Summer 2017 AR

summer 2017 V ol. LVIII, No. 2 • www.americanrecorder.org Published by the American Recorder Society, Recorder American the by Published

www.AmericanRecorder.org Summer 2017 C1 C2 Summer 2017 American Recorder www.AmericanRecorder.org Summer 2017 C3 C4 Summer 2017 American Recorder Editor’s ______Note ______Volume LVIII, Number 2 Summer 2017 Features ot flute music? If you do, it may be handy to be able to adapt repertoire The Voice Flute and its Origin ...... 6 fromG an instrument that has a rich literature, By David Lasocki like the Baroque flute, to play on recorders. In the Spring AR, John L. Robinson gave us Departments  the option of the flauto taillo, the Baroque tenor recorder. Now David Lasocki exam- ines the voice flute and its origin, plus Advertiser Index ...... 32 music you can play on voice flute (page 6). There's more from the Baroque in Compact Disc Reviews ...... 24 Compact Disc Reviews, this issue. In Baroque Chamber Music on CDs featuring Tom Bickley looks at two new Baroque chamber music recordings (page 24). Eva Legêne and Judith Linsenberg Our Music Reviews team also focuses on  Baroque music that you can play, either Education ...... 21 on your own or with others (page 27). Mary Halverson Waldo interviews Samuel Sidhom As summer approaches, workshop and festival season is upon us. Other contributors about recorder playing in Memphis, TN give us a look at their personal reasons for attending a workshop: David Podeschi Music Reviews...... 27 recounts his workshop experiences Baroque pieces, solo to various groups (page 3) and Mary Halverson Waldo inter- views Samuel Sidhom about recorder activ-  President’s Message ...... 3 ities in Memphis, TN (page 21)—which grew out of Sidhom's revelations during his ARS President David Podeschi is hooked on workshops first and subsequent workshops, then expanded with grant support from the ARS. Tidings ...... 4 Here's hoping that your summer pro- George Houle (1927-2017); Chicago Recorder vides numerous musical opportunities. Please share them with the recorder com- Quartet is formed; Valerie Peters continues her work ARS Facebook group munity on the ! on recorders with accommodations; Seldom Sene Gail Nickless  www.youtube.com/americanrecordermag plays Vivaldi on Yamaha plastic school recorders; www.facebook.com/groups/177397989075511/ Nik Tarasov's Aura-Edition publishing project

Gail Nickless, Editor ON THE COVER: Munari, Cristoforo Contributing Editors (1667-1720). Musical Tom Bickley, Compact Disc Reviews Instruments and Delft Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Amanda Pond & Cynthia W. Shelmerdine, Line Editors Vases. Galleria Palatina, Florence, Italy. Photo: Advisory Board George Tatge, 1997. Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin ©Alinari/SEAT/ Thomas Prescott • Kenneth Wollitz Art Resource, NY www.AmericanRecorder.org Copyright©2017 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Illinois North Carolina Birmingham: Chicago: Ben Eisenstein 847-998-0198 Carolina Mountains: Susan Hartley Janice Williams 205-870-7443 Chicago–West Suburban: 423-612-0421 Arizona Joanne Miller 630-359-8750 Greenville Recorder Society: Indiana John Shaw 252-355-2737 Desert Pipes (Phoenix): Triad–Hillsborough: AMERICAN Karen Grover 623-687-4791 Recorder Orchestra of the Midwest: Susan Benson 252-414-4044 Arizona Central Highlands–Prescott: Marilyn Perlmutter 419-265-3537 Triangle: Jan Jenkins 919-870-0759 RECORDER Georgeanne Hanna 928-775-5856 Ohio Tucson: Scott Mason 520-721-0846 Louisiana SOCIETY Arkansas Baton Rouge: Greater Cleveland: William Behrmann 225-766-9465 Edith Yerger 440-826-0716 Aeolus Konsort: New Orleans: Victoria Blanchard Toledo: Charles Terbille 419-474-6572 INC. Don Wold 501-666-2787 504-810-8540 Oregon California Honorary President Maryland Eugene: Lynne Coates 541-345-5235 Erich Katz (1900-1973) Barbary Coast Recorder Orchestra: Oregon Coast: Frances Feldon 510-527-9029 Northern Maryland: Richard Spittel 410-242-3395 Jane Boyden 541-994-5198 Honorary Vice President Central Coast Recorder Society: Portland: Zoë Tokar 971-325-1060 Winifred Jaeger Karen Bergen 310-850-1227 Massachusetts Recorder Orchestra of Oregon– East Bay: Susan Jaffe 510-482-4993 Boston: Portland: Laura Kuhlman Statement of Purpose Inland Riverside: Henia Yacubowicz 978-857-7418 503-234-2530 The mission of the American Recorder Society Greg Taber 951-683-8744 Recorders/Early Music Metro-West Pennsylvania Los Angeles Recorder Orchestra: Boston: Bonnie Kelly 781-862-2894 is to promote the recorder and its music by Matt Ross 949-697-8693 Bloomsburg Early Music Ens.: Worcester Hills: Susan Brook 570-784-8363 developing resources to help people of all ages Mid-Peninsula Recorder Orchestra– Bob Bodman 603-424-8646 Palo Alto: Fred Palmer 650-591-3648 Erie: Linda McWilliams 814-868-3059 and ability levels to play and study the recorder, Nevada City: Michigan Philadelphia: presenting the instrument to new constituencies, Miriam Morris 530-265-0986 Ann Arbor: William Bowie 215-884-5041 Pittsburgh: encouraging increased career opportunities for North Coast: Kathleen Kinkela-Love Kevin Gilson 734-780-7476 707-822-8835 Kalamazoo: Helen Thornton 412-486-0482 professional recorder performers and teachers, Orange County: David Fischer 269-375-0457 Rhode Island and enabling and supporting recorder playing as Win Aldrich 909-625-7722 Metropolitan Detroit: Redding: Kay Hettich 530-241-8107 Rhode Island: Molly Sieg 313-532-4986 David Bojar 401-944-3395 a shared social experience. Besides this journal, Sacramento: Northwinds Recorder Society: ARS publishes a newsletter, a personal study Mark Schiffer 916-685-7684 John MacKenzie, M.D. 231-547-7072 Tennessee San Diego County: program, a directory, and special musical Western Michigan: Greater Knoxville: Vanessa Evans 619-297-2095 Jocelyn Shaw 231-740-8110 Ann Stierli 828-877-5675 editions. Society members gather and play San Francisco: Minnesota Greater Memphis: Greta Haug–Hryciw 415-377-4444 Samuel Sidhom 901-848-1955 together at chapter meetings, weekend Sonoma County: Twin Cities: and summer workshops, and many Greater Nashville: Dale Celidore 707-874-9524 Anne Mundahl 651-895-5049 Carol Vander Wal 615-226-2952 ARS-sponsored events throughout the year. South Bay: Ani Mahler 408-638-0161 Missouri Southern Middle Tennessee–Tullahoma: Southern California: Vicki Collinsworth 931-607-9072 In 2014, the Society celebrated 75 years Ricardo Beron 818-782-0710 Heartland Rec. Orchestra–Warrensburg: of service to its constituents. Colorado Patrick Larkin 660-909-1835 Texas St. Louis: Austin: Derek Wills 512-471-3424 Boulder: Trudy Wayne 303-651-6860 Anne Timberlake 812-361-6785 Dallas: Louise Delano 972-669-1209 Colorado Recorder Orchestra: Nevada Fort Worth–Cowtown Recorder Rose Marie Terada 303-666-4307 Society: David Kemp 940-224-7896 Board of Directors Denver: Joice Gisbon 303-249-5735 Las Vegas: Buddy Collier 702-610-6148 David Podeschi, President Fort Collins: Pattie Cowell Sierra Early Music Society: Rio Grande: 970-484-0305 Kathy Bohrer 775-393-9002 Marcia Fountain 915-544-3427 Ruth Seib, Vice-President, Asst. Treasurer Utah Jennifer Carpenter, Secretary and Connecticut New Hampshire Utah Salt Lake: Communications Chair Connecticut: Monadnock: John Vandermeulen 203-810-4831 Kristine Schramel 413-648-9916 Mary Johnson 801-272-9015 Wendy Powers, Treasurer Eastern Connecticut: Betty Monahan & Lynn Herzog 802-254-1223 Vermont Alice Derbyshire, Asst. Secretary and 860-536-7368 New Jersey Monadnock: Membership Chair District of Columbia Bergen County: Kristine Schramel 413-648-9916 Mollie Habermeier, Governance Chair Washington: Mary Comins 201-489-5695 & Lynn Herzog 802-254-1223 Daniel Bruner 202-669-3388 & Reita Powell 201-944-2027 Virginia David Melanson, Educational Outreach, Highland Park: Delaware Northern Virginia: Donna Messer 732-828-7421 Grants & Scholarships Chair Edward Friedler 703-425-1324 Brandywine: Montclair Early Music: Shenandoah–Charlottesville: Barbara Prescott, Fundraising Chair Roger Matsumoto 302-731-1430 Julianne Pape 845-943-0610 Gary Porter 434-284-2995 James Chaudoir Princeton: Florida Tidewater–Williamsburg: MaryJoan Gaynor 609-924-8142 Nancy Gorbman Ft. Myers: Sue Groskreutz Vicki H. Hall 757-784-2698 Greta Haug–Hryciw 239-676-5968 New Mexico Washington Largo/St. Petersburg: Albuquerque: Anne Timberlake Moss Bay: Elizabeth Snedeker 727-596-7813 Bryan Bingham 505-299-0052 Michael Bancroft 206-523-6668 Miami: Ruth Trencher 305-665-3380 Flat & Baroque in Las Vegas: Recorder Orchestra of Puget Sound: Orlando Consort: Tom Curtis 505-454-4232 Staff Charles Coldwell 206-328-8238 Cheri Grayson 407-299-3076 Rio Grande: Seattle: Laura Faber 206-619-0671 Susan Burns, Administrative Director Palm Beach: Marcia Fountain 915-544-3427 Julia Ward, Administrative Assistant Beverly Lomer 954-592-2852 Santa Fe: John O’Donnell 505-662-5745 Wisconsin P. O. Box 480054 Pensacola: New York Milwaukee: James Chaudoir Charles Tucker 805-525-8256 920-235-3479 Charlotte, NC 28269-5300 Buffalo: Bonnie Sommer 716-662-5975 Sarasota: Southern Wisconsin: Hudson Mohawk: 704-509-1422; tollfree 1-844-509-1422 Charlotte Trautwein 941-504-9594 Greg Higby 608-256-0065 Georgia Kathryn Kuhrt 518-477-8450 866-773-1538 fax Long Island: Pat Cassin 516-238-6924 Canada Atlanta: Mickey Gillmor 404-872-0166 [email protected] New York City: Edmonton: Vince Kelly 780-436-9064 Hawaii Gene Murrow 646-342-8145 Merrie Pipers Rec. Orch.–Kelowna, BC: www.AmericanRecorder.org Recorder Orchestra of New York: Hawaii: Irene Sakimoto 808-734-5909 Bruce Sankey 250-766-1550 In accordance with the Internal Revenue Service Karen Wexler 631-751-5969 Montréal: Mary McCutcheon Big Island: Rochester: Jessica Brennan Taxpayer Bill of Rights 2, passed by the United States Roger Baldwin 808-935-2306 514-271-6650 585-683-2802 Toronto: Sharon Geens 416-699-0517 Congress in 1996, the American Recorder Society makes West Hawaii Recorders: Rockland: Jacqueline Mirando freely available through its office financial and Marilyn Bernhardt 808-882-7251 Vancouver: 845-624-2150 Tony Griffiths 604-222-0457 incorporation documents complying with that regulation. Idaho Westchester: Les Bois–Boise: Erica Babad 914-769-5236 Please contact the ARS office Kim Wardwell 360-202-3427 to update chapter listings. 2 Summer 2017 American Recorder President’s Message ______Greetings from David Podeschi, ARS President [email protected]

s I write this, the workshop One of the things I've tried Museum of Art as part of an evening season is picking up steam. It will event tied to a Medieval art exhibit. It Abe in full swing by the time you read to do at every workshop is to was an amazing experience for several this message—but not too late to sign play in front of an audience. reasons: practicing enough repertoire to up for one of the late summer or fall fill an hour; performing in front of an workshops around the country. (See the Fall Toot. I thought, “The what?” audience that isn’t made up of one’s Spring AR for workshop listings.) Harald explained the workshop con- friends; and playing in a noisy environ- When I decided to learn to play cept and, with the trepidation of a ment where it was hard to hear one recorder, I had no idea that the whole beginner, I went the next month to my another. I never could have done this recorder society and workshop milieu first workshop—the Fall Texas Toot. without the lessons I’ve had from even existed. As I’ve mentioned before, To say I was hooked would be an Cornell and from Jennifer Carpenter I showed up for the September 2010 understatement. By the Fall 2017 Toot, … and experience gained at workshops. Dallas (TX) chapter meeting, having I’ll have been to 22 workshops in seven The teaching, the ensemble play- located them through the ARS web years in four states, Italy and Scotland. ing, the camaraderie, the welcoming site. I think it was at my second chapter One of the things I’ve tried to do environment are all amazing. If you’ve meeting when Harald Poelchau came at every workshop is to play in front of not tried a workshop, you are missing a up to me and said I would enjoy the an audience, whether at an open mic whole world of musical enjoyment and night or an end-of-workshop student learning with the recorder. concert. It is a forgiving audience of Take that first step and try one— friends—yet it gives one the opportu- and don’t forget that one of the mem- nity to learn to manage the nerves and ber benefits is the availability of ARS distractions of playing in public. workshop scholarships. Check the In January and March 2017, I had ARS web site for details; you can apply the opportunity to perform several for weekend workshop support at any one-hour sessions in a trio led by time of the year—plus many work- Cornell Kinderknecht, at the Dallas shops themselves offer scholarships.

