M a R C H 2 0

March 2010 Published by the American Recorder Society, Vol. LI, No. 2 • www.americanrecorder.org

NEW!

Enjoy the recorder Denner great bass Mollenhauer & Friedrich von Huene

“The Canta great bass is very intuitive to play, making it ideal for use in recorder “The new Mollenhauer Denner orchestras and can be great bass is captivating with recommended .” its round, solid sound, stable in every register. Its key mechanism Dietrich Schnabel is comfortable and especially (conductor of recor- well designed for small hands. An der orchestras) instrument highly recommended for both ensemble and orchestral playing.”

Daniel Koschitzky Canta knick great bass (member of the ensemble Spark) Mollenhauer & Friedrich von Huene

G# and Eb keys enable

larger finger holes

and thus an especially

stable sound.

The recorder case with many extras With adjustable support spike … saves an incredible amount of space with the two-part middle joint … place for music

… integrated recorder stand Order-No. 2646K Order-No. 5606 www.mollenhauer.com 0DJQDPXVLF'LVWULEXWRUV ,QF MH2446K MH2446 Pearwood PO BOX 338, 74 AMENIA UNION RD, SHARON, CT 06069-0338 MH2406 Pearwood Double Key TEL: (860) 364-5431 FAX: (860) 364-5168 Email: [email protected] Pearwood Double Key Bent Neck Web: www.magnamusic.com Tenor Tenor Tenor ORDER TOLL FREE, 888-665-2721 ororderonlineatwww.magnamusic.com MH2226 MH2246 MOLLENHAUER SALE MH2206 Pearwood Pearwood MH5206 MH5222 MH5220 While supplies last, take Pearwood Single Key Double Key Pearwood Boxwood Rosewood advantage of up to 33% off of Alto Alto Alto Alto Alto Alto select Mollenhauer inventory.

MH4119R MH5220 MH5124 Pearwood Rosewood Grenadilla Soprano Soprano Soprano

Retail: $149 Retail: $412Retail: $491 Retail: $262 Retail: $309 Retail:$393 Retail: $376 Retail: $560 Retail: $560 Retail: $362 Retail: $491 Retail: $576 Sale: $99 Sale: $330 Sale: $342 Sale: $179 Sale: $216 Sale:$325 Sale: $257 Sale: $449 Sale: $449 Sale: $268 Sale: $417 Sale: $399

Magnamusics' arrangements by Walter Bergmann in collections from sopranino to bass have a wonderful mix of hand picked selections fitting for each instrument. Each volume contains 12 to 20 pieces. $5.95 each

Sopranino Soprano Alto Tenor Bass MM00021 MM00022 MM00023 MM00024 MM00025 Editor’s Note ______Volume LI, Number 2 March 2010 hen Connie Primus became Music Features WReviews editor, the September 1994 You have Music: AR described her as “someone who needs Surfing the Recorder Internet ...... 8 no introduction”—more the case now, after A special On the Cutting Edge by Tim Broege years of overseeing Music Reviews (not to mention other AR writings including her Sumer is icumen in ...... 18 columns while she was ARS President). The annual look at summer workshops, 4 Her decision to “retire” as Music Reviews plus a few scheduled earlier and later editor (but, happily, we’ll still hear from her Departments as a reviewer) left a void in an important Advertiser Index and Classifieds ...... 40 department. After all, online reviews of various media abound—but reviews by qual- Chapters & Consorts ...... 33 ified recorder players, of recorder music? To my relief, Sue Groskreutz stepped Compact Disc Reviews ...... 30 forward to become Music Reviews editor. Flautando Köln, Michala Petri and Piffaro 11 She has worked behind the scenes with Education ...... 14 Connie since almost a year ago to create a Recorders and refugees, taught by Anne Sullivan smooth transition. Her credits appear in the short bio after one of this issue’s reviews, Music Reviews ...... 34 where space doesn’t allow details of how she One last review edited by Connie Primus, kept the American Recorder Teachers Asso- plus more from incoming Music Reviews Editor ciation on track, and of her work to organize Sue Groskreutz a chapter in the Ft. Myers (FL) area. Sort- President’s Message ...... 3 ing out who has review music and for how 14 long, and then editing reviews, are tasks to Lisette Kielson on an historical day of work for the ARS which Sue brings past skills and expertise. Q&A ...... 28 You may meet Sue at one of the work- A wooden alto recorder on a budget, shops described in this issue (page 18). She keeping instruments happy with humidity may just try to recruit you to write music reviews—which reminds me to thank the Response ...... 11 many volunteer and near-volunteer contrib- Revisiting thumbrests utors to AR. I especially thank Connie: not Tidings ...... 4 only for many dedicated and reliable years, 33 but for her constant good humor. More about Aldo Abreu’s recital on 300-year-old Gail Nickless recorders, Nina Stern heads to Kenya, Monteverdi’s 1610 Vespers

GAIL NICKLESS, EDITOR ON THE COVER: CONTRIBUTING EDITORS TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER, BEGINNERS & TECHNIQUE TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE • CAROLYN PESKIN, Q & A Photo CONSTANCE M. PRIMUS AND SUE GROSKREUTZ, MUSIC REVIEWS • MARY HALVERSON WALDO, EDUCATION by William

ALABAMA HAWAII Rochester: Liz Seely (585-473-1463) Rockland: Jacqueline Mirando Alabama Recorder Assoc.: Jennifer Hawaii: Irene Sakimoto (808-734-5909) (845-624-2150) Garthwaite (256-586-9003) Big Island: Roger Baldwin Westchester: Birmingham: (808-935-2306) Erica Babad (914-769-5236) Janice Williams (205-870-7443) West Hawaii Recorders: Marilyn Bernhardt (808-882-7251) NORTH CAROLINA AMERICAN ARIZONA IDAHO Carolina Mountains: RECORDER Desert Pipes (Phoenix): Carol Markey (828-884-4304) George Gunnels (480-706-6271) Les Bois (Boise):Kim Wardwell Triangle: Mary McKinney Arizona Central Highlands (360-202-3427) (919-489-2292) SOCIETY (Prescott): Georgeanne Hanna ILLINOIS inc. (928-775-5856) OHIO Tucson: Scott Mason (520-721-0846) Chicago: Mark Dawson (773-334-6376) Greater Cleveland: Chicago–West Suburban: Honorary President ARKANSAS Edith Yerger (440-826-0716) David Johnson (630-740-9220) Toledo: Marilyn Perlmutter Aeolus Konsort: Erich Katz (1900-1973) LOUISIANA (419-531-6259) Honorary Vice President Don Wold (501-666-2787) Bella Vista: Barbara McCoy Baton Rouge: OREGON Winifred Jaeger (479-855-6477) Cody Sibley (225-505-0633) Eugene: Lynne Coates New Orleans: CALIFORNIA (541-345-5235) Statement of Purpose Victoria Blanchard (504-861-4289) Oregon Coast: Corlu Collier Central Coast: Margery Seid & David Kemp (504-897-6162) (541-265-5910) The mission of the American Recorder Society is (805-474-8538) MARYLAND Portland: Zoë Tokar (971-325-1060) to promote the recorder and its music by East Bay: Susan Jaffe (510-482-4993) Northern Maryland: PENNSYLVANIA developing resources and standards to help Richard Spittel (410-242-3395) people of all ages and ability levels to play and Inland Riverside: Greg Taber Bloomsburg Early Music Ens.: (951-683-8744) MASSACHUSETTS Susan Brook (570-784-8363) study the recorder, presenting the instrument to Monterey Bay: LouAnn Hofman Boston: Justin Godoy Erie: Linda McWilliams new constituencies, encouraging increased career (831-439-0809) (781-507-4891) (814-868-3059) opportunities for professional recorder North Coast: Kathleen Recorders/Early Music Philadelphia: performers and teachers, and enabling and Kinkela-Love (707-822-8835) Metro-West Boston: Sheila Sarah West (215-984-8359) Orange County: Pittsburgh: Helen Thornton supporting recorder playing as a shared social Beardslee (978-264-0584) Jo Redmon (714-527-5070) Worcester Hills: Doug Bittner (412-781-6321) experience. Besides this journal, ARS publishes Redding: Kay Hettich (508-852-6877) RHODE ISLAND a newsletter, a personal study program, a (530-241-8107) Sacramento: Mark Schiffer MICHIGAN Rhode Island: directory, and special musical editions. Society (916-685-7684) Ann Arbor: David Bojar (401-944-3395) members gather and play together at chapter San Diego County: Harvey Annabel Griffiths (734-213-3172) TENNESSEE Winokur (619-334-1993) meetings, weekend and summer workshops, and Kalamazoo: Charles Vreeland Greater Knoxville: many ARS-sponsored events throughout San Francisco: Greta Hryciw (269-342-8069) (415-377-4444) Ann Stierli (865-637-6179) Metropolitan Detroit: Claudia Nashville: the year. In 2009, the Society enters its Sonoma County: Novitzsky (248-548-5668) eighth decade of service to its constituents. Dale Jewell (707-874-9524) Janet Epstein (615-297-2546) Northwinds Recorder Society: Southern Middle Tennessee South Bay: Janet Smith (231-347-1056) Liz Brownell (408-358-0878) (Tullahoma): Vicki Collinsworth Board of Directors Western Michigan: Jocelyn Shaw (931-607-9072) Southern California: ( 231-744-8248) Lisette Kielson, President Jerry Cotts (310-453-6004) & TEXAS MINNESOTA Laura Sanborn–Kuhlman, Juanita Davis (310-390-2378) Austin: Marianne Weiss Kim Twin Cities: Sue Silber (651-697-7080) Vice President; Fundraising Chair COLORADO (512-795-9869) Marilyn Perlmutter, Secretary; Boulder: Mike Emptage MISSOURI Dallas: Jack Waller Scholarship Chair (970-667-3929) St. Louis: (972-669-1209) Rio Grande: Martin Winkler Cathy Emptage, Treasurer; Colorado Springs: Janet Howbert Kathy Sherrick (314-822-2594) (719-632-6465) (575-523-0793) Finance Chair NEVADA Denver: Dick Munz (303-286-7909) UTAH Matthew Ross, Assistant Secretary; Fort Collins: Sherry Pomering Sierra Early Music Society: Kay Judson (775-322-3990) Utah (Salt Lake): Mary Johnson Membership Co-Chair (970-484-0305) (801-272-9015) Bonnie Kelly, Assistant Treasurer; Early Music Society of Western CO: NEW HAMPSHIRE Bev Jackson (970-257-1692) VERMONT Chapters & Consort Chair; Special Monadnock: CONNECTICUT Kristine Schramel (413-648-9916) Monadnock: Events/Professional Outreach Co-Chair & Lynn Herzog (802-254-1223) Kristine Schramel (413-648-9916) Letitia Berlin, Special Events/ Connecticut: Elise Jaeger & Lynn Herzog (802-254-1223) (203-792-5606) NEW JERSEY Professional Outreach Co-Chair VIRGINIA Eastern Connecticut: Bergen County: Mark Davenport, Education Co-Chair Joyce Goldberg (860-442-8490) Mary Comins (201-489-5695) Northern Virginia: Susan Richter, Marie–Louise Smith DISTRICT OF COLUMBIA Highland Park: Donna Messer Edward Friedler (703-425-1324) Leslie Timmons, Education Co-Chair (732-828-7421) Shenandoah (Charlottesville): Washington: Art Jacobson Gary Porter (434-284-2995) Mary Halverson Waldo, Publications Chair (301-983-1310) Navesink: Lori Goldschmidt (732-922-2750) Tidewater (Williamsburg): DELAWARE Princeton: Vicki H. Hall (757-565-2773) Nancy Weissman, Counsel Brandywine: Roger Matsumoto Louise Witonsky (609-924-2752) WASHINGTON (302-731-1430) NEW MEXICO Moss Bay: Staff FLORIDA Albuquerque: Bryan Bingham Ralph Lusher (425-275-6777) Kathy Sherrick, Administrative Director Ft. Myers: Sue Groskreutz (505-299-0052) Seattle: Ruth Pattison 1129 Ruth Drive (239-267-1752) Las Vegas (Flat & Baroque in Las (206-525-9878) St. Louis, MO 63122-1019 U.S. Gainesville: Peter Bushnell Vegas): Tom Curtis (505-454-4232) WISCONSIN (352-376-4390) Rio Grande: Martin Winkler 800-491-9588 toll free Milwaukee: Carole Goodfellow Largo/St. Petersburg: (575-523-0793) (262-763-8992) 314-966-4082 phone Elizabeth Snedeker (727-596-7813) Santa Fe: Gus Winter Southern Wisconsin: 314-966-4649 fax Miami: Phyllis Hoar (305-385-5386) (505-603-8034) Marilyn Oberst (608-836-0269) [email protected] Palm Beach: Gail Hershkowitz NEW YORK (561-732-5985) CANADA www.AmericanRecorder.org Sarasota: Margaret Boehm Buffalo: Mark Jay (716-649-1127) Montréal: Mary McCutcheon (941-761-1318) Hudson Mohawk: (514-271-6650) Lee Danielson (518-785-4065) Toronto: Sharon Geens (416-699-0517) In accordance with the Internal Revenue Service GEORGIA Long Island: Taxpayer Bill of Rights 2, passed by the United States Atlanta: Barbara Zotz (631-421-0039) Congress in 1996, the American Recorder Society makes Please contact the ARS office Mickey Gillmor (404-872-0166) New York City: Gene Murrow to update chapter listings. freely available through its office financial and (646-342-8145) incorporation documents complying with that regulation.

6 March 2010 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

ecember 12 was an historic and ideas exchanged. The connection “Dday.”—ARS Vice President It was a full and very made with chapter members is Laura Kuhlman. inspiring day: with significant. For some background I’ll back As President I don’t vote, yet up a bit. You may remember that in its format, intensity my opinion is that Board meetings are November’s President’s Appeal letter and productivity. very important and worthwhile. In that I made reference to the fact that the environment, brainstorming and work Board had voted to forgo a fall week- including the Chapter Handbook, sessions are carried out with great end Board meeting. This vote (not ARS events at this summer’s Berke- energy and camaraderie. Spontaneous unanimous) was reached in some part ley (CA) Festival, and educational reactions spark important ideas. Per- because we scheduled a one-day programs and services. sonal bonds are created and strength- meeting during last summer’s Festival It was a full and very inspiring ened—yes, a perk for the deserving and Conference in St. Louis, MO, day: with its format, intensity and Board, but also most definitely a and the majority felt willing to sacrifice productivity—an historic day for sure! benefit to the Society: the ARS will the traditional weekend of face-to-face The CPWD may indeed serve as a reap the rewards of a connected and work. The decision was made in order model for future work. In the next inspired Board of Directors. to save the ARS a considerable months, you will hear updates and So I would like to dream big and amount of money. perhaps even experience first hand ask for it all. Without ignoring or In its place, the Board decided to what stemmed from December 12. discounting the significance of the hold a half-day, full-board conference/ As I mentioned earlier, there were historic CPWD, I would like to see it video call on December 12, 2009, and valid differences of opinion about become almost commonplace, where that remained the plan as mid-Decem- whether to meet face-to-face at a fall we schedule more such days. And I ber approached. However after e-mail Board meeting. Yes, we saved the would like to propose that, with your and phone discussions, we determined Society funds by canceling the event, help, we maintain and carry out the what could be even more beneficial: which did help balance our budget. tradition of two Board meetings a year. a day to work on committee projects. Great effort is made to reduce And that’s what transpired: costs at Board meetings. At these December 12 was designated as a events, local chapters host the Board, “Committee Project Work Day” often providing lodging, transporta- (CPWD). I specify the word “project” tion, and potluck dinners. The Board because the full ARS committees is very much dependent on, and (made up of Board and non-Board extremely grateful for, the help of the members) were not meeting that day; chapters. We couldn’t meet without instead small groups of Board mem- their great generosity. (The Board is bers worked on very specific projects always looking for chapters to host —drafting action plans, identifying future meetings, so please let us know specific tasks, and determining who if you’re interested.) would do what, by when. Plans were We meet at churches and such made and work was done on fund- venues where the chapters hold their raising, the 2012 ARS Festival and gatherings. We schedule playing ses- Conference, the web site, Constant sions and townhall meetings where Contact newsletters, publications questions are posed, comments made,

www.AmericanRecorder.org March 2010 7 Tidings ______Aldo Abreu performs on 300-year-old recorders, ______Monteverdi’s Vespers of 1610 celebrate 400 years A Rare Chance to hear 300-year-old Recorders—Played Well Bits & Pieces

