall into place in the Scheidt, Henry Purcell and Giovanni where.” spring of 2003, when Pond asked com- Gabrieli—music that, according to And someday? “Ideally we would have poser and virtuoso Matthias Maute if he Maute, “leads us back to the origins of the a set of instruments made by one recorder might be interested in conducting such a early recorder orchestra sound.” maker who tunes the instruments accord- group. She had heard him perform with It concludes with three contemporary ing to our needs,” Maute states. Rebel and had even met him briefly. Still, pieces: The Party by the Dutch composer Meanwhile, he says, “The recorder it seemed like a long shot: he lives in Mon- Willem Wander van Nieuwkerk, Midsum- world in the States is a very lively one and tréal and maintains a busy performance mer Meadow Suite by the English compos- it is a great pleasure for me to be part of it. schedule. er Lyndon Hilling, and Maute’s Indian Let us keep it moving!” But Maute responded positively. Summer, a “big band” piece originally Nancy Hathaway “I thought this to be a really exciting idea,” he says. “I have been con- ducting many different groups at workshops, but never had the chance to work continuously with one group.” With a conductor on board, the legwork could begin. Players, including a good number of profes- sional and semi-profes- sional musicians, were in- dividually invited to join the orchestra. Rehearsal and concert dates were scheduled, and the search for appropriate space was launched. Finding a rehearsal hall turned out to be surpris- Manhattan Recorder Orchestra (Photo by Melvyn Pond )
January 2004 13 ______Q & A ______Slowing down CDs, a recorder for a child with a ______deformed hand, how hand position became standardized
UESTION: When and by whom was it are modeled after Medieval (14th- or early in all sizes and are used by amateurs for Qdecided that the recorder should be 15th-century) instruments. They have a music of various historical periods. played with the left hand on top?—Rebecca cylindrical bore. They may or may not be Historically designed two-piece Arkenberg, Stratford, CT representative of typical Medieval recorders are modeled after instruments of recorders, for only two surviving recorders the late 16th and early 17th centuries, and NSWER: In the heyday of the recorder, from that period have been found, and are intended for repertoire of that transi- Ainstruments were ambidextrous in they are both in unplayable condition. tional period. (Michael Praetorius, in his that they could be played with either the Three-piece recorders are modeled af- treatise Syntagma musicum of 1619, was right or left hand down. They had single ter Baroque instruments, developed in the first to mention two-piece recorders holes and, in the case of Baroque recorders, the foot could be rotated to France by the Hotteterre family in the mid- that could be tuned together by pulling make playing with either hand easy. 17th century. Such instruments have a out the head joint.) As the making of woodwinds advanced more complicated, basically conical bore However, practical as well as historical through the years, makers began adding (narrowing from top to bottom), resulting considerations are involved in today’s more and more keys, and these key sys- in an upward extension of their range to recorder designs. Certain sopranos, in- tems were ultimately right-hand specific, tended for school use, have an essentially since it was not efficient to make them In the heyday of the Baroque bore, but are constructed in two both ways. rather than three pieces. All the tone holes Flutes and oboes in the late 18th cen- recorder, instruments are drilled on one piece, doing away with a tury largely replaced the recorder, and detachable foot joint that might be easily their hand-specific keywork is what were ambidextrous lost or rotated out of alignment by young changed things. In 19th-century Europe, students. the recorder had adopted many of the keys in that they could be For more information, consult of the other instruments. In England, the Edgar Hunt, The Recorder and Its Music recorder was replaced to a certain extent played with either the (New York: W.W. Norton, 1963; rev. by the flageolet, which also had a more ex- right or left hand down. tensive key system. reprint ed., Peacock Press, 2002) and John For this answer, Ms. Peskin consulted Mansfield Thomson, The Cambridge Friedrich von Huene, a renowned over two octaves. Recorder makers in the Companion to the Recorder (Cambridge: American maker of historical recorders. Baroque era found that such an instru- Cambridge University Press, 1995). ment could be tooled more easily and UESTION: Why are some recorders made accurately in three pieces than in a single UESTION: I was asked to teach recorder to Qin one piece and others in two or three piece. Qa five-year-old girl with a birth defect on pieces?—Students in grades 4-6, visiting The Three-piece recorders also have the ad- her left hand. While her right hand is fully de- Metropolitan Museum of Art in New York vantage of being tunable by pulling out the veloped, her left hand has only a thumb and a City, NY head and/or foot joint. That was an impor- very short index finger. Are there any special tant advantage in the late 17th and early recorders designed for people with missing or NSWER: Recorders made today are 18th centuries, when the recorder was malformed fingers? If so, which one would modeled, at least roughly, after histor- A played as a solo or chamber instrument you recommend?—Irmi Miller, Ames, IA ical instruments found in museums and private collections. One-piece recorders along with the basso continuo and various NSWER: Your best bet is probably the are modeled mainly after Renaissance in- other melody instruments. (Tuning had Aulos 204AF plastic soprano. This in- struments made in the late 15th, 16th or been less of a problem during the Renais- A strument looks like the Aulos 103N one- early 17th century, and are designed for sance, when recorders in a given consort piece model used in elementary-school playing consort music of that period. Most were designed together as a matched set.) music classes, but it has a headjoint plus Renaissance recorders have a relatively Baroque recorders sound stronger in six separate pieces that can be assembled wide, nearly cylindrical bore, resulting in a the second octave than in the low register. so as to meet the needs of players with uniformly strong sound throughout the During the Baroque era, altos and, less fre- missing or malformed fingers. By rotating entire range, but the range is only about quently, sopranos and sopraninos were the pieces and plugging some of the holes, 1-1/2 octaves. Others, the so-called used as melody instruments because of the recorder can be made to accommodate “Ganassi” recorders, have a more complex their bright sound in the upper registers. individual players’ hands. Once the prop- “choke” bore, producing an upward- Larger sizes were rarely used. Today, how- er alignment has been attained, the pieces extended range. ever, Baroque-style instruments are made A small number of one-piece recorders are glued in place for permanency.
14 American Recorder According to the makers, anyone with suggested retail sale price is $369. If your computer has a CD player capa- six usable digits can play a chromatic scale A somewhat more sophisticated model ble of digital reading, Roni Music has de- from c'' to a''', and anyone with seven us- is the PSD230, which allows you to signed software called Amazing Slow able digits can play a full two-octave chro- change speed and pitch independently. Downer, which can reduce the speed of matic scale (c'' to c''''). This instrument is Pitch can be increased or decreased one any CD by 50 percent to 400 percent octave in semitone increments without without changing the pitch. It can also available in the U.S. from the Aulos varying the speed. You could, therefore, change the pitch incrementally by semi- distributor, Rhythm Band Instruments, tones or cents (hundredths of a semitone) P.O. Box 126, Fort Worth, TX 76101; 800- A useful feature of this at full or reduced speed. Thus it can be 424-4724,
UESTION: I bought some play-along CDs Qrecently and tried practicing with them, but found that many of the pieces are played too fast for my level of proficiency. Are there any devices on the market that can slow down a CD without changing the pitch?—C.M.K., Write or call for free catalogs Carson City, NV and specify areas of interest. NSWER: Superscope Technologies has Aproduced a series of CD players that Boulder Early Music Shop can reduce the speed of any CD without P.O. Box 428 altering the pitch. The simplest model, the PSD220, can reduce the speed by 33 per- Lafayette, CO 80026 cent in one-percent increments with the touch of a button. A reduction of about Monday through Friday: five to 15 percent can be accomplished 10:00 am - 5:30 pm without noticeable distortion. Speed can also be increased by 50 percent in one- percent increments. 1822 Powell Street A useful feature of this machine is the Erie, CO 80516 A-B repeat button, which allows you to play a difficult segment of a piece repeat- 800.499.1301 edly at a reduced tempo until it is mas- tered at that tempo, and then the speed 303.926.4301 can be increased gradually. You can use the Fax: 303.926.4302 battery-powered PSD220 with head- phones or can connect it to a stereo sound E-mail: [email protected] system or externally powered speakers. It Web: www.bems.com comes with a sturdy carrying case. The
January 2004 15 EDUCATION ______The value of constructive criticism
any recorder players pick up the dition was easy, ensuring success for most recorder that we take advantage of every Mrecorder as a first instrument late in students, but it was not announced to us opportunity to pat ourselves and others on life. Others learn to play the recorder as a beforehand. Needless to say, tension was the back. child before having an opportunity to join high. I am certainly not suggesting that we school band or orchestra, and some of As my band teacher counted off the take an extreme turn and begin approach- those become reacquainted with the tempo for each of the students, they stum- ing everyone with an overly critical ear. In- recorder as adults. bled through the exercise—a diatonic ex- stead, we should take an approach similar In any case, a significant number of ercise of quarter notes in the key of E ma- to students participating in school band or recorder players learn without exposure to jor. Each time a student paused or used orchestra. a systematic approach to assessment and two fingerings to make it through one Students who are in middle or high evaluation. This makes me wonder if our note, I mentally added points to my own school may be eligible to participate in the standards as recorder players and teachers scoreboard. local, district, or state solo and ensemble are low. festival. Typically, they would prepare a Spending my professional life as both brief solo or small ensemble piece and play an educator and a recorder player, I am He listened and gave it for a judge or small panel of adjudica- constantly questioning my philosophy. verbal feedback. Luckily tors. In turn the judge would complete a The given with me, however, has been that form to evaluate the student’s perform- I will freely adopt practices used by per- for me, he pointed out the ance based on tone, intonation, musician- formers of “mainstream” instruments. ship, and technique. Teachers can check My first experience of being evaluated need for improvement. As their local or state music education organ- formally as a musician was my audition for izations for these opportunities. chair placement in my fifth grade band a recorder player, I have An effective alternative would be to trumpet section. It is remarkable that I re- have a guest adjudicator at an annual member this better than any other chair noticed that assessment recital. This person could give similar audition (I probably did two to four of feedback to your students of any age. these yearly for the next 11 years). The au- doesn’t happen frequently. In the end, the student will benefit from comments from the perspective of The I can still hear my own rendition of this someone other than his or her own eight-bar phrase that used only five pitch- teacher. Using the same evaluation tool, Recorder Magazine es. Mr. Pinson counted off at about 72 the teacher can ascertain areas of weak- we invite you to visit the site beats per minute. I confidently played at ness that may not have been previously www.recordermail.demon.co.uk about 160 beats per minute. I was so noticed. In short, if we can raise standards proud that not only could I tongue and sit of younger students, they will learn to rel- up correctly, but I could play faster than ish the feedback they receive. any of the other trumpet players (my cur- If my first band teacher had not given rent Baroque ensemble will truly appreci- me immediate and relevant feedback, it is ate this insight). unlikely that my first audition would have Courtly Music Mr. Pinson broke the long silence that had the same impact. My subsequent im- Unlimited followed by carefully addressing each stu- provement in playing the correct tempo dent’s performance. When it was my turn, led me to learn that tone and tonguing al- 800-2-RICHIE he gently pricked my little bubble of in- so mattered. flated ego and explained that I had not Students of all ages learn better when (800 274-2443) played what was expected. He did realize I their instruction is multifaceted. The cre- www.courtlymusic.com had practiced more than my comrades ative teacher can implement various forms and rewarded me with first chair. of assessment from student self-evalua- "Everything for the recorder In the end, Mr. Pinson’s assessment tion to festivals and competitions. enthusiast, or those who served me well. He listened and gave ver- Teachers, students, or recorder players would like to be." bal feedback. Luckily for me, he pointed should feel free to e-mail me with ques- out the need for improvement. As a tions or suggestions. With the help of the Fine wood and plastic recorders, sheet recorder player, I have noticed that assess- most effective teachers in the country, I music, method books, play-along CDs, ment doesn’t happen frequently. Part of will attempt to increase awareness of accessories, workshops. the rationale must be that we are so ap- learners at all levels. preciative of people learning to play Jody Miller,
16 American Recorder OPENING MEASURES ______Using scales
f you know your scales you can play your want to miss the opportunity to hear that? 6. Scale game: write key names on slips Iinstrument faster and with more fluidity How preachy this sounds! I will just of paper that you put in a hat. Each day than someone who has not taken the trou- say this: practice scales; you will be happy play the scale you draw . Or write them ble to learn scales. that you did. Below are ways to keep your on dice if you want the fun of tossing. At first, learning scales may seem like a interest engaged while learning scales. 7. Improvise in a particular key. To learn lot of bother. I felt that way as I was learn- 1. Listen to your sound. Make a good and a scale, you don’t need to play the ing to play. Of course I could play a scale pleasing tone. Carry your music from notes in scale order. Choose a key and when faced with it on the page—but not note to note. improvise, noodle around, play tunes quickly if it had more than just a couple of by ear (always staying in your key). sharps or flats (I always preferred the Practice scales; you will This will be really effective training! flats), and I would have made a poor show- 8. Play several different scales in a row ing if asked to play a scale without music. be happy that you did. without stopping. Pick any three keys; Once I began my studies at music con- pick three adjacent keys on the circle servatory I had to play scales to pass my 2. Use a different scale each day when of fifths (the succession of keys a fifth examinations, but only those with up to you practice your tonguing exercises. apart—follow it around from the start- three sharps or flats. The logic was that Practice “t,” “d,” “t r d r” and “did’l” ing point, and after 12 progressions early music mostly stayed in these keys. articulations on scales—and more. you will return to the original key). Well, have you ever played all of those Hot- 3. Pay attention to what it feels like to Play all major scales in rising chromat- teterre preludes, for example, or Ferra- move your fingers, both individually ic order (on alto: F major, F major, G bosco’s fantasie on the hexachord—these and severally. Let them have a life of major, etc.). Play all minor scales in the pieces move through many scary keys! their own without your interference same way. Play all major or all minor Even so, I just stuck to the require- (now this is a hard one!). scales in the order of the circle of fifths. ments, although a small voice inside me 4. Focus on playing the scale itself, but 9. Use a different scale each day for tone kept reminding me that I was leaving a use a different rhythm each time. Not shaping. Make a crescendo on each gaping hole in my technique. I knew I was only will this keep you attentive, but it note staying within one pitch; make a an incomplete musician as long as I did is also an effective way to train muscles decrescendo on each note; make a not truly know all my scales—in fact, I because they are forced to move very crescendo and decrescendo on each would not truly know my instrument. rapidly at one moment and allowed to note; use vibrato on each note. One day I decided to buckle down and rest at another moment (this is known 10. Play unusual scales: chromatic scales; do it. I found scale work so boring that I as interval training among athletes). whole tone scales; church modes; jazz was compelled to discover ways of main- 5. Use a scale (at first one octave, later modes; any others that occur to you. taining my interest, and thus succeeded in two) to increase blowing efficiency These should certainly keep you busy learning to play any scale without music— and breath control by playing it more until the next issue of AR. Happy toodling! major, minor and finally also chromatic. slowly each time. Frances Blaker What a relief! I was finally free of my se- cret incompetence. During the course of this study (which did indeed take many months), my playing became much more secure, and I spontaneously began to gain the ability to improvise. My sight-reading improved as well. I found myself able to play new pieces at rapid speeds with much less effort and time spent. So many bene- fits told me that every second of the dread- ed scale practice had paid off. I must say I am not one of those who advise practicing boring scales while watching TV. You would be throwing away half of the positive results. It is much bet- ter to use scales to practice something else, such as tone or articulation—playing mindfully. If you once listen, you will dis- cover that a scale can be the most beauti- ful music in the world—and who would