www.AmericanRecorder.org Summer 2017 3 Tidings ______George Houle (1927-2017), ______Recorder Quartet formed in Chicago, Adaptive Recorders

Passing Notes pre-professional early music students in Tributes from students attested to his An icon of the viol, dance and other disciplines—Jack scholarship and teaching, pioneering recorder and Ashworth, Patricia Halverson, Sarah spirit, enthusiasm, constant sharing of the early music Mead, Beverly Simmons and others. ideas, and his warmth and generosity. movement His Renaissance diminutions were Donations to the George Houle passed away described as "legendary," and his Memorial Early Music Scholarship on January 7 in lessons inspiring and informative. Fund may be sent to: Stanford Univer­ Palo Alto, CA. Houle wrote several books on per- sity, Friends of Music, Braun Music George Houle formance practice and other musical Center, 541 Lasuen Mall, Stanford, CA (1927-2017) was topics, and edited early music for publi- 94305; for more information, see http:// former director cation. Among his honors, he received news.stanford.edu/2017/03/30/george- (1972-74) of the from Early Music America in 1999 its houle-stanford-professor-music-emeri- New York Pro annual Howard Meyer Brown Award tus-early-music-champion-dies-89. Musica and for “lifetime achievement in the field Material courtesy of emeritus professor at Stanf­ord University, of early music." Marion Rubinstein and where he earned three degrees. After An April 1 memorial concert was compiled from online sources teaching music courses at Mills College held at Stanford. The program alter- and the universities of Colorado and nated remembrance speeches with per- Minnesota, he was hired at Stanford in formances of some of his best-loved 1962. The early music department he pieces—choral works, some of which built there paved the way for historical were taken from his own editions; and performance practice departments in instrumental selections, including many universities. dance movements from a Bach ’cello While primarily a Baroque oboist, suite (to illustrate Houle's legacy on Houle taught recorder to countless stu- the importance of mastering Baroque dents, including Judith Linsenberg, dance, a requirement for his students) Marion Rubenstein, Ross Duffin played impeccably by Stanford DMA and Herbert Myers. He taught other and recorder virtuosa Linsenberg.

The Chicago Recorder Quartet (CRQ) is a new profes- sional recorder quartet based in Chicago, IL. Its members are (clockwise from left) Lisette Kielson, Mirja Lorenz, Laura Osterlund, Patrick O'Malley (photo by Alan Klehr Photography). Since its debut on March 20 at the Byron Colby Barn, CRQ has been interviewed for the Chicago Tribune's Lake County News-Sun, and played for the Musicians Club of Women and at several Chicago ARS Chapter meetings. Their inaugural program, "Surfing the Channel," covers six centuries of music by Machaut, Boismortier, Purcell, Vaughan Williams and others, and focuses on the English Channel that both connects and separates England and France. The new group does not yet have a web site, but can be found at https://www. facebook.com/chicagorecorderquartet.

4 Summer 2017 American Recorder Bits & Pieces affordable option will accommodate guitar in the first year, which surely limb and physical differences such as would be of interest to the recorder small hands, low muscle strength, etc. world: https://www.bloomberg.com/ Prototypes have been developed and news/articles/2016-11-21/don-t-give-up- she will soon seek young players to test on-the-guitar-fender-is-begging-you. instruments. Learn more at the project A 1999 New York Times article Nik Tarasov Scholar has undertaken a page: http://makers4good.org/pages/ reported the discovery of “a seven- Aura-Edition new project: , in which he recorders-for-all.html (also see her arti- holed flute fashioned 9,000 years ago edits recorder music for publication in cle in the Winter 2014 AR, with more from the hollow wing bone of a large critical editions. Included are first edi- at https://www.americanrecorder.org/ bird.” Flutes from even more ancient tions, plus new versions of traditional docs/AnotherWayforWWW.pdf; hear times have been unearthed in recent repertoire that have become unavail- her adapted recorders played at www. decades (and reported in AR), includ- able, with emphasis on recorder music YouTube.com/americanrecordermag). ing a flute dated to 35,000 years ago at of the 19th century. The music will be Recorder group Seldom Sene has http://archive.boston.com/news/health/ available through music distributors posted a video (https://www.youtube. articles/2009/06/24/archaeologists_ and online at the Mollenhauer web com/watch?v=AazGWpPSCkk&feature unearth_oldest_musical_intstruments_ www.aura-edition.de/en. site. See =share) as an answer to an infamous ever_found/?page=1. Hear recon­ Nina Stern is interviewed in the YouTube channel on which well- structed sound clips, starting with May issue of Allegro, the publication of known music is played on a cheap links posted at www.openculture. the Associated Musicians of Greater recorders—"in quite an unpleasant com/2017/01/hear-a-9000-year-old- New York. Besides the usual back- way!" Playing Yamaha plastic recorders flute-the-worlds-oldest-playable-instru- ground and professional information, (accompanied by Matthias Havinga ment-get-played-again.html. the interview also mentions her recent on a Thomann International key- Based in London (UK) and cele- activities with the education method board), the group recorded Vivaldi brating 20 years of making music, S’Cool Sounds she founded, , which in a bike shed, in recognition of school The Flautadors recorder quartet is uses music for outreach and communi- teachers of young recorder players. using crowd funding to supplement cation with other cultures. Her work "Detractors have predicted the its own investment in an anniversary in East Africa with impoverished chil- death of the electric guitar for years," recording of the group's most popular dren in the slums of Kenya, and more says a Bloomberg News article—about contemporary music—minimalist, folk recently teaching Syrian refugees in the current downward trend in playing and global. To learn more about the Jordan, were both mentioned (see the guitar, a situation for many instru- group and its recording repertoire, www. the Winter 2016 AR); visit ments such as the recorder. Fender out- and to view a video, visit https://www. local802afm.org/2017/05/free-spirit. lines its strategies to retain the 90 per- indiegogo.com/projects/the-flauta- Richard English composer cent of beginners who abandon the dors-20th-anniversary-album-music#. Harvey has received an "Annie" award for best music score for the 2015 film The Little Prince; the "Annies" are the Hollywood Oscars for animated films. The recorder player and former mem- ber of Medievalist rock group Gryphon also sent news that his recorder work, Concerto Incantato, was eligible this year for the "Classic FM Hall of Fame" at www.classicfm.com, the largest poll of the world's favorite classical music. The efforts of Valerie Peters to make the recorder more accessible to all students now includes partnering with engineers at Makers4Good to create 3D-printed keys to attach to soprano recorders in any configuration. This

www.AmericanRecorder.org Summer 2017 5 The Voice Flute and its Origin By David Lasocki he voice flute (alto recorder in d') From the introduction of the is being used nowadays to play Baroque recorder to England, the The author writes about woodwind BaroqueT flute music without adapta- instrument started to go by the French instruments, their history, repertory, tion or transposition, because the low- name flute douce, soon abbreviated to and performance practices. His book est note of the voice flute is the same as plain flute. This terminology has with Richard Griscom, The Recorder: that on the traverso and the fingerings caused endless confusion among mod- A Research and Information Guide, of the two instruments are similar. ern writers, because in current English published by Routledge, received the 2014 But the substitution of instru- usage flute refers to the transverse Vincent H. Duckles Award from the ment creates a significant problem. instrument. Britton’s treble common Music Library Association for best book- On the traverso, d' is a six-fingered flute was simply an alto recorder. length bibliography or reference work note (123 456); the seventh finger, The basic scale on an alto is, of in music. Now in its third edition, rather than closing a hole to make a course, in F major (one flat in the key this collaborative work incorporates lower note, opens a hole that produces signature); on his great flute, the scale Lasocki’s annual reviews in AR a higher note, d#'. In contrast, on the was D major (two sharps). Britton of research on the recorder. voice flute, d' is a seven-fingered note helped himself to learn the new size (0 123 4567), the six-fingered note with the exercises, in which the same In 2011 he received the (0 123 456 –) being e'. notes can be thought of as, say, in ARS Distin­guished Achievement Award. Therefore, although the voice flute D major in the treble clef (which has He is also the recipient of the 2012 and traverso have the same lowest note, g' on the second line of the staff ) Frances Densmor­ e Prize from the the fingering pattern on the voice flute or in F major in the French violin clef American Musical Instrument Society is off by the interval of a major second. (which has g' on the bottom line of for the most distinguished article-length And tonalities that are easy to finger on the staff ). Both clefs would have been work in English for his two-part article, the traverso (in the vicinity of D major) familiar to him at that time. If the “New Light on the Early History become more difficult on the voice French violin clef seems foreign to us of the Keyed Bugle.” flute. today, you just have to imagine a bass Nevertheless, the voice flute has clef two octaves higher. (See box on p. 8 Since he retired from his position as Head caught the popular imagination, and outlining various clefs.) of Reference Services in the Cook Music the historical use of the instrument is a If Britton had some music in Library at Indiana University in January common subject for Internet discussion D major, it would have gone too low 2011, he has been devoting himself to groups devoted to the recorder: What for his alto recorder (bottom note f'). many unfinished writings and editions, was its origin? How did it get its name? But he could play the music by think- to his own publishing company In which countries was it used? And ing of it as being notated in the French Instant Harmony, and to the practice what was its repertoire? This article sets violin clef, where the note below the of energy medicine. See his web site, out the surviving historical evidence first line of the staff is f'. Then he www.instantharmony.net. and proposes a theory about the instru- added three sharps to the key signa- ment’s origins. ture or—to produce the same result— subtracted three flats from it. Writings, mostly in England (See example on p. 7.) The first mention of the voice flute, The dating of Britton’s scrapbook although not by that name, comes in a has been investigated by the English scrapbook that belonged to Thomas musicologist Peter Holman, who Britton (1644–1714), a prosperous observed that the first music in the charcoal merchant and alchemist who front section of the book was published sponsored concerts at his residence in in 1674 and the last music in that sec- London. At the front of the book, he tion in 1698. The scales and exercises wrote out some scales and exercises, for the great flutes could therefore have commenting: “For my great flutes one been written around 1674. note and [a] half lower than the treble Almost certainly Britton obtained common flute.” his voice flutes from one of the French 6 Summer 2017 American Recorder Scales and Exercises for Alto Recorder and Voice Flute, as written out by Thomas Britton The voice flute is first mentioned by name by James Talbot ... [who] also gives a table of the sizes of recorder known to him: 8th (sopranino), 5th (fifth flute, or soprano), 3rd (third flute), consort or treble (alto), voice flute (a minor third lower), tenor (said to be a “5th” lower than the alto), bass and pedal or great bass. The small sizes are named in relation to their interval above the alto.