Article and photo by Benjamin Dunham

Aldo Abreu gave a remarkable recital in Boston (MA) University’s Marsh With the approaching summer work- Chapel on December 7. Playing from memory on an array of eight historical shop season, travelers with music recorders in the collection of Friedrich instruments are reminded to check von Huene, Abreu performed eight of about restrictions regarding carry-on Telemann’s solo fantasias, along with items. The Transportation Security other Telemann works and pieces by Administration and the American Quantz and Pepusch. Billed as an “Aldo Federation of Musicians came to an Abreu CD Release Concert,” the pro- agreement in 2003 allowing musical gram largely duplicated the repertoire instruments to be considered carry-on included on a new CD called Telemann: luggage. Generally, you may go Twelve Fantasias and Other Works on a through airport security with one musical instrument in addition to new label, www.bressanrecords.com. Friedrich von Huene (l) one carry-on and one personal This was no mere demonstration with Aldo Abreu project. Abreu had spent the better part item. However, individual airlines of three years familiarizing himself with the recorders and working with von and other countries may have addi- Huene (who celebrated his 80th birthday a year ago in February) to match each tional rules and restrictions, especially instrument to a specific work: a plummy alto by Peter Bressan (Fantasia No. 1); after the latest airplane security scare. a fourth flute by Thomas Stanesby Jr. (Fantasia No. 4, with great echo effects); Before you leave, check with your a deep, round alto by Stanesby Jr. (Fantasia No. 3); a soft-grained voice flute by airline for more information. Find, Bressan (Fantasia No. 9, featuring flawless kneed notes); a richly-voiced tenor by print out and take along the airline’s Bressan (Fantasia No. 5); a clarion, ivory alto by Georg Heinrich Scherer (Fan- rules; many airline employees may not tasia No. 7); an ingratiating bass by Thomas Boekhout (Fantasia No. 8, with even know their own airline’s policy uncanny octaves and characteristic key-clacking); and an intimate alto by regarding musical instruments. Johann Christoph Denner (a Quantz Presto and a Pepusch Vivace, both Especially for larger instruments chosen to accommodate the instrument’s worn thumbhole). or cases for multiple instruments, it Abreu had long since internalized the idiosyncratic fingerings required may also help to know the case’s size to play each instrument and was able to control both dynamics and intonation in linear inches—the sum of the case’s beyond the expectations of even the most demanding listener. The lively Chapel dimensions, L+W+H. Your case acoustics served well to bring out the subtle shadings of the recorders, although may not fit in the carry-on sizing they worked against the intelligibility of von Huene’s charming anecdotes about device at the gate, but it may be how the recorders came into his collection. acceptable as a carry-on. (Pack a As a group, these recorders may never have sounded better than they did in fabric tape measure, just in case.) Abreu’s hands. When they were new, few of them, perhaps none, would have If you are traveling internation- been owned and played by someone with Abreu’s impressive technique—nor, ally, also check with authorities in the once they left their makers’ shops, would they have had the expert voicing and country you plan to visit. tuning (and sometimes major repairs) lovingly provided by von Huene. Should you decide to transport As a bonus for the audience, Abreu included a Telemann Duetto in G Major your instrument as checked baggage, with violinist Julie McKenzie, played on von Huene’s own copy of the Bressan assume that it will be physically voice flute; and concluded with Telemann’s Trio Sonata in A Minor played on the searched. Include written instructions, Bressan alto, joined by McKenzie and Abreu’s father Abraham on harpsichord. placed so that a security officer

8 March 2010 American Recorder will notice them, for handling and Nina Stern to bring “Recorders Without repacking your instrument. Make sure these instructions are very clear Borders” to Children in Kenya and understandable to someone with On June 18, Nina Stern will fly to partner in Kenya through letter- no musical background. Nairobi, Kenya, to work in collabora- writing and video exchange. If at all possible, arrive early (at tion with S’Cool Sounds—the music Through the use of technology, least 30 minutes added to the airline’s education program she founded in the three communities will work to recommended arrival window) and New York City, NY, in 2001—and create a collective musical offering. request to be present when your Cross Cultural Thresholds (CCT), The goal is to develop a lasting instrument is removed from its an organization working to feed and relationship among these three case for screening. educate nearly 300 of the most vulner- communities, using music to learn For more information, see able children in the Kibera slum of about different world cultures and www.tsa.gov/travelers/airtravel/ Nairobi. Stern will introduce her helping the children to appreciate the assistant/editorial_1235.shtm. group study approach to instrumental complex world in which we live. On January 15, Duke University music to children and their teachers . CCT is raising the money neces- in Durham, NC, showcased three For four days, Stern will teach sary to bring Stern to Kenya and to collections of early instruments in over 100 children in an orphanage in provide the children with the recorders “Rare Music—Wind and Wire with Kibera, and then travel to Shampole— and percussion instruments. Stern is the Duke Collegium Musicum.” a Masai village on the border with donating her services and expertise. The playing collections include the Tanzania—where she will teach a If you would like to help, you can Robert D. Miller and the Charles J. group of children at the village school. do so by making a tax-deductible con- Warner Collections (the latter newly- Stern will also work with teachers tribution to CCT. Even $5 will pro- arrived and comprising strings), plus in Kibera and Shampole, ensuring that vide a recorder for a Kenyan child. instruments used by the Duke the project can continue in the future. Checks to “Cross Cultural Thresh- Collegium Musicum. Included are During the months leading up to this olds” (with a note that the donation is modern replicas of early wind and trip, Stern will lay groundwork to link for the “Recorders Without Borders” string instruments. two New York City school commun- project) may be sent to: The main group performing ities to the project: AmPark Neigh- Mary Davidson on the instruments is the Duke borhood School and Fieldston Lower Cross Cultural Thresholds Collegium Musicum. Directed by School, both in the Bronx. Children in 243A Heritage Hills Karen Cook, the collegium is an the three communities will get to know Somers, NY 10589 organization of undergraduate and one another via musical and personal You can also visit the following graduate students and other inter- exchange. AmPark and Fieldston web sites to read about Stern’s work ested members of the Duke com- Lower school students will have the with children and about Cross munity devoted to the performance opportunity to meet in person, col- Cultural Thresholds: of early music for small groups of laborating on a musical project www.ninastern.com voices and instruments. that they will share with their global www.gemsny.org/scoolsounds.html The program introduced listeners www.crossculturalthresholds.org not only to the talents of this musical group, with discussions about individual instrument families— their history, how we perform on them, and their repertoire—plus musical examples on each. Lutes, recorders, crumhorns, and other instruments were included. The Rare Music series is sponsored by Duke University Musical Instrument Collections and Duke University Libraries.

www.AmericanRecorder.org March 2010 9 RECORDERS IN its own sake is not what her playing NEW YORK CITY Petri projects an suggests. Rather Petri projects an Apollonian reserve, Apollonian reserve, and, in her hands, By Anita Randolfi, New York City, NY and, in her hands, the the recorder gives voice to the most recorder gives voice to profound musical thoughts. She also Matthias Maute and Ensemble the most profound enjoys a genuine rapport with her Caprice played at Columbia Univer- musical thoughts. audience and her fellow musicians, sity’s Miller Theater on November 14, who made it clear that they appre- offering their program titled “Bach employed the entire ensemble. I found ciated everything she played. and the Bohemian Gypsies.” It con- the cantata “Der Melancholicus” the There was very little recorder sisted of several sets of selections from most interesting piece of the evening playing to be heard in the Green the Uhrovska Collection (1730)— for its dramatic tempo contrasts— Mountain Project’s presentation of 350 tunes from Eastern Europe that Telemann’s expression in musical Monteverdi’s great 1610 setting of the Maute and the eight-member group terms of the manic-depressive text. Vespers service, on January 3 at Church presented in strikingly colorful, The beautiful octagon room of the of St. Mary, Virgin. But, the little that modern arrangements. Between Morris–Jumal Mansion, Manhattan’s To m Z a j a c and Eric Schmalz pro- Uhrovska selections, Caprice offered oldest remaining colonial residence, vided brightened up the otherwise two concertos by Bach and one of was the site of another program of sober and solemn sound of brass and Telemann, which they believe show Baroque repertory. Ensemble mem- strings that dominated the concert. gypsy music influences: Bach’s Con- bers were Gregory Bynum, recorder; The Green Mountain Project (a certo in F, BWV1057, his alternate Sofia Dimitrova, soprano; Theresa pun on Monteverdi’s name) was led rendering of Brandenburg No. 4; Salomon, Baroque violin; Carlene Sto- by violinist Scott Metcalfe. Such a big the Italian Concerto, BWV971, in ber, gamba; and Rebecca Pechefsky, project, requiring many singers and Maute’s arrangement for soprano harpsichord. The program of music instrumentalists, must have been a recorder and orchestra; and Tele- by Handel, Telemann, Pepusch and labor of love, taking countless hours of mann’s Concerto in E Minor for alto Alessandro Scarlatti was well-thought- preparation, but more care should recorder and traverso. out and well-executed. Dimitrova’s have been taken with the balance of In addition to Maute’s facile charming soprano voice balanced well voices among themselves, and with the recorder playing, other notable with the obbligato instruments. instruments. performers were Sophie Larivière, Michala Petri is a too-infrequent Chelsea Winds Recorder recorder and traverse; Olivier Brault’s recitalist in New York City, but on Ensemble (Gregory Eaton, David virtuoso and expressive violin playing; December 8 she joined the esteemed Hurd and myself) kicked off its season and Ziya Tabassian for his elegant players of the Chamber Music Society at the Chapel of the General percussion. The very entertaining proof Lincoln Center in an all-Baroque Theological Seminary with a trio gram was brilliantly performed and program, played in the newly concert of music by Hook, Woollen much appreciated by the audience. renovated Alice Tully Hall. and Lupo, plus the Autumn Concerto, Deborah Booth was recorderist Petri was the soloist in all seven RV293, from Vivaldi’s Le Quattro and Baroque flutist in a Telemann pieces on a program that covered Stagioni arranged for ATB recorders program given at St. Peter’s Lutheran much of the high Baroque repertory by Jean Cassignol. This arrangement Church on November 24. Her fellow and included some of the most impor- was great fun to play; I recommend it. performers were John Rosendaal, viola tant staples of that literature: Bach, And, closing, it’s always nice to da gamba; Kelly Savage, harpsichord; Partita in C Minor, BWV1013; see the recorder and its players get Louise Schulman, Baroque viola and Telemann, Suite in A Minor; and some good press. The October 3 New cittern; Arlene Travis, soprano; and G. Sammartini’s Concerto in F, as well York Times had a wonderful photo of Vita Wallace, Baroque violin. The as works by Chedeville, Tartini and recorderists Daphna Mor and Nina “Telemania” program included fre- Vivaldi. There is little I can write about Stern leading their group East of the quently-heard pieces like the Method- Petri’s playing except that it is dazzling River in a performance of Eastern ical Sonata No. 6 for alto recorder and technically, always in tune, and always European folk music at Le Poisson basso continuo, and lesser-known perfectly projected throughout the Rouge, the hot new cabaret for music pieces like the “Canary” cantata, which hall. She is a virtuosa, but virtuosity for in Greenwich Village.

10 March 2010 American Recorder A GRAND 400TH ANNIVERSARY: THE MONTEVERDI VESPERS OF 1610

By Sue Lane Talley, New York City, NY Having just returned from hearing the music of Andrea were fun to watch; their playing was enriched with stylistic, Gabrieli enhanced by the magical setting of San Marco in restrained vibrato in just the right places. The plucked Venice, Italy, I am more keenly aware of architecture as instruments came through the mix with clarity; this was musical instrument. Every composer in San Marco’s illus- especially so of the theorbo, which did not disappoint as its trious history has had to deal with the opportunities and lower tones enriched the ensemble very clearly, combining challenges presented by the building itself and figure its with continuo instruments to give the ensemble a rich and delightfully resonant acoustics into compositions. solid bass. Of the latter, Toth’s helpful program notes stated: After composing his Vespers of 1610, Claudio Monte- The use of multiple continuo instruments ... is documented in verdi was Master of Music of the Republic of Venice, many sacred collections of the period....With our addition of serving at San Marco. The beautiful acoustics and softly the lirone, a bowed bass chordal instrument, our continuo Baroque interior of St. Ignatius Loyola Church in New section represents an extravagant accompaniment that was York City provided the perfect milieu for a fine reading of nevertheless completely common to early seventeenth-century the Monteverdi Vespers on January 20. Included in the sold- Italy.... A single organ, or even a single organ and theorbo, out presentation, co-sponsored by Gotham Early Music and would have been thought a rather miserly accompaniment in St. Ignatius’s “Sacred Music in Sacred Space,” were unified Monteverdi’s time for a grand performance before an performances by ARTEK, Piffaro, Parthenia and audience of a thousand people. the National Gallery of Art Vocal No wonder the bass sounded so rich. Toth Ensemble. ARTEK is also auspiciously also explained the size of the choir as a com- celebrating its 25th anniversary, as is promise between a “one-to-a-part” cham- Piffaro. ber group and slightly larger ensembles. The vocal presentation was all but The number of musicians, the type of seamless. Conducted by Gwendolyn instruments, and the voicing of the Vespers To t h , whose conducting style is clear, was conspicuously well-planned. expressive and personal, the Vespers “Sacred Song in Sacred Space” brings were offered without intermission. A long superb, historical spiritual music to listeners. standing ovation followed the performance. The largely-scriptural text was printed in the The voices sounded healthy and natural; while program, so that the evening was a devotionally- the use of vibrato was restrained, there was no artificial, focused performance. Occasionally, biblical references were “pinched” result. Tenor Michael Brown’s rich voice was inaccurate; words from the Book of Isaiah, as well of the first noteworthy, as was the versatility of countertenor, violist letter of John (Septuagint), quoted by Monteverdi in “Duo and recorderist Larry Lipnik. Much more could be Seraphim,” were mistakenly attributed to the Song of Songs said about the superb vocalists and instrumentalists. The (“that of Solomon”). However, for me, the English trans- dissonances of dramatic suspensions were perfectly tuned, lation of “Pulchra Es”—including “terrible as the sharp as were unisons. Only an occasional blur by the singers, lines of a military camp”—did not suit the subject quite as or a small alteration on the part of an echoing instrument, poetically as the familiar “terrible as an army set in battle made one realize that the performance was, in fact, both array.” The inclusion of text, occasional discrepancies not- live and subject to human error—more interesting than withstanding, greatly enhanced the presentation. one that sounds “canned.” The massive effort of all performers and organizers of The recorder playing of the lower instruments, for the Monteverdi Vespers of 1610 is difficult to imagine. The which Monteverdi wrote brilliantly in the Vespers, arrested piece’s length is a challenge to both performer and listener, our attention, sounding as unified as the flute-stop on a fine though only a handful of people left before the final doxol- Baroque organ. At various times, recorders were played by ogy. During the anniversary year, I hope that many musical Piffaro members Joan Kimball, Robert Wiemken, Tom groups extract and perform some of the more attainable yet Zajac, Christa Patton and Grant Herreid. intricate music. For example, the Ave Maris Stella (“Hail, The ensembles chose period instruments, a choice vali- Star of the Sea”), so beloved by the city of Venice, is within dated by clarity and balance. The Baroque violins—with the reach of diligent instrumentalists and vocalists— their bows heavier at the grip than the modern version— with its ritornelli, a satisfying vehicle for both.

www.AmericanRecorder.org March 2010 11 On the Cutting Edge: Special Expanded version You have Music: Surfing the Recorder Internet It has been awhile since AR surveyed Less serious, perhaps, but lots the wonders of the Internet with a focus of fun is Jim Phyper’s delightful on the recorder. The virtual world of Recorder Music Listening Page. recorders—including makers, players, This is a good place for beginners composers, publishers, retailers and to start out. The site includes a nice teachers—is too vast for any one article. selection of tunes, many played by Instead of attempting to be comprehensive, Phyper himself with synthesized I will try to sort out some worthwhile accompaniments of his own devising. paths to travel, and highlight some of There are beautiful pictures, and lots the better sites. more. Visit at www.solarhaven.org/ RecorderMusic. By Tim Broege, [email protected] General Sites The Recorder Players Page, Launching onto the seas of the maintained by Niklas Saers, is also recorder web is made easier by a worth a look. On this site, one can find visit to the “mothership” of recorder music, recorder makers and players, The author began playing recorder at the sites, the Recorder Home Page, found and other nice bits of information. age of 10 and was largely self-taught until at www.recorderhomepage.net. See www.saers.com/recorder. formal studies with the late Bernard This vast resource, compiled by It should be worthwhile to Krainis in the early 1980s. During the Nicholas Lander, has lists of pub- keep an eye on a “work in progress,” 1980s and ’90s, he appeared frequently lishers, instrument makers, com- the European Union’s digital library in concerts and recitals, often with posers, music—you name it. Web found at www.europeana.eu. guitarist/lutenist Francis Perry. addresses are provided for easy link- This on-line library brings together ing. Browsing through the lists inevi- books, maps, recordings, photo- Broege studied composition and keyboard tably reveals unknown pieces, forgot- graphs, archive documents, paintings performance (harpsichord and piano) ten bits of recorder lore, or overlooked and films. On the home page, type at Northwestern University. names. The world of the recorder, “recorder” into the search box. Major Since 1972, he has served as with all its wonders, is found here. European museums are contributing organist and director of music at The excellent site of Stichting to the project. When completed it First Presbyterian Church in Belmar, NJ. Blokfluit—www.blokfluit.org—is should be a wonderful cultural also worthwhile, with useful lists and resource. Broege’s compositions number into the fine opportunities for user interaction. hundreds and have been performed throughout the U.S., Canada, Europe, Asia and Australia. His recorder compositions include Partita Marietta and Meadows (both published by Polyphonic Publications) as well as Songs, Dances and a Chorale for recorder and guitar, Two-Part Elegy for LaNoue Davenport for solo recorder, or two recorders, and Sonata da chiesa for recorder and organ (all published by Allaire Music Publications).