January 2004 17 “Fantasia & Echo” Jacob van Eyck’s Ultimate Mastery by Thiemo Wind Born blind, and a nobleman, Jacob van Eyck acob van Eyck is known mainly as a transl. Maria van der Heijde-Zomerdijk (c.1590-1657) was widely known as a caril- Jcomposer of variation works. In the two lonneur and as a leading expert in the field of volumes of his Der Fluyten Lust-hof, 96% bell casting and tuning. A letter from René of the approximately 150 solo composi- Descartes, who lived for some years in tions can be categorized in this genre. Hid- Utrecht, to the French music theorist Marin den among them can be found a few Mersenne describes how Van Eyck was able works that are not associated with pre- to use resonance to isolate different partials existing materials: two small preludes without touching the bell, by whistling. (New Vellekoop Edition nos. 1, 89) and Employed in Utrecht at the Dom (cathe- three works referred to as fantasias dral) and other churches, Van Eyck played (NVE 16, 90, 145). carillon, an ancient instrument found espe- Of these, “Fantasia & Echo” (NVE 16) cially in The Netherlands and Belgium, but is by far the most interesting. This article also now in the U.S. and U.K. It is played by takes a closer look at this composition. a skilled performer from a manual and ped- The development of the fantasia genre als similar to those of an organ, and consists was closely related to the emancipation of of up to 70 bells nowadays. instrumental music from vocal forms. In Van Eyck was also an avid recorder play- the 17th century, the term stood for vari- er, performing on the Janskerkhof (St. John’s ous types of compositions. The Greek Churchyard) on summer evenings. Because word fantasia refers to thought, internal of the popularity of these performances, Van image. An instrumental fantasia was Eyck was urged to have his music written based on the individual imagination, and down for a printed edition. His pieces were was not tied to existing models or textual Thiemo Wind studied musicology at Utrecht published beginning in 1644, and became sources of inspiration. This freedom is one University with Marius Flothuis and Willem popular among amateur musicians in a of its basic characteristics. Elders, and recorder at Hilversum Conserva- growing middle class. This work, “Der In his Tratado de glosas, published in tory. He is the author of many articles on ear- Fluyten Lust-hof” (“The Flute’s Pleasure Rome in 1553, Diego Ortiz said he could ly woodwinds, and specializes in Dutch Garden”), comprises sets of variations (or not give an example of a fantasia, “because 17th-century solo music for recorder (Jacob divisions) for the soprano recorder on psalms everyone plays them in their own style.” van Eyck and others), on which he is writing and then-popular French, British, Italian, The freedom offered by the fantasia a dissertation. He has served as musicologi- Dutch and German songs. makes it an ideal medium for improvisa- cal advisor to Frans Brüggen and the For more information on Van Eyck, as tion, for “fantasizing.” “Et lors que le mu- Orchestra of the 18th Century. For the 2nd well as other articles by the author of this ar- sicien prend la liberté d’y employer tout ce edition of the New Grove Dictionary of ticle, see
18 American Recorder EXAMPLE 1 a. Van Eyck, “Fantasia & Echo,” opening ou Recherche,” Marin Mersenne wrote in This new his Harmonie universelle of 1636. (“And idea spread when the musician takes the liberty of us- over the Euro- ing everything that springs to mind, with- pean continent b. Sweelinck, “Fantasia C2,” opening out expressing the passion of any word, in a short time. this composition is called fantaisie, or It was Jan recherche.”) “Recherche” is the French Pieterszoon equivalent of “ricercar(e)” or “ricercata,” a Sweelinck c. Sweelinck, “Fantasia d4 ,” opening contrapuntal form developing in Italy at (1562-1621), the same time. the great Mersenne’s remarks seem to apply per- Dutch com- fectly to the other two fantasias by Jacob poser of van Eyck, but not to the “Fantasia & the late Echo,” which shows a distinct relation- Renaissance ship to the keyboard fantasia. period, who Keyboardists wanting to demonstrate put the new insights into practice in Ams- bers for Sweelinck’s works), echo fantasia their skills preferred to use their highest terdam. is an unfortunate choice of term, since the ideal: imitative counterpoint. The key- The designation “Fantasia & Echo” echo principle is often only a very modest board fantasia in southern European calls forth associations with works of part of a given work. Echo is mentioned countries was a matter of polyphonically Sweelinck, who composed various echo explicitly in the title in just three of the oriented improvisation, while in Northern fantasias for keyboard. There is common eight works by Sweelinck belonging to this Europe this type of fantasia developed as ground with respect to the content, as group (“Fantasia auf die Manier eines the highest form of keyboard composition. well: Van Eyck’s solo composition shows Echo,” etc.). William Byrd initiated this development. specific conceptual approaches that can Sweelinck’s echo fantasias begin with In 1597 in A Plaine and Easie Introduction also be found in Sweelinck’s oeuvre. an exordium (opening section), usually in to Practicall Music, Thomas Morley gave Because no keyboard works by canonic form. However, in his “Fantasia the first comprehensive description of this Sweelinck’s Dutch pupils have survived, it d4,” the introduction is fugal, while most new type of composition: is difficult to verify the scope of certain ba- of the composition is defined by echoes. The most principall and chiefest kind of sic compositional principles. The echo Van Eyck’s composition shows marked re- musicke which is made without a dittie is principle in itself was, at the time, interna- semblances to this work in particular. the Fantasie, that is, when a musician tionally popular and had a strong Arcadi- The “Fantasia & Echo” begins with a taketh a point at his pleasure, and wresteth an connotation, hinting at a world of shep- quasi-polyphonic section that spans and turneth it as he list, making either herds and shepherdesses, caves and 14-1/2 measures. The opening theme of much or little of it according as shall seem mountains. the exordium is an ascending pentachord, best in his own conceit. In this may more art Without any doubt, Van Eyck was fa- of which the fifth note is embellished with be showne than in any other musicke, be- miliar with the Sweelinck school. Alewijn eighth notes (see ex. 1a). The melodic pas- cause the composer is tide to nothing but de Vois worked from 1626 to 1635 as the sage d'-e'-f'-g'-a'-b'-c''-a' also characterizes that he may adde, diminish, and alter at his organist at the Dom (Cathedral) in the opening of Sweelinck’s aforemen- pleasure. And this kind will beare any al- Utrecht. His father, Pieter de Vois, a blind tioned “Fantasia d4” (see ex. 1c). Rhyth- lowances whatsoever tolerable in other mu- organist and carillonneur from The mically, Van Eyck’s opening phrase is sick, except changing the air & leaving the Hague, had been one of Sweelinck’s most identical to that of another echo fantasia: key, which in fantasias may never be suf- important pupils. Van Eyck was also Sweelinck’s “Fantasia C2” (see ex. 1b). fered. Other things you may use at your friends with Lucas van Lenninck from After the statement of the opening pleasure, as Deventer, who had been a student of theme, the theme follows again—but bindings with Sweelinck as well. adorned, a fifth higher, “in keyboard man- discords, In Sweelinck’s handling of the fantasia, ner” (see ex. 2a-b). Here, as one might ex- nd now (photo by Thiemo Wind) quicke mo- two types can be distinguished: the pect, the variation composer asserts him- tions, slow monothematic and the echo. The latter self. Compared with keyboard composers, motions, pro- type is a relatively small group. As Pieter Van Eyck’s range of possibilities was ex- portions, and Dirksen indicates (see References at end of tremely limited, since he wrote for only a what you list. this article, which include the source in single voice. In a keyboard work, the sec- Likewise, this which Dirksen lists his classification num- ond entry of the theme is usually coupled kind of music EXAMPLE 2 is, with them a. who practice instruments of parts in greatest use, but for voices b. it is but sil- dome used.
January 2004 19 EXAMPLE 3 Aurelio Virgiliano, Ricercar 10, beginning
If there were only echoes af- ter the exordium, the title “Fantasia & Echo” could have been explained as “fantasia fol- lowed by an echo.” From the interruption (section iv) and the final measures (viii), how- ever, it is obvious that the en- with a counter-subject: “something differ- the first theme. The note values ensure tire work—not just the exordium—should ent” happens. Melodic embellishment continuity, although there are never more be considered a fantasia. This is a “fanta- was, for Van Eyck, the only way to com- than two sixteenth notes in a row. When sia in the manner of an echo,” like the bine the thematic idea with the realization we reduce this second theme to its main comparable works by Sweelinck. of “something different.” notes, an augmented retrograde version In He was not alone in his efforts to trans- (the notes of the theme in reverse and in Sweel- EXAMPLE 5 “Fantasia & Echo,” exordi late polyphony into monody. In Italy, at longer note values—but not strict) of the inck’s the end of the 16th century, Aurelio Vir- beginning of the first theme can be recog- “Fantasia giliano did the same in one of his solo nized (see ex. 4). d4,” the ricercares from Il dolcimelo (see ex. 3). This second theme goes from A minor first echo After the theme has been established at (or perhaps F major) through a sequence originates the upper fifth, Van Eyck makes an addi- back to D minor. Now, again, a transposed directly and embellished repetition follows, this EXAMPLE 4 “Fantasia & Echo” from the time a sixth higher and making an ex- a. opening exordium, tended cadence before the entire repeti- because tion is completed. The character of this the last en- fourth phrase of the exordium firmly try of the establishes the key. The section is in introduc- D minor, until a picardy third turns it tory into major (m.13). theme also A summary of the exordium in main forms the notes is shown in example 5. As a first echo motive. Van Eyck did not make b. measures 63 and following (reduced) whole, this cleverly constructed intro- such a fluid transition, but he does dove- duction completely fits Morley’s de- tail the first echo section with the exordi- tion in the second part of measure 5 scription of the fantasia. um, in part through the way he begins the (e'-f '-g '-a') to cadence in A minor. Now the real echo work begins. A total echo motive: with a linear ascending up- There is no third entry of this particu- of five echo sections can be distinguished. beat in two sixteenth notes, followed by an lar theme, which, because of the limited After the second, an imitative segment eighth. A similar entry had already hap- range of the recorder, should come as no without a strict echo interrupts. The last pened in measures 6 and 10. We have seen surprise. But the imitative introduction is three measures of the piece also do not fol- other rhythmic and melodic elements not over yet. In the middle of measure 6, low the echo principle. Therefore, eight from the echo motive in the exordium as the composer introduces new thematic sections can be distinguished in this well (see ex. 6). material—with a descending line, unlike piece. Table I shows a formal outline. In Van Eyck’s variation works, there is usually only room for echo motives lasting Table I: Formal outline of the "Fantasia & Echo" one or two quarter notes. In the “Fantasia Section Measure Description Details 2 & Echo,” most of the motives are longer, i1-15Exordium Imitative (between alto and soprano) so the echo function becomes more im- 3 2 portant. ii 15 -20 Echo 1 Echo motive 5 , descending sequence Sweelinck’s “Fantasia d4” contains 3 echo motives that last several measures: iii 20 -23 Echo 2 Echo motive 2 , ascending sequence for some musicologists, this was reason enough to doubt the authorship of the iv 24-292 Imitative section Measures 241-263 (in A minor) = 3 2 piece. Pieter Dirksen points out, however, 26 -29 (in D minor) that the echo technique in this fantasia 3 has not been embedded in a larger struc- v29-40 Echo 3 Echo motive 5 , var. on Echo 1, descending ture: echoes form the very essence of the "sequence,” from 343, motive is transformed piece. For the composer, this might have to 4 and descending sequence without echo been the reason to opt for longer motives. Van Eyck begins both echo blocks (sec- vi 41-43 Echo 4 Echo motive 2 , tripla; descending "sequence" tions ii-iii, v-vii) with the longest echo mo- tive, a logical choice. These long motives vii 44-47 Echo 5 Echo motive 4 , tripla; descending "sequence" sound most clearly like a statement. A 6 melody like “Malle Symen” in the Lust-hof viii 48-50 Coda "Summary": & &
20 American Recorder (see NVE 5 & 113), in which the echo starts in a different part of the measure function is part of the melody, also starts from its “source.” As a blind composer, out with the longest motive: the first lasts The “Fantasia & Echo” is a composi- Van Eyck was not used two measures, the second and third just tion with a clear and balanced structure, one. making it likely that it was an established to thinking in written Van Eyck confines himself without ex- piece in Van Eyck’s own performance note values. ception to the octave echo principle. He repertoire at the time he dictated it in clearly draws attention to the echo with 1644. Suddenly it had to be forced into the Der Fluyten Lust-hof, we can identify sever- the markings forte (strong) and piano notational straitjacket. al places where he “shifted into the wrong (soft): forte for the high “source,” piano for Since Van Eyck repeats the first echo gear” and dictated note values at half the the lower-sounding echo. The relative pair one step lower, there are four entries, right value. This section of the “Fantasia & strength of the registers on a recorder all starting in a different part of the meas- Echo” is the sort of place where such a ure (see ex. 7). This causes an in- thing could have happened. The motive is um (reduced) triguing episode of tension. A dominated by eighths and sixteenths, spark of genius? The conclusion is with a quarter note at the end. Suppose premature, as a common-sense that Van Eyck really had wanted to end the explanation is also possible. motive with a half note. It is very possible Characteristic of this signal-like that he mistakenly dictated a quarter note, echo motive is the way it seems to which, after all the eighths and sixteenths, evade a strict time signature. In is long. Ending with a half note, the motive fact, every quarter note can be would have been one and a half measures played as if it were the first beat. If long, and the periodization would have we really want to attach a time sig- been considerably more regular (indeed, a nature, the motive by itself would half-measure shift had already occurred in fit in triple time as well as in com- the exordium). mon time. The observed irregulari- My reconstructions of various pieces ty does not become apparent until suggest that the manuscript of Der Fluyten the chain of repetitions each time Lust-hof used by the printer had very few causes a metrical displacement bar lines, if any—at least far fewer than the takes care of the dynamic contrast by itself. (shown with dotted lines in ex. 7). printed sources. The typesetter in the Thus, the markings seem to clarify prima- The question arises as to whether Van print shop apparently kept placing bar rily what is happening here, more than to Eyck played this chain of motives strictly lines in equal periods from the beginning, urge performers to play loud and soft. in time, as the section lends itself to free until the moment he started to realize that (Although octave echoes occur in many use of time; a fermata over the final quar- something was not quite right. If the sec- pieces by Van Eyck, this is the only work in ter note of the echo motive would have tion in question was not notated the way which they have such markings!) been a nice touch. The performer can raise Van Eyck intended it, there was not much It is unusual that the duration of the the tension by creatively playing with the that looked suspicious. After all, four first echo spans five quarter notes. Typical- timing of the echo’s start. In this manner it times five quarter notes makes five com- ly, a linear echo is played out in regular pe- becomes a free and unmeasured, quasi- plete measures. Consequently, the second riods, spanning a quarter note, a half or improvised fantasia section. echo section starts in the right place in the whole measure, or a multiple number of The notation might also be in error. As measure. measures. One can easily guess the result a blind composer, Van Eyck was not used The motive in this second echo section of this irregular periodization: the echo to thinking in written note values. In has a duration of two quarter notes and is, in compari- EXAMPLE 6 “Fantasia & Echo”: rhythmic and melodic EXAMPLE 7 “Fantasia & Echo” son with the correlations between the first echo motive and the first echo section first, of a fleet- exordium ing nature. Sweelinck used similar motives (see ex. 8). The oc- tave echo is subjected to an ascending and tension- building se- quence, hints at A minor, then finally lands without interruption