octave below the fifth flute; or perhaps he was still thinking of the interval below the Renaissance alto recorder in g'. But he well understood that the voice flute was in d'. That Bressan did make voice flutes is confirmed by the inventory made in 1743 of the possessions of the famous Amsterdam music publisher Michel Charles Le Cène, which included seven recorders by Bressan in four sizes: “two black recorders with ivory ... recorder players who emigrated to Talbot includes measurements for a brown ditto ... a black voice flute England in 1674, notably James tenor and bass recorders by the cele- (‘sang fluyt’) with ivory ... a brown tenor Paisible (c.1656–1721). And the brated maker Peter Jaillard Bressan recorder (altfluit)... a brown fourth instruments would almost certainly (1663–1731), the section for alto flute (kwartfluit)... a brown basset have been made by the celebrated recorder being left blank. Bressan recorder (basfluit).” Like many London Hotteterre family, who also worked emigrated to England from France in music publishers, such as John Walsh, as performers at the French Court. 1688 and may have learned woodwind who issued a large quantity of recorder The voice flute is first men- making from the Hotteterres. Talbot music, Le Cène evidently had a side- tioned by name by James Talbot also gives a table of the sizes of recorder line selling instruments. The Dutch (1664–1708), Regius Professor of known to him: 8th (sopranino), term sang fluyt, placed in quotation Hebrew at Cambr­ idge University, 5th (fifth flute, or soprano), 3rd (third marks, literally means “sing flute” who was a keen amateur musician and flute), consort or treble (alto), voice flute and is clearly an indirect translation recorder teacher. Talbot’s unfinished (a minor third lower), tenor (said to of the English voice flute. manuscript treatise on musical instru- be a “5th” lower than the alto), bass Bressan was the executor of the ments, compiled around 1692–95, and pedal or great bass. The small estate of his friend James Paisible, who seems to have been his contribution to sizes are named in relation to their died in 1721. The list of Paisible’s pos- a broader treatise on music that he was interval above the alto. sessions drawn up by Bressan includes writing in collaboration with the com- Perhaps Talbot was confused five recorders: “two voice flutes, one poser Henry Purcell, who died in 1695. about the interval of the tenor below consort flute and two small ones.” the alto because the instrument is an Note the number of voice flutes. www.AmericanRecorder.org Summer 2017 7 A Short Explanation of Clefs in d' (“Upper Voice Flute a Lesser 3d Lower in Pitch”), and voice flute in c ' How we read notes on a staff depends on the clef written at the start of the # (“Lower Voice Flute a greater 3d staff, which defines a specific note—G, C or F. Recorder players most frequently Lower yn Consort Pitch”). Peter use two clefs: the treble clef (also called G2, because G above middle C is on Holman comments, “If Finch was the second line of the staff ); and the bass clef (F4, the dots of which are above using the higher ‘consort pitch’ of and below the note F below middle C). (Those two clefs combine as the Grand roughly a415, established in England Staff, used in notating music for piano and a few other instruments.) Less com- by about 1720, then the ‘Lower Voice mon for recorder players are C clefs, in which the middle of a curved bracket Flute’ would presumably have been a points to middle C. d' recorder at the French Ton d’Opéra, Notation using more than one clef makes it possible to write the bulk of roughly a392.” the music for an instrument in the staff itself, using a clef that minimizes the The Court of George II of Great use of ledger lines, which can be difficult to read. For a high instrument like Britain, having purchased “small Flutes” the soprano recorder, a small “8” is sometimes added above the treble clef to and music for them in 1729, added indicate that the written notes sound up an octave (written g' sounds as g''). “Voice Flutes and Consort Flutes” The clefs mentioned in this article are: three years later.

Sightings across the Channel Treble clef (G2) French violin clef (G1) Bass clef (F4) In France, using a modification of stan- dard French terminology for recorder sizes, the voice flute is probably listed in the inventory of the household of the woodwind maker and performer Soprano clef (C1) Mezzo-soprano Alto clef (C3) Tenor clef (C4) Martin Hotteterre, when his wife clef (C2) Marie Crespy died in 1711. The inven- The Rev. Edward Finch (1663– major and minor keys for the alto tory mentions five sizes: “Item, nine 1738) was a keen amateur performer, recorder (“Consort Pitch Flute”) instruments, whether bassoons as well composer, arranger, and copyist who and transpositions for voice flute as bass recorders (basses de flutes), valued worked in church posts in York, in d' (“Upper Voice Flute a lesser 3d with three bassoons and one bass recorder ... Item, two boxes of imper- Kirkby-in-Cleveland, Wigan, and Lower”), voice flute in c#' (“Voice Flute Canterbury. We know from the instru- a greater 3d Lower yn Consort Pitch”), fect small recorders (petites flutes) and flageolets ... Item, ten flutes, two of ments in his collection, passed on to alto recorder in eb' (“Flute a whole Note the Sharp family after his death, that Lower yn Consort Pitch”), and alto which are decorated with ivory, six he owned three flutes d’amour, a fife, a in g' (“Flute a whole note Higher yn tenor recorders (quintes de flutes), four tenor recorder (“1 Large C Common Consort Pitch”). voice flutes (grosses tailles de flutes), six oboes, two bass recorders and two Flute in the Oct.ve below”), two alto The Armstrong–Finch manuscript recorders (“2 Common Flutes concert at Spetchley Park, Worcestershire, imperfect ones, an unfinished bassoon, Pitch”), and an oboe. A manuscript includes scales for alto recorder five alto recorders (tailles) turned from chart in Finch’s hand indicates 17 (“Consor­ t Pitch Flute”), voice flute maple, two alto recorders of plum wood, three boxwood recorders, four alto recorders decorated with ivory.” The term grosses tailles de flutes here literally means “large alto recorders.” When Friedrich August, the future elector of Saxony and King of Poland, visited Paris in 1714, he reported a performance on December 30 in honor of the Elector of Cologne, brother of the Elector of Bavaria. “After dinner a music concert [was given] and a musician named Lullier 8 Summer 2017 American Recorder [Jacques Loeillet], in the service of Repertoire Dieupart for a violin and recorder with His Highness­ the Elector of Bavaria, Besides the current trend of playing a viola da gamba and an archlute). played together two recorders, a traverso works on voice flute, the In other words, the violin and crumhorn, an oboe, etc. He also instrument had a modest literature recorder are given as alternatives for played a violin and [it was] as if a of its own during the Baroque. the first part, the viola da gamba and few singers were singing together; The Moravian composer Gott­ archlute for the second. Don Fader has he performed alone and [it sounded] fried (Godfrey) Finger (c.1660–1730) sought to demonstrate “that neither of as if some dozen people were quar- left a manuscript Sonata a 3 for three the versions left to us is an ideal repre- reling or brawling together.” recorders, presumably written while he sentation of the composer’s inten- Loeillet must have made a was resident in England between 1686 tions—and in fact those intentions, speciality of such party tricks. The and 1701. Each sheet of the manuscript as far as they can be determined, were Mercure de France reported that on contains the music in two different different from what either version August 1, 1727, at Versailles: keys: F major for alto recorders, and presents.... what Dieupart seems to Monsieur Loeillet ... who owns vari- D major presumably intended for have originally had in mind was a per- ous instruments and who knows how the voice flute or sixth flute. formance with solo harpsichord dou- to combine them with an admirable The French harpsichordist, violin- bled by violin or recorder, but the talent, greatly entertained the Queen ist and composer Charles (François) extant versions represent realizations and her whole court. He began with Dieupart spent the latter half of his for solo harpsichord and for instru- the bassoon, violin, flute, recorder life in England (1703–c.1740), where mental ensemble with basso continuo.” (Flute douce) [and] voice flute he wrote six recorder sonatas and a The first four suites are in sharp (Flute à voix), making two parts, concerto for the soprano recorder. His keys: A major, D major, B minor, and and the oboe. He then went behind a most celebrated works were a set of six E minor. A note at the beginning of screen and sang a motet in four parts, harpsichord suites, Six suittes de claves- each one directs: “Cette Suitte se doit accompanied by a violin and two sin Divisées en Ouvertures, Allemandes, jouer en C sol ut [f ut fa, D la ré, G ré sol] recorders. Afterwards Monsieur Courantes, Sarabandes, Gavottes, sur une flute de voix” (This suite should Loeillet performed the two recorders Menuets, Rondeaux & Gigues, published be played in C major [F major, D and sang the bass, and then a great in Amsterdam by Estienne Roger in minor, G minor] on a voice flute), chorus of music followed. It appeared 1701—probably just before the com- where the new key is always a minor to be interrupted by a quarrel and a poser emigrated to England. Roger third higher than the original. When fracas in which it seemed one heard issued the suites in two different ver- performers imagined they were playing the cries of women and children, the sions, the second in two parts said to be a suite in C major on an alto recorder, noise that men make with sword in “Mises en Concert par Monsieur Dieupart subtracting three sharps, the notes on hand, and the tumult that forty peo- Pour un Violon & flûte avec une Basse de the voice flute came out in A major. ple could make, hearing them cry help Viole & un Archilut” (arranged by The fifth and sixth suites, in to the Watch, and the arrival of the contrast, are in flat keys: F major Watch on foot and on horseback. The Queen, not being able to imagine that a single man could make so many different parts, made Monsieur Loeillet enter into her Chamber in the presence of everyone, and Her Majesty greatly praised such an extraordinary talent. The King, to whom the Queen gave the same entertainment the next day, was equally surprised and pleased. Monsieur Loeillet performed a new entertainment the day after- wards in the Cabinet of the King, in the presence of Their Majesties, who were greatly amused.

www.AmericanRecorder.org Summer 2017 9 Opening of Quintet in B minor for 2 Alto Recorders, 2 Voice Flutes, and Basso Continuo

Quintet in B minor, Entrance of the Voice Flutes as Notated

and F minor, and recommended for flute du quatre (fourth flute in bb'). The two modern editions (listed at the end of this article) have been transposed for the alto recorder; a facsimile of the original parts is also available. We cannot be sure whether it was has an English connection. In addition “Corelli’s XII Concertos Transpos’d Dieupart or Roger who specified the to the quintet, it contains a concerto for Flutes, viz a Fifth[,] a Sixth[,] a sizes of recorder for the suites. Dieupart for Flauto solo, also attributed later to Consort[,] and Voice Flute, The proper was almost certainly a close relative of Loeillet, but which appears as a con- Flute being nam’d to each Concerto a royal recorder player—Nicolas Dieu­ certo for sixth flute in the published and so adapted to the Parts that they part, who held the post of Fluste et collection by Robert Woodcock perform in Consort with the Violins Cromorne ordinaire de la Chambre (London: Walsh & Hare, c.1727) with and other Instruments Throughout, the du Roy (1680). He would doubtless a different slow movement. As in Whole being the first of this Kind yet have been familiar with the French Dieupart’s suites, the source treats the Publish’d.” practice of his day. instrument as transposing: notated in “Consort” flute was again the The term Flute de Voix is also alto recorder fingering in D minor, alto recorder. A glance at the music found in a quintet for two voice flutes, sounding a third lower in B minor. makes it clear that “in Consort” two transverse flutes (Flute traversa), Whether or not he wrote this piece, means “sounding in unison with.” and basso continuo. It is attributed to Loeillet did play the voice flute, as we The anonymous arrangement is for “Mr. Loeillet” in a note that someone have just seen. (See examples above.) two recorders and basso continuo: the else added later to the manuscript, An arrangement of Arcangelo first eight concertos for two altos, the because of which the work was Corelli’s Concerti Grossi, Op. 6, was next three for two sixth flutes or voice assigned in the modern edition to published by Walsh & Hare in flutes (both pitched in D), and the last Jacques Loeillet—but the manuscript London in 1725. The title page reads: for two fifth flutes.