12 March 2010 American Recorder Music Sites Here I will list several sites somewhat “off the beaten path” for sheet music and/or facsimiles. Of course, one can browse the pages of this magazine to see a selection of retail sheet music sources, or simply visit the ARS web site and follow the Business Member links. Magnamusic Distributors (the back-cover advertiser on all recent issues of AR) gives a good idea of what is currently available from dealers. At the web site of the Copen- hagen Royal Library (just type those difficulty. This is a nice site for Instruments three words into your search engine) browsing, and is easy to use. Most instrument makers and retailers can be found the Gieddes Collection Free downloads of recorder have well-designed and informative of Music for Flute. The library is cur- music in various configurations— web sites. I enjoy viewing pictures of rently undertaking a project known solo through ensembles—are avail- beautifully designed recorders, and as the Danish National Digital Sheet able at www.kantoreiarchiv.de. The there are plenty available. There is no Music Archive. New titles are added PDF files are easy to download, and space here for listing all such sites, but regularly. Much of the available flute there is a nice range of music. The site here are a few that I particularly enjoy. music is suitable or easily adaptable to also has performances and soundfiles. In the German Baroque town of the recorder. Works of C.P.E. Bach, Well-designed and easy to use, this Fulda is found the Conrad Mollen- Quantz, Platti, Vecchi and many is a fine resource for all musicians. hauer company, makers of many others are available. types of recorders. The web site at Interesting sheet music for Free downloads of www.mollenhauer.com has pictures, folk dancing can be found at descriptions, and lots of information. www.phantomranch.net. The recorder music in The product lines include “Dream” Pinewoods International Collection, various configurations recorders designed by Adriana with over 400 traditional dance tunes Breukink in collaboration with Mol- from around the world, is available are available at lenhauer; the Mollenhauer/Fred here. Also here are Richard Geisler’s Morgan Denner altos at A=415hz; folk dance collections produced for www.kantoreiarchiv.de. and the Mollenhauer/Maarten Helder The Village & Early Music Society. “harmonic” altos and tenors (a radi- The four volumes include a wealth Also loaded with lots of free cally new recorder design). of information as well as the music. downloads, including much recorder Equally well-known in the Folk dances from Bulgaria, the music, is the Werner Icking Music recorder world is MOECK Musik- former Yugoslavia, Greece, Mace- Archive hosted by the University of instrumente+Verlag in Celle, donia, Serbia, Croatia and Romania Aarhus in Denmark. Although the Germany. The Moeck “new design” are included. MIDI renditions of the scores are recorders are the product of collabo- Downloads and MP3s of not aesthetically pleasing, they do ration between Ralf Ehlert and the recorder music (and much else) are give an idea of texture and difficulty. Moeck team. There are various Ren- available at www.music-scores.com. Downloading scores is easy and the aissance and Baroque-style instru- For a membership fee, access to all site is ongoing, with lists of New ments, including the line of Rotten- downloadable files is granted. There Scores and Revised Scores regularly burgh recorders designed by Friedrich are currently 19 recorder items avail- posted. Searching by composers’ von Huene (the line has been recently able, but the full range available at the names is easy to do or a Google search revised and redesigned). For those site is vast indeed. The site allows free of the archive for instruments, musical less familiar with all the sizes and views of the first page of scores and forms or other terms can be done. styles of recorders available today, also provides indications of technical This site is highly recommended. www.moeck.com is a good source.

www.AmericanRecorder.org March 2010 13 of “My Bonnie lies over the ocean,” but couldn’t identify “Ein Feste Burg” (“A Mighty Fortress Is Our God”). Fun, though, and useful for identifying those annoying tunes that lodge in your brain and won’t go away. Last, since the music world these days is loaded with gadgets and equipment of all sizes and capabilities, a good place to go for the “right stuff ” is www.zzounds.com. Here you can find guitars, keyboards, cases, recording equipment, amplifiers, computers I am fond of the web site of Miscellaneous —just about anything having to do Canadian recorder maker Jean-Luc You can find “Recorder-Radio” at with electronics and performance. No Boudreau, at www.boudreau-flutes www.blockfloete-online.de, “the recorders, but plenty of microphones .ca, not only because I play his community for players and friends of and recording devices, percussion, delightful Ganassi treble in G, but the recorder.” The site is in German, sequencers and harmonicas! It’s a great also for his link to a five-minute mini- but it is easy to use. Recorder-Radio place for one-stop equipment shop- documentary on recorder making on has interesting pieces and perform- ping, and prices are competitive. YouTube (the one in which he was ances. As I type this, I am listening to And don’t forget to regularly interviewed for the Discovery Chan- Ensemble Diferencias on Recorder- visit www.youtube.com for recorder nel program “How it’s Made”), as Radio performing a Medieval chant in performances and all kinds of music. well as his schematic drawing for his strikingly good sound. There is a fine It’s all waiting for recorder players— new Denner alto. Boudreau lists all mix of performers and styles always on the web. his prices in both U.S. dollars and playing—a recorder lover’s delight. Euros, which is helpful to those searching for general price ranges of The site fine hand-made recorders as well as www.musipedia.org “production line” instruments. Good pictures and simple naviga- is a search engine tion through the site are pluses. for melodies. The Prescott Workshop, found at http://prescottworkshop.com, Type “Chromatia tuner” into gives prices, descriptions and pictures your search engine and you will dis- for Thomas Prescott’s fine recorders. cover a free trial download of a highly I assume all AR readers are usable tuner you can add to your com- familiar with the wonderful web site of puter. It has a wide range of historical the Von Huene Workshop, but, just in temperaments, plus modern ones, and case, www.vonhuene.com is always sounds a clear electronic tone through worth a visit. A wealth of information, a full octave in whatever range you lots of instruments, and general good select. You can even add your own spirits characterize this site. custom scales and temperaments. Remember that a large list of The site www.musipedia.org recorder makers, with web addresses, is a search engine for melodies. You can is available at The Recorder Home- type in, or play on a virtual keyboard page. Clicking on an unfamiliar name like flash piano, the notes of a tune you may prove interesting—and it is also want to identify; Musipedia will find rewarding to see what familiar makers some possible choices. I found that it have been up to recently. easily identified the opening phrases

14 March 2010 American Recorder Response ______Historical and practical slants on thumbrests, ______missing parts found for The flautadors AVAILABILITY OF PARTS right hand, perfectly comfortably, at most people is best achieved when it In my review of three The flautadors an oblique angle to the instrument. is in a low position, turned about editions arranged by Ian Wilson— This causes stretching of the right little 15 degrees inwards from the line of The Earl of Oxford’s March, Kinloche finger in covering the lowest hole (and the forearm, with the elbows hanging his Fantassie, and Courtin Tune [Music eventually can cause arthritis). loosely beside the body. Oblique Reviews, November 2009 AR]— It also results in undue bending placing of the right hand also causes I stated that “the lack of parts is a of the knuckle of the first finger, and the thumb to be placed too high problem.” Although the parts had not positions the right wrist too high up for up the recorder, which can lead to been included in the editions I received it and the two lower fingers to be able poor positioning of the thumbrest. for review, they are indeed available. to move rapidly between full- and half- I believe that hand positions Anne Fjestad Peterson covering of their holes, or between should be carefully modeled on Picart’s their double holes. This latter move- engraving shown in Hotteterre’s MORE THOUGHTS ment is mainly controlled by fast lateral Principes of 1707 (Illustration 1 below ON THUMBRESTS actions of the right wrist, which for center), and the advice quoted from a 1730 recorder tutor quoted on I was intrigued by the various solutions Illustration 1. Picart’s p. 114 of my Recorder Technique. to supporting a recorder in your “Q & engraving used by Hotteterre The photographs in Introduction A” ( AR, September 2009)—a tribute in his 1707 tutor. Note the to American ingenuity! In three of my to the Recorder may also help. books I suggest the use of thumbrests, Only when this playing position primarily in order to enable the fin- has become familiar and comfortable gers which cover the holes to do so as should a thumbrest be permanently lightly as possible, relieving them of fixed. As David Fischer suggests, any other function— see Introduction this should be with epoxy glue. It is to the Recorder (Ruxbury, 2003), p. 5 now possible to obtain thumbrests and, more especially, pp. 65-67; with some room for further adjust- Recorder Technique, 3rd ed. (Ruxbury, ment if a mistake is made, without 2003), see index; and Playing Recorder risking damage to the instrument by Sonatas (Oxford, 1992), p. 124. removing the thumbrest in its entirety. In the first of these books, regret- I admire Edward Green’s mastery tably overlooking alternative methods of alternative fingerings, although of support, I say that a thumbrest using them to support the instrument should be fitted, although temporarily adds one more task to their more at first, “as soon as you have found the important functions of facilitating position of the right-hand rapid playing, balancing the tonalities best and most comfortable playing little finger, giving lateral position for the right hand.” This of notes in expressive phrasing, and in support in the absence of a should not be too soon, however, as achieving good intonation across the an absolute beginner in first picking thumbrest. For the fingers instrument’s varying dynamic range— up a recorder will usually hold the to be as near parallel as this is so often disregarded by recorder shown here, the wrists are players although, while maintaining best held low—most people good tone, recorders are capable of The find their fingers move most playing at different levels of dynamics Recorder Magazine freely in this sideways-on from around ppp to mf. Less skilled we invite you to visit the site position. It also reduces right- players may find the use of alternative www.recordermail.demon.co.uk hand little-finger stretch. fingerings for supporting the instru-

www.AmericanRecorder.org March 2010 15 ment more than they will wish to cope with. Moreover, it impedes overall lightness in fingering. Nevertheless, during the whole of the Baroque period, finger support was commonly used in holding the recorder. Fingering charts show the third finger of the right hand (finger 6) held down for most of the lower notes of the instrument, and instruments would have been tuned to take account of the slight flat- tening effect of this fingering which Green refers to. A similar technique was used in playing the one-keyed transverse flute, both for support and, again as Green points out, for its stabilizing effect on notes using only left-hand fingers. Such a technique is essential with large bass recorders. This type of fingering features in charts from Mersenne (1636—i.e., before the re-designed late Baroque recorder came into use) to Salter and Playford (1683), Hotteterre (1707), Majer (1732) and Sadler (1754). Even in the 1930s, Schott’s main recorder method, by F. J. Giesbert, adopted supporting finger technique as standard. This fingering had not, however, been used in the 16th century—for example, in fingering charts by Virdung (1611), Agricola (1528 and 1545) and Ganassi (1535). Perhaps they asked for what other purpose God had given recorder players a left-hand little finger and a right-hand thumb other than to be put to use in supporting their instruments. Renaissance and Baroque painters who depicted recorders being played frequently show the left-hand little finger on the side of the instrument, as shown by Hotteterre (but see Illustration 2). This gives lateral support by gently pushing as needed in a left to right direction. Compensatory pressure as required is then applied by placing the right-hand little finger just beneath its hole (but being ready to leap across when required for hole covering), and pushing gently to the left. For these fingers to be at—and not, less effectively, slightly above— the sides of the recorder, your wrists need to be held low, as shown in both illustrations. The instrument rests on the right thumb just as a book rests on a shelf rather than being lifted upwards by it.

Some paintings such as Illustration 2 show the left-hand little finger tucked underneath the recorder. This gives more upward but less lateral support as the recorder tends to slip on the fingernail—I do not advise it. The upward support needed to carry the weight of the recorder is mainly provided by the player’s lower lip and the right thumb. The instrument rests on the right thumb just as a book rests on a shelf rather than being lifted upwards by it. In this position, with the recorder at the best angle (see below), it is possible to hold the instrument with no other support, and hardly any feeling of insecurity, even if the hole-covering fingers and the left thumb are all taken off together from their holes. Try it. Undoubtedly some further support, such as finger 6, a thumbrest, etc., helps considerably. But in practice, all-off fingering never really needs to be used. Moreover, any one finger, or the left thumb covering its hole, adds to one’s sense of security, and the more holes covered the steadier the instrument, even while fingering lightly. Occasionally the lower inner side of the first finger of the right hand, stretched upwards straight out, can add lateral support—for example when only right-hand fingers 6 and 7 are in use, often to correct intonation. 16 March 2010 American Recorder Illustration 2. An anonymous painting (below) of an Arcadian shepherd boy from Alkmaar, Holland, c.1656, shows more For more discussion clearly than the Hotteterre illustration the low position of the on finger support (or wrists. Putting the little finger beneath the instrument [may using a buttress finger), be] less comfortable than the Hotteterre position; it reduces read related posts at lateral support, and ... impedes free movement of finger 3. http://launch.groups.yahoo (The pretend shepherd plays a transitional Baroque recorder; .com/group/recorder/. the mainly cylindrical bore narrows markedly at a point close to the bell, before bell expansion. Tapering bore recorders Responses from our readers are welcomed similar to those made in the 1660s by the Hotteterre family in and may be sent to American Recorder, 7770 South High St., Centennial, CO France were, however, being made—perhaps experimentally 80122. Letters may be edited for —in Holland by this time; such instruments appear in wood- length and consistency. carvings dated 1641 on the organ in Alkmaar church.) Dependence on the surface tension of the right thumb will, except with small recorders, gradually fail if—as Victor Eijkhout and Janice Arrowsmith point out—the instrument is held more than about 30 degrees below horizontal, Lost in Time Press although increasing the surface tension with devices such as rubber bands or New works and those suggested by Samantha Redston, arrangements William Long and Josef Wainz will cer- for recorder ensemble tainly help to stop the recorder “squirting out of the fingers” (Long’s words). Compositions by The 30 degrees position is moreover, Frances Blaker as Arrowsmith’s teachers told her, Paul Ashford excellent for breath delivery and tone control. The slight pull downwards also Hendrik de Regt helps control placing of the left thumb by causing the instrument to exert a small and others pressure on your thumbnail, so giving a point of reference for the fine move- Inquiries: ments of thumbing. It also tends to draw the flesh of the thumb very slightly away from the far side of the thumbhole, thus facilitating “double tonguing” Corlu Collier for high notes—i.e., allowing escape of air both from the upper and lower PMB 309 2226 N Coast Hwy segments of the thumbhole. Newport, Oregon 97365 For such reasons, I would not advocate playing the recorder in a horizontal www.lostintimepress.com position. Moreover, a downward slope causes moisture from breath condensa- [email protected] tion to spread itself more evenly down and along the recorder bore. In a horizontal playing position, your music stand may need to be placed higher up, too much between player and audience. I also feel that jutting the recorder directly SWEETHEART outwards is, in most circumstances, too aggressive an attitude for the gentle FLUTE CO. sounds of our instrument. Baroque Flutes: our own In playing early music, I like to know how it was intended to be performed, “Sweetheart” model dependent upon the occasion, by the composer. I suppose, therefore, that in prin- Fifes, Flageolettes “Irish” Flutes & Whistles. ciple I should, despite the not inconsiderable problems, acquire the authentic art Send for brochure and/or of playing recorders, even my heavy blackwood tenor, without thumbrests. Even antique flute list. though playing early music in present-day circumstances always involves a 32 South Maple Street compromise with authenticity, I am beginning to feel ashamed of my inauthentic Enfield, CT 06082 (860) 749-4494 thumbrests! [email protected] Anthony Rowland-Jones, Cambridge, England, U.K. www.sweetheartflute.com

www.AmericanRecorder.org March 2010 17 Education ______Up, up and away: refugees hit ______the ground running, recorders in hand By Anne Sullivan unched over from the weight flute and recorder. CODA provides H of a shoulder bag packed with classes and lessons for young students The author is a free-lance quarried rocks that I hoped would who have limited access to arts flutist in the Chicago (IL) area and represent solfege syllables, along with education. teaches flute and recorder at Community books, recorders, scissors, duct tape Each week I teach 30 refugees School of the Arts at Wheaton College. for fingerholes, and straws for blowing who have come to the U.S. from a In addition to performing and recording practice, I walked into a building full variety of countries, hoping for a new with Glen Yarbrough, Muriel Anderson of people that made my eyes dance. beginning in America. Plucked right and Rachel Barton, she has recorded Hot pinks swirled as they caught out of tribes, camps and war-torn two solo albums. She also teaches recorder up with the mustard yellow and lime areas, they come to me for more than classes for some of the refugees brought to green of African robes. The adults just music. Even as I show them some the Chicago area by World Relief and looked like foreign diplomats in their of the ins and outs of American cul- writes for several newspapers. colorful turbans, and the children were ture, I wonder if I will succeed in refreshingly bright-eyed, with skin adopting some of the more colorful tones ranging from the deepest ebony and charming parts of their culture This article first appeared in to an ivory that was quite Russian— as well. the American Suzuki Journal, and or at least Eastern European. My classes start with as few appears here with the permission of that I was at a Chicago-area World English words as possible. “Welcome, publication. For more information, Relief Center, sent by the Community class.” They’re pretty good with the visit www.suzukiassociation.org. Outreach for Developing Artists response: “Welcome, Anne.” The organization’s next conference is set (CODA)—a program sponsored Standing in a circle, we all bow for May 28-31 in Minneapolis, MN. by Community School of the Arts at to each other. Recently a boy came to Wheaton College (IL) where I teach class, apparently from a former Rus- sian state (the relief organization intentionally gives us very little background information). Instead of a traditional bow, he did the most elaborate curtsy/princely bow I have ever seen in my life. Where was my cell phone to capture that on video? My mind took off in a flashback to movies set in czarist Russia. I took Suzuki recorder training with Mary Halverson Waldo two years ago in Mountain View, CA. Until then, my only experience with Suzuki training had been in flute. The latter was a good experience but my time studying recorder with Mary brought me a new understanding of how to communicate with students. I came back to Chicago with valuable tools that I continue to use in my sum- Anne Sullivan with some of her CODA students mer classes at Wheaton College. I

18 March 2010 American Recorder would be hard-pressed to teach without these tools. However, every ARS Membership Enrollment and Renewal one of them backfired on me as I I am a new member I am or have been a member started teaching the refugees! U.S./Canadian Memberships Foreign Memberships Mary had written poetry for our $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Foreign Two Years recorder pieces; the mind seems to $80 Two Years track better with fingers when lyrics LIFETIME MEMBERSHIP Single Dual are involved. Her lyrics are beautiful Regular Lifetime Member $1,000 (2) $1,500 (4) 4 installments of $250 available) and memorable, yet unpronounceable Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4) to my classes of refugees! “One Bird 4 installments of $200 available (1) For members who have maintained membership for five consecutive years. in the Sky” is a mouthful for them; (2) $750 is Tax Deductible however, they get quite excited about (3) $600 is Tax Deductible (4) the percussive “B” sound in “Bird!” Installments available As a result, solfege syllables rather than Student Memberships Other Memberships lyrics have become a fallback position (Enclose proof of full time enrollment) $65 One Year Workshop Membership $25 U.S./Canadian One Year $125 One Year Business Membership for me. $45 U.S./Canadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name

Each week I teach Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings 30 refugees who have Do not release my email address for any purpose Do not contact me via email. come to the U.S. from My address, telephone and email address have not changed. a variety of countries, ______Name Phone Number hoping for a new ______Address/City/State/Postal Code Email Address beginning in America. Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover

Mary’s training also provided CC#:______Expiration Date: ______me with tools for teaching students Signature of cardholder:______to blow gently into the recorder. Recorders are not exactly beautiful Clearly Print Name as it appears on Card:______Renew by Mail, Online, By Phone or by Fax when they’re overblown! So … I whisper to my class some words that Demographic Information I hope will communicate a gentle (optional information collected only to enhance ARS services and provide statistics to grant makers): airflow. But, instead of gentle air I am a member of ARS Chapter or Consort______ I am the Chapter Contact traveling through the recorders, my My age: Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) own whispered words come back to me in an assortment of accents. I have Please check all that apply: I am a Professional Recorder Performer. yet to figure out how to wordlessly say, “Blow gently.” How can I com- I wish to be included in the list of Recorder Teachers in the ARS Directory and website. I Teach: (circle your choices) municate that logical leap from literal Types of Students: Children High School Youth College Students Adults whispering to blowing like a whisper Levels: Beginner Intermediate Advanced Pre-Professional Types of Classes: Individuals Children’s Classes Adult Classes Ensembles on the recorder? Certifications: Suzuki Orff JRS Leader Kodaly Frustration can build if I let it. The turnover rate for each class is Where I Teach: : (circle your choices) Music Studio Public or private school Community Music School high. Some students move on to other College Other : ______cities, some have difficulty with trans- American Recorder Society Phone: 314-966-4082 portation. I just have to set a low bar Fax: 314-966-4649 for my expectations, musically 1129 Ruth Dr. TollFree: 800-491-9588 St. Louis MO 63122-1019 [email protected] speaking. An instruction that would www.AmericanRecorder.org

www.AmericanRecorder.org March 2010 19 American Recorder Society Publications Words are critical and Musical Editions from the Members’ Library: ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 yet they’re untenable. Arioso and Jazzy Rondo (AB) Carolyn Peskin Los Pastores (S/AAA/T + perc) Berceuse–Fantaisie (SATB) Jean Boivert Virginia N. Ebinger, arr. I may forfeit words, Bruckner’s Ave Maria (SSATTBB) New Rounds on Old Rhymes (4 var.) Jennifer W. Lehmann, arr. Erich Katz Canon for 4 Basses (BBBB) David P. Ruhl Other Quips (ATBB) Stephan Chandler but I gain heartfelt hugs. Dancers (AT) Richard Eastman Poinciana Rag (SATB) Laurie G. Alberts Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. take five seconds to communicate to Carolyn Peskin Serie for Two Alto Recorders (AA) Elizabethan Delights (SAA/TB) Frederic Palmer an English-speaking class can take Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) Fallen Leaves Fugal Fantasy (SATB) Colin Sterne the entire class period in one of my Dominic Bohbot Sonata da Chiesa (SATB) Ann McKinley CODA classes. Saying, “do this” or, Four Airs from “The Beggar’s Opera” (SATB) S-O-S (SATB) Anthony St. Pierre Kearney Smith, arr. Three Bantam Ballads (TB) Ann McKinley “try not to do that” will produce a Gloria in Excelsis (TTTB) Robert Cowper Three Cleveland Scenes (SAT) Carolyn Peskin Idyll (ATB) Stan McDaniel Three in Five (AAB) Karl A. Stetson circle of completely blank faces. Imitations (AA) Laurie G. Alberts Tracings in the Snow in Central Park (SAT) In Memory of Andrew (ATB) David Goldstein Robert W. Butts Words are irrelevant here. The In Memory of David Goldstein (SATB) Trios for Recorders (var.) students are able to copy my actions, Will Ayton George T. Bachmann Lay Your Shadow on the Sundials (TBgB) Triptych (AAT/B) Peter A. Ramsey but cannot understand my words. Terry Winter Owens Two Bach Trios (SAB) William Long, arr. Leaves in the River (Autumn) (SATB) Two Brahms Lieder (SATB) Words are critical and yet they’re Erik Pearson Thomas E. Van Dahm, arr. untenable in this situation. I may LeClercq’s Air (SATB) Richard E. Wood Variations on “Drmeš” (SATB) Martha Bishop Little Girl Skipping and Alouette et al ( Vintage Burgundy (S/AS/ATT) forfeit words, but I gain heartfelt SATBcB) Timothy R. Walsh Jennifer W. Lehmann, arr. hugs, lots of laughter and priceless ARS Information Booklets: entertainment. ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 I love the unity in these families. Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis This year I have two brothers, one Renaissance Music Peggy Monroe Music for Mixed Ensembles named Tom and the other Thomas! American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music Playing Music for the Dance Louise Austin Two brothers in my class last year were Judith Whaley, coord. Recorder Care Scott Paterson both named Mohammed. Shimmer Education Publications Shine is back this year (you just know The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). there was a shampoo bottle on hand as First copy free to ARS Members (mailed to new members as they join); replacements, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study they landed in the U.S.), and there is a Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. new boy, whose name is Sabrina. ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Members $9; non-members, $15. Package Deal available only to ARS members: Guidebook and Music Also in my class this year is a boy Lists/Supplement ordered together, $16. who perhaps landed in the U.S. mid- Videos week—his name is Wednesday. His Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting brother’s name is Sunday. The Cam- resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending $5 to the ARS office along with the address to which the tape should be shipped. bodian students all seem to have three Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member names, which is challenging for my professional John Tyson. tired brain. The challenge is magnified when I realize that, apparently, two Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those consider- of the three names have to rhyme. ing forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial pur- Wa-Ma-Nu and Vahn-Ma-Na appear chase). One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, per- to be cousins, but you just never know. forming. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. And the African boys … let’s just say that there is no rhythm beyond Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, their grasp. I love putting the iPod on pay by credit card and actual postage is charged. Please make checks payable to ARS. the docking station and dancing with VISA/MC/AMEX/Disc also accepted. them for a few minutes. From head to See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. toe, the rhythms of Pictures at an ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. Exhibition, “Daddy Long Legs,” Elton 800-491-9588 John, “Raindrops Keep Falling on My [email protected] Head,” “Cecelia” and “Moon River”

20 March 2010 American Recorder seem to course through their bodies. The families of Their arms and legs never miss a beat. many of Anne While other students seem completely Sullivan’s students unconcerned that they are moving come from warm three steps for every 4/4 measure, the African boys seem to delight in compli- places, and are cated, subdivided beats. Periodically not sure what to they’ll break into some sort of floor expect when they moves; here, we would call it break arrive in Chicago. dancing, but who knows what the Summer dresses official tribal word would be for the mingle with ski chaotic, yet oh-so-accurate, moves. hats. One girl was Class sizes vary each week. Each so covered up in fall, the turnover rate in the World her African robes Relief Program can be as high as that she couldn't 30 percent. find her hands and Getting fingers to find and cover wondered how to the holes on a recorder is the biggest hold the recorder! challenge in my teaching, especially when class attendance is so unpredict- able. However, blowing into the instru- Another little ment is another story. There’s always girl, from great enthusiasm for that! Cambodia, wore One week last fall numbers were full-length ball- way up, and I ran out of recorders. I gowns to class. raced to the dollar store and picked Once she was up packages of two. Pitch is awful on 50-cent recorders, but when you have so tired that she 10 students fingering different pitches poofed out her anyway, do you really care about dress and fell intonation? down in the pile A turning point for these darling- of material, still yet-sometimes-wild kids was in the playing her winter of my first year. I had such high recorder. hopes that they would love music and be changed by it, even if they couldn’t grasp the technical aspects of it. At the end of class, we stood in a circle, holding hands for a full minute. There was no talking, and our eyes were closed—at least theoretically. We listened to an Italian aria. It was beautiful, and my dream came true: the music sunk in, and it changed them. It was perhaps the longest minute we had ever spent together, but it was a treasure. At the end of that precious minute, one of the boys said very politely, “Not English, not Spanish.” I said: “You’re right: Italian.”

www.AmericanRecorder.org March 2010 21 Learn skills that help you play Medieval, Renaissance, Old Time and Irish tunes Sumer is icumen in by ear. You will learn how to make aural maps, use your ear like a tape recorder; listen for modes, harmonies and melodic patterns. Requirements: a basic facility COLUMBIA GORGE WINDS AND WAVES on your instrument; know note names EARLY MUSIC RETREAT RECORDER WORKSHOP and fingerings. Additional coach: Bruce Hutton. Out-of-town participants are Menucha Retreat Center Sitka Center for Art and Ecology, OR housed with local musicians. Columbia Gorge, Portland, OR May 1-3 April 2-5 Directors: Frances Blaker, Letitia Berlin, Contact: Tina Chancey, Director: Vicki Boeckman Cléa Galhano, Vicki Boeckman 3706 N. 17th St., Arlington, VA 22207; 703-525-7550; Join us at the second annual Columbia This is the twelfth year of the Oregon [email protected]; Gorge Early Music Retreat for a long Coast Recorder Society’s Winds and www.hesperus.org weekend filled with music-making, Waves Recorder Workshop. Come work camaraderie and excellent food. The on a wide variety of music with interna- MARIN HEADLANDS historic Menucha Retreat Center, which tionally-renowned recorder faculty. RECORDER WORKSHOP is located just 20 miles east of Portland, Age 15 and older. Classes are divided Point Bonita YMCA, is nestled among old growth trees on into ability groups: intermediate, upper- near San Francisco, CA a bluff overlooking the spectacular intermediate and advanced. The final May 14-16; also one- or two-day options Columbia River, offering a truly beauti- hour on Monday is a “Grand Consort” With each coming tide of that mighty ful natural setting for this musical experi- with all participants playing some of the metronome, the Pacific Ocean, our ence. Ensemble classes are offered for music studied. Cost is $225. low intermediate to advanced recorder Marin Headlands Recorder Workshop The faculty perform and conduct players and range from Renaissance con- 2010—perched at the edge of the ocean workshops throughout the U.S., and sort music and Baroque to contemporary and embraced in greenery—gets nearer. in Europe and Brazil. They will present works, including music for double reeds, Again this workshop will swell with har- a concert on April 30. percussion and viola da gamba. monies of recorders, viols, and perhaps a Contact: 541-994-5485; psaltery or drum. Intermediate and Evening events include a faculty concert, [email protected], advanced players are warmly invited to English Country Dance, and madrigal http://www.sitkacenter.org, join members of the sponsoring East Bay singing. A sample of this year’s offerings ARS Chapter, at this annual event. includes: double reed ensemble; SOUNDCATCHER WORKSHOPS Medieval music ensemble with music of This year’s faculty includes familiar and Arlington, VA (both workshops) Philippe de Vitry and Machaut, contem- new faces: Annette Bauer, Cindy Beit- May 14-16: Improvisation Intensive porary recorder ensemble with music of men, Tish Berlin, Frances Blaker, Louise May 21-22: Play by Ear Intensive Copland, Satie, Debussy, Vaughan Carslake, Eileen Hadidian, Fred Palmer. Director/Coach: Tina Chancey Williams; unaccompanied Baroque Music offerings will range from easily works by Bach, Quantz and Telemann; Anyone can improvise but few people playable to challenging, including loud band; Italian madrigals from Italy, do. We scare ourselves by comparing Corelli’s Concerto Grosso Op. 6 No. 2 for France, Denmark; music by Andrew our improvs to written music; that’s recorders with continuo and gamba. Charlton; Scandinavian treasures. And like comparing a ball game to a ballet. The workshop is held at the Point Bonita an elective bonus, “Intro to the Irish Improv is a spontaneous process; it’s YMCA, one of very few public facilities Pennywhistle,” is also offered. collaborative, it tells a story, and it on this largely undeveloped area of requires different skills from interpreting Faculty: Vicki Boeckman, Rotem California coast. Set in a meadow with composed music. This workshop makes Gilbert, Gayle Neuman, Philip short walks to Pacific Ocean vistas, the you aware of the music you have inside Neuman. historic Point Bonita Lighthouse, and yourself, and gives you the skills to start remnants of WWII fortifications, it is a Contact: Jeanne Lynch, sharing it—useful for musicians at any 1916 SE 29th Ave, Portland, OR place to get away, recharge, meet new level. Additional coaches: Loren 97214; [email protected]; Ludwig, Sarah Cunningham. Background photos by Nick http://home.comcast.net/%7Epdx Nickless, “Sunrise in the Play by Ear: don’t be paper-trained! recorders/2009Workshop.html Rockies,” Estes Park, CO

22 March 2010 American Recorder friends, or re-connect with old. Accom- Todd Wetherwax, Pamela Wiese. lochen Center for the Arts, in the woods modations include dormitory-style Classes include focus and specialty area of northern Michigan. Topics include rooms, a large dining area, and playing instruction for all levels of recorder play- articulation, ornamentation, improvi- spaces all on one level. Rooms are also ing, consort viola da gamba, wind band, sation and ensemble arrangement in available for impromptu playing. voice, recorder orchestra and mixed Medieval and Renaissance music. The Contact: Merlyn Katechis, consort. A variety of special interest workshop culminates with a participant 2923 Adeline St. Berkeley, CA classes on Friday evening, and a Satur- performance on period instruments such 94703; 510-593-4679; day evening participant gathering led by as recorders and other early winds, viols, [email protected]; Louise Austin. Classes include music lutes, harpsichord and percussion. symbolicsolutions.com/ebrs from Medieval to modern. Vocalists are also welcome. Participants supply their own instruments. Several music/instrument vendors on WHITEWATER EARLY site. Dale Taylor will be on site for Early registration (deadline May 15) MUSIC FESTIVAL (ARS) repairs. All ages are welcome, as well is recommended, as space is limited. University of Wisconsin–Whitewater as non-participants. Brochures available. Contact: Matthew Wiliford, June 4-6 Contact: Nancy Chabala, Director, ICCA, PO Box 199, Directors: Nancy Chabala, 8609 45th St., Lyons, IL 60534- Interlochen, MI 49643; 231- Carol Stanger, Pam Wiese 1616; 708-442-6053 (day), 276-7441; 231-276-5237 (fax); Whitewater Early Music Festival marks 630-789-6402 (fax), [email protected]; its 50th anniversary this June. The his- [email protected] http://college.interlochen.org tory, compiled by Louise Austin (direc- (housing/registration), tor of 28 years), will be handed out with [email protected] SUMMER TEXAS TOOT (ARS) registration materials. We hope you will (mailing/scholarships), Concordia University, Austin, TX join us in celebrating—we look forward [email protected] (faculty/ June 13-19 to a few special twists and turns this sum- facilities); ChicagoARS.org Director: Daniel Johnson mer at the campus of the University of The Summer Texas Toot is a one-week INTERLOCHEN EARLY MUSIC Wisconsin–Whitewater, about 60 miles program of classes in Renaissance and WORKSHOP southwest of Milwaukee. A percentage Baroque music at all levels, for recorders, of our faculty has been with us over Interlochen Center for the Arts, viols, singers, plucked strings, Renais- 25 years, going back to the days of Interlochen, MI sance reeds and brass, singers, and harp- Milton College. Faculty includes June 13-18 sichord. Classes include an array of Louise Austin, David Echelard, Director: Mark Cudek small, one-on-a-part Renaissance and Charles Fischer, Shelley Gruskin, Make and enjoy Medieval and Renais- Baroque ensembles and larger mixed Lisette Kielson, Laura Kuhlman, sance music while learning new skills vocal and instrumental groups. The size Patrick O’Malley, Laura Osterlund, and techniques on the campus of Inter- of the workshop enables us to create Tulio Rondón, Karen Snowberg, classes for all levels of students, from those of modest skills to advanced Madison Early Music Festival players and singers. 2010 Workshop and Concert Series Same Texas Toot hospitality and tradi- July 10 – 17, 2010 U Madison, Wisconsin tions—back in Austin, but at Concordia University’s beautiful new campus! England: Merry & Musical before Elizabeth Classrooms, dining and dorm accommodations are air-conditioned and easily Our 2010 festival will celebrate the riches of English music before Queen walkable. Currently, our featured faculty Elizabeth, from Anglo-Saxon bards to choristers of the Chapel Royal. The festival includes an eight-concert series and a workshop with classes are Saskia Coolen and Annette Bauer and ensembles for participants of all levels. 2010 Concert Series artists (recorders), Bob Wiemken (reeds and include Parthenia with Julianne Baird, The King’s Noyse, brass), Mary Springfels (viols)—but Hesperus, LIBER, and Benjamin Bagby. watch for more faculty to be added. Recorder and historical wind faculty include Joan Kimball, Contact: Daniel Johnson, Laura Osterlund, Christa Patton, Robert Wiemken, and Tom Zajac. PO Box 4328, Austin, TX 78765; 512-371-0099; [email protected]; www.madisonearlymusic.org U (608) 265-5629 toot.org