January 2004 21 EXAMPLE 8 Van Eyck and Sweelinck: related echo motives Van Eyck: “Fantasia & Echo” at the middle though this time slightly transformed: a section (iv), facil- more melodic passage replaces the tremo- itated by a bridge lo (compare ex. 10b-c). This type of trans- derived from the formation occurs regularly in Sweelinck’s echo motive echo fantasias (a striking example would Sweelinck: “Echo fantasia d3,” right hand (measure 23, be “Echo fantasia C1,” measures 104 and second half; see following). Van Eyck’s motives recall ex. 9) . an inverted (low-high) echo motive As men- from Sweelinck’s “Toccata G1,” measures tioned before, 75-79 (see ex. 11). like the exordium, this EXAMPLE 11 Sweelinck, “Toccata G1,” middle section measures 76-77 (right hand) has an imitative character. Occasionally Sweelinck, too, punctuated his echo sec- tions with an echoless insert. The phrase of measures 24-263 (A minor), essentially not more than an embellished cadence, The transformed motive is then, again, The thirty-second repeats itself a fourth higher (D minor) in itself transformed. Reduced to a regular 263-292 (see ex. 9). However, the closing four-quarter-note period, it is no longer notes provide scale passage ascends the first time and used as an echo, but to form a descending “fire in the battle.” descends the second. In this imitative sequence (see ex. 10d). Van Eyck finishes middle section, we notice again the polar- off this sequence with a virtuoso cadence ity between A minor and D minor. in F major, which incorporates a cadence The introduction of the second echo figure called a groppo in Italian. This trill block (section v) reflects the beginning of embellishment, however, begins at the the first (section ii): the opening motive is wrong place in the measure: on the fourth beat, rather than an accented part of the EXAMPLE 9 “Fantasia & Echo,” measures 23 and following measure. Something is wrong with the hi- erarchy of beats in the measure, and the previous sequence shows an equally strange hierarchy. If the bar lines are moved to the left by one quarter note, everything falls into place (see ex. 12). After the final quarter- note rest in measure 40 is eliminated, the transition to measure 41 (section vi) be- comes considerably more exciting. The EXAMPLE 10 “Fantasia & Echo” unmistakably derived thirty-second notes provide “fire in the a. Echo motive section ii (measures 15 and following) from the motive at the battle.” Similar types of virtuoso thirty- beginning of the first second-note interjections can be found in block (compare ex. Sweelinck’s fantasias as well. 10a-b). The duration The second echo block, like the first, is again five quarter continues with a section having a two- b. Echo motive section v (measures 29 and following) notes. The new motive quarter-note echo motive (section vi). is less melodic, and This time, however, it is not so short-wind- based more on harmo- ed, since it does not include an upbeat. It ny than the first. Disre- begins on the first beat and is made up of c. Echo motive, transformation (measure 32) garding passing and tripla (triplets) for a change: a sextuplet or changing notes, it be- a double triplet in sixteenth notes (in the gins with a broken in- sources, indicated with one “3” per six verted D minor chord notes), followed by an eighth-note triplet. (f''-a''-d''), followed by There are no fast tripla echo motives d. Transformation to sequence motive an arpeggiated D ma- in Sweelinck’s echo fantasias; in jor chord (a''-f ''-d''). these pieces, the Amsterdam master The brief note repeti- restricted himself to binary divisions. tion (a''-g''-a''-g'') re- Sixteenth-note tripla do occur regularly in calls the tremolos of the his other fantasias, though, especially to- preceding imitative section and creates a wards the end. (Examples are the tight structure. “Fantasia d1 ‘Cromatica,’” “Fantasia a1,” As in the first echo section (ii), the “Fantasia F1,” and “Fantasia g2.”) echo pair is repeated one step lower, al-
22 American Recorder EXAMPLE 12 “Fantasia & Echo”: measures 343-40 (corrected)
Van Eyck proves to be inventive once more, because his tripla motive is a free variation of the five-quarter motive from the previous section, with a descending third at the end (see ex. 13). Again we have EXAMPLE 13 “Fantasia & Echo”: relation between echo motives unity in variety. It is worth noting that the groups of sixteenths marked with a small number “3” have been composed melod- from section v (measures 29-30) ically in such a way that they can be per- formed metrically as three times two (sex- tuplet) as well as two times three (double triplet). In the latter case, an anti-metric tension is created between the faster notes and section vi (measure 41) and the slower eighth-note triplet that fol- lows. Again, the echo pair is repeated a step EXAMPLE 14 Transformation of echo motives in section v lower in a slightly modified form. The (beginning of measure 41 most important change occurs in the six- to beginning of measure 42) teenth-note tripla, which are mirrored horizontally and vertically (see ex. 14). The second echo is not realized com- has mastered the “free” form. The work pletely: where an eighth-note triplet has a clear and symmetrical plan: an ex- should occur, the sixteenth-note tripla ordium and a closing section, two echo continue and finish the section. blocks related in motives and periodiza- The “Fantasia & Echo” In the last echo section (vii), for the tion, separated by a central imitative sec- first time the motives have a duration of tion. Although the first block includes two is a composition with four quarter notes. Because of the regular sections and the second block three, there a clear and balanced periodization, combined with the length is a balance between the lengths of the ex- structure, making it of the motive, this section has more sta- ordium and the first echo block (a com- bility than any of the previous echo pas- bined duration of 22-1/2 measures occur- likely that it was an sages. ring early in the piece) with the second established piece Just as in the preceding section, Van echo block and the coda (21-1/2 meas- in Van Eyck’s own Eyck was guided by a previous five-quar- ures, later in the piece). The imitative sec- ter-note motive—this time not from the tion (iv), which provides a calming inter- performance repertoire second echo block, but from the first (sec- lude, thus has a central position. at the time he dictated tion ii), finishing with a descending fifth The work can be considered a transla- (compare ex. 15a-b). The echo pair is re- tion from a polyphonic keyboard practice it in 1644. peated a step lower, in a slightly modified into the monophonic vernacular of the form, which can also be interpreted as a recorder—but, at the same time, it is more variant of the motive from section ii (com- than that. In the exordium as well as in the pare ex. 15c-d). The sixteenth-note tripla are shaped melodically in such a way that EXAMPLE 15 “Fantasia & Echo”: relation between echo motives the groups of six now look like double from sections vii and ii triplets rather than sextuplets. Three measures without echo con- a. Echo motive section ii clude the work (see ex. 16a). In measure 48, Van Eyck combines tripla and dupla, as if summarizing the composition. This shows a similarity to the final cadence of b. Echo motive section vii Sweelinck’s “Fantasia d1 ‘Cromatica’” (see ex. 16b). As a separate section, the three-measure conclusion is very short, and it might be better interpreted as a co- da. In combination with the preceding balanced echo section, it provides the c. Echo motive section ii weight for a concise ending. To sum up, with his variation works, Jacob Van Eyck straddles the border be- tween commonplace diminution tech- d. Echo motive section vii nique and art. In “Fantasia & Echo,” how- ever, he emerges as a real composer who
January 2004 23 EXAMPLE 16 a. Van Eyck, “Fantasia & Echo,” coda bookseller, or found in music libraries. Within the text of this article, the several pieces mentioned correspond to specific pieces in this volume; see below for a list showing correlation with Dirksen’s classifi- b. Sweelinck, “Fantasia d1 ‘Cromatica’,” end cations.
Pieter Dirksen, The Keyboard Music of Jan Pieterszoon Sweelinck. Its Style, Significance and Influence (Utrecht: Koninklijke Vereniging voor Neder- landse Muziekgeschiedenis, 1997). The classification numbers used in this article were taken from this source, and echo motives, Van Eyck has enthusiasti- loosen his boundaries while working in a correspond to the following pieces in the cally borrowed, associated and trans- different instrumental form. Opera Omnia (OO): formed, and made the most of limited ma- Echo fantasia C1: OO #13 terial. To paraphrase Morley’s words: he References Fantasia a1: OO #4 “alters at his pleasure.” Jacob van Eyck, Der Fluyten Lust-hof, New Fantasia C2: OO #14 While many of his variation works give Vellekoop Edition, ed. Thiemo Wind Fantasia d1 “Cromatica”: OO #1 the impression of “frozen” improvisa- (Naarden-Huizen: XYZ, 1986-1988), 3 Fantasia d3: OO #11 tions, here Van Eyck shows his most con- vols. (abbreviated in this article as NVE) Fantasia d4: OO #34* structive side. Within a tight structure, Fantasia F1: OO #5 there is a balance between unity and di- Jan Pieterszoon Sweelinck, Opera Omnia, Fantasia g2: OO #8 versity. The transformations of the echo Vol. I – Fascicle I: Keyboard Works Toccata G1: OO #18 motives go beyond the strict diminution (Fantasias and Toccatas), ed. practice to which Van Eyck confines him- Gustav Leonhardt (Amsterdam: Thiemo Wind, “‘Some Mistakes self for his regular variations. This explains Vereniging voor Nederlandse or Errors....’” Recorder Magazine, why the “Fantasia & Echo” sounds like Muziekgeschiedenis [VNM], 1968). vol. 11, no. 3 (1991), pp. 82-86. the solid work of an imaginative compos- This reference may be difficult to find, but This article contains more information er, who felt the pleasure and freedom to might be ordered by an early music shop or on the metric errors made by the scribe in notating Der Fluyten Lust-hof.
24 American Recorder t the suggestion of Rebecca Arkenberg Aand the American Recorder Society, I Composers/Arrangers Special have set the organization’s name to music as a soggetto cavato, using some of my fa- vorite licks from the music of Heinrich Isaac and his contemporaries. Setting a Name to Music The phrase soggetto cavato delle vocale (“subject carved from the vowels”) describes a process of deriving a cantus firmus from solfège syllables relating to the “R” and “S” mark the individual phrases in vowels of a name or phrase. Applying for a subsequent entries of the complete theme. job in Ferrara in 1502, Heinrich Isaac The text may be sung if desired. pulled a rabbit out of his hat by compos- In addition to complete statements of ing, in two days, a motet on the fantasia the theme, literal and paraphrased frag- La mi la sol la sol la mi. These syllables have ments pervade the composition. An ambi- been suggested to be a musical represen- tious performer could add text to those by Adam Knight Gilbert tation of the words….a kind of soggeto fragmentary phrases. cavato. As requested, I scored the work to be Josquin, who beat out Isaac for the Fer- performable by SATB recorder quartet, rara job, wrote Missa Hercules Dux Ferrari- though it could be performed by other en- ae based on the vowels of the Duke’s sembles as well. name. His Missa La sol fa re mi reportedly Most Renaissance composers would derives its melody from the phrase, “Las- choose systematic structural devices, such Save this Date: cia far a mi” (“Leave it to me”), a musical as a migrating cantus firmus, or sequential March 13 is Play-the-Recorder Day commentary directed at a recalcitrant pa- entries of a theme in ever-decreasing note Not only is March Play-the-Recorder tron. values. In contrast, I follow the amoebic Month, but March 13 has been desig- The practice originates in the concept style, simply trying in many places to get nated "Play-the-Recorder Day" for of the magical power of names, and the out of a contrapuntal fix. If you find a hid- 2004. In order to mark the occasion, Neo-Platonic concept that, because every- den structure, let me know. I have left sev- the ARS Board has commissioned a thing is related, the sounds within a name eral contrapuntal errors intact in favor of somehow capture the essence of a person preserving thematic material. Another new piece titled ARS Fantasia super. or idea. Whether this concept is accepted composer would have found a different so- A copy of ARS Fantasia super is printed or not, once a theme is adopted, it takes on lution, but I comfort myself that Isaac on the following pages. an association with a name that often out- himself used blatant parallel fifths when it All ARS members are invited to play lasts its owner. suited his purpose. the new composition on March 13 to The practice did not die with the Re- Finally, a word about the last measure: get Play-the-Recorder Month off to an naissance, and can be heard in works by in 1496, the theorist Gafurius described a exciting start. Chapters, consorts, and Bach, Schumann, and Shostakovitch. “celebrated procedure” in which parallel any other members are encouraged, I approach the task of writing in histor- tenths surround a Tenor (the part above but not required, to play ARS Fantasia ical style as a study, one that can teach the lowest), noting its use by Josquin, super at 3 p.m. EST (or 8 p.m. GMT for volumes to students of early music. This Isaac, and “other eminently delightful our international friends). It will be composition adopts as its subject the composers.” I have added just such a co- words, “American Recorder Society.” I da, hoping that eminence might be conta- fun to know that fellow recorder play- have avoided the common use of Latin— gious. Because the last note is held in both ers around the world are playing the although “Collegium Tibicinum Americano- tenor and soprano, short “ticks” take the same piece at the same time. rum,” suggested by my friend, the musi- place of modern barlines in order to facili- The most creative use of ARS Fan- cologist Kerry McCarthy, has its charms. tate counting. tasia super anytime on March 13 will After all, this is for an American organiza- Adam Gilbert has played recorder since win a special prize from the ARS. In ad- tion. the age of eight, where he began playing Go dition, prizes will be offered to chap- The subject in English divides nicely Tell Aunt Rhodie from the Burakoff method. ters for the most imaginative PtRM ac- into three phrases: Fa Re Mi Fa, Re Sol Re, He has since performed as a member of the tivities and for the largest percentage and Sol Mi Re Ut. I extrapolate the last syl- Waverly Consort, Ensemble for Early Music, membership increase during March. lable, the historical equivalent to Do, from and Piffaro, the Renaissance Band. He is also the letter “Y,” based on its partial-vowel a founding member of the ensemble Cia- Please send the details (including pho- status and its historical affinity to the let- ramella. He completed his dissertation on tos) of your chapter, consort or indi- ter “U” (as upsilon). elaboration in the Masses of Heinrich Isaac at vidual activities to the ARS office to The theme appears in several literal or Case Western Reserve University, and is cur- help us tell other members how you slightly ornamented complete statements. rently a visiting assistant professor of musi- celebrated Play-the-Recorder Month The first statement, which ends at meas- cology at Stanford University. He also teach- and Day! The winners will be an- ure 20, appears in the bass with complete es at Amherst Early Music Festival and Madi- nounced in the September issue of text, and could be treated as a complete son Early Music Festival. American Recorder. (albeit short) composition. The letters “A”,
January 2004 25 ARS Fantasia super "fa re mi fa, re sol re, sol mi re ut" Adam Knight Gilbert (©2003) 1 ˙ ˙ w Soprano & b C ∑ ∑ ∑ ∑ ∑ Ó ˙ w w w w w w w w Alto V b C ∑ ∑
w w Tenor V b C ∑ ∑ w w ∑ ∑ ∑
? w w w Bass b C ∑ ∑ ∑ w ∑ ∑
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26 ˙ ˙ & b œ œ ˙ œ ˙ Ó ∑ ∑ ∑ Ó ˙ w ˙ ˙ ˙ V b œ œ ˙ ˙ Ó ∑ ∑ ∑ ∑ Ó . Ó ˙ ˙ œ œ œ œ œ ˙ œ œ œ œ V b ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ J
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Copyright © 2004 Adam Knight Gilbert. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
42 j & b ˙ ˙ œ ˙ œ œ œ œ ˙ w ∑ Ó ˙ ˙ ˙ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ ˙ œ w w w w V b J ∑ A V b w ∑ w w w w Ó ˙ w A R ? œ œ œ œ œ œ œ ˙ ˙ ∑ Ó ˙ b . J œ w w w