10 Summer 2017 American Recorder Surviving Instruments 23.2 inches and is pitched around The renowned British The difficulty with surviving instru- A=425. The SCB also possesses a late ments, which are not of course stamped voice flute by Camus (late 18th or early with their size, lies in distinguishing 19th century), length 22.9 inches and recorder teacher and between voice flutes and tenors at a pitch A=440 (although it was short- higher standard pitch. In his compre- ened in recent times). researcher Edgar Hunt ... hensive catalog of Baroque woodwind An alleged tenor recorder by instruments, Phillip T. Young lists 13 the Scottish (?) maker Urquhart (late voice flutes by Bressan, all with no key, 17th or early 18th century), the exter- suggested 60 years ago and between 22.9 and 24.5 inches long. nal turning of which resembles that of This contrasts with Bressan’s 12 listed Bressan, was sold at an auction in 2014 that the voice flute tenor recorders, all with one key, and in Vichy, France. Philippe Allain- Dupré between 27 and 27.9 inches long. reports that he played it and "probably gets the The two voice flutes of Bressan’s it turned out to be a voice flute around for which Young does not quote a A=415, “very close to the Bressan length—those in the Museo Civico, model.” name from the fact that Bologna—are described in an article by A tenor recorder by the French German recorder player and researcher maker Dupuis (fl.1692), in the late its compass fits the range Nik Tarasov, who also compares them Frans Brüggen’s collection, is with an anonymous voice flute in a 26.6 inches long and plays d' with of the soprano voice, private collection that could well the fingering 0 123 456. Putting the have come from Bressan’s workshop. seventh finger down produces c#', not c'. Bressan A is 24.8 inches long and has This gives us another possible meaning whence it would be useful a pitch of A=408 Hz; Bressan B, for Finch’s voice flute in c#'. In making 24.2 inches, A=412 Hz; and Anon. an exact copy of the Dupuis instru- for playing vocal music." 24.4 inches, A=414 Hz. Tarasov ment, Allain-Dupré found that the writes of Bressan A and Anon.: pitch was A=398. claims, “It has also been proposed that “Both instruments have a beautiful, Young cites a “voice flute” by the instrument may have been used as a full tone, above all in the low notes; ... Thomas Stanesby Sr. (c.1668–1734) substitute for the human voice, but can be varied in dynamics over a range but does not give its length. And finally, there is at present no evidence for of an octave and a sixth; and after Young lists a voice flute of a later date this hypothesis.” that still play tenderly with a thin, by Thomas Cahusac I (1714–98, active Tracing the origin of the voice concentrated air stream up to two by 1738), with no key and an estimated flute requires a detailed look at some octaves and a minor third.” length of 24.9 inches. recorder music by Jean-Baptiste Lully Young also lists three “tenor Reported instruments by other (1632–87), the celebrated Italian-born recorders” by Jean Jacques Rippert makers (see “Voice flute” in Wikipedia) composer who dominated music at the (dated by 1696 to at least 1716), all are less well documented. Court of Louis XIV in France. Lully with one key, and lengths of 24, 24.5, scored for the recorder (flute, fluste, flute and 28.4 inches. In contrast, what he Origin douce, or fluste douce) in no fewer than labels a “Voice flute” has no key and is The origin of the name voice flute has 39 works between 1657 and 1686. 23.2 inches long. By his earlier logic, been the subject of speculation on the At first Lully wrote for the the instruments with lengths 24 and part of modern researchers (and recorder almost entirely in consort, 24.5 inches would still be voice flutes, Internet enthusiasts). The renowned using sizes from alto down to great despite having one key, but it may well British recorder teacher and researcher bass. Then from 1668 onwards, after be that all voice flutes were conceived Edgar Hunt (1909-2006) suggested a two-year gap, he moved away from without a key. 60 years ago that the voice flute recorder consorts, tending to set the Swiss musicologist Martin “probably gets the name from the fact instrument on the top two lines (using Kirnbauer reports that the Rippert that its compass fits the range of the G1 clef ) with basso continuo in trio voice flute in the collection of the soprano voice, whence it would be use- texture. Schola Cantorum Basiliensis (SCB) ful for playing vocal music.” Another The earliest example is in La in Basel, Switzerland, has a length of British researcher, Douglas Macmillan, Grotte de Versailles, LWV39 ( January www.AmericanRecorder.org Summer 2017 11 Three instruments made by Thomas Prescott show the voice there is no further music in the score, flute’s size relative to alto and tenor recorders—and also why they may well have continued to dance some describe it as a small tenor, while others call it a large to the same song. alto. Top to bottom, all pitched at A=440, the instruments are: Finally, Iris sings a somber chanson, Tenor: Johann Christoph Denner tenor in c' in plumwood; “Dans ces deserts paisibles,” “to which based on an original in c' at A=460 in the Germanisches two shepherds respond with a ritour- Nationalmuseum, Nürnberg. nelle of flustes douces.” The clefs and Voice flute: Peter Bressan voice flute in d'. ranges of the two parts in the ritour- Prescott alto recorder: based on a Peter Bressan alto recorder nelle, which actually precedes Iris’s bore with a Rippert-inspired exterior design. song in the score, are: (1) G1, g'–a''; (2) G1, e'–a''. This time there is only one voice, Iris, who repeats the music of the first recorder part; the second is not heard again, unless the ritournelle was repeated after the song. What are we to make of the switch of terminology twice between flutes and flutes douces? I do not believe we can argue that instruments differing in some way were intended—so that, as later, flute douce was restricted to the alto recorder—because the first and second parts go down to g' and e'/d', respectively, in each case. I take it as 1668), an “Eclogue en musique,” which top parts are: G1, g'–f''; (2) G1, d'–d''. evidence that the terms were still includes two ritournelles before dance (See Examples A and B on pp. 14-15.) interchangeable. airs for two voices and basso continuo. The livret then mentions a On the face of it, in each of For the first air, “Goûtons bien les plai- “Dialogue. Sung by Menalque and these ritournelles, Lully wrote the first sirs Bergere,” the livret (printed libretto Coridon, to whom two other shepherds recorder part for alto and the second distributed to the audience) observes: respond with Flustes douces”—although for tenor, as observed by Laurence “Chanson. Sung by the shepherdesses the score of “Voyons tous deux en Pottier, director of the French early Iris and Caliste; two shepherds respond aimant” does not specify recorders. music group Les Musiciens de with a little Concert de Flustes.” Gone Perhaps the recorders repeated the Mlle de Guise. The Lully scholar are the recorder consorts of earlier voice parts (C3, g–b'; tenor clef or Jürgen Eppelsheim remarks about years: now the “Concert de Flustes” C4, d–c') an octave higher. such parts: merely has recorders on the top Then comes a bird song, “Ces As one can see, it is only one of the two lines. Oyseaux viuent sans contrainte,” which recorder parts of the pieces in question Lully’s early scores have not the livret says is “sung by Iris and that goes below f1. However, since survived—but we have the authorita- Caliste together, and the air is repeated with one exception, they are trio tive copies made from about 1690 by several shepherds who play it with movements for two dessus [melody onwards by André Danican Philidor des Flustes, des Musettes & des Haut- instruments] and basso continuo and (c.1652–1730), the royal music librar- bois,” although the score labels the the top parts of such pieces are always ian, who also performed on the parts only flustes. The clefs and ranges written for the same instruments recorder, oboe, cromorne, and bas-­ of the top parts are: (1) G1, g'–e''; (violins, oboes), it may also be soon in at least 11 of Lully’s works. (2) G1, e'–c''. After this “Six herdsmen, assumed that both parts were In the case of La Grotte de Versailles, rich and ridiculous, become excited to intended for instruments of the same Philidor’s score announces a dance to the sound of des Flustes, des register.... These places are to be per- “Ritournelle pour les fluttes,” but the Musettes & des Haut-bois, and form formed only on the recorder in c1. first part in the score is labeled flustes grotesque steps and figures around the We should consider whether Lully et violons. The clefs and ranges of the two shepherds who are singing.” Since did not intend this recorder in each case, also wherever the range of the

12 Summer 2017 American Recorder part at the upper limit permits the range of the parts (never higher than My theory is that these instrument. As Lully’s dessus parts, b'') should have just permitted it. But regardless of which instrument they the intention seems to have been to "soprano" recorders were are intended for, never exceed c3 at create a “soprano” recorder to be played in fact voice flutes (altos the high end, all places are perform- together with a “high soprano” one, in able on the recorder in c1. parallel to voices. Recall that Hunt sug- in D) and that this size Eppelsheim makes a good point gested that the voice flute “probably had been newly conceived about the similar register of the two gets the name from the fact that its by 1668 to play along upper parts and the presumed two- compass fits the range of the soprano octave range of the tenor. And in that voice, whence it would be useful for with the soprano voice. case, both parts could have been per- formed on tenors, despite being notated in G1 rather than Lully’s Lully’s Low Second Parts Notated in G1 customary C1 for that size (as docu- La Grotte de Versailles (1668) mented in his labels for the recorders in Le Triomphe de l’Amour, 1681). Ritournelles for dance airs: I have a different theory. The table “Goûtons bien les plaisirs Bergere” (G1, g'–f'', d'–d''; voices in G2 and C1). to the right shows the 11 occasions on “Ces Oyseaux viuent sans contrainte” (G1, g'–e'', e'–a''; voices both in G2). which Lully wrote second recorder George Dandin (1668) parts in G1 going down to e' or d'. Chansonette for two singers who “entertain themselves to the sound of In seven of these, the two recorders these recorders,” and a more ornamented instrumental version marked play the same music as vocal duets “The recorders and the violins play the same air”: scored for what Lully would have called “L’autre jour d’Annette” (G1, f'–f'', e'–e ''; voices in G2 and C1). haut dessus (high soprano, notated in b G2 clef ) and dessus (soprano, C1 clef ). Les Amants magnifiques (1670) The second recorder therefore corre- Ritournelle for vocal air: sponds to the soprano part, five times “Joüissons, joüissons des plaisirs innocens” (G1, g'–f'', d'–d''; voices both in G2). notated in C1, twice in G2. In the case of the Sommeil from Thésée (1675) Atys, the recorders do not have the Instrumental introductions to airs: same immediate function, but later in “Que nos Prairies” (G1, a'–g'', e'–e''; voices in G2 and C1). the act they do. In Amadis the recorders “Aimons, aimons” (G1, g'–g'', e'–e''; voices in G2 and C1). are participating in a trio, but the sec- ond recorder part still plays the music Atys (1676) of the soprano part in C1. In Le Temple Sommeil: instrumental introduction to vocal trio de la Paix, a trio for two recorders and “Dormons, dormons” (G1, g'–b '', e'–g''). tenor voice, the second recorder part b Instrumental introduction to takes the place of the soprano. “L’Hymen seul” (G1, g'–g'', e'–d''; voices in G2 and C1). Finally, in Proserpine, there is a purely instrumental piece for a trio of Proserpine (1680) recorders in the same ranges as in Le Prelude to Act IV: recorder parts in (1) G1, g '–b''; (2) G1, e'–a''; Temple de la Paix, and the second part # (3) C2, g–b', doubling violin and two violas. doubles a viola notated in C1. My theory is that these “soprano” Amadis (1684) recorders were in fact voice flutes (altos Recorders and strings play “Trio” as introduction to vocal trio, in D) and that this size had been newly “Vous ne devez plus attendre” (G2, g'–g''; C1, d'–e ''; C2, g–c''). conceived by 1668 to play along with b the soprano voice. The first recorder Le Temple de la Paix (1685) parts would have been taken by altos. Trio for two recorders and voice, “D’un Roy tousjours Vainqueur la Vertu In theory, those parts could also have sans example” (G1, b'–b'', e'–e''; voice in C4, e–f'). been assigned to voice flutes: the upper

www.AmericanRecorder.org Summer 2017 13 14 Summer 2017 American Recorder www.AmericanRecorder.org Summer 2017 15 playing vocal music.” I believe he was recorders on the first part and three I believe that the most right, and the vocal music was Lully’s. flutes on the second.” Philippe Allain-Dupré has pro- There is supporting evidence plausible instrument for posed that Lully intended the second from a little later: the French Baroque these low second flute parts Marc-Antoine Charpentier part in Atys for the transverse flute, an composer is the voice flute....If the instrument for which the G1 clef (1643–1704) has a pairing of parts for would be appropriate—and we could alto recorder (flute a bec) and transverse first part is still given to apply his argument to the other pieces flute (fl allem[ande]) in his Orphée alto recorder, then there I have compiled in the table. Then descendant aux Enfers, H.471 (1683– would be the same kind of flutes would be construed as “members 84). At the beginning of the second contrast of timbre between of the flute family.” He points out the system, when the parts have to be G1 clef, implying that the two parts indicated on a single stave, he writes alto recorder and voice flute, are in the same register, also observing flutes, clarifying it as fl al et a bec in the as between high soprano that at one point the second part third measure of the system when the and soprano voices. ascends a sixth higher than the first instruments double the part. Thus part, so it is unlikely that the musicians flutes could refer to both types. included “five or six men who play the would have used tenor recorders, There is also contradictory evi- fluste very well.” The musicians in ques- “which would have sounded much dence: Lully’s “Sommeil” made an tion, who evidently came over to be too strong in conjunction with three enormous impression on Charles II of with the French opera composer alto recorders on the first part.... To England in 1676, only six months after Robert Cambert, included James play these two parts correctly, the use its premiere at the French Court in Paisible. There is no surviving evi- of flutes would appear to be indispens- Saint-Germain en Laye, when it was dence that he played the transverse able, perhaps in unison with the alto performed by French singers with flute; on the contrary, in the 1710s recorders, which cannot play the low E French musicians who, according to a he took up a different instrument of of the second part ... or else three alto report by the French ambassador, the flute family capable of making dynamics, the echo flute. Of course, he could have always taken the first part in the “Sommeil”.... Nevertheless, I know of no evi- dence that the Baroque transverse flute (traverso) had been developed by 1668. The earliest certain indication comes from 1674, when Charpentier called for it in what seem to have been two sizes in the seventh Kyrie of his Messe pour plusieurs instruments au lieu des orgues, H.513 (1674), which specifies: 2 flutes douces et une d allem[ande]. (G1, b'–a''); flute d allem[ande] (C1, f#'–e''), and flute d allem[ande] (C2, or mezzo- soprano clef, a–b'). We should also remember that, in Lully’s La Grotte de Versailles (1668), the instruments going down to d' are twice called flutes douces, which establishes that they are recorders. I believe that the most plausible instrument for these low second flute parts is the voice flute. As I have already suggested, if the first part is still given to alto recorder, then there would