www.AmericanRecorder.org March 2010 23 Other faculty: Peter Sykes, Jonathan White Mountain camp setting, conduct SAN FRANCISCO EARLY MUSIC Rhodes Lee and Phebe Craig, a week-long workshop in French early SOCIETY BAROQUE MUSIC & harpsichord; Christine Brandes, voice; music (late Medieval through Baroque). DANCE WORKSHOP (ARS) Sand Dalton, oboe; Dennis Godburn, Faculty and student concerts, English Sonoma State Univ., Rohnert Park, CA bassoon; Kathleen Kraft, flute; David country dancing, special lectures, morn- June 20-26 Morris, ’cello; Michael Sand, violin; ing and afternoon workshops in viols, Directors: Kathleen Kraft, Phebe Craig, Mary Springfels, viola da gamba; recorders, voice, mixed ensembles, Frances Blaker Tangkao Tan, dance. Sephardic music and Baroque chamber The Splendor of Hapsburg Europe. Here Contact: Kathleen Kraft, SFEMS, music, and classes in Feldenkrais body is your opportunity to make beautiful PO Box 10151, Berkeley, CA work. Camp facilities include hiking, music with like-minded Baroque music 94709; 707-799-2018; swimming, boating; camp gardens enthusiasts. Master classes, concerto [email protected]; sfems.org supply kitchen with vegetables. Very evening, coached ensembles, Baroque affordable rates. orchestra, vocal and wind ensembles, OBERLIN BAROQUE Contact: Larry Wallach, continuo classes, concerts and lectures. PERFORMANCE INSTITUTE 69 Welcome St., Great Barrington, Featuring recorder faculty Frances Oberlin College, Oberlin, OH MA 01230; 413-528-7212 (day); Blaker and Marion Verbruggen. June 20-July 4 413-528-9065 (evening); Directors: Oberlin Baroque Ensemble 413-528-7365 (fax); (Cathy Meints, Marilyn McDonald, [email protected]; Amherst Michael Lynn, Webb Wiggins) and worldfellowship.org artistic director Kenneth Slowik INDIANAPOLIS EARLY Early Music Celebrating its 39th anniversary with MUSIC FESTIVAL Italian Music from Monteverdi to Tartini, Festival featuring a performance of Monteverdi’s Indiana History Center, July 11-18 and 18-25, 2010 1610 Vespers, this institute offers instruc- Indianapolis, IN June 25-July 25 Connecticut College, tion in Baroque instruments and voice. New London, CT Students of all levels—from beginning The Indianapolis Early Music Festival to Baroque performance to the profes- is the oldest continually running early sional level—participate in master classes music concert series in the U.S. and coached ensembles with an inter- Presented since 1967, our mission is to Both Weeks: enrich, educate and entertain audiences Renaissance consorts national faculty of Baroque specialists. with the music of Medieval, Renais- Baroque ensembles Scholarships are available for qualified Master classes high school students. sance, Baroque and early Classical eras, Renaissance Notation Contact: Anna Hoffman, Conserva- and feature exciting performers of tory of Music, 77 West College St., national and international stature using International faculty including: instruments of the period and histori- Saskia Coolen, Dan Laurin, Oberlin, OH 44074; cally informed styles and techniques. Reine-Marie Verhagen 440-775-8044; 440-775-8942 (fax); For 2010 we will present ARTEK and more! [email protected]; (June 25), Ensemble Viscera (June 27), Auditioned Programs: oberlin.edu/con/summer/bpi Piffaro (July 9), El Mundo (July 11), July 11-18 Cançonier (July 23), and Ensemble Baroque Academy* WORLD FELLOWSHIP Recorder Boot Camp* Caprice with Matthias Maute (July 25). EARLY MUSIC WEEK We also offer our third annual Family July 18-25 Chocorua, NH Concert featuring Ensemble Viscera on Virtuoso Recorder* Recorder Seminar* June 25-July 2 June 26—a free concert geared to young Directors: Jane Hershey, Larry Wallach audience members. Several groups also *Audition deadline: May 15 Faculty of eight—including Jane offer outreach events for younger (gener- Hershey, Roy Sansom, Pamela Dellal, ally high-school-aged) musicians and www.amherstearlymusic.org Jay Rosenberg, Julian Cole, Anne actors. [email protected] Legêne, Larry Wallach and Josh Contact: emindy.org (781) 488-3337 Sholem–Schreiber—in a beautiful

24 March 2010 American Recorder The workshop—at once informal and SAN FRANCISCO EARLY MUSIC GREAT LAKES SUZUKI intensive—combines study of Renais- SOCIETY MEDIEVAL & FLUTE & RECORDER INSTITUTE sance, Baroque and contemporary music RENAISSANCE WORKSHOP (ARS) and improvisation on recorder, viol and McMaster University, Sonoma State Univ., Rohnert Park, CA other early instruments with opportu- Hamilton, ON, Canada June 27-July 3 nities to explore Celtic and other tradit- July 3-10: Teacher training, Book 1 Director: Tom Zajac ional music on hurdy gurdy, mountain July 6-10: Teacher training, Book 3 Dance and Pageantry. Open to singers, dulcimer and pennywhistle. July 7-11: Student Institute Director: David Gerry dancers and players of Medieval and Friendly participants of all levels and Renaissance instruments (recorders and ages welcome newcomers into the Master classes, group instruction, other early winds, viols and other early Mountain Collegium family. Varied recitals, plus enrichment classes for strings). class offerings, time for informal students. Teacher training with Mary Coaching by world-class specialists in music-making, and evening English Halverson Waldo (July 3-10 and 6-10). Medieval and Renaissance music. country dancing bring students back Contact: David Gerry, 129 Locke Classes for voices, recorders, viols and year after year. St. South, Hamilton ON L8P 4A7 other bowed strings, alta capella (sack- Faculty: Valerie Austin, Atossa Kramer, CANADA; 905-525-9549; buts, cornetts and reed instruments); Jody Miller, Patricia Petersen, Gwyn [email protected]; davidgerry.ca voice master class, ensemble coaching, Roberts (recorders, other winds); CAMMAC EARLY MUSIC WEEK violin band, historic dance, all-workshop Jack Ashworth, Martha Bishop, Lisle collegium, theater project, concerts, Kulbach, Gail Ann Schroeder, Ann Lake MacDonald Music Center, lectures and more. Scholarships as well Stierli (strings); Lorraine Hammond, Harrington, QC, Canada as academic credit or continuing John Trexler (traditional music). July 4-11 education credit are offered. Contact: Patricia Petersen, Directors: Matthias Maute, Featuring recorder faculty Annette 1702 Vista St., Durham, NC Hélène Plouffe Bauer (also early notation), Adam 27701; 919-683-9672; CAMMAC provides a unique oppor- Gilbert and Tom Zajac (also sackbut, [email protected]; tunity to make music with family and all-workshop collegium). Other fac- mountaincollegiummusic.org friends in a beautiful setting under the ulty: Karen Clark, voice, movement for musicians; David Douglass, Renaissance violin, violin band, Medieval strings; Canto Antiguo Early Music Grant Herreid, lute, theater project; Julie Jeffrey, gamba; Anna Mansbridge, West Coast Early Workshop historic dance, theater project; Eric Music and Dance August 1-7, 2010 Mentzel, voice; Margriet Tindemans, viola da gamba, Medieval strings; Bob Chapman University Wiemken, early reeds, loud band. Featured Faculty Orange, CA Contact: Tom Zajac, SFEMS, Thomas Axworthy PO Box 10151, Berkeley, CA Classes in 94709; 617-323-0617; Mark Davenport Baroque Music [email protected]; sfems.org Ronald Glass Recorder Ensemble (all levels) Carol Lisek MOUNTAIN COLLEGIUM Vocal Ensemble Cullowhee, NC Alice Renken June 27-July 3 Renaissance Brass Director: Patricia Petersen and Reeds Nestled in the Smoky Mountains, Beautiful Campus Viols Western Carolina University provides a Fully air-conditioned lovely location for Mountain Collegium, Collegium For Information Call with comfortable accommodations in a www.cantoantiguo.net new dorm and catered evening meals. 310-213-0237

www.AmericanRecorder.org March 2010 25 guidance of internationally acclaimed English church music, and instrumental MADISON EARLY MUSIC FESTIVAL professional musicians. In four daily 75- music for court life and countryside all minute classes plus lectures, early music University of Wisconsin–Madison represented in MEMF’s celebration lovers may play to their heart’s content. July 10-17 of this delightful repertoire. Directors: Cheryl Bensman Rowe Small ensembles and voice classes are set The annual All-Festival Concert will and Paul Rowe, artistic directors; up ahead of time; registration for other include choral pieces and consorts of Chelcy Bowles, program director classes occurs on site. Courses include strings and wind instruments per- choir, large instrumental ensemble, many MEMF was created to provide an forming repertoire by such composers recorder and viol classes, Medieval and opportunity for musicians, scholars, as Robert Carver, Orlando Gibbons, Renaissance ensembles, Orff method teachers and early music enthusiasts to John Taverner, Thomas Tallis and and Baroque dancing, plus courses for gather and exchange information and William Byrd. adolescents and for children ages 4-11. ideas about Medieval, Renaissance and Featured guest artists-in-residence Baroque music, and to bring acclaimed Venetian Splendor. Key faculty: Matthias include Parthenia, The King’s Noyse, early music artists to the Midwest to Maute, Hélène Plouffe, Patrick Wedd, Hesperus, Liber and Benjamin Bagby. perform in beautiful Madison. Laura Pudwell, Francis Colpron, Sophie Historical wind faculty include Bob Larivière, Betsy MacMillan, Geneviève England: Merry & Musical before Wiemken, Joan Kimball and Tom Zajac. Soly, Geneviève Dussault. Elizabeth. From Anglo-Saxon bards to Contact: Chelcy Bowles, choristers of the Chapel Royal, from Contact: Johanne Audet, University of Wisconsin–Madison, Dunstable to Taverner and Tallis, Eng- 85 Chemin CAMMAC, 21 N. Park Street, 7th Floor, Harrington, QC J8G 2T2 land enjoyed a rich musical culture long Madison, WI 53715; CANADA; 888-622-8755 X1; before Queen Elizabeth ascended the 608-265-5629; 819-687-3323 (fax); throne. Our exploration will carry us 608-262-4555 (fax); [email protected]; from the 12th century through the reign [email protected]; cammac.ca/english/TabLM/ of “Fair Oriana,” with songs of love and www.madisonearlymusic.org Summer.shtml battle, works from the golden age of

San Francisco Early Music Society Summer Workshops 2010 Recorder Workshop · July 18–24, 2010 Music from the Royal Courts of Europe · Classes for intermediate and advanced players, amateurs and professionals in an inspiring and supportive atmosphere. Recorder ensemble, technique, Renaissance consort, concerts, lectures and more. Explore medieval, Renaissance, Baroque, contemporary and world music, working with world-class teachers. Small classes. Quiet campus. Special oﬀerings: Recorder orchestra, recorder master class, coached informal playing. Faculty: Louise Carslake, Saskia Coolen, Rotem Gilbert, Greg Ingles, Peter Maund, Daphna Mor and Hanneke van Proosdij. Info: Rotem Gilbert, 626-441-0635; [email protected] Baroque Music & Dance Workshop · June 20–26, 2010 The Splendor of Hapsburg Europe · Master classes, recorder ensemble, concerto evening, coached ensembles, Baroque orchestra, concerts and lectures. Featuring recorder faculty Frances Blaker and Marion Verbruggen. Info: Kathleen Kraft, 707-799-2018; [email protected] Medieval & Renaissance Workshop · June 27–July 3, 2010 Dance and Pageantry · Classes for recorders, voices, viols and other bowed strings, alta capella (sackbuts, cornetts and reeds); voice master class; ensemble coaching; violin band, historic dance, all-workshop collegium, theater project, concerts, lectures and more. A wide variety of classes in technique and repertoire for recorder and mixed ensembles. Featuring recorder faculty Annette Bauer, Adam Gilbert and Tom Zajac. Info: Tom Zajac, 617-323-0617; [email protected] Music Discovery Workshop · August 1–6, 2010 Travels to 17th Century France and England with the Three Musketeers · Multicultural day camp for children and youth ages 7 to 15. Early music and Renaissance social history. Instruction in recorder, harpsichord, strings, chamber music, musicianship, crafts, costume-making, games, and more. Beginners to advanced students welcome. Featuring recorder faculty Vida Bateau and Letitia Berlin. Info: Letitia Berlin, 510-559-4670; [email protected] For more information, visit our web site: www.sfems.org

26 March 2010 American Recorder opportunity for hands-on experience players, amateurs and professionals, AMHERST EARLY MUSIC FESTIVAL (ARS) without owning an instrument; intro- performers and soloists, conductors and duction to Medieval Fiddle. Other music teachers in an inspiring and sup- Connecticut College, New London, CT classes on special early music topics portive atmosphere. Recorder ensemble, July 11-18: Baroque Academy and literature. technique, Renaissance consort, con- July 18-25: Virtuoso Recorder/ Faculty: Marilyn Carlson, director; certs, lectures and more. Explore Recorder Seminar Tish Berlin, Martha Bixler, Stewart Medieval, Renaissance, Baroque, Director: Marilyn Boenau Carter, Judith Davidoff, Eric Haas, contemporary and world music, France: Source of European Music. Tw o Peter Ramsey, Kenneth Wollitz. working with world-class teachers. weeks of classes in topics spanning All facilities are air-conditioned. Small classes. Quiet campus. Special Medieval through Baroque music. Both Contact: Marilyn Carlson, offerings: recorder orchestra, master weeks: recorder consorts, viol consorts, 1008 Afton Road, Columbus, OH class, coached informal playing. Bring Renaissance and Baroque ensembles, 43221-1680; 614-754-7233; your ensemble (minimum of five early notation, Renaissance reeds, harpsi- [email protected]; players) and be guaranteed a daily chord, vocal ensembles, all-workshop mideastearlymusic.addr.com group class. vocal-instrumental collegium. Featuring recorder faculty Louise Week I: Baroque Academy, Baroque SAN FRANCISCO EARLY MUSIC Carslake, Saskia Coolen, Rotem Gilbert, Opera Project, Baroque oboe, flute, SOCIETY RECORDER WORKSHOP Greg Ingles, Daphna Mor and Hanneke and bassoon, Recorder Boot Camp, (ARS) van Proosdij. Other faculty: Peter Historical Dance, cornetto and sackbut. St Albert’s Priory, Oakland, CA Maund, percussion. Week II: Virtuoso Recorder, Recorder July 18-24 Contact: Rotem Gilbert, SFEMS, Seminar, Medieval Song Project, Directors: Rotem Gilbert, PO Box 10151, Berkeley, CA Historical Harp. Hanneke van Proosdij 94709; 626-441-0635; [email protected]; Contact: Marilyn Boenau, Music from the Royal Courts of Europe. sfems.org Director, or Cathy Stein, Classes for intermediate and advanced Administrator, P.O. Box 229, Arlington, MA 02476; 781-488-3337 (day); 2EHUOLQ&RQVHUYDWRU\RI0XVLF 408-547-1464 (fax); SUHVHQWVWKHWK [email protected]; amherstearlymusic.org %DURTXH3HUIRUPDQFH,QVWLWXWH -XQH-XO\ MIDEAST WORKSHOP (ARS) LaRoche College, Pittsburgh, PA ´,WDOLDQ0XVLFIURP0RQWHYHUGLWR7DUWLQLµ July 18-24 IHDWXULQJDSHUIRUPDQFHRI0RQWHYHUGL·V9HVSHUV Director: Marilyn Carlson .HQQHWK6ORZLN$UWLVWLF'LUHFWRU The Early Renaissance in England & ZLWKWKH2EHUOLQ%DURTXH(QVHPEOH on the Continent. 55-60 students of all 0LFKDHO/\QQUHFRUGHU WUDYHUVR ability levels; adults only. Instruction for &DWKDULQD0HLQWVYLRO FHOOR recorder (all levels except novice), viol, 0DULO\Q0F'RQDOGYLROLQ harp, flute. You may enroll for recorder, :HEE:LJJLQVKDUSVLFKRUG RUJDQ viol, flute as primary instrument; harp, voice, recorder, viol as secondary instru- DQGDQLQWHUQDWLRQDOIDFXOW\LQFOXGLQJ ment. Large and small ensembles: all- &KULVWRSKHU.UXHJHUWUDYHUVR UHFRUGHU workshop ensemble (instruments and *RQ]DOR5XL]RERH voices), Renaissance band (recorders, 'RPLQLF7HULVLEDVVRRQ viols, capped reeds, voice), Medieval collegium (programming Medieval REHUOLQHGXFRQVXPPHUESLRFESL#REHUOLQHGX :&ROOHJH6W2EHUOLQ2+ music), consorts (by level), vocal ensemble. Also English country dance. We offer harp-for-novice, providing the

www.AmericanRecorder.org March 2010 27 dents work with master teachers and WINDSWEPT MUSIC WORKSHOP RECORDER AT THE CLEARING improve their skills both technically and William Jewell College, Liberty, MO The Clearing, Ellison Bay, WI musically. Daily classes and observation July 18-24 July 25-31 include: applied study; theory/reading Director: Dr. Jane Andrews Directors: Pat Badger, skills; ensemble skills; chamber music; Bring your artistry to life! Strengthen Adrianne Paffrath performance practices; composition/ the mind/body connection at Creative Recorder ensemble has been a tradition improvisation; master classes; art and Motion Alliance’s 60th annual confer- at The Clearing for over 25 years. music; world music/drumming; music ence. Professional musicians, conduc- Ensemble playing is the week’s focus. history; recitals and presentations. tors, teachers, students and amateur Each day begins with a warm-up of Who may attend? Suzuki students who music enthusiasts will discover barriers voices and bodies as we sing rounds and have completed the Twinkle Variations that inhibit the free flow of energy and ready our muscles for performance. (preschool–grade 12; parents or other learn the secrets of inner-directed artistic Daytime sessions focus on rhythmic responsible, interested adults must music-making. Using movement, exer- challenges, recorder technique and attend with students under high school cises, analysis and body responses, ensemble blend; emphasis is on growth, age); teacher trainees/observers. Partici- explore music and energy in a unique process and, most of all, enjoyment. pants must arrange meals, housing and intergenerational format. Piano, voice, To participate fully, you need at least transportation. Teacher Training prereq- instrumental music, expressive arts and intermediate skills on a C or F recorder. uisites: Every Child Can!® before independent study. Master class coach- Adrianne Paffrath coached on recorder Book 1. Contact workshop regarding ing and conducting opportunities. Inde- with ARS teachers. She is music director required DVD audition and preparation. pendent recorder study, private lessons. at Racine’s First Presbyterian Church. Contact: Cindy Malmin, Registration fee $50 prior to 5/15/10. Patricia Badger has studied early music 612-767-5461; Member/family discounts. Three hours instruments, natural and classical [email protected] graduate credit ($225), 3 CEUs ($50); trumpet. She is performing arts head and private lessons ($25 each). of The Prairie School. Jointly, they have SAN FRANCISCO EARLY MUSIC Contact: Dr. Jane Andrews, performed for Medieval festivals, grape SOCIETY CHILDREN’S MUSIC 7512 Meadow Creek Dr., Fort stompings, Shakespeare celebrations DISCOVERY WORKSHOP (ARS) Worth, TX 76123; 817-292-3816; and a circus parade. Crowden Center for Music, [email protected]; Contact: The Clearing, PO Box 65, Berkeley, CA creativemotion.org Ellison Bay, WI 54210-0065; August 1-6 (day camp) 877-854-3225; 920-854-9751 Director: Letitia Berlin INTERNATIONAL BAROQUE (fax); [email protected]; INSTITUTE AT LONGY Travels to 17th Century France and Eng- theclearing.org land with the Three Musketeers. Early Longy School of Music, music and Renaissance social history for Cambridge, MA MACPHAIL SUZUKI INSTITUTE children and youth ages 7 to 15; begin- July 23-August 1 MacPhail Center for the Arts, ners to advanced students welcome. Directors: Paul Leenhouts, Minneapolis, MN Instruction includes chamber music, Phoebe Carrai July 25: Every Child Can!® musicianship, Baroque dance, crafts, J.S. Bach and Sons: Vocal & Instrumental July 25-31: Recorder Book 1 costume-making and games. Friday Repertory of the Bach Family. Faculty: (Mary Halverson Waldo) night theater project presentation and Paul Leenhouts, recorder; Phoebe Car- July 26-30: Student Institute student recital, with a delicious potluck rai, ’cello; Ricard Bordas, voice; Arthur (recorder groups & master classes feast. Featuring recorder faculty Vida Haas, harpsichord; Robert Mealy, with Kathleen Schoen) Bateau and Letitia Berlin. Other faculty: violin; Ken Pierce, early dance; Gonzalo Registration Deadline: June 7 Ron McKean, harpsichord; Carla Ruiz, oboe; Stephen Stubbs, lute; Peter Director: Cindy Malmin Moore, violin; Farley Pearce, ’cello Sykes, organ; Jed Wentz, traverso. Sanctioned by the Suzuki Association and viola da gamba; Allison Rolls, Contact: Karen Burciaga, Assistant of the Americas, MacPhail’s Suzuki theater project director. Registrar, One Follen St., Cam- Institute is an opportunity for students of Please note this is a day camp. Out-of- bridge, MA 02138; 617-876-0956 all ages, with a parent, to come together town students, please contact the director X1575 (day); 617-354-8841 (fax); to share in motivating, enriching and regarding accommodations with host [email protected]; wide-ranging musical experiences. Stu- families. Early registration discount of longy.edu