50 œ. j œ. œ œ ˙ nœ w & b ˙ ˙ œ œ œ œ œ ˙ #œ œ œ œ w w ˙ w w j œ œ œ œ ˙ V b Ó œ. œ œ œ w ∑ ∑
R S ˙ œ ˙ w ˙ ˙ ˙ V b w Ó œ œ ˙ w Œ Ó S œ A ? ˙ ˙ bœ œ ˙ œ bœ w œ ˙ b . J ˙ w w w
58 j & b w w Ó ˙ œ. œ œ œ œ œ œ œ ˙ Ó ˙ œ œ ˙ Ó Œ œ œ. œ A œ œ œ œ ˙ œR b w œ œ œ œ œ œ ∑ Ó ˙ bœ œ bœ ˙ V œ. J ˙ J w w ˙ w w ˙ bœ ˙ V b Ó Ó œ œ œ ˙ R S ? w j ∑ Ó bw œ œ œ œ ˙ b œ. œ œ œ œ œ œ ˙ ˙ ˙
Copyright © 2004 Adam Knight Gilbert. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
? ˙ ˙ œ. œ ˙ w ˙ ˙ ˙ b w w J ˙ ˙ œ œ
74 b ˙ ˙ œ. œ ˙ nœ w Ó ˙ & ˙ ˙ ˙ ˙ œ J œ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ œ œ œ œ. œ œ œ œ V b ˙ Ó Ó œ œ œ. J œ. œ b ∑ Ó ˙ ˙ ˙ ˙ Œ ˙ œœ œ œ œ V w ˙ œ œ. J œ w ? ∑ ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ b w
82 b œ ˙ nœ ˙ œ. œ œ. œ j œ œ ˙ & J œ œ œ œ œ ˙ œ œ. œ œ œ œ ˙ ˙ ˙. œ œ œ œ. œ ˙ œ ˙ b œ œ œ œ œ. œ œ. œ œ œ œ ˙ Œ œ. œ ∑ V J œ œ J œ œ ˙ ˙ J œ. œ œ. b œ œ œ. œ œ œ œ œ. œ bœ œ ˙. œ ˙ œ œ œ V J J œ œ œ œ J œ œ ˙ œ J œ. J œ ˙ ? w ˙ ˙ bœ œ . œ œ w ˙ œ ˙ b ˙. œ ˙ œ J œ ˙ œ A 90 b œ œ. œ œ jœ œ œ ˙ œ & œ œ. œ œ œ ˙ œ œ œ ˙ ˙ ˙ œ œ œ ˙ W W ˙ ˙ w U b Ó ˙ ˙ ˙ Ó ˙ œ œ w œ œ ˙ œ œ œ œ w V œ œ. J œ. J w j V b œ. œ œ œ œ œ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w W W w ? w Ó ˙ w Ó ˙ ˙ ˙ w j b œ. œ œ ˙ œ œ œ œ W R S
Copyright © 2004 Adam Knight Gilbert. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
Comments about the “Vanitas” cover bration of Christmas—in fact, death is one ography and his famous treatise On Play- from the November 2003 issue of the four traditional topics on which ser- ing the Flute on the lack of good music I wanted to say that I have always enjoyed mons for Sundays in Advent are often specifically intended for the transverse the covers based on old art. But you out- based. Christmas itself traditionally began flute, and in the first half of the 18th cen- did yourself in November. That cover was on December 25, and the observance last- tury violin music was frequently adapted truly spectacular—and it was great to dis- ed for the Twelve Days until Epiphany, for the flute. No conductor would ever cover so much information about it inside something that has almost vanished in the think of hiring me to play Baroque music the magazine. face of post-Christmas clearance sales. composed for flute, oboe or violin on the Nancy Hathaway, New York City, NY Harvest celebrations in years past also recorder, but since I run Carolina Baroque had their component of death being a part I often play music on the recorder that was Without analyzing the merit of [the] Her- of life (think of the ballad of John Barley- originally scored for those instruments. man Henstenburgh drawing depicted on corn, as recounted by Robert Burns). Dale Higbee, Music Director/recorders the cover I must conclude that to use it [at] Carolina Baroque this time of the year where everybody is On substituting recorder for looking toward a joyful Christmas and other wind instruments A REPLY FROM TOM CIRTIN, COMPACT DISC Holidays, children playing and singing. As your reviewer suggests in discussing REVIEWS EDITOR: Carolina Baroque’s re- you come with a human skull and “to three of our CDs in the November issue of cent recordings of music of J.S. Bach and [remind] of us of our [own] mortality and AR, Carolina Baroque CDs are all record- G.F. Handel are delightful, joyous per- foolishness—...”. Now, the next cover will ings of live performances, so they are not formances. The ensemble is professional, be what!; a tomb of an “illustre” buried in 100% letter-perfect, but I hope that they and each musician evinces a keen sense of 1500...with flowers and everything else convey the spirit of the music. The review- Baroque style. I agree with Mr. Higbee that including a dark sky with some er says there are no program notes, but no one expects live performances to be “vampires”? program notes, English texts of vocal mu- perfect; nonetheless, it is incumbent on Very inappropriate cover. sic, and brief bios of the performers ac- every CD reviewer to point out the short- Sincerely, George Albert Petersen company our CDs, so possibly they were comings, as well as the virtues, of record- Annandale, VA not given to the reviewer with the discs. ings. After all, reviewers are advocates for In the Baroque period the recorder in the listeners. Scott Paterson’s piece was professional performances was a dou- fair and insightful, and overall quite posi- Very inappropriate cover. bler’s instrument, usually played by tive. I stand by his review. I am grateful to oboists. As all serious students of the Mr. Higbee, however, for correcting an er- REPLY: Art is a very subjective taste, so it’s recorder discover, it has a very limited lit- ror by pointing out that program notes are possible that each reader will have a differ- erature of really first-class music. Howev- indeed included with his CDs. ent appreciation and reaction to any art er, flexibility was the order of the day in used on the cover of American Recorder (or Bach’s time. Cantata BWV 82, for exam- More about “The Recorder art found anywhere else). The decision to ple, was scored for bass solo, oboe, strings in the Nineteenth Century” print Henstenburgh’s “Vanitas” in No- and continuo, but when the composer I was pleased to see Douglas MacMillan’s vember was largely related to the opportu- transposed it to fit the soprano voice in article “The Recorder in the Nineteenth nity to use a recently acquired, almost- BWV 82a, he used the transverse flute as Century” in the November 2003 issue of unknown, image (although proximity to the obbligato instrument. As mentioned American Recorder. The survival and popu- Halloween didn’t seem to be bad timing). on page 6 of the November issue of AR, I larity of duct flutes throughout the nine- The painting is such a visual feast that play the flute part in BWV 82a on voice teenth century is a fascinating subject, it almost seems as if it could be used at any flute in d', which was used in the 18th cen- and certainly one worthy of further explo- time of year: the flowers are brilliant and tury for playing flute music. I play the flute ration. I would like to offer a few observa- fresh with their water droplets, looking al- part in Cantata BWV 209 an octave higher tions regarding certain aspects of Mr. most spring-like. The viewer is obviously on sixth flute because the balance is better MacMillan’s article. He mentions the flag- meant to enjoy looking at them, even than with the gentler voice flute. And I of- eolet only briefly on page 17 and does not while pondering that they are transitory. ten use the fourth flute (soprano recorder offer much explanation of this instrument Also, the idea of the Christmas season in b' flat) or fifth flute in c'' to play oboe or its differences from the recorder. This is beginning just after Halloween is a mod- music an octave higher than written, a pity, since the flageolet was certainly the ern marketing ploy. For centuries in the which works well because the recorder has most common duct flute of the period be- Christian church, Advent has been not so few overtones whereas the oboe is unusu- ing examined. An interesting article about much a celebration as an introspection, a ally rich in overtones. this instrument was recently published by “Winter Lent” in preparation for the cele- Quantz comments both in his autobi- Jane Girdham, titled “The Flageolet Play-
January 2004 29 RESPONSE (cont.)
er: The Ultimate Amateur Musician,” in er’s breath and keep the windway from called the fipple. Writers have variously Early Music, Vol. 30, No. 3 (August 2002), clogging. The function is quite different suggested that in such instruments the pp. 397-409. from that of the structure usually called a word fipple denotes the windway, the lip, A larger problem lies in MacMillan’s wind cap. MacMillan’s makes the further the block, or even the head section in its discussion of the instrument illustrated on observation that the only other “wind-cap entirety. The term “duct flute” is far less page 18, which he identifies as a recorder, recorder” he knows of is one by Goulding ambiguous as a classification. based on Richard Thompson’s description from the early nineteenth century, belong- Darcy Kuronen of the same instrument in the November ing to London’s Victoria and Albert Muse- Curator of Musical Instruments 1961 issue of American Recorder (p. 3). um. As described by Anthony Baines in Museum of Fine Arts, Boston Although superficially similar to a that museum’s Catalogue of Musical recorder (with seven fingerholes and a Instruments, Vol. II: Non-Keyboard Instru- It’s a bird, it’s a plane, it’s thumbhole), this instrument would have ments (London, 1968), p. 85, the cap on Supercorder! unquestionably been called a flageolet Since 1999, I have invented a tuning- when it was manufactured or sold by the I would like to suggest vibrato control, an index-finger-alone dual New York firm of Firth, Pond and Compa- B/B-flat key, and several advanced innova- ny between about 1848 and 1863. Part of that we would tions. Applying these to modern 2-1/2 the identification problem may have been octave alto recorder designs provides an that the instrument as depicted is missing all be better off easier-to-play recorder with strong, even its mouthpiece, which is usually made of sound on every note. It also plays quietly ivory or bone and looks rather like a short classifying instruments in-tune, and has lovely vibrato for held cigarette holder. A very similar flageolet, notes. also made by Firth, Pond and Company like the recorder, I am playing a prototype as “oboe” in a (and complete with its mouthpiece), is 45 piece orchestra with everything except pictured in Laurence Libin, American flageolet, csakan, (what luck!) oboes. Not as loud as an oboe Musical Instruments in the Metropolitan but it pleasantly fills the part. I have the Museum of Art (New York, 1985), p. 74, or any other flutes plum part in a Rossetti wind suite with fig. 60. American-made flageolets of this flutes, me (“oboe”), clarinets, bassoons, time were modeled after English exam- with a windway that horns and string bass. ples, which differed from so-called French Since it seems the only way to advance flageolets that had only four fingerholes directs the player’s the “supercorder” cause is to make and but two thumb holes, as pointed out by sell them myself, I am proceeding to do so. Thompson. Unfortunately, Thompson al- breath past a sharp edge, Tools are being bought or made, chal- so used this criterion to dismiss the Firth, lenges are being overcome, pleasing Pond and Company instrument as a flag- as duct flutes rather than shapes and sounds are emerging, and I eolet, further relying on Nicholas have confidence for presenting them fairly Bessaraboff’s oversimplified and some- as fipple flutes. soon. what flawed classification of duct flutes in I can’t yet set a price, but I am hoping Ancient European Musical Instruments this tenor recorder is apparently for the to be able to sell them directly (only) for (Boston, 1941), pp. 62-64. purpose of housing a sponge, just as with 1500-2000 $Canadian (around 1125- MacMillan might be forgiven for taking flageolets of the period. He does not refer 1500 $US). At this point, I have little evi- Thompson’s information at face value, but to it as a wind cap. dence there’s anybody who will want I cannot agree with his suggestion that fla- On a final note, I would like to suggest them, though. If you are interested in the geolets of this type have a “wind cap.” I that we would all be better off classifying project or would like to comment or have only ever seen this term used when instruments like the recorder, flageolet, would like more information, please en- referring to reed instruments like the csakan, or any other flutes with a windway courage me by sending me a note! crumhorn, where the cap isolates what is that directs the player’s breath past a Craig Carmichael usually a double reed from the player’s sharp edge, as duct flutes rather than as 820 Dunsmuir Road mouth. When a player blows into the fipple flutes. In the New Grove Dictionary Victoria BC Canada V9A 5B7 open end of the wind cap, air surrounds of Musical Instruments, s.v. “fipple” (Lon-
30 American Recorder MUSIC REVIEWS ______A new Van Eyck edition, recorder treatise facsimiles, ______new play-along CDs, recorder noodles, and ricercares
DER FLUYTEN LUST-HOF, BY JACOB nascitur,” and John Dowland’s sublime Considered together, these works pro- VAN EYCK, ED. MARIJKE OOSTENKAMP “Pavane Lachrymae.” The tunes are stated vide a lesson in subtle, yet important, sty- AND BERNARD THOMAS. Dolce 125 simply, making them appropriate for be- listic differences. The Suite in G Minor by (Magnamusic), 2002. S solo. 3 vols. music ginners, whereas the variations are in- Gautier is full-strength French music that + 1 vol. commentary, 223 pp. $29.50. creasingly demanding, requiring mastery shows no foreign influences. Gautier was Few works in the recorder repertoire of the recorder and an acute understand- a prominent French opera composer who have received as much attention from per- ing of early Baroque musical practice. worked under license from Lully. His formers, students, and scholars as Jacob The present publication is the third chamber music was so highly regarded van Eyck’s Der Fluyten Lust-hof. Why so modern critical edition of the complete by Jacques Hotteterre le Romain that much celebrity for an obscure collection collection and has a lot to commend it, in- Hotteterre recommended it as supple- by a composer whose total output does cluding its low price. It is offered as a four- mentary material for his watershed trea- not quite fill 200 pages? Recorder players volume set: the first three volumes present tise Principes de la flûte traversière of 1707. are accustomed to mining for gems, and the music, and the fourth is a commentary In contrast, Clarke’s Suite in G Minor is Van Eyck’s collection gleams brightly be- that provides historical background incor- a French-style work that reveals its English cause it brings together some of the finest porating recent scholarship and musical pedigree in its tunefulness and daring melodic material of the 16th and early examples of the original tunes. The pres- harmonies. Clarke, whose considerable 17th centuries in skillful settings that are entation is clean and easy to read, and the output shows originality and inventive- musically and technically challenging. editing is intelligent. This is an excellent ness, is perhaps the most important Eng- Van Eyck (c.1590–1657) was a blind edition of essential repertoire and should lish composer of the generation between carillonneur and recorder player who be in the library of every serious student of Purcell and Handel. served at various churches in Utrecht, The the recorder. Completing the anthology is Fede’s Netherlands, and as the director of the Sonata di Camera [sic] in D minor. Its Ital- bellworks in that city. Among his duties, THREE SUITES IN ENGLISH STYLE ianate trimmings are perhaps the first vol- he was charged with playing the recorder (CA. 1700 ), BY JEREMIAH CLARKE ET AL., ley in the stylistic skirmishes that charac- to entertain people taking evening strolls ED. PIERRE BORAGNO. Alphonse Leduc terize music of the succeeding generation. through the churchyard of Janskerk. (Theodore Presser), 2000. S or T & bc. Requiring only intermediate technique, all Sc 28 pp. $17.95. three suites are fine works of art that rep- The tunes are stated The late 17th century marked signifi- resent well the shifting sensibilities of their cant change and innovation in the music era and reflect the variety of English taste simply, making them of France and England. Lully’s iron grip on at the end of the 17th century. musical esthetics in France was starting to The present edition breaks new ground appropriate for beginners, loosen, and Italian style—perhaps intro- in early music publishing. Typical of man- whereas the variations duced by Innocenzo Fede, a composer at- uscript sources, the bass is largely unfig- tached to King James II’s court exiled at St. ured. In lieu of the customary continuo are increasingly Germaine-en-Laye—was making inroads. realization, however, the editor provides Similarly, French style dominated Eng- detailed figures, expecting performers to demanding. lish music at that time, but another Italian work out their own accompaniments. composer, Nicolas Mattheis, was thrilling Certainly the lack of a continuo realiza- His Der Fluyten Lust-hof comprises connoisseurs with his bravura playing and tion limits the utility of this edition, but nearly 150 pieces, largely sets of variations lyrical melodies, making a strong impact there is still a lot of worth here. For one for unaccompanied soprano recorder. Van upon English tastes. thing, these works make fine duets for so- Eyck drew on a variety of sources: French The present edition, Trois suites dans le prano and bass recorders, and would work airs de cour, English dances and broadside goût anglais, contains music for recorder well for tenor recorder, flute, or oboe with ballad tunes, psalm tunes, and other mu- in C with basso continuo by Jeremiah viola da gamba or violoncello. The coun- sic from Germany, The Netherlands, and Clarke (1674–1707), Pierre Gautier (or terpoint is complete in the two parts, and Italy. Many of the works will be familiar to Gaultier) de Marseille (1642–96), and In- the bass is as active as the soprano part. At early music audiences, such as “Daphne,” nocenzo Fede (1660–1732). It is taken the few places where the bass part dips be- “Rosemont,” “The English Nightingale,” from a manuscript of 17 works, the re- low the range of the bass recorder, only “Vater unser im Himmelreich,” Giulio mainder of which are for alto recorder with small adjustments are required to bring Caccini’s “Amarilli mia bella,” “Puer nobis basso continuo. those passages into line.