16 Summer 2017 American Recorder be the same kind of contrast of timbre between alto recorder Did Charpentier Score for the Voice Flute? and voice flute, as between high soprano and soprano voices. By an interesting historical coincidence, the other great In the 1650s, recorders were almost exclusively played at French composer of the era, Marc-Antoine Charpentier, Court by members of the Grande Écurie, a vast pool of wind often also scored for the combination of high soprano and musicians who played a ceremonial role at Court and could soprano voices with members of the flûte family early in his be added to other ensembles as the need arose. Therefore the career. In the 1670s, he mainly served the household of recorders they played would have been made at the standard Mademoiselle de Guise who, despite her modest pitch called Ton de l’Écurie. According to a major study on commonly used name, was a wealthy princess and the history of pitch by the late woodwind scholar Bruce duchess of the house of Lorraine. Haynes, this pitch seems to have been A+1, or about A=464. In addition, in 1679 Charpentier began composing for (His convenient notation for pitch standards uses semitones the private chapel of Louis XIV’s son, Louis, the Dauphin above and below A=440 Hz.) (1661–1711). Besides the members of the basso continuo, Starting with Ballet de la Raillerie in 1658, Lully began the ensemble consisted of: the two young daughters of the to combine recorders with violons, members of the violin Pièche family, Magdeleine and Marguerite, who were sing- family in five sizes. At first he used the group he directed ers in the Chambre du Roy (haut-dessus, high soprano, and called the Petits Violons, or Petite Bande, which seems to dessus, soprano, respectively), a bass singer, and the three have played at the same pitch, A+1. After he took over as eldest of the four Pièche brothers, Pierre II, Joseph, and surintendant of all the Court’s music in 1661, he began to Pierre-Antoine, who all played the flûte at Court. merge the Petits Violons with the Quatre-vingt Violons This unusual combination of voices (sometimes known (Grande Bande), who apparently played at what soon as the Core Trio) and instruments in the Dauphin’s Music became known as the Ton de l’Opéra (A–2), or about A=392 had first made its appearance in the Guise Music in 1676, Hz, which was also the most suitable pitch for singers. This continuing through 1683–84, although the nature of the merging would have required some rebuilding or re-creation treble instruments is never indicated in that ensemble. From of both strings and woodwinds—and this would have 1676 through 1678–79, the keys and ranges of these parts been at least one of the causes of the development of the would fit either alto recorders or treble viols. Then the second Baroque recorder from the Renaissance type. part sometimes goes down to e' and the first part up to d''', The voice flute probably did not have to be invented, higher than any marked treble viol part that Charpentier but only reconceived. Before recorders at A–2 were devel- wrote. This evidence suggests that some kind of flûtes were oped, if recorders at A+1 were combined with violons and involved in the works for the Core Trio from about 1679; voices at A–2, there would have been a difference of a minor the second part, at least, was probably a transverse flute, as third between the two groups. An alto recorder in F at A–2 in the Dauphin’s Music. Charpentier probably reused the has exactly the same pitch as a voice flute in D at A+1. Core Trio’s works for the Dauphin’s Music, in which case Observing this, makers could have taken the next step the treble parts would certainly have been played on flûtes. to make a voice flute at A–2.

Honeysuckle Music

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www.AmericanRecorder.org Summer 2017 17 In all the early works for the perhaps not Charpentier’s customary embraced the Baroque traverso so early. Dauphin’s Music, the range of the tre- Pièche brothers, but other royal musi- In England, by contrast, the recorder ble or flûte parts is within that of the cians who needed the instruments became enormously popular as an alto recorder, and the keys would also spelled out. amateur instrument in the 1670s point to recorders. But the range of the Charpentier wrote five other and continued to be used by both parts alone can be deceptive, because works between about 1683 and 1690 amateurs and professionals until well the second part sometimes contains for which he seems to have intended after the traverso became established phrases that are awkward on the alto the pairing of alto recorder and flute. in the first decade of the 18th century. recorder but comfortable on the trans- Pour le Saint Sacrement au reposoir, verse flute. Perhaps they already indi- H.346 (1687), is a companion work Conclusions cate the pairing of alto recorder and to "Usquequo Domine." Les plaisirs de An English amateur, Thomas Britton, transverse flute we will discuss below. Versailles, H.480 (1682–83), was writ- writing around 1674, was clearly refer- The second part goes down to e' in ten for the Court. In obitum, H.409 ring to the voice flute when he men- a couple of works from 1681–82, (1683), and De profundis, H.189 tioned his “great flutes” pitched a minor suggesting the same pairing. (1683), were among the compositions third lower than the alto recorder. The musical establishment at commissioned for a memorial service The actual term voice flute is first docu- the Hôtel de Guise began to change for Queen Maria Theresa at the Little mented around 1695 in the listing of around 1680, when Mlle de Guise Carmel convent. Psalmus David 34us, recorder sizes by James Talbot. hired new teenage girls and boys as H.201 (1688–90), involved the Pièches In the early 18th century, musicians. After a few years of training, on an unknown occasion. another English amateur, Edward these newcomers, added to the musi- Four further works, Panis quem Finch, owned voice flutes at two differ- cians hired earlier, created an aug- ego dabo, H.275; Sola vivebat in antris, ent pitches. The inventory of the pos- mented ensemble of five female and six H.373; Flores, flores, o Gallia, H.374; sessions of the recorder player James male singers, sometimes known as the and Adoramus te Christe, H.276, Paisible on his death in 1721 included Great Guise Music, by around 1683. found in the same manuscript for the two voice flutes. His executor, the Now that he had more than one singer Dauphin’s Music from the late 1670s recorder maker Peter Bressan, made to a part, Charpentier had to start or early 1680s, could also have been the voice flute found in a Dutch marking their names in the margins. intended for alto recorder with sale catalog of 1743 under the trans- He indicated the instrumentalists only transverse flute. lated name sang fluyt. The Court of once: for the opera La descente d’Orphée I propose the theory that George II bought voice flutes in 1732. aux enfers, H.488 (1686), performed at Charpentier conceived of this pairing In France, the inventory in 1711 Court, when two of the flûte-playing of instruments to match the haut-dessus of the woodwind maker and performer Pièche brothers from the Dauphin’s (high soprano) and dessus (soprano) Martin Hotteterre lists grosses tailles de Music joined the Guise Music. voices of his female singers in the flutes, “large alto recorders,” presumably In four of his works, written Dauphin’s Music, perhaps first in voice flutes. The Flemish composer between 1674 and 1687, Charpentier the Guise Music. For the “soprano” and woodwind musician Jacques differentiates by means of terminology part he used the transverse flute— Loeillet gave a bizarre performance between the alto recorder (flûte à bec or rather than the voice flute that I have at the French Court in 1728 in which flûte douce) and transverse flute (flûte suggested was developed for Lully’s he sang and played several instruments d’allemand). Orphée descendant aux music—because the Baroque traverso simultaneously, including Flute à voix. enfers, H.471 (1683), was composed for had established itself enough in As for repertoire, Charles (or an augmented Guise Music, so proba- the hands of the players such as the François) Dieupart published a set of bly clarification of terms was now nec- Pièche brothers by about 1679 that six suites for recorder and basso con- essary. "Usquequo Domine," H.196 Charpentier had no need to call on tinuo in 1701, just before he emigrated (1687), was written for the Court— the voice flute. Perhaps also the combi- to England, directing that four of them nation produced a more distinct con- should be played on the flute de voix. trast in sound than alto recorder and An arrangement of Arcangelo Corelli’s voice flute. Concerti Grossi, Op. 6, for two recorders I also suggest that the reason why and basso continuo, published in the voice flute had little continued exis- London in 1725, includes two concer- tence in France was because the French tos for voice flutes or sixth flutes (an 18 Summer 2017 American Recorder octave higher). A manuscript quintet for two voice flutes Hunt, Edgar. “The Voice Flute.” Galpin Society Journal 10 (Flute de Voix), two transverse flutes, and basso continuo, (1957): 86–87. published in a modern edition under Jacques Loeillet’s Lasocki, David. A Listing of Inventories, Sales, and name, may be of English origin. Advertisements Relating to Flutes, Recorders, and I have set out evidence that the origin of the voice Flageolets, 1631–1800. Bloomington, IN: Instant flute lies in the recorder music of Jean-Baptiste Lully at Harmony, 2010. E-book available from the French Court. The recorder parts in the range d'–b'', www.music.instantharmony.net. included in eight of his works between 1668 and 1685, ———. Marc-Antoine Charpentier and the Flûte: Recorder generally double or match the soprano voice. or Traverso? Portland, OR: Instant Harmony, 2015. Therefore, the voice flute could have been seen as a E-book available from www.music.instantharmony.net. “soprano” recorder, in contrast to the “high soprano” of the ———. Not Just the Alto: Recorder Sizes and Types in alto recorder. The name would then reflect its ability to the Baroque and Classical Periods. Portland, OR: blend with one particular kind of voice, the soprano. The Instant Harmony, 2017. E-book available soon instrument probably did not need to be invented, just from www.music.instantharmony.net. reconceived from the well-established alto recorder in F ———. “Professional Recorder Players in England, 1540– playing at a standard pitch a minor third lower. 1740.” 2 vols. Ph.D. diss., The University of Iowa, 1983. Pottier, Laurence. “Le Répertoire de la flûte à bec en France RESOURCE LIST à l’époque baroque (musique profane).” Doctoral diss., Université de Paris–Sorbonne/Paris IV, 1992. Writings Rowland–Jones, Anthony. “The Coalman Reveal’d.” The Allain-Dupré, Philippe. “Les flûtes traversière et à bec dans Recorder Magazine 22, no. 4 (winter 2002): 142–44. les orchestres de Lully et Charpentier.” Tempo flûte: Young, Phillip T. 4900 Historical Woodwind Instruments: Revue de l’association d’histoire de la flûte française, An Inventory of 200 Makers in International Collections. no. 3 (December 2010–May 2011): 17–22. London: Tony Bingham, 1993. Ashbee, Andrew, and David Lasocki, comp. A Biographical Dictionary of English Court Musicians, 1485–1714. Music 2 vols. Aldershot, Hampshire; Brookfield, VT: Corelli, Arcangelo. Concerti Grossi Op. VI (12 Concerti) Ashgate, 1998. für 2 Blockflöten, obl. Violoncello und Basso continuo. Baines, Anthony. “James Talbot’s Manuscript (Christ Münster: Mieroprint, 1990. Facsimile. Church Library Music MS 1187): 1. Wind Dieupart, Charles. Six Suittes de Clavessin divisées en Instruments.” Galpin Society Journal 1 (1948): 9–26. ouvertures, allemandes, courantes, sarabandes, gavottes, Buttrey, John. “New Light on Robert Cambert in London, menuets, rondeaux [&] gigues. Münster: Mieroprint, and his Ballet de Musique.” Early Music 23, no. 2 (May 2006. Facsimile. 1995): 198–222. Dieupart, Charles. Suite I C-dur für Alt-Blockflöte (Querflöte, Daub, Peggy Ellen. “Music at the Court of George II Violine) und Cembalo (Klavier) Violoncello (Viola da (r. 1727–1760).” Ph.D. diss., Cornell University, 1985. gamba) ad lib. Herausgegeben von Hugo Ruf. Celle: Fader, Don. “Let the Buyer Beware: Dieupart’s Six suittes de Hermann Moeck Verlag, 1966. Parallel editions for clavessin and Arrangement Practices for the Recorder in Suite II F-Dur, Suite III d-moll, and Suite IV g-moll. the Eighteenth-Century North European Music All transposed for the alto recorder. Market.” Recorder Education Journal 2 (1995): 32–52. Dieupart, Charles. Vier Suiten für Altblockflöte und Eppelsheim, Jürgen. Das Orchester in den Werken Jean- Basso continuo = Four Suites for Treble Recorder and Baptiste Lullys. Tutzing: Hans Schneider, 1961. Basso continuo. Herausgegeben von Winfried Michel. Giannini, Tula. “Jacques Hotteterre le Romain and His Winterthur, Switzerland: Amadeus, 2006. Transposed Father, Martin: A Re-Examination Based on Recently for alto recorder. Found Documents.” Early Music 21, no. 3 (August Finger, Godfrey. Pastorelle and Sonata for Three Treble 1993): 377–95. Recorders. Edited by Richard Platt, London: Haynes, Bruce. A History of Performing Pitch: the Story of “A.” Oxford University Press, 1978. Lanham, MD: Scarecrow Press, 2002. Loeillet, Jacques. Quintett h-moll, für zwei Querflöten, zwei Holman, Peter. “A Purcell Manuscript Lost and Found.” Blockflöten und Basso continuo. Herausgegeben von Rolf Early Music 40, no. 3 (2012): 469–87. Ermeler. Hortus musicus 133. Kassel: Bärenreiter, 1955.

www.AmericanRecorder.org Summer 2017 19 Education ______What's happening with recorder playing ______and learning in Memphis, TN

Mary Halverson Waldo (second from right in photo) interviews Samuel Sidhom (right in photo of Memphis Suzuki Institute participants)—founder of the Greater Memphis (TN) Recorder Society ARS chapter, director of the Memphis Suzuki Institute, and innovative teacher.