28 March 2010 American Recorder $30 until May 1. Some financial aid Italian polychoral music, home of orchestra. Concerts: Ensemble Caprice available. famous music publishers, and inspiration (Brandenburg concerti), solo recital by Contact: Letitia Berlin, SFEMS, to courts and chapels located far beyond Horacio Franco (Mexico). PO Box 10151, Berkeley, CA the Veneto region. We will play and sing Contact: Ensemble Caprice, 94709; 510-559-4670; music from the vibrant Middle Ages to 4043 Marlowe Ave, Montréal [email protected]; sfems.org the virtuosic Baroque. The magic of QC H4A 3M3 CANADA; Monteverdi and glory of the Gabrielis, 514-523-3611; 514-903-9238 CANTO ANTIGUO EARLY MUSIC their predecessors and heirs will be (fax); [email protected]; AND RECORDER WORKSHOP ours to celebrate this summer. ensemblecaprice.com Chapman University, Orange, CA Advanced musicians can work inten- HIDDEN VALLEY INSTITUTE August 1-7 sively, amateurs are engaged and chal- Directors: Thomas Axworthy, lenged, and beginners are always made FOR THE ARTS Ronald Glass welcome. If you’ve never played a musi- EARLY MUSIC ELDERHOSTEL This one-week workshop is designed cal instrument (but wish you could) or Carmel Valley, CA to broaden the performance skills of if you studied music years ago (and fear October 31-November 6, experienced students, and introduce you’ve forgotten everything), there are November 7-13 Renaissance and Baroque instruments classes for you. Directors: Letitia Berlin, workshop; and musical experiences to beginning Introductory classes are offered in Peter Meckel, HVIA and intermediate players. Students at all recorder and viol. Advanced and inter- Enroll for one or both weeks. Adults of levels participate in instrumental, vocal mediate players and singers have a wide all ages welcome. and dance instruction/ performance. array of classes from which to choose, led Week I: intense classes for upper inter- Music of the Renaissance. Dances, masses, by an outstanding and dedicated faculty mediate to advanced levels. Week I motets and ceremonial music will of professionals and acclaimed teachers faculty: Letitia Berlin, Frances Blaker, resonate as we explore the music of of early winds (recorders, reeds and Louise Carslake, Annette Bauer Purcell, Josquin, Schutz, et al. brass), strings (viols and violin), harpsi- (recorder); David Morris (gamba). chord and voice. New faces this summer Faculty: Thomas Axworthy, Mark Week II: all levels except beginner. Week are Michael Barrett (voice and chorus), Davenport, Ron Glass, Carol Lisek and II faculty: Letitia Berlin, Frances Blaker, Douglas Kirk (cornetto) and Tim Ray- Alice Renken. Studios, dining hall and Janet Beazley (recorder); Shira Kammen born (Medieval music). Also new and residences are all air-conditioned. This (early strings, singing, Medieval topics); offering special programs are Jacqueline invitingly landscaped, peaceful campus TBA (viola da gamba). Classes include Schwab (English Dance Musicians with garden paths is a mixture of historic recorder technique, viol consort, Course) and Mary Springfels (Viol and modern architecture. Baroque chamber music, consort Intensive). Early Music Week continues classes for Medieval, Renaissance, Contact: Ronald Glass, its long tradition of superb teaching Baroque and contemporary repertoire, 129 Altadena Dr., Pittsburgh, in a warm and welcoming community, workshop orchestra. PA 15228-1003; 310-213-0237 enhanced by special events, presenta- (evening); 562-946-4081 (fax); tions, concerts—and, of course, dancing. Evening events include faculty concert, [email protected]; Contact: Steve Howe, Country student concert, free-lance playing. Free cantoantiguo.net Dance and Song Society, Wednesday afternoon for more playing PO Box 338, Haydenville, MA or sightseeing. Improve your playing EARLY MUSIC WEEK AT 01039-0338; 413-268-7426 X3 in a supportive, friendly atmosphere PINEWOODS CAMP (ARS) (day); 413-268-7471 (fax); with world-class teachers. Pinewoods Camp, Plymouth, MA [email protected]; cdss.org/em Contact: Peter Meckel, August 14-21 PO Box 116, Carmel Valley, CA Director: Sheila Beardslee MONTRÉAL RECORDER FESTIVAL 93924; 831-659-3115; Venetian Glory. Benvenuti a Venezia, la città McGill University, Montréal, 831-659-7442 (fax); di canali, dogi e magnifica musica! Welcome QC, Canada [email protected]; to Venice, the city of canals, doges and September 16-19 hiddenvalleymusic.org magnificent music! Early Music Week Directors: Matthias Maute, at Pinewoods explores music from that Sophie Larivière vibrant musical center, the heartbeat of Conference: consort music; recorder

www.AmericanRecorder.org March 2010 29 Amherst EarlyAmherst FestivalMusic CAMMAC Early Week Music Canto Antiguo Columbia Gorge Recorder at the Clearing Great Lakes Suzuki Flute/Rec Valley Hidden Elderhostel Interlochen Early Inst Music Longy Intl. Baroque Inst. Marin Headlands Mideast $520 C$1024 $875 $450 $865 SEE $799 $400 $675 T $235 E $760 TW ED (BUNKS D WEB D T DORM COST 6/RM) NO. OF DAYS 8/14 7 7 4 7 5-8 7/14 6936 ARS DISCOUNT NO NO YESYESNONONONONONONO NO. OF FAC/ RECORDER FAC. 43/15 16/5 5/3 4/4 2/2 7/2 5/4,3 1/1 10/1 10/10 8/5 NO. OF STUDENTS 150/wk 110 25 40 16 25 35 20 60 75 55 RECORDER LI,HI, B,LI, LI,HI, LI,HI, LI,HI, B,LI, CLASS LEVELS A,V HI,A,V LI,A,V A,V LI,HI,A B,LI,A A,V LI,HI,A HI,A,V A,V HI,A,V

C,MR, C,MR, RP,C, MB,20, MR,MB, MR,MB, MB,20, MR,MB, C,MR, SPECIAL CLASSES EN,M, C,MR, EN,RO, 20,EN, RP,MB, M,RO, EN,M, MB,M, RP,MB, MB,M, USING RECORDERS RO,T MB,RO P,T RO,P,T C,RO M,P P,T RO,P,T P,T 20 T,O C,W, C,W,P, C,W,P, C,W, NON-RECORDER K,V, C,K,V, V,PS, K,V, V,PS, CLASSES PS,D,O D,T,O C,W,V D,O C O V,T PS,T W,D V D,O MUSICAL F,S,L, S,L, F,S,L, ACTIVITIES SP,P F,S,L,O F,S F,P,O S,P F,S,L F,S,P SP,P,O F,S,L P P,O D,S, B,S,T, RECREATION D T,W O D,T,O F,B,S,W S,O W,O D,F,S O O OTHERS WELCOME S,C S,C S S S S,C S S NO S DIRECT S,B,C, B,C,L, TRANSPORTATION S,C S,P B,C,L,P PU,P B,P S,L PU,P C,L, PU,P B,C PU,P A50, A10, A10, A20, A15, TRANSPORTATION B2, B3, A80, B1, B20, A16, A5, B4, B5, TERMINALS T2 A75 T5 A,B,T B80 T1 T20 B16 T4 A20 T5 ROOMS S,D S,D+ S,D S,D+ S,D,C S S,D S,D,C S,D DORM S,D BATHS S,SP S,P P S,SP,P S,SP,P S,SP,P SP,P P S S P FOOD C,V C,V C,V F,G,V F,V C F C,V C,V C HANDICAP ACCESS H,C,D H,C,D H,C,D H,C,D H,C H,C,D H,C,D C H,C,D H,C,D

KEY (ALL INFORMATION SUPPLIED BY WORKSHOP DIRECTORS) COST: Includes tuition, room (single occupancy unless otherwise noted), meals, plus other fees, E=estimated, T=tuition only, D=double occupancy, W=one week NO. of DAYS: Includes arrival and departure days ARS DISCOUNT: Discount offered for ARS members # FACULTY/RECORDER FACULTY: Number of faculty/recorder faculty within that number # STUDENTS: Average over last two years RECORDER CLASS LEVELS: B=beginners, LI=low intermediate, HI=high intermediate, A=advanced, V=very advanced SPECIAL CLASSES USING RECORDERS: RP=recorder pedagogy, C=one-on-a-part consorts, MR=mixed Renaissance ensembles, MB=mixed Baroque ensembles, 20=contemporary music, EN=early notation, M=master class, RO=recorder orchestra, P=private lessons available, T=technique, O=other NON-RECORDER CLASSES: C=choral, W=other winds, P=percussion, K=keyboard, V=viols, PS=plucked strings, D=dance,T=theory, I=instrument building, O=other 2010 SUMMER RECORDER WORKSHOPS MUSICAL ACTIVITIES: F=faculty concert, S=student concert, L=lecture, SP=special production, P=organized informal playing, O=other RECREATION: D=dancing, F=field trip, G=gym, B=biking, S=swimming, T=tennis, W=waterfront/beach, O=other OTHERS WELCOME: S=non-playing spouses/friends, C=children (day care not generally available) DIRECT TRANSPORTATION TO WORKSHOP: S=airport shuttle, B=bus, C=cab, L=limo, PU=pick up, P=free parking TRANSPORTATION TERMINALS: A=air, B=bus, T=train (number indicates miles from workshop to nearest terminal) ROOMS: S=singles, D=doubles (with “+” can accommodate up to triples), C=cabins, O=other, *=Graduate dorms BATH FACILITIES: S=shared, SP=semi-private, P=private FOOD: C=college style, F=family style, G=gourmet, V=vegetarian HANDICAP ACCESS: H=housing, C=classrooms, D=dining

30 March 2010 American Recorder Mountain Collegium Oberlin Baroque Perf. Inst. Pinewoods Early Week Music Baroque SFEMS Discovery SFEMS Children's SFEMS Medieval & Renaissance Recorder SFEMS Toot Texas Whitewater Early Mus. Fest. Winds & Waves Windswept Music Workshop $800 $475 $890 D $970 $415 $970 $780 $740 $210 D $225 T $535 ED TW T E D

COST 2010 SUMMER RECORDER WORKSHOPS 714875777336NO. OF DAYS NO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT NO. OF FAC/ 12/5 20+/2 18/10 13/2 6/2 11/3 7/6 13/6 13/12 4/4 13/2 RECORDER FAC. 55 100/wk 90 55 30 70 40 50 115 45 48 NO. OF STUDENTS LI,HI, B,LI, B,LI, B,LI, LI,HI, LI,HI, B,LI, RECORDER A,V HI,A,V HI,A,V HI,A,V HI,A,V A,V A,V LI,HI,A HI,A,V LI,HI,A CLASS LEVELS

C,MB, C,MR, C,MR, C,MR, C,MR, 20,M, C,MR, C,MR, MB,P, MB,M, MB,RO, MB,M, MB, EN,M, RO,P, 20,M, MB,20, SPECIAL CLASSES T P,T T P,T,O P,T,O P,T,O T,O P,T RO,P,T T,O USING RECORDERS C,W,V, C,W,K, C,W,K, C,W,V, PS,D, W,K,V, V,PS, V,D, K,V, PS,D, W,K,V, NON-RECORDER T,O PS,D D,T T,O D,T,O T,O P PS,T,O C,W,V NONE C,K,O CLASSES F,S,L, F,S,L, F,S, F,S,L, F,S,L, F,S,L, MUSICAL P,O F,S,L, SP F,S,L,P SP,P,O SP SP,P,O P,O P,O S,P F F,S,L,P ACTIVITIES D,G, D,G,B, D,G, B,S D,G,S,T D,S S,T D B,S,T D,O D W,O G,S RECREATION S S,C S,C S S S,C S,C12+ OTHERS WELCOME S,B,C, DIRECT P S,C,P S,B,P S,C,P S,C,P L,P S,C,L,P S,P TRANSPORTATION A50, A20, A12, A20, B10, B2, B4, B18, TRANSPORTATION A57 A30 T12 A59 T5 A59 T1 A20 A,B,T T20 TERMINALS S,D S,D C S CALL S S S,D S,D S,D ROOMS SP S S P P S,P SP,P S S BATHS C,V C,V F C,V C,V C,V C C,V C,V FOOD H,C,D H,C,D H,C,D C H,C,D H,C,D H,C,D C,D H,C,D HANDICAP ACCESS

Workshops carrying 12th Annual Summer Texas Toot ARS designation in their June 13-19, 2010 — Austin, Texas descriptions have joined the ARS as workshop The home of the Summer Texas Toot is the new Concordia University campus, a stunning 389-acre site nestled in the Hill members. Other shorter Country: air-conditioned classrooms, dining, and dorm accom- workshops may be spon- modations, all easily walkable, and filled with trees, shade, and sored periodically through beautiful sunsets. Plan to join us! Featured faculty includes: the year by ARS chapters, Saskia Coolen & Annette Bauer — recorders and are listed in the Mary Springfels — viols Robert Wiemken — reeds calendar portion of each Expert instructors in recorder, viol, early reeds, lute, harp, and ARS Newsletter, as well voice will tend to young professionals, seasoned amateurs, and eager beginners with equal care. Registration info in March on as on the ARS web site, the Website. Danny Johnson, workshop director; Susan when information becomes Richter, administrator. For more information: available from presenters. http://www.toot.org or email [email protected]

www.AmericanRecorder.org March 2010 31 Q & A ______Purchasing an inexpensive wooden alto recorder; ______winter, humidity and wooden instruments uestion: I now own and am happy For the makers’ comments on their Qwith a set of Yamaha plastic own models, see: www.moeck.com/ There is more difference recorders for consort playing but would cms/index.php?id=2&L=1, between different models like to upgrade to a wooden alto for solo www.kueng-blockfloeten.ch/en/in of recorders or different work. I am currently unable to afford a dex.php and www.mollenhauer.co makes than between handmade recorder but have heard that m/HTML/ENGLISH/default.htm. different woods. Moeck Rottenburgh, Küng Superio, and You might also want to consider Mollenhauer Denner recorders are good Jean–Luc Boudreau’s Aesthé record- making the instruments for which instruments. Where can I find further ers (very fine instruments at an afford- they charge more money (generally information about those recorders? Can you able price): www.boudreau-flutes.ca. the fancier hardwoods), so you may recommend any other makes or models? Concerning your last question, find some variation. Should I purchase a relatively inexpensive there is more difference between dif- There can also be a good deal wood such as maple or pear, or a better ferent models of recorders or different of difference from one instrument to wood such as boxwood or rosewood?— makes than between different woods. It the next even if the same person C.N.W., Merlinsville, TN is quite possible to purchase a very fine makes both. A recorder is, after all, nswer from Eric Haas of Moeck Rottenburgh, Küng Superio, made from a piece of wood—a natural AVon Huene Workshop, Inc.: or Mollenhauer Denner alto in maple material with its own irregularities and All the instruments you have men- or pear. However, those makers have characteristics—and the voicing is tioned are of consistently high quality. their most experienced craftsmen done almost entirely by hand. The Von Huene Workshop, Inc. is pleased to announce agreements with 7KH7 Coolsma Zamra to serve as their authorised service agents in the U.S.

For more than 40 years, the von Huene Workshop has produced some of the ﬁnest recorders in the world. Our skilled staﬀ can revoice, retune and repair even the most seriously damaged instruments. All repairs are done right on the premises, and most can be completed within a week. For warranty repairs, please include a copy of your original sales receipt.