January 2004 31 MUSIC REVIEWS (cont.)
Furthermore, these are good practice INTEMERATA DEI MATER, BY THOMAS. London Pro Musica EML 370 pieces for the budding continuo player: JOHANNES OCKEGHEM, ED. BERNARD (Magnamusic), 2000. Five instruments, The thorough figuring provides everything THOMAS. London Pro Musica Per Cantare 5 scores 4 pp each. $5.50. a student needs—assuming a rudimenta- E Sonare LPM 523 (Magnamusic), 2000. These two recent LPM editions present ry understanding of counterpoint—to Five voices or instruments. Sc 9 pp, pts music from the late 15th century. The mu- devise an accompaniment. In any case, 2 pp each. $7.50. sic of this period does not always have the this volume contains a lot of good music, D’UNG AULTRE AMER (2 SETTINGS full sonorities characteristic of the High and adds to the sparse repertoire of CA. 1500), BY PIERRE DE LA RUE, AND Renaissance or the extravagant inventive- Baroque recorders in C. [JOHANNES] LE BRUN, ED. BERNARD ness of the late Middle Ages, but it is often Thomas Cirtin TRIO SONATA IN F MAJOR FOR TWO It may be a surprise that the harpsi- along at even the fastest tempo. The range TREBLE (ALTO) RECORDERS AND chordist does not play the printed contin- of tempos is as one would expect. For ex- BASSO CONTINUO, TWV 42:F, by uo realization by Thomas Pauschert, but ample, the three tempos of the Hotteterre G. Ph. Telemann. Dowani Music Minus improvises nicely as if in a live perform- second movement (Courante) are roughly One DOW 2500 (Excellence in Music, ance—gently rolling chords, extra motion =104, 144 and 208. The most difficult Inc. 1-800-573-5066), 2003. AA & bc + in appropriate places, and lead-in pas- are the fast tracks of the Telemann second CD. Sc 11 pp, pts 3 pp ea. $27.50. sages at some repeats. The full score in- (Allegro) and fourth (Vivace) movements. TRIO SONATA IN C MAJOR FOR TWO cludes figures, providing one more teach- A comment about the Hotteterre: in TREBLE (ALTO) RECORDERS AND ing tool—an opportunity to study how the fourth movement, the first recorder BASSO CONTINUO, OP. 3, NO. 5, BY the printed realization evolved from fig- plays alone twice. In spots like this in J. M. HOTTETERRE LE ROMAIN. Dowani ures, and to compare the printed realiza- some previous Dowani CDs, audible Music Minus One DOW 2501, 2003. AA tion to actual performance. metronome clicks guide the soloist back & bc + CD. Sc 9 pp, pts 2 pp ea. $27.50. Following the complete performances, to join the continuo. However, in these Do you enjoy play-along CDs? In its re- the accompaniment is played in three dif- trio sonatas, no clicks are heard once a lease of two trio sonata titles, Dowani has ferent tempos, first with the first recorder movement has begun. Instead, when the made a very good product even better. part missing and then the second missing. recorderist plays alone, the actual melody (Readers may want to refer to reviews of I especially enjoyed that separate CD is also played, muted, on the CD. I feel Dowani CDs in the September 2001 AR.) tracks offer either the first or second that this is a wonderful improvement. The printed music for earlier Dowani recorder as the missing solo part. By mak- Now these play-along CDs could be used releases included only the missing solo ing a music-minus-one solo of each in actual performances, a wonderful boon line, but this printed music, taken from an recorder part, students can choose to play for those who live in geographical areas urtext edition, shows all parts (including along with each part to check intonation where a continuo team cannot be found! bass line). The scores and parts are in a and stylistic details before playing as the For future releases, I wish that the tem- larger 9”x12” size, and also serve as an in- missing part with the tracks—a wonderful po-setting metronome taps before each dex to the CD tracks. Printing is clear and opportunity for less-advanced students. movement were notated, to avoid having easy to read, with no page turn problems. In the slow tracks, the solo part is still to guess how many taps you will hear. I al- The CDs are organized as in earlier heard, muted and almost unnoticeable as so wish that approximate metronome Dowani releases. The first track is a tuning you play along. In the medium and fast markings for each of the three tempos note: A=440. The next tracks feature tracks, the solo part disappears. were included in the printed music, so complete concert performances, played New tracks that start within longer that students could try each tempo before well by Manfredo Zimmermann, first movements are nicely placed at cadences, attempting to play along. But my most im- recorder; Ulrike Volkhardt, second so that a lost student can listen to the ca- portant concern is this: why is there is no recorder; and Alexander Puliaev, harpsi- dence and then jump back in. bass player in the continuo? The harpsi- chord. It would be great if, in the future, After listening several times to various chord bass line does come out nicely, but information could be included about spe- tracks, I realized that Dowani does not use I still miss a gamba on the bass line. cific instruments used on the recording. technology to take the easy way out. Each I highly recommend these new releas- Ornamentation is interesting and ap- track, at each tempo, is recorded separate- es, as I think that trio sonatas in play-along propriate to each composer. Articulation ly. Thus ornamentation, trill speed, and format are particularly enjoyable. But you is matched well, particularly when the other details such as continuo activity, are might want to make sure that your CD recorders play parallel rhythms. In the appropriate to each tempo—an impres- player allows you to punch in exact track Hotteterre, inégale passages are nicely sive commitment to a quality product. numbers, because the Telemann has 41 played—a great model for students to im- Both the Hotteterre and the Telemann tracks and the Hotteterre has 47! Con- itate. The first movement of the Telemann are well-known trio sonatas of moderate gratulations to Dowani for great improve- contains imitative passages where orna- difficulty. After practice, advanced inter- ments in the formatting of their products. mentation is also perfectly matched. mediate students should be able to play Sue Groskreutz
32 American Recorder ³0\VWXGHQWVORYHWKH'RZDQL$FFRPSDQLPHQW&'VDQGDUHH[WUHPHO\SOHDVHGZLWKWKHKLJKTXDOLW\ DQGDWWHQWLRQWRGHWDLO &OR¬A¬&2%%¬3!-0,%¬#ALL¬ ¬OR¬%MAIL¬MICHELLE PIANOVISIONCOM FFER RETAIL¬PRICE¬¬ ¬¬DISCOUNT 3PECIAL¬/ ¬¬ ¬ ¬¬¬ ¬ ¬¬ ¬ DISCOUNT 3HIPPING¬AND¬(ANDLING¬IS¬¬FOR¬THE¬l¬RST¬#$¬ /FFER¬VALID¬THROUGH¬!PRIL¬TH ¬ AND¬¬FOR¬EACH¬ADDITIONAL¬#$ 4O¬#ANADA¬ADD¬¬PER¬#$ 4XDQWLW\ 'HVFDQWUHFRUGHU 4XDQWLW\ 7UHEOHUHFRUGHU BBB '2:$OEXP, HDV\ 76XVDWR BBB '2:$&RUHOOL 6RQDWDJPLQRU )LW]ZLOOLDP9LUJLQDO%RRN 3$WWDLJQDQW -3DL[ 7UDG RS1RIRU7UHEOHUHFRUGHUDQG%DVVRFRQWLQXR BBB '2:$OEXP,, HDV\ 0DUFR)&DURVR BBB '2:*)+lQGHO 6RQDWDDPLQRU -6%DFK $9LYDOGL0=LPPHUPDQQ +3XUFHOO RS1RIRU7UHEOHUHFRUGHUDQG%DVVRFRQWLQXR BBB '2:$OEXP,,, HDV\ 76XVDWR 5RQGH BBB '2:*3K7HOHPDQQ 6RQDWD%EPDMRU &GH6HUPLV\ 7DQWTXHYLYUDL 7UDG *UHHQVOHHYHV 1R IURPÄ'HUJHWUHXH0XVLNPHLVWHU³ 7UDG0=LPPHUPDQQ $KYRXVGLUDLMHPDPDQ IRU7UHEOHUHFRUGHUDQG%DVVRFRQWLQXR BBB '2:3LDQR$FFRPS6FRUHIRU$OEXP,,,DQG,,, BBB '2:*)+lQGHO 6RQDWD)PDMRU RS1RIRU7UHEOHUHFRUGHUDQG%DVVRFRQWLQXR BBB '2:*3K7HOHPDQQ 3DUWLWD*PDMRU 1RIRU'HVFDQWUHFRUGHUDQG&HPEDOR BBB '2:*3K7HOHPDQQ 6RQDWD)PDMRU 1R IURPÄ'HUJHWUHXH0XVLNPHLVWHU³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¬VIEW¬FULL¬CATALOG¬OR¬HEAR¬EXCERPTS¬VISIT¬WWWDOWANICOM¬ ³:KDWDFRPSUHKHQVLYHYHUVDWLOHSURGXFW0\VWXGHQWVDUHDOUHDG\XWLOL]LQJLWDQGLWSURYLGHVDYLWDOHOHPHQW LQWKHLUSUDFWLFHURXWLQH,KLJKO\UHFRPPHQGLW´&KHU\O6FKHLGHPDQWOH3DVDGHQD&$ %XCELLENCE¬IN¬-USIC ¬)NC¬¬&REDRICKSBURG¬2OAD ¬)NDEPENDENCE¬+9¬ ¬4EL¬¬¬ ¬&AX¬¬¬ ¬%MAIL¬¬MICHELLE PIANOVISIONCOM MUSIC REVIEWS (cont.) quite surprising and beautiful on its own Ockeghem’s three-part song D’ung MÉTHODES ET TRAITÉS FLÛTE À terms. aultre amer is set in five parts by Pierre de BEC 8, ED. SUSI MÖHLMEIER AND The best known work here is Ock- la Rue and Johannes Le Brun in EML 370. FRÉDÉRIQUE THOUVENOT, 3 vols. J. M. eghem’s motet, Intemerata Dei Mater, a De la Rue builds his piece around Ock- Fuzeau (Courlay, France) Ref. 7427 substantial piece that represents well the eghem’s tenor line, while Le Brun uses ( 34 American Recorder voted to Jacob van Eyck’s Der Fluyten Lust- hof (1646). The first few pages of Der ARS Membership Enrollment and Renewal Fluyten Lust-hof, which include a fingering Please enroll/renew me as a member of the Society. I’m looking forward to: chart, were actually written by Gerbrant ✰ American Recorder, ARS Newsletter, and the ARS Members’ Directory Quirijnszoon van Blankenburg (although ✰ Members’ Library musical editions not indicated in the table of contents) and ✰ Eligibility for the ARS Education Program examinations appear elsewhere as an independent trea- ✰ Discounts to some recorder workshops and on ARS publications tise published by Paulus Matthyszoon in ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made 1654. (Of the five extant copies of Der available only to purveyors of goods and services for recorder players.) Fluyten Lust-hof, three contain a brief in- ✰ Information on all aspects of playing the recorder troductory recorder tutor—two by Paulus Matthysz[oon] and this copy by Blanken- U.S./Canadian membership: ❏ one year $40; ❏ one year sustaining $70; ❏ two years $75 burg. For more information, consult Ruth van Baak Griffioen, Jacob van Eyck’s Foreign membership: ❏ one year $50; ❏ two years $95 Der Fluyten Lust-hof (1644-c.1655), U.S./Canadian Student* membership: ❏ one year $20; ❏ two years $40 Utrecht: Vereniging voor Nederlandse Foreign Student* membership: ❏ one year $25; ❏ two years $50 Muziekgeschiedenis, 1991). *Enclose proof of full-time enrollment. Workshop membership: ❏ one year $60; Business membership: ❏ one year $120 Van Eyck’s treatise is ❏ Address and/or phone information has changed in past year. by far the lengthiest ❏ Do not list my name in Directory. All dues paid in U.S. funds by check on U.S. bank, or by international money order. facsimile in any of the Family members residing at the same address may share a membership. However, the student rate is not applicable to a shared family membership. For an additional volumes; indeed, this listing in the ARS Directory under different surnames at the same address, add $5. was the largest single Please check to be included on the ARS list of ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activi- collection of music for a ties may change, you must indicate on each renewal if you want to continue to be solo woodwind instrument listed.) ❏ (by one composer) ever I wish to contribute $______to help sustain the work of the Society. Please charge my dues/donation to my VISA/MASTERCARD: to be published! #______Exp. Date: ______Cardholder’s signature______Blankenburg’s fingering chart is NAME______PHONE (______)______notable since it includes separate finger- ADDRESS ______ings for enharmonically equivalent notes. ______E-MAIL ______Also significant is the inclusion of trill fin- CITY______STATE ____ ZIP/POSTAL ______gerings for every pitch. Van Eyck’s treatise CHAPTER/CONSORT AFFILIATION, IF ANY:______is by far the lengthiest facsimile in any of OPTIONAL INFORMATION: the volumes; indeed, this was the largest single collection of music for a solo wood- Chapter officer or committee member? ❏ ❏ ❏ wind instrument (by one composer) ever Yes (officer/committee: ______) No Have served chapter in past to be published! Age: _____ For how many years have you played the recorder? _____ Volume II continues with Compendio Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional Musicale (1677) by Bartolomeo Bismanto- Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 va, probably the earliest treatise written ❏ $50,000-75,000 ❏ $75,000-100,000 ❏ Over $100,000 for what is generally considered a Portion of your income derived from music: ❏ All ❏ Some ❏ None “Baroque recorder” versus a “Renaissance Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None recorder”—e.g., a more conical instru- ment in three joints rather than a cylindri- If all or some, what kind of recorder activities are involved? (Check all that apply.) cal instrument made of one block. (There ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music is possibly an earlier treatise that men- ❏ Performance ❏ Recorder maker ❏ Musical director/coach ❏ tions a three-joint recorder, Tutto il Other ______bisognevole… (1630), but current consen- What type of recorder music do you play? (Check all that apply.) ❏ ❏ ❏ ❏ ❏ sus—based on clefs, keys and musical Medieval/Renaissance Baroque Modern/pop Folk Solo ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as style—suggests a re-dating of the treatise trio sonatas) ❏ Broken consort with other instruments (such as a collegium) at 50 or even 100 years later than first ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort thought. For more information on this, (format used in many chapter meetings, with several recorders playing on each part) see, for example, Peter Van Heyghen, “The Recorder in Italian Music, 1600-1670,” in AMERICAN RECORDER SOCIETY P. O. Box 631, Littleton, CO 80160-0631, U.S.A. The Recorder in the Seventeenth Century: Fax (with handset down) or call in credit card renewals to 303-347-1181 Proceedings of the International Recorder January 2004 35 MUSIC REVIEWS ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 Symposium Utrecht 1993, ed. by David Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 Lasocki, Utrecht: STIMU Foundation for Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) edited by Alan Drake (3 scores) $8 $14 Historical Performance Practice, 1995; Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders and Richard Griscom and David Lasocki, (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 The Recorder: A Research and Information Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 Guide, 2nd ed., New York: Routledge, Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 2003.) Musical Editions from the Members’ Library: Unfortunately, Tutto il bisognevole is ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 not included in this or any of the first Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please three volumes. In fact, for a comprehen- specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. sive collection of recorder treatises, there Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Serie for Two Alto Recorders (Frederic Palmer) are several glaring omissions, which Canon for Four Bass Recorders (David P. Ruhl) Slow Dance with Doubles (Colin Sterne) Dancers (Richard Eastman) *Sonata da Chiesa (Ann McKinley) David Lasocki (in “The Recorder in Print, Different Quips (Stephan Chandler) Three Bantam Ballads (Ann McKinley) 2001,” his article in the May 2003 Amer- Elegy for Recorder Quartet (Carolyn Peskin) Three Cleveland Scenes (Carolyn Peskin) ican Recorder) and others have already Elizabethan Delights Tracings in the Snow *Gloria in Excelsis (Robert Cowper) in Central Park (Robert W. Butts) pointed out. These include, in chronolog- *Imitations (Laurie G. Alberts) Trios for Recorders (George T. Bachmann) ical order: Girolamo Cardano, De Musica Los Pastores (arr. Virginia N. Ebinger) Triptych (Peter A. Ramsey) (written c.1546 and first published in New Rounds on Old Rhymes (Erich Katz) Two Bach Trios (arr. William Long) Other Quips (Stephan Chandler) Two Brahms Lieder (arr. Thomas E. Van Dahm) Hieronymi Cardani Mediolensis opera om- Poinciana Rag (Laurie G. Alberts) *Variations on “Drmeš” (Martha Bishop) nia, 1663); Lodovico Zacconi, Prattica de Santa Barbara Suite (Erich Katz) Vintage Burgundy Sentimental Songs (arr. David Goldstein) musica… (1596); Paulus Matthyszoon, Vertoninge en onderwyzinge op de hand-fluit ARS Information Booklets: (1649); John Banister, The Most Pleasant ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86 Companion (1681); Constantijn Huy- Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) gens, Tons de ma flute (1686); James American Recorder Music (Constance Primus) Talbot’s Christ Church Library manu- The Burgundian Court and Its Music (Judith Whaley, coord.) Improve Your Consort Skills (Susan Carduelis) script (c.1692-1695); Daniel Speer, Music for Mixed Ensembles (Jennifer W. Lehmann) Grund-richtiger kurtz-… (1697); Claas Playing Music for the Dance (Louise Austin) Douwes, Grondig ondersoek… (1699); (Scott Paterson) Recorder Care Thomas Stanesby, A New System of the Education Publications Flute a’bec (1732?); Arnoldus Olofsen, Al The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). de toonen van de fluyt abec… (c.1734- First copy free to ARS Members (mailed to current members in 1996 & new members as they join); replacement copies for members or non-members, $3. 