MHW: Knowing you to be a long-time Suzuki piano and general music teacher with plenty of formal training, I am wondering what inspired you to become interested in teaching the recorder? SS: I’ve always liked the sound of the recorder, having played it by ear as a child in Egypt, although it was not taught in the schools there. In my work with students ages 2½ and up, I thought that recorder training could help my teaching. In fact, in order to be a good teacher, I believe in becoming a good student myself and learning new things. My first formal recorder training was at the Suzuki Unit 1 Teacher Training in 2013 (Great Lakes Suzuki Flute and Recorder Institute, McMaster University, Ontario, CAN). Until I took that training, I had never dreamed there was so much to learn about the recorder, and had not thought of it as a virtuoso instrument. Also, I had never known that recorders could cost more than $5 apiece. It happened that I was quite ill while there in Ontario, yet I was still so inspired! That’s when my love for the recorder and early music really began.

MHW: How did you get from being a relative novice, to what I now see as a deeply committed and—may I say— skilled player?

20 Summer 2017 American Recorder I had never dreamed that there was so much to learn about the recorder, and had not thought of it as a virtuoso instrument. SS: I am continually taking new courses to improve myself, such as Orff, com- position, etc. The Suzuki Unit 1 train- ing improved my articulations, breath- ing, fingering, tone and performance. Then in March of 2014, I went to the Columbia Gorge Early Music Retreat [near Portland OR] and that was my first experience in large ensemble play- ing. There were so many great recorder players and early music performers there, I was even more inspired and decided to take the recorder seriously. In fact, I’ve attended other large workshops since then—such as the Mid-Winter Workshop held in Atlanta, GA, and two of the Next Level Recorder Retreats Southeast and am planning to go again. [An upcoming Next Level is set for August 27- September 1, 2017, in Montpelier, VA.]

MHW: So it was after those first forma- tional experiences that you became an activist, initiating one by one new oppor- tunities for recorder players in Memphis. SS: Yes, in June of 2014, we added Suzuki Method for Recorder to the Memphis Suzuki Institute. (A photo of participants is at the start of this inter- view). Since then, Teacher Training courses and student classes for recorder have been available, along with [those for] traditional instruments, at the Institute each year. I myself am now preparing to take Recorder Unit 5.

MHW: You also volunteered for several years, teaching a group of adults in an underserved community. The Suzuki Method was adapted for this group, and they have happily attended master classes at the Institute. SS: That group is called Music Makers, www.AmericanRecorder.org Summer 2017 21 Below: Ron Vernon leads the January workshop in Memphis. a recorder club for senior citizens, Right: a class during the Memphis Suzuki Institute which I started in 2014. Although (l to r, Mary Halverson I am not currently Waldo, Janel Long, coaching them, Kimiko Yamada, they are still meet- Elaine Yontz) ing and playing recorder together each Friday. When one of their regular members passed away recently, the group performed at her funeral.

MHW: Along with the Music Makers group, a rich variety of students has attended the Memphis Suzuki Institute— from the enthusiastic young boy in a wheelchair who was learning with multiple challenges [shown in the Spring AR annual workshop listings], to some talented local music educators. I’m thinking of Allen Moody, who is recognized in the Orff community for his creative work with the recorder. Moody’s school ensembles have appeared at a national Orff conference and in pop-up concerts around Memphis. SS: Other elementary school music teachers have also attended the Institute, including those from the CODA outreach program in Wheaton, IL, home of a thriving recorder program for young elementary children in underserved communities. (See CODA stories in previous AR issues, including Fall 2016 and Winter 2016.)

MHW: Tell me how the recorder society got started in Memphis. SS: Having become a member of the American Recorder Society in 2015, I looked for chapters to join. The near- est one was in Nashville, about 3½ hours from Memphis. I went there twice, but it was too difficult to continue because of the distance. I was feeling so jealous that there were recorder communities in

22 Summer 2017 American Recorder other states but nothing around the Memphis area, so I looked on the ARS At the Memphis Suzuki Institute (l to r): web site to see if there were any other Elaine Yontz, Samuel Sidhom, Mary Halverson Waldo members nearby. In Oxford, MS, I was delighted to discover the Mockingbird Early Music Ensemble. One of the members of that quartet, Dr. Ron Vernon, is a retired Professor of Music at Mississippi State University and is currently Music Director / Conductor of the Germantown (TN) Symphony Orchestra. My application to start the Greater Memphis Recorder Society Chapter was approved by the ARS in April 2015. At that point I asked Ron to be our Music Director, and he Elaine Yontz, Greenville (NC) ARS Chapter Member, agreed. We’ve been meeting monthly recounts her experiences with the Suzuki Method for Recorder Memphis Suzuki Institute since then, September-May, at the I am returning to the in 2017 for the fourth University of Memphis. consecutive year of Teacher Training courses. What keeps me going back? With Ron Vernon at the helm, • I love the way I have learned and grown musically each time I’ve attended our new chapter hosted a successful a course. In fact, what I didn’t expect was that my time there, spent study- workshop in January of 2017, “The ing music pedagogy and the graded Suzuki Recorder School repertoire, Well-Grounded Recorder.” We also would improve my own playing enormously. invited players of other instruments, • I value the Suzuki approach for its emphasis on musicianship, on produc- such as violin, flute, ’cello, etc. ing a fine sound, and on a foundation of smooth technique from the start. • I have learned effective ways to teach students of all ages—from 4 to 94. MHW: Hearing your fascinating story, I can’t help but think of the phrase, Be the I value the Suzuki approach for its emphasis on change you wish to see in the world. musicianship, on producing a fine sound, and on Thank you, Samuel, for all you are doing to realize your vision for the recorder a foundation of smooth technique from the start. in the city of Memphis. The notion that Suzuki students don’t learn to read music is a myth, of Samuel Sidhom's Music Makers course. What’s different is that active music reading is introduced only after were awarded an ARS Educational the student is comfortable making a beautiful sound on the instrument. Outreach Grant in 2015. When Sidhom Instead of trying to master multiple new skills simultaneously, beginning started the free recorder class, he used his students learn through “one-point” lessons, always building a new skill upon own money to supply the senior citizens what is already familiar. This is a sound educational practice, which is much with recorders. His class gradually pro- more likely to result in success. gressed and needed bigger instruments to The most important reason I love about being part of the Suzuki commu- perform a greater range of music. With nity is that the philosophy reflects a world view that is important to me. When your help, the ARS was able to fund the Suzuki people say things like, “Everyone is valuable, everyone can learn, and addition of alto, tenor and bass recorders. music-making does not need to be a competition with others,” they really There is still time this year to apply mean it. When they say, “We are here to help each other,” they really mean for 2017 Educational Outreach Grants, it. When they say “We don’t teach in order to create professional musicians which are due June 15. The application (although that sometimes happens), we do this to create better, happier form can be found on the ARS web site people,” they really mean it. on the Programs dropdown menu, under Whenever I am at a Suzuki workshop or concert, I look around and Scholarships and Grants. Grant money say, “Yes, this is it—this is the world I want.” And I can’t wait to go back is distributed after September 1, 2017. and be immersed in it again.

www.AmericanRecorder.org Summer 2017 23 Compact Disc Reviews ______Baroque Chamber Music

Reviewed by Tom Bickley, Legêne's disc contrasts by recorders alone with those employ- [email protected], ing basso continuo as well. Especially http://about.me/tombickley works for chamber ensemble ear-catching moments are the theorbo playing by Richard Hornych in the RecUeil and for recorders alone; Blavet suite; the rich harpsichord de Pièces Musica Pacifica's recording sound in the Couperin Muséte de pour les Taverni (evoking a bagpipe drone); Autres contains a sequence of and the full ensemble sound with Instru- gamba et al in the Marais pieces. ments — five pieces, alternating This CD is somewhat challenging French three cantatas with two to acquire (including inconsistencies in Chamber the spelling of its French title), but Music for Recorders. instrumental pieces. worth the moderate expense and Eva Legêne, Astrid Andersson, effort. The division of the recording recorders; Anne Legêne, Blavet, Jacques-Martin Hotte­terre into 25 tracks, well-labeled in the viola da gamba; Ricarda “le Romain,” François Couperin, Clair- notes, makes it easy to focus on a par- Hornych, theorbo; Corey Nicolas Roget and Marin Marais are ticular movement. Legêne’s writing in Jamason, harpsichord. Cornetto featured. Legêne notes in her commen- the CD booklet, combined with the COR10048, 2016, 1 CD, 65:54. Abt. tary that the works on this disc are excellent sonic quality of the record- $13+shipping at http://cornettoshop. from a period during which the record- ings, yield compelling examples of com (in German: “suchen,” or search er’s popularity declined (compared with audio and text in these works. for, “blockflöte”); use the “Kontakt” the rise of the transverse flute, flageolet, link to inquire about shipping cost. etc.). Thus the “autres instruments” M i PalpITA Eva Legêne continues her signifi- (other instruments) in the title refers il Cor: cant contribution to recorder playing to the composers’ acknowledgement Baroque with not only her performances, but that these pieces can be played by Passions. also this marvelous recording. Legêne, flutes, violins, etc., in addition to Musica who studied with the late Frans recorders. Pacifica Brüggen, taught at the Indiana A particular source of pleasure in (Judith University Early Music Institute the repertory of French music of this Linsenberg, from 1985–2009. She is active as a period is the relatively low range of the recorders; Elizabeth performer and teacher in the U.S. and melodies. This is particularly evident Blumenstock, violin; Josh Europe, working with a wide range in the works for recorders alone by Lee, viola da gamba; John of repertory. Many among the next Hotteterre and Roget (even when orig- Lenti, theorbo & guitar; generation of noted recorder perform- inal lines are transposed a minor third Charles Sherman, harpsi- ers studied with her. higher). Legêne’s and Andersson’s chord) with Dominique In this recording, listeners will use of alto recorder and voice flute Labelle, soprano voice. Navona enjoy hearing a lovely selection of (a recorder with the lowest note being NV6056, 2016, 1 CD, 76:00. Available French repertory from the early 18th d', that sounds just lower than the alto) at www.arkivmusic.com/classical/ century. Five composers provide a var- bring out the beauty in these lines and album.jsp?album_id=2215773, $14.99 ied range of works for two recorders the rich timbres of the lower register. for CD; www.smile.Amazon.com, alone and for a larger ensemble with The sequencing of pieces exploits $12.99 for CD,$8.99 for mp3 basso continuo. Works by Michel the contrasts in timbre of works played download; $9.99 for mp3 downloads

24 Summer 2017 American Recorder from www.iTunes.com. See www. Telemann (1681–1767) and Jean- Dominique Labelle, Linsenberg and navonarecords.com/catalog/nv6056 Philippe Rameau (1683-1764), plus violinist Elizabeth Blumenstock. for detailed liner notes and links to nuanced performances by all of the The affect referred to in the CD title purchase the recording. musicians, results in a strong and very (Mi Palpita il Cor, “I feel my heart While the CD Recueil de pièces appealing recording. beating”) is maintained in the pour les autres instruments focuses on Each movement of the five works instrumental works by Sammartini repertory from early-18th-century is on a separate track, with a total of and Telemann no less than in the France, Judy Linsenberg and company 30 tracks. This enables easy access to cantatas. The sound of the sung Italian provide a program of slightly later favorite tracks for either listening and French engages the listener, as and more broadly continental fare. pleasure or close study. does the phrasing and articulation in Legêne’s disc contrasts works for These are ensemble works, but the recorder and violin lines in instru- chamber ensemble and for recorders the solo aspects of the lines for voice, mental pieces. Gamba, theorbo/guitar alone; Musica Pacifica’s recording con- recorder and violin are beautifully and harpsichord contribute similar tains a sequence of five pieces, alternat- demonstrated by soprano vocalist clarity and emotion. ing three cantatas with two instrumen- tal pieces. The choice of repertory by Agostino Steffani (1654-1728), Giuseppe Sammartini (1695-1750), G. F. Handel (1685-1759), G. P.