65 Boylston Street, Brookline, MA 02445 (617)j 277-8690 Fax (617) 277-7217 [email protected]

32 March 2010 American Recorder If at all possible, arrange to try My advice is to buy the best several different makes and models— recorder that you feel you can reason- That level of humidity is or, if you have narrowed down your ably afford. A good used instrument fine for all my hundreds choice, try two or three instruments of can sometimes be quite a bargain, of instruments. the same make and model, since each so that might also be something to one is slightly different. (Every player consider. work great and are quiet. That level looks for something different, too. A of humidity is fine for all my hundreds few years ago, a dissatisfied customer uestion: I live in a cold climate on of instruments, both strings and winds. returned what he considered an Qthe East Coast. In the winter my One of those humidifiers would prob- “absolutely unplayable” Von Huene home gets very dry, and I’m afraid my ably be enough for the driest East alto. Two days later, [professional expensive wooden recorders might crack. Coast winters in an average 150-sq.-ft. recorderist] Dan Laurin bought it Can you give me any ideas for an easy, room. You may have to refill it once for one of his students.) effective way to prevent that from hap- a day, but that is easy to do. Many recorder sellers will pening?—G.L., New York City, NY “I recommend a Graco Cool allow you to have instruments for an nswer: The best way to provide Mist four-gallon humidifier (formerly “approval” period to try and compare. A enough moisture to prevent your sold under another name, Hamilton Your best bet, though, is to attend recorders from cracking is to buy a Beach 05521). It costs about $70. one of the early music festivals (odd- room humidifier that will keep the For more information, go to numbered years in Boston, MA; humidity in the room at a constant www.amazon.com/Graco-Gallon- even-numbered years in Berkeley, level. Here is a recommendation Cool-Mist-Humidifier/dp CA), or the Amherst Early Music from instrument dealer Bill Lazar: /B000WIGEL4.” Festival instrument maker’s fair in “I use two room humidifiers in Send questions, answers and suggestions to Connecticut every July, where you my 800-sq.-ft. shop to keep the rela- Carolyn Peskin, Q&A Editor, will have the opportunity to play many tive humidity at 40% on the driest 3559 Strathavon Road, Shaker Heights, OH instruments by many different makers. Northern California days. They 44120; [email protected].

... are also available at The Early Music Shop of New England, Brookline, MA

AESTHÉ 367-b de la Briquade Blainville, Québec Canada J7C 2C7 tel: (450) 979-6091 www.boudreau-flutes.ca

www.AmericanRecorder.org March 2010 33 Compact Disc Reviews ______Sparkling collisions: three engaging recordings Reviewed by Tom Bickley Nathaniel Pattrick, and anonymous DIALOGUE: EAST MEETS composers reveal the high quality of WEST, CHEN YUE, XIAO & DIZI; For the duo comprising Danish musician composition in this period. MICHALA Michala Petri and Chinese musician Chen The ensemble playing is tight, with PETRI, RECS. Yue, composer Rui Li wrote her work Peng enjoyable precision of articulation and 1 hybrid Zhuang (Sparkling-Collision). High musicianly use of timbre. The variety of SACD, Our quality repertory, performance, recording high and low consorts—with and with- Recordings and packaging of the three CDs below yield out voice and lute—works well. The 6.220600, wonderfully sparkling collisions in each and ensemble’s energy carries through the 2009, 67:46. among all three. The year 2009 was good for extroverted pieces, conveys the richness $16.99 (CD), $9.99 (mp3 download). distribution of interesting recorder recordings. of the pavans, and allows the silliness in www.ourrecordings.com (Naxos). the bull-baiting song to function Ten new works written in 2007 YE SACRED MUSES: MUSIC acceptably. by five Chinese and five Danish com- FROM THE HOUSE OF posers (all in their 20s and 30s) provide TUDOR, FLAUTANDO KÖLN The variety of high material for dialog between Danish (KATHARINA HESS, SUSANNE recorder virtuosa Michala Petri and HOCHSCHEID & URSULA THELEN, and low consorts— Chinese flute virtuosa Chen Yue. In RECS; KERSTIN DE WITT, RECS, various ways, the music draws from SOPRANO VOICE & RECITATION; with and without Asian and European compositional GUESTS FRANZ VITZTHUM, traditions and musical dialects, though COUNTERTENOR; ANDREA CORDULA voice and lute— all of it is accessible in its tonal language BAUR, LUTE; AND KATRIN KRAUß, and its approach to sound and silence. REC). Carus 83.433, 2009, 1 CD, 64:02. works well. Over the course of the recording, $19.98. www.carus-verlag.com (U.S. Petri uses sopranino, soprano, alto and distr. Albany Records). tenor recorders. Yue uses a similar range With an opening recitation by two I continue to desire longer versions of instruments, all either the vertically consorts of Renaissance recorders (by of the pieces that clearly supported social blown xiao or various sizes of the trans- Adriana Breukink and Adrian Brown dancing, and I think more recitation respectively), Flautando Köln and guests would strengthen this recording that is engage both music and listeners. This nevertheless strong. The program, 29-track survey of repertory, from the grouped into nine segments, needs 16th into the 17th centuries, includes longer pauses between the segments chestnuts such as Taunder naken (Henry than those within. VIII’s setting), Byrd’s Browning, and Producer Richard Lorber and Honeysuckle Music Holborne’s Heigh ho holiday. Less WDR (West German Radio) provide frequently heard works by Dowland, excellent audio; the notes by Michael Recorders & accessories Robert Johnson, Thomas Simpson, Wersin (well-translated), texts (in ... Augustus and Jeronimo Bassano, English too), and design of the CD Music for recorders & viols package combine for an excellent effect. Let this CD inspire you to Jean Allison Olson 1604 Portland Ave. know and play this repertory. See St. Paul, MN 55104 www.flautando-koeln.de/english/ 651.644.8545 for more information. [email protected]

34 March 2010 American Recorder verse dizi. The timbres complement each other, and the range of articulations and finesse with subtle extended techniques Order your on both are quite impressive. In addition to the dialog of East– West and of the two performers, there is recorder discs the dialog among the six male and four female composers. Joshua Cheek’s notes through the welcome the listener to the experience, and the use of SACD options for text ARS CD Club! display genuinely enhance discs from Our Recordings. The ARS CD Club makes hard-to-find or limited release Of the 10 works, I am most struck CDs by ARS members available to ARS members at the special price listed. All CDs are $15 ARS members/ by Pernille Louise Sejlund’s Butterfly- $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ Rain for its interplay of tone color and $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. tuning. The scores of all of these works An updated list of all available CDs may be found at: www.americanrecorder.org. merit publication and distribution. LEAVE THE RENAISSANCE AND BAROQUE BEHIND! (Partial listing) Perhaps this can be an extension of Petri’s East–West project, of which this ____20TH CENTURY MUSIC FOR RECORDER & PIANO is the second CD (the first pairs Lars Anita Randolfi, recorders. Music by Jacob, Bartok, Leigh, others for recorder & piano. Hannibal’s guitar with Yue’s xiao). See ____DISTRIBUTION OF FLOWERS Cléa Galhano, recorder; Tony Hauser, guitar. Latin CD featuring works by Argentinian www.ourrecordings.com for more. accordion virtuoso Astor Piazzolla, The History of Tango, & Brazilian composers including Villa Lobos, Pixinguinha, Hermeto Paschoal, Waldir Azevedo. Ten Thousand Lakes. VESPERS BY KILE SMITH, ____DOLCE MUSICA—A CONTEMPLATIVE JOURNEY Eileen Hadidian, flutes & recorders; Natalie Cox, harps. Celtic, Renaissance and PIFFARO AND Medieval melodies for recorder and flute with Celtic harp. Healing Muses, 2005. THE CROSSING. ____WILDES HOLZ Navona Records Tobias Reisige, recorder; Anto Karaula, guitar; Markus Conrads, bass. 12 tunes—Charlie Parker, Cole Porter, Gershwin, Herbie Mann, Stevie Wonder, more. Holz Records, 2000. NV5898, ____REFLECTIONS – MUSIC TO SOOTHE AND UPLIFT THE SPIRIT 2009, 1 enhanced Eileen Hadidian, Renaissance & Baroque flute & recorder; Maureen Brennan, Celtic CD, 60:00. harp; Natalie Cox, Celtic & Renaissance harp; Dan Reiter, cello. Celtic, traditional, $16.99. Renaissance and Medieval melodies. Healing Muses, 2005. ____RENOVATA BY ERWILIAN www.navonarecords.com (Naxos). Jordan Buetow, recorders et al. Recorder—garklein to bass—leads ensemble of exotic Elements in the CDs by Flautando stringed instruments on a journey through energetic and expressive traditional melodies Köln and by Petri/Yue overlap for further with distinctly modern influences. Wood, Wind & Wire. ____WINDFIRE serendipitous juxtapositions in the col- Charmaine Delmatier, recorder; Steve Kostelnik, classical guitar; Terry Hale, bass; Erik laboration of composer Kile Smith with Hokkanen, violin. Refreshing mixture of Andrew Lloyd Weber, American blues, flamenco, ensembles Piffaro and The Crossing. Celtic, and one original piece. www.yermomusi.com. ____THE VERSATILE VIOL: SCOTTISH AND IRISH MUSIC Smith, a well-regarded composer steeped Tina Chancey, Joseph Gascho, Zan McLeod, Scott Reiss, Sue Richards, Robert Spates in the streams of Lutheran liturgical on recorders and string instruments. Jigs, reels, airs, variation sets, O'Carolan tunes—a music, accomplishes a remarkable feat in band of fiddle, recorder/whistle, and bazouki.Hesperus/Golden Apple, 2005. his vespers setting. He employs a Ren- aissance wind band and a choral group Please indicate above the CDs you wish to order, and print clearly the following: that focuses on newly-composed music Name:______Daytime phone: (____) ______in his successful post-modern setting of a Address: ______City/State/Zip:______Reformation period vespers service. _____ single CDs x $____ = $______2-CD sets x $____ = $______Piffaro co-director Robert Shipping/Handling: $2 for one CD, $1 for each additional CD $______Wiemken notes that the decision to use _____ Check enclosed for TOTAL $______texts and structure from the Reform _____ Please charge the above amount to my MasterCard, Visa or AmEx: #______period and branch of the liturgical tree Exp. Date: ______Cardholder’s signature:______made use of familiar tunes that were Order CDs using PayPal at www.americanrecorder.org/order/cdroms.htm. readily appropriate. Smith brings to bear Mail to: ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. not only his involvement in that particu- Fax a credit card order to 314-966-4649.

www.AmericanRecorder.org March 2010 35 lar lineage of worship, but also familiarity resonate with mainstream choral, litur- Thanks to correspondences among with early instruments as a player. gical, and, to some extent, ensemble early European instruments and those of The hour-long service on the CD is writing in the late 20th century. The other world cultures, the variety of tonal both familiar and innovative. Timbres we music has clear tonal centers, the harmo- colors used resonates with the worldwide love from Piffaro’s work in early music nies reinforce those, and the chords use soundscape. A tremendous element in are there as well as texts known from the the intervals of perfect fourths as well this release is the inclusion of study core of the standard early repertory. as traditional triads. The result holds scores as PDF files in a separate parti- Tunes from the Reformation leap to our resonances of late Stravinsky and mid- tion on the CD. The disc functions per- ears. The tonal and rhythmic languages period Aaron Copland. fectly in a CD player as an audio disc; in the CD drive of a computer (Mac and Windows), it allows the listener to follow the scores of all of the pieces while listening. A small gallery of photographs is included as well. The Crossing (20 voices directed by Donald Nally) provides just the right Early Music America Magazine is the quarterly solid choral sound, blending but not publication for the Early Music Community in blurring the timbres. That works ideally North America: Professionals, Students, and with the range of tone colors from Audience members. Piffaro’s recorders, shawms, sackbuts, etc. When vocal and instrumental solos Articles on performance practice, trends in the emerge from the texture, they come field, recording reviews, and a new book reviews department. forth related to the whole rather than inappropriately distinct. Call 888-722-5288 or email [email protected] The seven Piffaro members, using for a FREE sample issue. Renaissance instruments at a=466, demonstrate their virtuosity with a grace fitting the occasion. All of the playing is Strings & Early Winds wonderful, and of particular delight is R Greg Ingles’s execution of the passage- Modern/Baroque Strings Viols Vielle work for sackbut in the final section, Deo Gratias. Küng Moeck Mollenhauer Paetzold Yamaha Ehlert www.piffaro.com E Wenner Baroque flutes Visit , www.crossingchoir.com and Wendy Ogle Lu-Mi Ifshin Snow www.kilesmith.com for more C Competitive Prices information. Sent on Approval Personalized Service & Advice O Each CD review contains a header with some or all of the following information, as available: disc title; composer (multiple composers indicated in review text); R name(s) of ensemble, conductor, performer(s); label and catalog number (dis- tributor may be indicated in order to help D your local record store place a special order; some discs available in the ARS CD Club are so designated); year of issue; total timing; suggested retail price. Many CDs E are available through such online sellers as www.towerrecords.com, www.cdnow.com, www.cdbaby.com, www.amazon.com, etc. R Abbreviations: rec=recorder; dir= Lazar’s Early Music director; vln=violin; vc=violoncello; (866) 511-2981 [email protected] vdg=viola da gamba; hc=harpsichord; pf=piano; perc=percussion. Multiple S www.LazarsEarlyMusic.com reviews by one reviewer are followed by 425 N. Whisman Rd., #200, Mtn. View, CA 94043 that reviewer’s name.

36 March 2010 American Recorder Chapters & Consorts ______A workshop covering everything from petite reprise to plugging a mic, ______and performing from Hawaii to Michigan British In the afternoon, Thompson led Alternatively, using a second-best recorder artist Spec Nostra (Osbert Parsley, 1511-85), instrument, drill a hole at the side of Francesca La Facca (Gussago), and the anony- the windway and “plug it” with a lapel Thompson mous Three Dances from the Philidor mic; to disable the mic, put tape over it. led a special Collection. About the last, Thompson An inexpensive lapel mic (about $25 at full-day commented that sarabandes originated audio supply shops) works fine. meeting in South America, where they were fast The next PRS workshop is of the Phila- and sensuous; arriving in Europe, they October 23. For details, see www delphia (PA) gradually became slower, what we .philadelphiarecordersociety.org. Recorder know as the English slow sarabande. The newly-organized West Society (PRS) on January 16. Adept She had the group add a petite reprise, Hawaii Recorders gave their debut at both contemporary and early music, a common device in French music: performance in a private home in north she led the group in the latter and two or three voices replay the final Kohala on the Big Island in December. shared insights about the former. measures to create a quiet ending. The consort played selections by Tallis, The morning began with La Being professionally involved in Palestrina, Holborne, Isaac, Binchois, Badina by Cesario Gussago (c.1600). playing the recorder with electronics, Dufay, Japart and Clemens non Papa. Thompson commented that today we Thompson addressed amplifying the To open, Purcell's Chaconne for three take early music very seriously, but it recorder. One can use an ordinary recorders was performed by Garrett wasn’t all serious in its time; this piece, microphone on a stand, about 3” from Webb, Laurel Rain and Christian for example, was intended for groups the windway and just out of its air- Veillet, then Handel's Flammende Rose to have fun with “a blow or a bow.” In stream. A lapel microphone can be was sung by Kelly Miles accompanied addition to the soprano line, the middle stuck on the recorder just above or on harpsichord by Anne Klimke and lines and even bass are more than wel- below the windway or, on a bigger by Webb on voice flute. Some in the come to add trills and other ornaments. instrument, inside the bottom. audience had never heard a recorder With the Fantasie sur “Ave Maris Stella” and were enthusiastically interested . by Eustache du Caurroy (1549-1609), CHAPTER NEWS The Northwinds Chapter in the her tip was: “if you can’t hear the cantus Chapter newsletter editors and publicity northwest area of Michigan’s Lower officers should send materials for firmus, you’re playing too loud.” publication to: AR, 7770 South High St., Peninsula consists of about 15 mem- Next was a lovely melancholic Centennial, CO 80122-3122, bers of three consorts: Little Bay piece by an anonymous Portuguese [email protected]. Baroque (Harbor Springs), Sweet- Also send short articles about specific composer of the early 16th century, activities that have increased chapter woods (Petoskey), and Jonqleurs Dulce Suspiro Mio, from an out-of-print membership or recognition, or just the (Charlevoix). The triumvirate meets 1980s collection, Cancionevio Musical enjoyment your members get out of being collectively each month on the third de Belom by Manuel Morris. This for- part of your chapter. Digital photos Saturday, although individual consorts should be at least 3”x4”x300dpi TIF or bidding-looking piece was filled with unedited JPG files. Please send news to the meet more often. The groups played time signature changes—5/4, 12/8 AR address above, and to the following: two weekends last summer, in full and 10/8 in addition to the familiar ARS Office, 1129 Ruth Drive, costume, at a Renaissance festival, and St. Louis, MO 63122-1019, 3/4, 2/4, 4/4 and 6/8. Often the various ARS.recorder@ more recently at a Medieval dinner. voices played in varying overlapping AmericanRecorder.org; They maintain a busy “gig” schedule at rhythmic measures, appearing uneven and to Bonnie Kelly, Chair, Charlevoix’s Congregational Church, linearly, but all came out well if each Chapters & Consorts Committee, libraries in Petoskey and Charlevoix, 45 Shawsheen Rd. #16, Bedford, MA part maintained a quarter-note beat. 01730, [email protected]. and schools and senior centers.