1767); Johann Berlin, Ein wenig bekanntes Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Buch über Musik and Instrumentenspiel Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. ARS Music Lists (2002). Graded list of solos, ensembles, and method books. (1744); Pablo Minguet é Irol, Reglas… Members $8; non-members, $14. (1754); Joos Verschuere Reynvaan, Muz- Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. ijkaal kunst-woordenboek… (1795); and Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class N. Swaine, The Young Musician (c.1818). Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for (See the Griscom and Lasocki resource groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. listed above for more information.) Other Publications I contacted the publisher concerning Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming these omissions and was informed that an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). One free copy sent to each ARS chapter with 10 members or more. they intend to include in the forthcoming Recorder Power, educational video from the ARS and recorder virtuoso John Tyson. An exciting resource Volume IV those treatises not published about teaching recorder to young students. ARS members may borrow a copy for one month by sending a in the first three volumes. Hopefully Vol- refundable $10 deposit to the ARS office along with the address to which the tape should be shipped. Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. ume IV will include all of those omissions Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. listed above. One does wonder, since no Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40. explanation was provided, why they were American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. left out in the first place. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. Volume II includes several other im- All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, please portant treatises, including four popular add an additional $1 per item; for Canadian or foreign air mail, please add an additional $3 per item. When ordering five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the English publications: John Hudgebut, A discounted members' price. Please make checks payable to the ARS. VISA/MasterCard also accepted. Vade Mecum for the Lovers of Musick, Shew- American Recorder Society ing the Excellency of the Rechorder… P.O. Box 631, Littleton, CO 80160-0631, U.S.A. N 303-347-1120 (1679); Robert Carr, The Delightful Com- 36 American Recorder panion… (1686); Humphrey Salter, The and Italian. They may also want to have played at dance tempo, it is bothersome to Genteel Companion… (1683); and The copies at hand of their favorite modern a dancer to hear them played too slowly. Compleat Flute-Master… (1695). Pub- editions of the treatises they are interested Another trap for arrangers is that the lished by John Walsh and Joseph Hare, in exploring; however, having a complete loveliest Playford tunes (used by the danc- The Compleat Flute-Master became one of set of recorder treatise facsimiles—and all ing masters of the early 17th century) are the most popular and successful recorder in one publication—is an important often attached to the most difficult methods of all time. With Étienne Loulié’s undertaking, and an extremely valuable dances. Since each tune is associated with Méthode pour apprendre à jouer de la flûte contribution to anyone interested in the a particular dance, you have to be a dancer douce, we have the oldest surviving French history and performance of the recorder. yourself to know which tunes are the most method for the Baroque recorder. Despite The publisher is to be commended for useful for actual dancing. the dating listed in Volume II as c.1694, providing us with such a significant and The best arrangements to come down Patricia M. Ranum’s research leads her to helpful series. Let’s hope the forthcoming the pike were, and are, those of Marshall believe the unpublished manuscript was Volume IV fills in the gaps that currently Barron, a violinist and dancer who worked actually written in the late 1680s, and exist in these first three volumes. closely with Merrill for many years. Her at- then revised in 1701 or 1702. (Her inter- Mark Davenport tractive three-part arrangements (Playford esting article, “Étienne Loulié: Recorder Regis University, Denver, CO Consort Publications), although not in- Player, Teacher, Musicologist,” was pub- tended for recorders, can mostly be played lished in the March 1991 AR.) THE COMPLETE SCOTTISH & by them at the proper tempos. I have also Volume III includes 18 entries (all in ENGLISH COUNTRY DANCE found arrangements compiled by Al the 18th century), beginning with another MASTER FOR RECORDERS, PART I: Cofrin in Early Period and Popular Dance French treatise—and actually the first THE SPRING GARDEN, ARR. PATRICIA Music (self-published, 1996) that are use- published French method for the Baroque M. O’SCANNELL. Mel Bay Publications, ful in my teaching of English Country recorder: Freillon-Ponçein’s La veritable Inc. MB97752, 2001. Various recorder en- Dance. Likewise useful are Bernard manière… (1700). Since I had previously sembles. Sc 63 pp. $12.95. Thomas’s four-part settings in Playford reviewed Catherine Parsons Smith’s trans- Oh, the sound of English Country Dances (London Pro Musica Editions.) lated edition of the publication (On Play- Dance music! Who has not been thrilled I was initially attracted to Patricia ing Oboe, Recorder, & Flageolet, Blooming- on first hearing—and then dancing to, or O’Scannell’s The Spring Garden because it ton: Indiana University Press, 1992, failing that, playing—these marvelous is a book of arrangements specifically for which I reviewed in the March 1994 Amer- tunes? I first heard this music in the late recorders, although they can be played on ican Recorder), and was particularly famil- 1950s at Pinewoods Camp (MA), where I other instruments. This made it appear to iar with it, imagine my surprise when I had gone to teach the recorder to English be a particularly suitable volume to take could not find the section that is exclu- Country Dancers. In those days, recorder along to a recorder workshop where I sively devoted to the recorder! Again, the arrangements were non-existent. It was teach English Country Dance. The only publisher has assured me this omission Philip Merrill’s transcendent playing of problem seemed to be that about half of will be amended in Volume IV. the anachronistic piano arrangements by the dances themselves are too difficult to Besides the Freillon-Ponçein treatise, Cecil Sharp and others that came wafting teach at a recorder workshop. the other most important entries in Vol- through the trees. Other instruments Still, all of the tunes are great for play- ume III are the two Hotteterre treatises: joined him—violins, oboes, clarinets, and ing, if not for dancing, and I looked for- Principes de la flûte (1707), and L’art de recorders, usually playing and improvis- ward to adding them to my repertoire of préluder (1719). Here, as in the other trea- ing on the fiddle tunes (many of which recorder arrangements—particularly tises in this volume, we find an increasing- were originally ballads). “Childgrove,” a lively dance with a mourn- ly diminished role for the recorder, with I decided that I must arrange some ful melody (I’m grateful to O’Scannell for the flute taking a primary position. Re- country dances for recorders, and spent the archaic meaning of the word “child- gardless, the sections on articulation and hours copying (illegally, in pencil on man- grove”—“secondary blossoms”); “Easter ornamentation are especially useful for uscript paper) the Cecil Sharp arrange- Thursday,” a fairly easy dance with a beau- recorder players, and there is still a section ments in order to get the harmonies he tiful melody; “Fenterlarick”; and the ever- dedicated to the recorder with clear and had added to the melodies. I soon gave up popular “Hole in the Wall” with a tune by easy-to-read fingering charts. the task as too time-consuming and relied Henry Purcell. Many of the other entries in Volume III for some time on the piano arrangements To my disappointment, I found that draw on previously published works (es- for my playing and teaching of English the arrangements—at least for the dances pecially taken from The Compleat Flute- Country Dance. I chose to teach—were not very good. Master). Schickardt’s Principes de la flûte… Gradually over the years, as interest in There were poor harmonizations, wrong (1720) largely draws from Hotteterre. both English Country Dance and recorder scorings and, unforgivably, mistaken re- While they add little to our understanding playing spread in this country, arrange- peats. There were even misspellings— of recorder technique and performance ments of the dances for recorders began to practice, the additional treatises in Vol- appear. But often arrangers didn’t know KEY: rec=recorder; S’o=sopranino; S=soprano; ume III do provide a wonderful variety of how difficult it is to arrange these tunes so A=alto; T=tenor; B=bass; gB=great bass; cB= contra songs, airs, and dances. that they are playable in harmony on bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- word; opt=optional; perc=percussion; pp= pages; Because the edition does not offer any recorders. Tempos are much faster than sc=score; pt(s)=part(s); kbd=keyboard; bc=basso translations or commentary, readers many people realize. Some recorder play- continuo; hc=harpsichord; P/H=postage and han- dling. Multiple reviews by one reviewer are followed by would benefit from a familiarity with oth- ers become English Country Dancers, and that reviewer’s name. er languages, especially German, French although the pieces do not have to be January 2004 37 MUSIC REVIEWS (cont.) Amherst Early Music Festival at a gorgeous new location! Bennington College e.g., Fentalarich” for “Fenterlarick.” I have Both editions are very good, and the Bennington, VT not thoroughly searched the book for music is worth checking out. These pieces errors, but I can imagine that, having are best suited to advanced amateurs. July 11-18 and July 18-25, 2004 found so many in the few dances at which Pete Rose Music of Germany I looked, there must be many more. In invoking the name of Carl 2 RICERCARI FOR FOUR INSTRU- Whitman, a country dancer and teacher MENTS (1556), BY ANNIBALE PADOVANO. whom she claims to have known intimate- London Pro Musica LPM IM10 RECORDER FACULTY ly, and whom I knew, O’Scannell gives the (Magnamusic), 2000. ATTB. Sc 11 pp, Aldo Abreu Letitia Berlin impression that she also knows the pts 4 pp each. $9. Frances BlakerVicki Boeckman dances intimately, and this does not seem During his early career, Padovano Stewart Carter Saskia Coolen to be the case. (1527-1575) was organist at San Marco in Clea Galhano Valerie Horst Martha Bixler Venice, where he is presumed to have Dan Laurin Matthias Maute been in contact with Willaert, A. Gabrieli, Patricia Petersen Wendy Powers CHERUB'S DANCE, BY JASON and Buus, among others. Best known in JEFFREY. Orpheus Music YCS 010 his time for organ playing and organ com- Gwyn Roberts Pete Rose ( 38 American Recorder CHAPTERS ______& CONSORTS ______Chicago Chapter composition contest winners, ______busking against the California recall results Young players in the news Haley Huang, a member of the Chicago Chapter Atlanta Recorder Society, was awarded first place in the Reflections Competition Announces sponsored by the Parent Teacher Student Association in Cobb County, GA. The 2003 Recorder fifth-grader’s winning composition is a duet for recorder and ’cello entitled I Am Composition Happy When I am Dreaming. Haley (age 10), Zack Siegel (11) and Contest Winners The winners of the 2003 Chicago Evan Taylor (12), all students of Jody Chapter Recorder Composition Con- Miller, performed a trio by Mattheson for test have been announced. First prize the Georgia Music Educators Association went to Karl Stetson of Coventry, CT, Solo and Ensemble Festival in November, with Three in Five. Second prize went receiving a rating of superior. Haley also to Glen Shannon of El Cerrito, CA, played the Telemann recorder sonata in C with Canterbury Trio, and Honorable major and received a superior rating. Mention to Richard Eastman of The MacPhail Center for Music Naperville, IL, with Happy Days. First Karl Stetson Suzuki Recorder Consort—Erik An- prize was $150, and second prize was derson, Jacob Myhre, Andrew Davis, $75. Benjamin Waldo and Phillip Colantti The 2003 contest was for recorder trios only. Entries had to be original, unpublished (ages 12-15, pictured below)—performed compositions suitable for ensemble playing in ARS chapter meetings that are likely to recently for the Milkweed Book Lover’s have players of varying levels of ability. The pieces were to last between five and 10 min- Ball in Minneapolis, MN. This was the utes. group’s first paid gig, and they are using There were 13 entries by 11 different composers from across the U.S., and even one the money earned to pay for a tour to from Australia (Patrick Liddell, who used to live in Chicago). Judges were Mike Beck- Iceland next June with other Suzuki er, Kim Katulka and David Smart. David is a retired professor of music in composi- students from MacPhail. tion and theory from the Moody Bible Institute. Both Mike and Kim have Master of Mu- These five students of Mary Halver- sic degrees, and are professional recorder players. son Waldo, plus 10 other MacPhail Suzu- “In judging this year’s impressive array of entries, the judging panel evaluated each ki recorder students as young as five years piece on its originality, technical merit, and playability by a group of players of mixed old, also performed in recital for the abilities. The composition which we unanimously decided best met all three of these November meeting of the Twin Cities criteria was Three in Five by Karl A. Stetson. This well-constructed, tuneful three