www.AmericanRecorder.org Summer 2017 25 American Recorder Society Publications The stereo recording presents a satisfying image of the ensemble. Musical Editions from the Members’ Library: Additional hard copies may be ordered: ARS Members, $3; non-members, $5 (including U.S. postage). There are wonderful passages when Please ask about discounts for multiple copies. ARS Members may also download at the ARS web site. Labelle’s soprano voice creates a tangi- Algunos lugares 1 (A solo) Marcelo Milchberg Little Girl Skipping and Alouette et al ble presence. There are also curious Arioso and Jazzy Rondo (AB) Carolyn Peskin (SATBcB) Timothy R. Walsh Belmont Street Bergamasca (ATB) Sean Nolan Los Pastores (S/AAA/T + perc) moments when the singer’s voice Berceuse–Fantaisie (SATB) Jean Boivert Virginia N. Ebinger, arr. Blues Canzonetta (SATTB) Steve Marshall Lullaby (AATB) and Cake Walk (SATB) from seems to wander off-microphone Bruckner’s Ave Maria (SSATTBB) Suite for Recorder Quartet Hildegard Erle slightly (e.g., in track 22), as if she Jennifer W. Lehmann, arr. Mere Bagatelle IV (AAA/T) Anthony St. Pierre Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) Erich Katz had turned her head. In an otherwise Dancers (AT) Richard Eastman Nostalgium (SATB) Jean Harrod Danse de Village (SAB) Kevin Holland Nottasonata No. 1 (SATB) Daniel Thrower absorbing recording, I found those Danse from Primodal Episodes (SATB) Other Quips (ATBB) Stephan Chandler moments distracting. Neverthe­less, John Winiarz Poinciana Rag (SATB) Laurie G. Alberts Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz the totality of the CD is very good. Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. Carolyn Peskin Serie for Two Alto Recorders (AA) Navona has done a superb job Elizabethan Delights (SAA/TB) Frederic Palmer of distribution and use of the web. Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) Faded Memories/Opus 88 (ATBB/SATB) Colin Sterne (I encourage everyone to explore www. William Ruthenberg Sonata da Chiesa (SATB) Ann McKinley navonarecords.com/catalog/nv6056. Fallen Leaves Fugal Fantasy (SATB) S-O-S (SATB) Anthony St. Pierre ) Dominic Bohbot 3 Balkan Line Dances (SATB) Emilie George, arr. Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley That requires significant effort, beyond Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin the resources that every label can Gigue (SATB) Thomas Van Dahm Three Dutch Folktunes from Hollantse Boeren- Gloria in Excelsis (TTTB) Robert Cowper lieties en Contredansen (SAAT/AAAA/ATTB) provide. I wish that Cornetto record- He Talks, She Talks (AT) Bruce Perkins Victor Eijkhout Havana Rhubarb Rhumba (SATB up to Three in Five (AAB) Karl A. Stetson ings had a similarly rich web presence 7 players) Keith Terrett Tracings in the Snow in Central Park (SAT) and means of distribution. Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) Certainly both Recueil de pièces In Memory of Andrew (ATB) David Goldstein George T. Bachmann In Memory of David Goldstein (SATB) Triptych (AAT/B) Peter A. Ramsey pour les autres instruments and Will Ayton Two Bach Trios (SAB) William Long, arr. Mi Palpita il Cor will reward Jay’s Pyramid Scheme (SATB) Jay Kreuzer Two Brahms Lieder (SATB) Lay Your Shadow on the Sundials (TBgB) Thomas E. Van Dahm, arr. close listening with great pleasure. Terry Winter Owens Variations on “Drmeš” (SATB) Martha Bishop Leaves in the River (Autumn) (SATB) Vintage Burgundy (S/AS/ATT) Erik Pearson Jennifer W. Lehmann, arr. LeClercq’s Air (SATB) Richard E. Wood Western Union (ATBgB) Peter Dixon Woodland Whimsy (SATB) Gary Betts ZIP Code Boogie (SATB) Charlotte Van Ryswyk ARS Information Booklets: 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 *Free online to ARS members Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Judith Whaley, coord. *Recorder Care Scott Paterson Education Publications Available Online and Free to Members The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). Guidebook to the ARS Personal Study Program (1996). ARS Music Lists. Graded list of solos, ensembles, and method books.

Videos Available Online to All Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. The video features Rose performing a variety of music and in an interview with ARS member professional John Tyson.

Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20. One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. Resource on consort topics such as group interaction, rehearsing, repertoire, performing.

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26 Summer 2017 American Recorder Music Reviews ______Baroque for all

Tvewel Fantasias, by Georg Of the dozen, the most easily just two), although some internal slow Philipp Telemann, transcr. executed are Nos. 3 (A minor), movements are mere transitions of a Monika Mandelartz. Girolamo 4 (Bb major), 6 (C major), 9 (D minor), few bars. Some movements have the Musikverlag G12.049 (www.girolamo. and 11 (G minor). Yet even these pose character of a fugue, leaving the listener de/mainE.html), 2017. A. Sc 29 pp. formidable challenges. If pervasive to imagine the entries of other voices. Abt. $26. wide leaps are more characteristic of Most are ternary, binary or rounded Now, in addition to transcriptions string writing than woodwind, we binary, and free form. of the flute and violin solo fantasias, should keep in mind that the flute Although not always designated the recorder can annex another set of fantasias are likewise fraught. The as such, some are dances bearing the adapted Telemann fantasias to its rep- occasional top f#, a somewhat recalci- characteristic rhythmic motives of the ertoire—the 12 newly-discovered (in trant note on many alto recorders, bourrée and gigue. A siciliana is so 2014) fantasias for solo viola da gamba, appears from time to time. named in No. 10. published by the composer in 1735. As much variety of form and The last movement of No. 3 Those familiar with the flute character is found in these fantasias as strongly recalls the last movement of fantasias will be struck by the abun- appears in the others. All but the first G. F. Handel’s C major recorder sonata dance of the composer’s slurrings in have three movements (the first has (1722). Throughout, many passages the viol set in comparison to the set for flute. Performers may wish to prune some­what to bring the articulations into conformity with what Telemann indicated when writing for the flute. Because of the extensive arpeg- giated stops (broken chords) character- istic of viol music, the editor has had to alter the score more extensively than was necessary in the adaptation of the violin fantasias. (See my review in the Winter 2014 AR of the latter, Vier Fantasien, Girolamo G12.027.) In the violin fantasies, the editor Franz Müller-Busch transcribed only four of 12, having determined that transcrip- tion of the other eight would result in either technical impracticalities or an unacceptably compromised rendition. One could argue that some of the present set fall into this category. The editor has consistently transposed up an interval of an 11th. No. 8, which she moved from A major to D major, and No. 10, from E major to A major, would have been more practical and playable in Eb and Bb respectively.

www.AmericanRecorder.org Summer 2017 27 presage the pre-Classical style of Perhaps surprisingly, in a manuscript, “Sinfonie / di / Giuseppe C.P.E. Bach, one of J.S. Bach’s S. Martino,” a collection from the early many sons who continued the family Antonio Vivaldi's music 1700s containing original works and business by composing music in the has always been found adaptations for recorder, housed in the early German Classical era. apt for arrangement. Biblioteca Palatina in Parma, Italy. The editor provides rather scant The works presented here are Nos. 2, notes in German and English, but does on a larger scoring with accompanying 6 and 14 from the Parma Manuscript. direct those who wish to consult fac- strings as RV570. Finally, it appeared The title of the edition refers to similes of the original publication to as the first of his Opus 10 concertos the fact that it is a sequel to a 2013 http://imslp.org. for flute, RV433. Girolamo edition, also by Lara Dalla Anthony St. Pierre, of Toronto, ON, Robinson has based his transcrip- Libera, of three of Sammartini’s other has composed extensively for recorders. His tion primarily on the flute concerto, sonatas from the same manuscript Folia à 4, third prize in the 2007 Chicago filling out textures with material (Girolamo G12.034, reviewed in the Chapter’s composition competition,­ may be taken over from the chamber version. Summer 2016 AR). heard at: www.folias.nl. He holds a B. Indeed, the top part is identical to the Sonata No. 2 is in the traditional Mus. in composition from Ohio State flute concerto’s solo line, with one or sonata pattern of movements (slow- Universit­ y and M.Mus. in his­tor­ical two clearly marked interpolations. fast-slow-fast), while the other two per­formance practices from Wash­ington Imaginative players will have a are fast-slow-fast. The three-move- Uni­versit­ y. In the 1980s, he played oboe great time simultaneously depicting ment sonatas end with gigue-like with Tafelmusik Baroque Orchestra and Vivaldi’s storm at sea and conjuring up movements. The slow movements of with the Studio de musique ancienne de the original instrumental textures. Of all three sonatas are marked Andante, Montréal. course, the piece is most suitable for including both slow movements in advanced players, but adventuresome No. 2. The continuo parts are some- TEMPESTA DI MARE (DUET): intermediate players may want to give times directly in dialog with the THE CONCERTO FOR FLUTE it a try. recorder part and can be challenging AND STRING ORCHESTRA It could also be quite an effective as they negotiate Sammartini’s RV433, by Antonio Vivaldi, recital piece, placed on a program to be harmonic twists and turns. arr. Andrew Robinson. Peacock played for an audience with an appreci- The continuo realization by Press PAR453 (www.recordermail. ation for its programmatic elements. Yo Hirano is sometimes a little more co.uk), 2011. AA. Sc 11 pp. Abt. $7. The two performers play from melodically active than is usual these Perhaps surprisingly, Antonio one score, and the printing is clear days, but it is generally well judged. Vivaldi’s music has always been found and accurate. Della Libera provides an informative apt for arrangement. He generally introductory note to the edition as writes very idiomatically for the 3 MORE SONATAS, by Giuseppe well as a detailed critical report. instruments at hand, especially for Sammartini, ed. Lara Dalla strings, but his clear harmonic direc- Libera. Girolamo G12.040 (www. tion and rhythmic energy allow the girolamo.de), 2015. A, bc. Sc 29 pp, music to take on other instrumental B pt 10 pp, rec pt 13 pp. Abt. $30. guises very effectively. The sonatas by Giuseppe Sam­ J.S. Bach, of course, famously martini (1695-1750 are among the arranged a handful of Vivaldi’s concer- most intriguing of the late Baroque. •Recitals tos for keyboard, and there have been Although he died the same year as J.S. a number of intriguing arrangements Bach, Sammartini’s recorder sonatas •Workshops in our own time of pieces by Vivaldi are very forward-looking, with colorful such as The Four Seasons. harmonic excursions and extended •Skype Lessons Andrew Robinson has extended phrases. While not as melodic as sona- the principle here to a recorder duet tas by another contemporary, George version of Vivaldi’s Tempesta di Mare Frideric Handel, they do feature inven- concerto. As his helpful introductory tive and constantly changing textures. [email protected] note describes, the piece began life as a A master recorder player, oboist www.LEnsemblePortique.com chamber concerto for flute, oboe, violin, and flutist, Sammartini left many 309.828.1724 bassoon and continuo, RV98, then took recorder sonatas. Some are preserved