move- Recorder Guild. ment work for AAB recorders is interesting and enjoyable to play, as well as being very suitable for group playing at ARS chapter meetings,” said Becker. The winning compositions will be presented in a special program at the April 18 Chicago (IL) Chapter meeting. With the composers present, it is always an exciting opportunity for everyone to play the music. This year’s winner, Karl Stetson, is a physicist and engineer by profession and has his own company selling electronic holographic systems. As a child, he would pick out tunes on his dad’s piano. He began studying clarinet in eighth grade. After picking up a recorder while visiting the Dolmetsch factory in England, he be- gan to explore all recorder sizes, as well as related double reeds. Years of attending ear- ly music workshops such as the Amherst workshop, a course in music theory, a love of jazz, and two good musical friends who needed music to play brought him to write the winning piece, Three in Five. He says he was inspired when he heard the Flanders Recorder Quartet play the Paul Desmond/Dave Brubeck song, Take Five. As ever, the contest’s goal is to encourage latent composers in our midst to turn their attention to writing for the recorder. Keep this mind and get ready for a future contest. Arlene Ghiron January 2004 39 More Chapter News On October 17, Recorder Society of Connecticut members Elise Jaeger, Janet Kiel, Barbara Masonpierre, Rosalie Tisch and Maisie Kohn- stamm (the last playing viola da gamba) participated in a musical recital spon- sored by Western Connecticut State Uni- versity to celebrate the gift to the univer- sity’s music department of a virginal from the 16th and early 17th centuries. The program appropriately included 16th- and 17th-century songs and dances on virginal, plus recorder works by Praetorius, Schein, Sandrin, Hol- In early October, the Rio Grande Chapter (with members from both Texas borne and Allegri. and New Mexico) sponsored a weekend workshop for recorders and viols in A multi-year fund-raising effort by the Las Cruces, NM. Pictured above are the workshop faculty (left to right): Mid-Peninsula Recorder Orchestra Letitia Berlin, Frances Blaker, Jack Ashworth and Cléa Galhano. has successfully resulted in the purchase (Photo by Carol Ann Council) of a contra bass for the group. Recorders take to the Sidewalks of New York City Alex Ives and I spent 16 days in New York only a few minutes, we City recently, catsitting for Dorabella, found ourselves souped up Martha Bixler’s beloved cat, while Martha by the second “takes” of the and her husband vacationed in Holland hurrying pedestrians—and and Belgium. We had wonderful experi- especially by the coins and ences, but this one takes the cake! bills being dropped into the On the day after the recall election in basket! We think they were California, Alex provoked me into taking amused by the sign, marking our recorders and “busking” on the corner their agreement, and proba- of 93rd and Broadway. She said that we bly not by the music! could boast that we “played on Broad- Passersby included nan- way.” nies with kids, men with She made a sign that said, their charges, camera buffs “CALIFORNIA REFUGEES DUMP taking our picture, a knowl- SCHWARZENEGGER FUND.” With edgeable street cleaner, a stand in hand, plus a book of easy Renais- black-hatted rabbi, and sance duets for soprano and alto many shoppers who re- recorders, and a small basket for dona- turned to read the sign and tions, off we went past the doorman of our nodded in agreement. We apartment, heading for the corner. stayed for over an hour and We set up, somewhat shyly, between netted $27. Alex Ives (left) and Billie Hamilton, in a photo the newsstand and the back of the subway But, it turned out, that taken by a passerby with Alex’s camera, similar entrance, taped the sign to the front of the was not all. On Sunday, our to a photo that appeared in The New York Times. music stand and started playing. The high picture appeared in the City pitch of the soprano recorder made a des- section of The New York Times. cant for the sirens and bus noises. Never underestimate the power of the CHAPTER NEWS Encouraged by the startled glances of recorder! Chapter newsletter editors and publicity the passersby, we quickly moved to a more Billie Hamilton, officers should send materials to the following addresses: auspicious area in front of billboard member of the American Recorder, 7770 South High St., posters for theater productions, still at the Sacramento (CA) Recorder Society Centennial, CO 80122-3122. same corner. Thinking we would play for by e-mail 40 American Recorder ON THE CUTTING EDGE ______New types of “modern” recorders being developed lthough many recorder players think full sound, wide range, and the dynamic A different path toward recorder Aof our instrument mainly in “histori- flexibility of modern woodwinds. The “modernity” involves microtonality. The cal” terms because of the recorder’s im- Helder instruments come closer to this division of the octave into 12 tones has portance in early music, the ongoing de- goal than any yet produced. Alas, they are long since been superceded, at least by velopment of new types of recorders is of expensive (over $2500 for the alto, and some composers and instrument makers, interest to quite a few professional and ad- over $3000 for the tenor, with prices al- by divisions into as many as 48 tones. vanced amateur players. In this column I ways subject to change due to the American composers such as Harry Partch want to take a look at several of the new euro/dollar relationship)—but, given and Ben Johnston have composed exten- types of recorders or related instruments what they can do, not unreasonably ex- sively using microtones. In the early music that have appeared in recent years. pensive. world, harpsichord maker Willard Martin A good place to start is with the Har- Rose tells me that Walter van Hauwe has produced an extraordinary cembalo monic Tenor and Harmonic Alto and Johannes Fischer, two distinguished cromatico that includes extra keys to allow recorders developed by Maarten Helder. European recorder players, have used the These instruments have been covered in Helder instruments extensively. Mollen- The “Holy Grail” for American Recorder in columns by Pete hauer’s web site ( January 2004 41 ON THE CUTTING EDGE (cont.) special bore derived from his background struments, the “Dream” recorders are Mollenhauer also produces what they as an engineer of microwave guide systems competitively priced, but correspondingly call the Modern Alto Recorder. This new in radar and telecommunications. The in- do not provide the features of the Har- instrument has its roots in a recorder orig- struments are said to have the sound of monic instruments. Recorder soloist Aldo inally designed by the recorder maker Renaissance wide-bore recorders but uti- Abreu has been using a “Dream” soprano, Joachim Paetzold, and is a collaboration lize Baroque fingering to provide a full and John Tyson uses a “Dream” alto spe- with the young recorder virtuoso Nikolaj chromatic range of over two octaves. I cially revoiced to play even louder than Tarasov. Slightly longer than a convention- have not encountered these instruments, normal. al alto, the instrument has a double key for but readers who have played or heard them are encouraged to e- mail any information they have. Returning briefly to the ex- tensive product list of the Con- rad Mollenhauer firm, I want to mention the “Dream” recorders designed by Dutch recorder maker Adriana Breukink. Available in soprano, alto and tenor ranges, these in- struments are hybrid designs with a wide Renaissance-style “Dream” recorders bore, coupled with standard modern Baroque fingerings. Unlike the Maarten Helder in- 42 American Recorder low f and f and produces a clear, non- using high resolution sensors that are also reedy flute-like sound that is uniform capable of custom calibration. throughout the range. Louder than tradi- The WX5 can be programmed to pro- tional Baroque-style instruments, the in- duce almost any type of sound, and, with strument is said to complement the sound a recorder-style mouthpiece, is quite easy of historical and modern pianos quite to learn. In Yamaha’s words, “the WX5 can well. Playable into the third octave, this in- open the door to a whole new world of ex- strument is starting to turn up in the pression and musical versatility.” hands of professional soloists, and is Many jazz saxophonists have incorpo- worth investigating, especially due to its rated the WX5 into their instrumental ar- surprisingly moderate price. senal, and I have heard the device live in Coming from a different planet entire- concert on several occasions. I also have ly, the Yamaha WX5 Wind MIDI Con- had the delightful experience of trying out troller is perhaps the ultimate contempo- this space-age gizmo at a music store and I rary “woodwind.” This device is not a urge all interested readers to do the same. recorder, but it can be easily mastered by To me the WX5 is a logical extension of advanced players (or even intermediate the recorder for those not put off by am- players) since it uses saxophone-type fin- plified music. As more and more music in gerings. MIDI technology (Musical Instru- the concert world becomes amplified— ment Digital Interface) allows the WX5 to the string quartet that calls itself “Ethyl” is produce a virtual universe of new sounds one example (I am still waiting to hear an when connected to computers, synthesiz- amplified recorder quartet)—and as more ers or other electronic gadgets. Although and more composers call for amplification originally provided with a saxophone-type of instruments, the Yamaha WX5 may mouthpiece, the WX5 is now also avail- prove more and more useful to contempo- able with a reedless recorder-type mouth- rary musicians. Tyson sometimes uses a piece. The fingering system offers various wireless system amplifier with a lapel choices, so that the player can customize mike, since he loves to move around when the fingering for ease of playing. The in- he plays. Wouldn’t you love to hear what strument responds to the player’s breath he would do with a WX5? and lip pressure and generates MIDI data Tim Broege Kung Moeck Aesthé Yamaha Mollenhauer Recorders Competitive Prices Sent on approval Personalized Service & Advice Bill Lazar Lazar’s Early Music [email protected] (408) 737-8228 www.bill-lazar.com January 2004 43 BOOK REVIEWS ______The Spanish dancing master, and dance in Spanish society THE ART OF DANCING IN SEVEN- volume is devoted to contextual informa- ing studied with Antonio de Almenda, the TEENTH-CENTURY SPAIN. JUAN DE tion not only about this dance treatise and dancing master to King Philip IV of Spain, ESQUIVEL NAVARRO AND HIS its author, but about the place of dance in Navarro was well-equipped to converse on WORLD. INCLUDING A TRANSLA- Spanish society, dance education in Spain, the variety of topics found in his treatise. TION OF THE DISCURSOS SOBRE EL related movement sources, and the vari- He gives descriptions for dance steps, vari- ARTE DEL DANZADO BY JUAN DE ations, and a few short choreographies ESQUIVEL NAVARRO (SEVILLE, (pavana, gallarda, and villano). He also of- 1642), AND COMMENTARY ON THE The dancing master in fers information on other dance types, TEXT. BY LYNN MATLUCK BROOKS. posture and stance, behavior for gentle- Bucknell University Press, 2003. 322 pp. Spain, like many of those men, and the values of dancing. Perhaps Hardcover, $60. ISBN: 0-8387-5531-3. in Europe, was also a most illuminating is his discussion about “Truly the Dance is a careful noncha- the Spanish dancing school and dancing lance.” So proclaims Juan Esquivel de musician who master; this was most appropriate, as Navarro, whose dance treatise, Discursos Navarro probably intended his book for sobre el arte del danzado (Seville, 1642), accompanied his classes. dance students and potential dancing forms the main focus of this book. masters. Navarro also outlines his require- The topic of 17th-century Spanish ous dance types of this period. The infor- ments for a good dancing master. dance—indeed of most 17th-century Eu- mation is well documented with scholarly Brooks has given meticulous attention ropean dance—has long been an elusive footnotes and an excellent bibliography. to the translation of Navarro’s treatise and one due to the scarcity of dance texts from Some of the illustrations belong to private many footnotes are supplied to clarify ob- this period. With this publication, the au- collections and are therefore of great inter- scure or unclear references in the text. As thor has added considerably to our body est. The single illustration from the Navar- the reconstruction of the dance steps from of knowledge about Spanish dance, gath- ro treatise is also reproduced, showing the Navarro is problematic due to mostly- ering valuable information from a wide ar- foot positions and tracks for two reveren- vague descriptions, the author offers her ray of sources. Lynn Matluck Brooks is a cias (reverences). own carefully considered solutions. It is well-respected scholar who has written As the only known published dance useful for the dance historian to have the widely about Spanish dance as well as book from 17th-century Spain, Navarro’s Spanish transcription in the same volume 17th- and 18th-century dance. Discursos is an important source for dance because, when reconstructing historical While the book centers on the Spanish historians. Although not a dancing master dance material, it is best to refer to the transcription and English translation of himself, Navarro was admired in his own original source. Navarro’s Discursos, more than half of the day as an accomplished dancer, and, hav- Sadly, there are no musical examples in the Discursos treatise, but it is evident that music was important to Navarro. He ex- pects the dancer to “have a good ear, be- cause lacking this, it is extremely difficult to dance to the measure.” The dancing master in Spain, like many of those in Eu- rope, was also a musician who accompa- nied his classes. But while most European dancing masters played the violin, the in- strument of choice amongst Spanish dancing masters was most likely the guitar, according to Brooks. The dancing master was also expected to be familiar with the musical require- ments of all types of dances—those cur- rently in fashion, as well as older types, which were apparently employed when creating entertainments at a ball or masque. The author informs the reader 44 American Recorder about the musical forces employed for the various dance types, and she also clarifies Provincetown Bookshop Editions the terms baile and danza (the generic Spanish terms for dance). Numerous details about the proce- dures and format of Spanish dancing DAVID GOLDSTEIN school lessons emerge in the author’s dis- (1918-2003) cussion about education in dance. We learn about the formalities at the begin- nings of the lessons, which dances were Pediatrician, Recorder and Viol Enthusiast, practiced and in what order, and the num- Composer, Arranger, Humorist... ber of mudanzas, or variations, performed for each dance. When not engaged in You will be missed! dancing exercises, students at the dancing school learned about courtesy and dress, or entered into discussions on gentleman- ly topics such as philosophy, grammar A good source for Recorder & Viol Music of all publishers. and skill in arms. As women were general- ly not welcome at these schools, protocols The Provincetown Bookshop, Inc. for their unexpected visits are prescribed. 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 An intriguing solution was developed for any disagreements between gentlemen students: a well-regulated reto, a chal- lenge or dance duel. Brooks brings in many other dance and movement sources into her discus- sion about the dance. She catalogues oth- er Spanish dance sources from the 15th through the 18th centuries, providing summaries of their content and describ- ing the relationships with Navarro’s mate- rial. Other European dance sources, in- cluding those by Caroso, Negri, Arbeau, and lesser-known works are drawn on as well. Spanish fencing manuals are also ex- amined and are very useful for explaining certain terms and movements, especially Navarro’s five basic movements. (These are not the five positions of the feet codi- fied later into ballet.) The author gives valuable information on many dance types not only associated with Navarro but from other contempo- rary sources as well. She also describes how the body was viewed as an instru- Beatin’ Path Publications ment for expression and behavior as well as for dance technique. From her careful Music That Works! study, Brooks clearly articulates and elab- orates upon her conclusion that the 17th- Robert Amchin century style of Spanish dance was closer Alto Antics ensembles for beginning alto recorder with percussion accompaniment to the Renaissance style than to the Recorder Frolics for beginning C-pipes (Play-along CD available) Baroque style, yet retaining certain Moods and Modes for intermediate classroom ensembles: includes play-along CD unique Spanish characteristics. Brent M. Holl and Michael R. Nichols While this publication will be indis- The Beatin' Path Consort Collection for beginning and intermediate ensemble pensable to dance historians (a good Michael R. Nichols translation of Navarro’s Discursos has Christian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort been long overdue), anyone interested in the artistic culture of 17th-century Spain See our online catalogue of Church, will find this book a valuable addition to 302 East College Street choir, Orff and recorder music at: Bridgewater VA22812 www.beatinpathpublications.com their library. 540-478-4833 Dorothy J. Olsson or visit your favorite music dealer January 2004 45 COMPACT DISC REVIEWS ______HIP on the run PRIEST ON THE RUN. RED PRIEST. which every hint of emotion and spon- earlier eras and social contexts. What we Dorian 93208 (ARS CD Club), 2000, taneity was suppressed. Often called au- are finding, however, is that there are 1 CD, 63:09, $17. thentic performance, the term became many valid ways of doing this, and the Our approach to playing Baroque mu- a pejorative in some quarters—and precincts are not as confining as we once sic has changed dramatically since the ear- rightfully so. surmised. Early-music performance has ly music movement began about 100 years hit its stride. ago. At the start of the 20th century, the Enter Red Priest—Piers Adams, works of Bach, Monteverdi, and a handful They push the limits of recorders; Julia Bishop, violin; Angela of others were treated romantically, a style East, violoncello and viola da gamba; and more appropriate for the works of Brahms style to the breaking point Julian Rhodes, harpsichord—astonishing and Liszt. That is not a bad approach, ac- virtuosi who know few bounds in convey- tually, because the artists at least ex- to express the music. ing Baroque sentiments. Liberally apply- pressed the music with an emotional lan- ing such techniques as rubato, dynamics, guage, albeit a foreign tongue. During the last three decades, we have tempo changes, and vibrato, they push the By mid-century, reaction to Romantic witnessed the rise of historically informed limits of style to the breaking point to ex- excesses produced something far worse: a performance, perhaps best defined as the press the music embedded in the notes. performing style that can be described as creative application of musicology. In oth- Their playing defies words; you must colorless, odorless, and tasteless. Audi- er words, performers seek to express the hear them to understand the seismic shift ences were anesthetized with dreary, exer- emotive qualities of the music, but within they have triggered. Although most of this cise-like renditions of standard fare in the stylistic and technical limitations of program will be familiar to early music fans, including works by Ortiz, Montever- di, Purcell, Handel, Vivaldi, and Tele- mann, listeners will feel as if they are hear- ing the music for the first time. What a gift! It seems you can go home again. Thomas Cirtin Each CD review contains a header with some or all of the following information, as available: disc title; composer (multiple composers indicated in review text); name(s) of ensemble, conductor, performer(s); label and catalog number (distributor may be indicated in order to help your local record store place a special order; some discs available through the ARS CD Club are so designated); year of issue; total timing; suggested retail price. Many CDs are available through such online sellers as 46 American Recorder Order your recorder discs through the ARS CD Club! The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher), postage and handling included. An updated listing of all available CDs may be found at the ARS web site: NEW LISTINGS ____ENSEMBLE PIACERE 2002 Ensemble Piacere. Maria Brojer, soprano; Irmtraut Freiberg, ____REFLECTIONS Music to Soothe and Uplift recorder, harpsichord, organ, rankett; Eva Maria the Spirit Eileen Hadidian, Renaissance & Baroque Kaukel, recorder & organ; Eva Mock, guitar. flute & recorder; Maureen Brennan, Celtic harp; Sparkling performances of works from the ____PRIEST Natalie Cox, Celtic & Renaissance harp; Dan Reiter, Renaissance to the 20th century by Frescobaldi, ON THE RUN ’cello. Celtic, traditional, Renaissance & Medieval Ortiz, Telemann, Fux, Keil and many others. Piers Adams, recorders. Concerti composed by the melodies. Healing Muses. $17 ARS/$20 others. Ensemble Piacere. $17 ARS/$20 others. ensemble’s namesake, flame-haired Antonio Vivaldi. ____20TH CENTURY MUSIC FOR RECORDER & ____FOLIAS FESTIVAS Belladonna Baroque Quartet. Upbeat. $17 ARS/$20 others. PIANO Anita Randolfi, recorders; Marcia Eckert, Cléa Galhano, recorders.16-17th-century music by ____ SACRED & SECULAR CANTATAS OF J. S. piano; Douglas Lima, piano; Mary Barto, flute. Falconieri, de Tafalla, Merula, others. Dorian. BACH. Carolina Baroque. Dale Higbee, recorders; Original music composed by Jacob, Bartok, Leigh $17 ARS/$20 others. Teresa Radomski, soprano; John Pruett & Doris and others for recorder and piano, from early 20th ____FRUIT OF A DIFFERENT VINE Alison Melville, Powers, violin; Mary Frances Boyce, viola; Selina century through the 1960s. $17 ARS/$20 others. Natalie Michaud & Colin Savage, recorders; A. Hall, Carter, ’cello; Daniel Hannemann, harpsichord & ____RECORDER JAZZ Warren Kime, recorder; piano. Works by Hindemith, Berkeley, Leigh, organ. Live performances of three cantatas, BWV Gary Mayone, keyboards; Don Coffman, bass; Staeps. 1994 ARS Professional Recording Grant 82a, BWV 202, BWV 209. $17 ARS/$20 others. George Mazzeo, drums & percussion. Original jazz CD. S.R.I. $17 ARS/$20 others. ____A. SCARLATTI: CONCERTI DI CAMERA Judith charts with a great groove, including Sweet Potata ____THE GREAT EMU WAR Batalla Famossa, a Linsenberg, recorders; Musica Pacifica. Seven sona- Samba, Key Biscayne, Coastin’ and Midnight young ensemble, with first CD of Australian recorder tas, various instrumentations. $17 ARS/$20 others. Expresso. Sunlight Records. $17 ARS/$20 others. music. Orpheus Music. $17 ARS/$20 others. ____SOMETHING OLD, SOMETHING NEW John ____HANDEL: THE ITALIAN YEARS Elissa Tyson, recorders, with Renaissonics. Baroque & con- IN STOCK (Partial listing) Berardi, recorder & Baroque flute; Philomel temporary music. Titanic. $17 ARS/$20 others. ____THE AGE OF JOSQUIN: THE GRAND TOUR Baroque Orchestra. Handel, Nel dolce dell’oblio & ____SONGS IN THE GROUND Cléa Galhano, Highland Park Recorder Society & Chamber Tra le fiamme, two important pieces for obbligato recorder, Vivian Montgomery, harpsichord. Songs Orchestra, Robert W. Butts, conductor. recorder & soprano; Telemann, Trio in F; Vivaldi, based on grounds by Pandolfi, Belanzanni, Vitali, RWB Productions. $17 ARS/$20 others. All’ombra di sospetto. Dorian. $17 ARS/$20 others. Bach, others. 10,000 Lakes. $17 ARS/$20 others. ____AIRES AND DUETS FOR TWO FLUTES AND ____IMAGINE II David Young, recorders. More con- SUZUKI RECORDER SCHOOL (Four vols.) BASS Vicki Boeckman & Dorte Lester Nauta, recorder; temporary interpretations of classic songs from the Recordings to accompany the Suzuki® Recorder Mogens Rasmussen, gamba; Viggo Mangor, archlute 1970s by Neil Young, Jim Croce, Carole King, and School method books, with Marion Verbruggen, & chamber organ. Trio sonatas by Handel, Telemann, Moody Blues. Universe Music. $17 ARS/$20 others. recorders. $17 ARS/$20 others, for each single CD, or Braun, Merula, Rossi. Primavera. $17 ARS/$20 others. ____IN NOVA CANTICA Eileen Hadidian, flute & $33 ARS/$40 others for any two Suzuki® CDs: ____ ARIAS, DUETS & BALLET MUSIC FROM recorder; Elisabeth Engan, soprano; Neal Rogers, ____Vols. 1 & 2 for Soprano or ____Vols. 1 & 2 for Alto HANDEL OPERAS Carolina Baroque. Dale tenor; Shira Kammen, vielle, violin, harp, alto; Kit (Vols. 1 & 2: folk & children’s songs, Baroque dances) Higbee, recorders. Live recording of a variety of Robberson, vielle, gamba; David Tayler, lute, ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others excerpts from operas of Handel, including Alcina Baroque guitar. Traditional carols, chansons and ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others and Giulio Cesare in Egitto. $17 ARS/$20 others. festive dances from the 13th-17th centuries. ____ BACH & HANDEL: BAROQUE MASTERS ____TELEMANN ALLA POLACCA REBEL, with Healing Muses. $17 ARS/$20 others. Matthias Maute, recorders & traverso, play concerti Carolina Baroque. Dale Higbee, recorders. Excerpts ____JOURNEY Wood’N’Flutes (Vicki Boeckman, from several of the masters' operas and cantatas, and suites by G.P. Telemann. . $17 ARS/$20 others. Gertie Johnsson & Pia Brinch Jensen, recorders). ____TELEMANN: CHAMBER CANTATAS AND TRIO recorded in 2002 concert. $17 ARS/$20 others. Works by Dufay, Machaut, Henry VIII, Mogens ____BACH ARIAS, DUETS AND CHAMBER SONATAS Judith Linsenberg, recorders; Musica Pederson, W.W. Van Nieuwkerk & Maute—seven Pacifica. Five cantatas from Harmonischer MUSIC Carolina Baroque, Dale Higbee, recorders. centuries. Kadanza Classics. $17 ARS/$20 others. Recorded live in 2003, this CD features Bach can- Gottesdienst, plus two trio sonatas from Sonatas ____LANDSCAPES David Bellugi, recorders; Ali Corellisantes. 2003 Chamber Music America/ tatas and other works, including Cantata BWV 140, Tajbakhsh & Chris Hayward, percussion. “Virtual” Wachet auf. $17 ARS/$20 others. WQXR Record Award for best chamber music recorder orchestra created by Bellugi. Three centuries recordings of the year. Dorian. $17 ARS/$20 others. ____ BACH: MUSIC TO CHALLENGE THE of ethnic music by Encina, Brouwer, Ortiz, Bartok. INTELLECT AND TOUCH THE HEART Carolina ____TRIO ATLANTICA Lisette Kielson, recorders; Frame. $17 ARS/$20 others. Julie Elhard, gamba, Paul Boehnke, harpsichord. Baroque, Dale Higbee, recorders. Cantata No. 21, ____LES AMIS DU BAROQUE Paul Nauta, recorder Part One; Cantata No. 182. $17 ARS/$20 others. Works by Bach, Telemann, Montéclair, Leclair. Trio & Baroque flute; Koen Dieltiens, recorder; Jan de Atlantica. $17 ARS/$20 others. ____BLOCKFLOETENENSEMBLE WIEN Winne, Baroque flute; Christina Mahler, ’cello; Shalev Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, ____ VIVALDI: LA NOTTE Concerti per strumenti Ad-El, harpsichord & organ. Music by Bassani, Corelli, diversi. Judith Linsenberg, recorder; Musica Pacif- Eva Maria Kaukal & Prisca Loeffler, recorders. Vivaldi, etc. Highlight Intl. $17 ARS/$20 others. Ensemble music for three-five players; works by ica. Award-winning CD, featuring five Vivaldi con- ____MANCINI: CONCERTI DI CAMERA Judith certi, two sonatas. Dorian. $17 ARS/$20 others. J.Chr. Demantius, J. Hilton, M. Kaeser, Monteverdi, Linsenberg, recorders; Musica Pacifica. Seven Morley, Mozart, W. W. van Nieuwkerk, Pachelbel, Mancini sonatas, plus works of Durante, D. Scarlatti. Please indicate above the CDs you wish to order, Reichardt, Schermann. $17 ARS/$20 others. “Highly recommended” citation, 2000 Vivaldi Prize, and print clearly the following: ____CHARLESTON PRO MUSICA ON TOUR Giorgio Cini Foundation. Dorian. $17 ARS/$20 others. Name ______Marsha Evans, Lewis Fitch & others, recorders, ____MIDNIGHT SUN Alison Melville & Colin Savage, Daytime phone: (_____) ______gemshorns, guitar and voice. Medieval and recorders; Ensemble Polaris members playing flute, Address: ______Renaissance music with consort and singers. clarinet, guitar, ‘cello, hurdy-gurdy, percussion. New Millennium Music/ Charleston SC. $17 ARS/$20 others. arrangements of traditional music of Norway, Finland, City/State/Zip: ______CONCERTI DI NAPOLI Rebel: Matthias Maute, Estonia, Sweden, Scotland. Classic CD Disc of the Check enclosed for recorders; and REBEL. Sonatas by Mancini, Roberto Month, August 2000. Dorian. $17 ARS/$20 others. _____ single CDs x $___ = $______Valentini, A. Scarlatti. Dorian. $17 ARS/$20 others. ____MY THING IS MY OWN: BAWDY MUSIC OF _____ 2-CD sets x $____ = $______TOTAL $______DREAMS INSIDE THE AIR TUNNEL THOMAS D URFEY Tina Chancey, Grant Herreid & Please charge the above amount to my MasterCard or Zana Clarke, recorder & composer. “Drawing on the Scott Reiss, recorders & other early instruments; Visa:#______Exp. Date: ______music of the didjeridu & shakuhachi...beautiful & Rosa Lamoreaux, soprano. Improvisations on tunes Cardholder’s signature: ______hypnotic...”—American Recorder. Orpheus Music. of love, sex & seduction in 18th-century England. $17 ARS/$20 others. Mail to: ARS,Box 631, Littleton CO 80160-0631, USA. Koch Int’l. $17 ARS/$20 others. You may fax or call in your credit card order to 303-347-1181. CONSIDER ADVERTISING IN ______CLASSIFIED ______Full page ...... $540 2/3 page ...... $400 1/2 page ...... $330 1/3 page ...... $255 1/4 page ...... $200 Where the haves 1/6 page ...... $155 1/8 page ...... $115 and have-nots 1/12 page...... $ 85 of the recorder world 1 column inch ...... $ 50 Prices include web site/e-mail link directly from can find each other your ad in AR On-line (www.recorderonline.org). Circulation: Includes the membership of the American Recorder Society, libraries, and music organizations. A CHEERFULL NOYSE. Selling recorders, other instru- ments, sheet music and accessories for early music. Be Published five times a year: January, March, May, sure to read “Playing The Recorder Only Seems Easy” September, November. online, each month. Customer service is our Reservation Deadlines: December 1, February 1, middle name. www.acheerfullnoyse.com, April 1, August 1, October 1. [email protected]. Rates good through November 2004. Please inquire THE AMERICAN RECORDER TEACHERS' about discounts on multiple-issue contracts, inserts, ASSOCIATION (ARTA) invites you to view our web or other special requests. Extra charges for site at 48 American Recorder