28 Summer 2017 American Recorder The presentation is especially large, clear and accurate. These three sonatas are not simple, but they do not con- Calling all sopraninos! ... tain quite the virtuosic writing of some of his other sonatas, For ’nino players longing for so they would be suitable for an upper intermediate player. their moment in the sun, I would Anyone who has had a taste of Sammartini’s sonatas certainly recommend the Pepusch. will want to explore this latest offering—and it also would make a good starting point for those new to his work. piece. On alto or sopranino, these present very little problem, Scott Paterson, a former ARS Board member, teaches but on soprano they require an advanced player with a per- recorder and Baroque flute in the Toronto (ON) area, where he fectly speaking instrument. is a freelance performer. He has written on music for various Regardless of which recorder plays the obbligato, there publications for over 25 years, and now maintains his own is still a question of whether it is worth the trouble to draft a studio after over 30 years at the Royal Conservatory of Music string quartet for the other parts of this quite brief piece. If of Toronto. you were doing the whole opera, or performing the piece as part of a concert already involving string players, you would Three Pieces from Edition Wal­hall use the strings, because they’d already be there. Mostly the (www.edition-walhall.de/en), ed. Peter Thalheimer violins play in unison—and, when they don’t, the continuo player could fill in. The viola is especially unnecessary, as the CARES WHEN THEY’RE OVER, by Francesco part simply completes the chord. The singer’s part is mostly Bartolomeo Conti. EW999, 2016. Soprano voice, S doubled on the recorder, although a few phrases of the “A” or violin, strings, bc. 2 sc 10 pp ea, 5 pts 1-2 pp ea. Abt. $18. section have the showy recorder passagi as an independent CHIRPING WARBLERS, by Johann Christoph obbligato. Pepusch. EW980, 2015. Mezzo-soprano voice, S’o, vln, Chirping Warblers (1715) by Johann Christoph ( John vla/vln II, bc. 2 sc 10 pp ea, 5 pts 1-2 pp ea. Abt. $18.75. Christopher following his relocation to England after 1700) QUELL’ ESSER MISERO, by Alessandro Pepusch uses the recorder’s ability to imitate birds quite Scarlatti. EW978, 2015. Soprano voice, S’o, vln, bc. effectively, as the text invokes them to “warm” Venus’s lover. 2 sc 7 pp ea, 4 pts 1-2 pp ea. Abt. $17. Many recorder players have encountered the pleasant Calling all sopraninos! Present arms! Your day has and fairly easy solo sonatas of the German-born Prussian come! Here are three delightful Baroque arias with charm- composer Pepusch (1667-1752), and possibly the old Schott ing sopranino obbligati, with pleasant and not difficult voice edition of the pastoral cantata, Corydon, with alto obbligato. parts. You can play with or without the string parts by Now comes this attractive aria of Venus from Pepusch’s assigning some of them to the continuo or even, in two masque, Venus and Adonis. cases, other recorders! What could be not to like? Each Many will be familiar with John Blow’s short opera aria provides two full scores—so the singer and keyboardist of that name from nearly a century before. There are can each have one—and easy-to-read, well-cued parts for probably good reasons we know the Blow and not the everyone. Pepusch—but this aria promises a lot of chirpy fun, espe- Sometimes described as fiery and even a little bizarre, cially if more recorders are substituted for the specified Italian dramatic composer Francesco Bartolomeo Conti violins. The additional parts are also chirpy and would, (1681/82-1732) was a player of mandolin and theorbo. The I think, contribute to the sylvan atmosphere if played aria, “Cares When They’re Over,” is from his opera Clotilde, on alto and tenor (using a few octave substitutions). originally performed in Vienna in 1706. The opera was then With a bit of practice on some alternative fingerings, used by a London opera director, Johann Heidegger, as part the sopranino player should be able to shine. The voice part of a pastiche with interludes by Alessandro Scarlatti and could be handled by any intermediate singer, and the text is Antonio Bononcini in 1709. not gender-specific. Like Polyphemus’s aria with flageolet The text is pretty conventional (essentially, “when in G. F. Handel’s Acis and Galatea, it could be even more they’re over, cares give enhanced enjoyment to the lover”). amusing with a baritone singer than with a mezzo. Scored for flageolet or 6th flute, strings and continuo, the Italian Baroque composer Alessandro Scarlatti piece is presented here as being for soprano recorder. It’s a (1660-1725) is one of his generation's most graceful cre- lot easier to play on sopranino, eliminating awkward thumb- ators of music for voice. His operas and cantatas abound ing and management of high notes in the 16th-note with limpid melodies and elegant turns of phrase. passagework—which features rising scales at the bottom of The aria, “Quell’esser misero,” is from his 1698 opera, the figures, paired with high a''' on top for several measures The Fortunate Prisoner, with a libretto by F.M. Paglia. In at a clip, and recurs numerous times in the course of the this edition, it’s translated into German, but not English,

www.AmericanRecorder.org Summer 2017 29 and basically echoes the opera’s title, in which one is said Eight Little Three-Part Pieces, by J.S. Bach, to be fortunate to be the prisoner of love. arr. Irmhild Beutler & Sylvia Corinna Rosin. Although two string parts are given, it would be per- Universal Edition UE31-480 (www.universaledition.com), fectly possible, and perhaps desirable, to have the top string 2016. S A/T B. Sc 9 pp, 3 pts: S A/T 6 pp ea, B 4 pp. part played on alto recorder and the lower one on the tenor. Abt. $16. (As with the Pepusch, there would be a few barely noticeable This collection features primarily short, but harmoni- octave substitutions for the alto.) The sopranino part is sweet cally rich, dance pieces by the great master. The parts are laid without being virtuosic, and except for a few high notes— out very well, and people of a certain age will appreciate the G and A above the staff—the voice part is pretty but not relatively large music font selected. With few exceptions, the challenging. middle line may be played on either alto or tenor. As usual with Walhall editions, the score and parts Minuett, BWV929, opens the collection. Although very are beautifully presented. For ’nino players longing for brief, it is extremely beautiful. It is set in D minor and fea- their moment in the sun, I would certainly recommend the tures dissonant suspensions with exquisite resolutions. Bass Pepusch, but these pieces are all pretty brief—so there might players will enjoy the actively moving bass line. be a reason to program two or even all three on a full-length Menuett (from Notebook for Anna Magdalena Bach) is concert. another very harmonically rich piece, which features a lovely Suzanne Ferguson is active as an early musician in soprano melody line. It is also in D minor. Ft. Myers, FL. She served on the ARS Board in the 1980s Polonaise (also from Notebook for Anna Magdalena Bach) and is past president of the Viola da Gamba Society of America. is a dance in G minor with a march-like feel. It is dominated by a melody line in the soprano, with the other lines provid- Music Reviewers in the News ing harmony. This piece is unusually homophonic for a work Beverly Lomer's article, "In Praise of Early Women by Bach. Composers," appears in the January 2017 EMAg, a pub- Gavotte II ou la Musette is a little gem from English lication of Early Music America. A regular writer about Suite III, BWV808. The soprano and the middle line (alto or tenor) play a folk-like melody, while the bass plays a constant music in AR, Lomer reviews a Bach sonata in this AR. drone on G, mimicking the feel of a bagpipe (or musette).

30 Summer 2017 American Recorder S oNATA—BWV 1033, by Johann Sebastian Bach, arr. Charles Coldwell. Editions Dolcimelo EDB00101 (www.dolcimelo.com), 2001 (first printing 2003). Sc 4 pp. $7. This edition is a transcription for Gavottes I & II (from English could consider interspersing these unaccompanied recorder of J. S. Bach’s Suite VI, BWV811) are set for SAB, among longer works on a program. Sonata in C major for transverse flute and as the middle line is not in the tenor Most of the pieces are suitable continuo, BWV1033. To better accom- range. These works are longer and for an intermediate ensemble, with modate the recorder's range, it has been more difficult than the other pieces the exception of Gavottes I and II moved up a minor third to Eb major. in the collection. from BWV811, which are suitable The editor, Charles Cold­well, Gavotte I has a very actively mov- for a somewhat more advanced group. explains that the work has been the ing bass line. In all three parts, there are Irene Rosenthal holds a B.A. in topic of a number of different theories a few tricky rhythms to navigate that music from Arizona State University regarding its authorship and original don’t look tricky on paper. In Gavotte and did graduate work in musicology at form. In the excellent introduction, he II, the bass is tacet, creating a lively duet the Uni­versit­ y of Chicago. Even though summarizes the issues in some detail. between the soprano and the alto. she has sung and also played piano, harp- The principal source is a manuscript, Unlike the other works in the sichord and guitar, the recorder is her Sonata a Traversa e Continuo di Joh. Seb. collection, the combination of the two instrument of choice. She has taken lessons, Bach, which was copied by Bach’s son Gavottes with the obligatory repeat workshops and master classes with many C.P.E. Bach. C.P.E. attributed it to his of Gavotte I makes this piece a good well-known performers. She lives in father—yet some scholars believe that length for a performance. This pair is Phoenix, where she plays with the Canis the quality of the work, particularly the suited for a more advanced ensemble Firmus Trio and performs as a guest with continuo, suggests composition by a than is required for the rest of the col- a variety of local ensembles. student or by C.P.E. Bach himself. lection. Robert Marshall (in Journal of Set for SAB, Gavotte (from French the American Musicological Society, Suite V, BWV816) is an absolutely bril- Fall 1979) classifies it as a “hybrid” that liant arrangement of the Gavotte from was written by J.S. Bach as a sonata for this French Suite. Those of you who unaccompanied flute and to which have played it on the keyboard (as in C.P.E. Bach might have added the the original excerpt above)—and those continuo part as a compositional exer- of you who haven’t—will be very cise. According to Marshall, the prob- pleased with it. All three lines are lems and detractions caused by the superbly crafted; overall, the piece is continuo disappear when rendered as very lively and fun to play. The original an unaccompanied sonata. Coldwell work in G major has been transposed follows this theory in the edition. to F major to suit the recorders’ range. The sonata contains four move- Another short Gavotte (from ments: Andante and Presto, Allegro, French Suite VI, BWV817) is set in Adagio, and a Menuetto, which is a manner that makes it sound par- divided into Menuetto I and Menuetto ticularly playful and happy. Its rich II, the first serving a Da capo function. harmonies and unexpected chromatic In the transcription, the first three moments give this arrangement a movements and the second minuet unique character. render the flute part as it was given in Overall, this collection has a lot C.P.E. Bach’s manuscript. The first going for it. The pieces are easy to read minuet, however, is adapted from the and well arranged. Most of them have right hand of the keyboard part, which active bass lines; in each piece, every was fully written out and included in player has an interesting part. the manuscript. The edition indicates Some of the pieces are too short the differences on ossia staves. Original to play in a concert setting, but one slurs are given, and dotted slurs are offered as editorial suggestions. www.AmericanRecorder.org Summer 2017 31 The opening Andante, which As noted above, editorial slurs are The edition is well-prepared and switches suddenly to Presto halfway added to the Andante section. I played includes detailed background informa- through, consists of typical Baroque it through multiple times with and tion. The skill level is advanced, plus gestures, including scale and arpeggio without them. On one hand, they knowledge of Baroque style is essential. patterns and sequences. The Andante follow the patterns of the manuscript It is an enjoyable and challenging is not particularly lyrical, as one might slurs. On the other, they tend to create solo work. As far as concert perfor- expect of a slow movement, and it takes a more homogenous—and thus per- mance is concerned, if that is one’s goal, some interpretive skill to play it so that haps less interesting—sound. it would appeal to an audience with an it does not sound like a technique exer- The Presto is a challenge, due to appreciation of solo Baroque style. cise. The same can be said for the the key signature (three flats) and the Beverly R. Lomer, Ph.D., is an inde- Allegro, whose construction is similar. skips that involve notes in the highest pendent scholar and recorder player whose register. Experience in understanding special interests include performance from KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; Baroque music is again essential here. original notations and early women’s gB=great bass; cB=contra bass; Tr=treble; The Adagio is quite beautiful. music. She is currently collaborating on qrt=quartet; pf=piano; fwd= foreword; Of all of the movements, it would have the transcription of the Symphonia of opt=optional; perc=percussion; pp=pages; sc=score; pt(s)=part(s); kbd=key­board; the most general audience appeal. Hildegard of Bingen for the International bc=basso continuo; hc=harpsic­ hord; Society of Hildegard von Bingen Studies. P&H=postage/handling. Multiple reviews Classified rate for American Recorder: 60¢ per She is the president of the Palm Beach by one reviewer are fol­lowed by that review­ word, 10-word minimum. “FOR SALE” and er’s name. Publi­catio­ ns can be purchased “WANTED” may be included in the copy (FL) Recorder and Early Music Society. from ARS Business Members,­ your local without counting. Zip code is one word; music store, or directly from some distri- phone, e-mail or web page is two. Payment Consider advertising in butors. Please submit music and books must accompany copy. Deadlines are for review to: Sue Gros­kreutz, one month before issue date. Send copy %7770 S. High St., Centennial CO 80122 with payment to: ARS, P. O. Box 480054, U.S., [email protected]. Charlotte, NC 28269-5300. For current rates and specifications, see For Sale: Yamaha two new plastic tenors, $50 http://americanrecorder.org/advertise_ Classified each. One new yellow Ecodear Alto Recorder with_ars.php. Please inquire about discounts ______$45. Mollenhauer Dream pearwood alto $100, on multiple-issue contracts or other special ______soprano $35. Excellent condition. Call George requests. 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32 Summer 2017 American Recorder