www.AmericanRecorder.org March 2010 37 Music Reviews ______Transcribing the masters—Bach, Telemann, Corelli ,Vivaldi CONCERTO FOR 4 RECORD- one of the greatest orchestral works players, and a new two-volume edition ERS (AFTER BWV1043), BY J.S. of the Baroque. by arranger Andrew Robinson presents BACH, ARR. IAN WILSON. Prima la Vivaldi’s A minor concerto for excerpts from 18th-century ensemble musica! FLA003.1 (www.primala alto recorder, two violins, and continuo arrangements of the six Partitas in the musica.com), 2007. S/A A T/A B. is one of the composer’s most engaging collection. Because of space restrictions, Sc 40 pp, pts 11 pp. Abt. $38 U.S. works for our instrument. It does not Robinson has chosen his favorite move- PARTITAS IN FOUR PARTS, have quite the virtuosic flair of the ments from each Partita for the volumes. BOOK ONE, BY G.P. TELEMANN, recorder concertos with full string Most of the existing arrangements ARR. ANDREW ROBINSON. Peacock complement, but Vivaldi uses the of these favorites involve a straightfor- Press PAR 401, (Magnamusic), 2006. lighter chamber textures to good ward ensemble realization of the con- SATB. Sc 22 pp, pts 11 pp. $22.50. effect and his themes in this work tinuo, although in some movements PARTITAS IN FOUR PARTS, are especially melodic. the inner parts are a bit more elaborate. BOOK TWO, BY G.P. TELEMANN, Of course, the contrasting instru- It is fascinating to experience these ARR. ANDREW ROBINSON. Peacock mental colors are lost in the transcrip- pieces, so familiar in their solo versions, Press PAR 402, 2006 (Magnamusic). tion, but the overall effect of Vivaldi’s in an ensemble guise. The outer voices SATB. Sc 20 pp, pts 7 pp. $22.50. textures remains, as does the composer’s have been taken almost verbatim from CONCERTO A-MOLL, BY characteristic rhythmic drive. The solo the original chamber version and are ANTONIO VIVALDI, ARR. ULRICH recorder part is identical to the original the most challenging, though even they HERRMANN. Noetzel Edition N4519 version, and small changes have been should be approachable for an inter- (C. F. Peters), 2007. AATB. made to the other three parts to make mediate ensemble. Sc 12 pp, pts 4 pp. $14.95. them comfortable on recorders. The final work under consideration Recorder players are well used to The playing level is advanced, has no connection to the recorder and playing music in transcription and, as especially the solo part, but Herrmann’s is, rather, one of the best known of all with all good transcriptions, these four transcription will be rewarding for an works for strings. Bach’s Double Violin new editions provide a new perspective adventuresome ensemble. Concerto in D minor, BWV1043, would on some familiar recorder repertoire, Telemann’s Kleine Cammermusik is not seem to be a promising subject for as well as a chance to enjoy firsthand another work well known to recorder recorder transcription but, as with other Baroque string works such as Vivaldi’s Provincetown Bookshop Editions Four Seasons, in the hands of an expert transcriber it can be quite satisfying to “GO FOR NEO-BAROQUE!” play. Ian Wilson, a member of the Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) British recorder ensemble, The flauta- [Prelude; Allemande; Courante; Musette— dors, has worked hard to keep all the a neo-baroque epitome!] (Score & Parts, PBE-25) . . . . . $7.95 original polyphonic strands in place, and Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) every voice has its share of interesting [Baroque shapes but Hindemithian harmony] material. As is to be expected, there are (3 Playing-Scores, PBE-44) ...... $9.95 some challenging passages, principally Southwest of Baroque. David Goldstein’s “baroque Suite” involving extremes of range and fast on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . . . . $3.50 leaping figures. The final result, how- A good source for Recorder & Viol Music of all publishers. ever, would be very enjoyable for an advanced ensemble. The Provincetown Bookshop, Inc. All the editions are easy to read, 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 with good page turns in the parts.

38 March 2010 American Recorder There are some small discrepancies AIRS DE DANCE, BY MICHEL between score and parts in the Telemann This is one of the most PIGNOLET MONTECLAIR, ED. volumes as well as a couple of wrong attractive of Vivaldi’s ANDREW ROBINSON. Peacock notes (in the bass in bar 3 of Aria 5 of recorder works. Players Press PAR 103 (Magnamusic). Partita 2, and in bar 15 of Aria 2 of Unaccompanied S, T. 41 pp. $19.95. Partita 4). In the Bach arrangement, who have not had the When I first pick up a review item, there are several differences in detail chance to encounter I always read the introduction—it is just from the old Bach Complete Edition it in its chamber version my way. So when I initially picked up score—most notably the form of the should take this oppor- this edition, I read the informational main melody in the alto part in bars 2 introduction. The first two paragraphs and 42 of the second movement. As tunity to make its informed me that the composer lived well, the first chord of the second acquaintance. in the early 18th century, composed movement is voiced differently in extensively and wrote four treatises the score than in the parts. kept to a minimum, and his reduction of on music. Multiple references to these the string parts is generally quite faith- scholarly publications peppered the rest CONCERTO IN A MINOR, ful, with one or two alterations for play- of the introduction, which declared, BY ANTONIO VIVALDI, ED. ANDREW ability on the keyboard. In an otherwise “Some of the dances are rather dull.” ROBINSON. Peacock Press, PAR 0016 illuminating end note, he mentions the The introduction went on to (Magnamusic), 2006. alternative readings in the solo part that become technical, which alerted me to A, kbd. Sc 16 pp, pt 7 pp. $20. are to be found in the original manu- the fact that the writer assumes a high In a coincidence, at about the script, seemingly to avoid the highest degree of knowledge of music theory same time as the appearance of Vivaldi’s notes, but only offers one such alterna- from the reader, as well as advanced Concerto in A minor for alto recorder, two tive reading for performers to try. playing ability. The terms throughout violins and bass (in Noetzel’s AATB ver- The edition is very legible and the publication are all in French, and sion, which I reviewed above under page turns are well-placed in the parts. the introduction attempts to redeem this Connie Primus’s editorship of this Unfortunately, in the last movement, by suggesting a specific glossary of department), the same piece was issued there are some missing rests, a wrong French terms, which I discovered to be in a version for alto recorder and key- note (in bar 30), and misaligned bar free and easily accessible on the Internet. board reduction by Peacock Press (and numbers in the recorder part. None- The underlying message of the mailed to me by incoming AR Music theless, this is one of the most attractive introduction was that the composer was Reviews editor Sue Groskreutz). As of Vivaldi’s recorder works. Players who very involved with music theory, and his editor Andrew Robinson notes, it is odd have not had the chance to encounter it interest in technicalities and technique that the concerto has never appeared in its chamber version should take this was reflected in his compositions. Thus before in this form, since the two violins opportunity to make its acquaintance. I put down this edition rather than pick function very much like an orchestral Scott Paterson teaches recorder and an interesting piece in the review publi- ripieno in the manner of several other Baroque flute at The Royal Conservatory cation and play it, which is usually my recorder concertos with reduced string of Music of Toronto and is a freelance per- next step. The first piece was marked scoring by composers such as William former in the Toronto area. He has written “grave,” which I knew to mean “serious” Babell and Robert Woodcock. on music for various publications for over in French; this did not help matters. Vivaldi’s A minor concerto has all 25 years. I was not in the mood for serious. of the composer’s melodic flair as well as KEY: rec=recorder; S’o=sopranino; I returned to it again many months several sections of passagework that, S=soprano; A=alto; T=tenor; B=bass; later and flicked through until I found a while energetic, are much less challeng- gB=great bass; cB= contra bass; Tr= Gavotte that was marked “gay” for treble; qrt=quartet; pf=piano; fwd= ing than those of Vivaldi’s flautino foreword; opt=optional; perc=percussion; “happy.” It was, like most of the pieces concertos. Advanced performers will pp=pages; sc=score; pt(s)=part(s); in this edition, short—and, to my sur- find the piece quite manageable, but kbd=keyboard; bc=basso continuo; prise, quite charming. I then played a hc=harpsichord; P&H=postage and even upper intermediate players should handling. Multiple reviews by one reviewer piece called “Vents,” which means find the work approachable with a little are followed by that reviewer’s name. “winds”; it was to be played “tres vitte,” Publications can be purchased from ARS application. Business Members, your local music store, or “very quickly”—challenging, but Robinson’s edition is very welcome or directly through some distributors . Please enjoyable. in bringing the concerto to a wider circle submit music for review to: Sue Groskreutz, The introduction appears intimi- 1949 West Court St., Kankakee, IL 60901 of players. His editorial additions are U.S., [email protected]. dating, with its talk of playing inegal

www.AmericanRecorder.org March 2010 39 (“unequally”), but it briefly explains how two parts; simultaneously, this theme chords of a continuo part. Rhythm in to play these unequal eighths. That is a climbs upwards towards a climax of a this movement can be very flexible and challenge, and these pieces provide the 4½-measure high A in the soprano. determined by the soloist. It would be opportunity to improve playing skills and After a short transition, the solo fun to have a text writing contest for this learn a little music theory along the way. work begins. In jazz style, while the basic brief recitative, as I believe that to carry Any player who is serious about ostinato continues, the upper three parts off a good performance, the performer playing these pieces authentically may take turns presenting solos, beginning would need a meaningful text for be well-served to purchase the theory in the tenor part. The original ostinato guidance. books written by the composer, which becomes even thicker as three players I’ve played countless Baroque are also available from Peacock Press. turn it into parallel triads. The three pieces that leave you waiting for the next In this collection some of the pieces upper parts pass around solo motives movement on a Phrygian half-cadence are indeed quite dull—but overall they that attempt to outdo each other. (which follows a prescribed voicing of possess a charm, and the sheer variety Later on, the original ostinato chords IV–V), but this movement ends makes the collection a veritable treasure theme is inverted in the upper two parts with an even greater moment of sus- trove, a great publication to own. It is in contrary motion against the bass line. pense: a V7 chord that progresses technically and artistically demanding, The movement ends as it began, with a through inversions and hangs there, so it may help to sit down and pencil in return to the ostinato theme in unisons/ waiting for an affirmative resolution, English translations for the French. octaves. There is a short coda where the as the final movement begins. This is definitely for more advanced SAT players get in just one last word To again quote the composer: players, or for any players looking for a with short imitative solos. The bass “The Fugue is a whirlwind banquet of challenge and desiring to improve their player only gets one solo in the move- ensemble interaction, with small asides playing. This collection would also ment—a two-measure “say” right and private conversations scattered make a great educational tool, as well before the final section. throughout.” That statement pretty as music to play at home alone, as all the The second movement is a recitative much summarizes this swinging fugue. pieces are for unaccompanied recorder. in Baroque style; the soprano recorder The fugue has a subject and a counter- Rhiannon Schmidt is Welsh, but lives player declaims the melody with the subject and episodes, just as does any in Houghton, MI, where she works as a lower three parts playing the extended fugue composed by J.S. Bach. dialysis nurse. She plays the soprano and tenor recorders for recreation.

THE BLOOMBERG CODEX BY GLEN SHANNON. Glen Shannon Music GSM 1002, 2009. SATB. Sc 18 pp, pts 7 pp. $15. This three-movement piece was composed for a recorder player living in the San Francisco Bay area of California, Mr. Bloomberg of the title. To quote from Glen Shannon’s introduction: “[Mr. Bloomberg] approached me to write a piece in the same swinging style as my Jazzy Prelude & Fugue . . . and ‘Peanut Butter’ Prelude & Fugue … applying modern affect to old-world structure.” I’d say that he succeeded. Inspired by the cantatas of Bach and Telemann, the first movement is a da capo aria (ending with a short coda). It begins with an ostinato theme played in unisons/ octaves by all four players. Eventually, this theme inverts and thickens into parallel thirds that pass back and forth between the top two parts and the bottom 40 March 2010 American Recorder page turns. He also did something that He is a consultant for recorder to the ...not too easy, was ever so considerate to the players: he ABRSM. He founded the U.K. branch not too difficult, gave all players a copy of the score for the of the European Recorder Teachers’ second movement! This is a great piece, Association (ERTA) in 1992 and is a all parts full of interest, another winner from the pen of Glen board member of ERTA International. and just plain fun. Shannon. Keep them coming! Kember composed all of the music in these books, and Bowman moderated The subject is quite ingenious. RECORDER SIGHT-READING all of the music for quality as well as It opens with a four-note motive that 1, BY JOHN KEMBER AND PETER suitability on recorders. Bowman was is repeated three times—but placed in BOWMAN. Schott ED 12957 (Magna- also responsible for the pedagogic different rhythmic positions so that a music), 2007. S, A. 92 pp. $12.95. structure of the books. different note of the motive is accented RECORDER SIGHT-READING Recorder Sight-Reading 1 covers quite with each repetition. Parts of the 2, BY JOHN KEMBER AND PETER a lot of musical territory; it begins with countersubject travel in parallel sixths BOWMAN. Schott ED 12968 (Magna- five pages of sight-reading for just the with the main theme. music), 2008. S, A. 92 pp. $12.95. notes BAG on the soprano and ends with There is a second subject consisting John Kember studied at Trinity moderately difficult pieces in key signa- of the original four-note motive followed College of Music in London and has tures up to four sharps and three flats for by descending scales in triplets. Really enjoyed a career in both performance soprano and alto. All instructions in both nice dissonances and resolutions occur and academia. Kember has been active books appear in three languages: as each descending scale enters; during as teacher, composer, arranger, pianist English, French, and German. these scales, the harmony progresses and conductor. He has almost 70 Book 1 is organized into seven through a series of descending fifths. publications to his credit with Faber sections, each beginning with definitions Each entrance of the main subject Music and Schott Music. Currently of Italian musical terms that will be follows common fugue practice in that he teaches composition and conducting used within that section. These Italian the first entrance is in tonic (G minor), to students at the Kent Music Academy. terms are also translated into French the second in dominant (D minor), the He served as an examiner for the Asso- and German. third entrance in tonic, and the fourth in ciated Board of the Royal Schools of Each section carefully extends the the dominant. There is one difference: Music (ABRSM) from 1989 until 2005. range of notes as well as the rhythmic the dominant statements stay in minor In this composer/editor team, complexities. The first five sections are mode. One section marked “Brighter” Peter Bowman is the recorder specialist. exclusively for soprano recorder. Section is, for a brief time, in G major; this His recorder performances with 6 weaves in the alto with one page of major section is preceded by a comical Kathryn Bennetts cover all periods of instructions about how to switch from “fall-off ” that occurs together in all the recorder’s repertoire. Bowman and C to F fingering followed by one four voices. The final note of the piece Bennetts have recorded two CDs and page of tunes that are transposed for is also a fall-off. have performed in Europe, the U.S. and both soprano and alto. Each section At times, the texture in the third Australia. Bowman teaches recorder at begins with guidelines regarding good movement is as thick as any Bach fugue, Canterbury Christ Church University but there are brief spots where only one and has led workshops in the U.K. and recorder plays (in the alto and bass abroad, and has adjudicated at national parts), presenting almost a comic relief and international recorder competitions. from the thick conversational quality of the rest of the movement. Featured on the front cover is a picture of the headjoints of four recorders plus a martini and a cup of spilled nuts. How appropriate for such a fun piece! This work is wonderful for chapter playing—not too easy, not too difficult, all parts full of interest, and just plain fun. The composer has conveniently laid out the parts so that there are no bad

www.AmericanRecorder.org March 2010 41 sight-reading practices—but, as it states I believe that all of Book 2 could be instrument. Thus, I believe that the in the books, a teacher will be a necessity used as test pieces for advanced inter- emphasis in this series is upon universal as many elements are not explained. For mediate students. sight-reading patterns encountered by example, ties and syncopations suddenly These two sight-reading books most instrumentalists. This explains appear with no written commentary. do not pretend to be method books, the lack of space for reading problems The final section has tunes for both and they should be used in combination encountered in early music, as well as soprano and alto. Every section also with a good method book and a good the lack of space for explanatory text contains duets and pieces for recorder teacher. Concerning articulation, Bow- regarding techniques specific to recorder. accompanied by piano. The piano parts man emphasizes slurred vs. non-slurred Having stressed that these books are easy and could be played by inter- figures, but there is no discussion con- must be used alongside a good recorder- mediate-level piano students. The most cerning how to achieve clean slurs on a specific method book, I’d also like to difficult recorder pieces in Book 1 could recorder. (I smiled as I noted that the reiterate that the overall quality of the be sight-read by a mid-intermediate very first slur to appear is the infamous music is very high. The pieces cover a lot student. C to B “tea for two” slur.) The instruc- of ground, note-wise and rhythm-wise. Recorder Sight-Reading 2 is organ- tions state: “Notice the articulation and Difficulty levels are carefully sequenced. ized similar to Book 1, but has only five dynamics,” but no explanatory informa- Students will learn many Italian terms sections (both books contain 92 pages). tion is included as to how to achieve and be able to put them to use right away. The first section includes pieces in key those articulations and dynamics on a These are sturdy books published signatures up to four sharps and four recorder. Trills appear with no explana- on high-quality paper, and will have a flats, and the last section does not go tion of how to place a trill and no men- long stand-life. My first reaction was beyond key signatures of four sharps and tion of possible trill fingerings. that these books would work really well five flats. As the musical complexities One of the sight-reading problems alongside Basic Recorder Technique by increase, basic ornaments and basic that arises when students are new at Ren- Hugh Orr. But they would provide contemporary techniques are introduced. aissance consort playing is music in good test pieces to accompany any Book 2 contains some pieces with which the half note becomes the beat good method that teaches both C and changing time signatures, pieces in more (and the consequent problems of reading F fingerings. difficult time signatures such as 5/8, 5/4 the rests in this notation). Time signa- Sue Groskreutz has music degrees from and 7/8, numerous pieces in compound tures using the half note as the beat Illinois Wesleyan University and the Uni- time, pieces in duple time using triplets, do not appear in either of these books. versity of Illinois, plus Orff-Schulwerk certi- and a selection that alternates 6/8 with Generally speaking, I would have liked fication from DePaul University. Playing 3/4 (as hemiola). to have seen a little more emphasis on and teaching recorder are the greatest musical Students who have practiced scales reading of rests throughout both books. loves of her life. She was president of the and arpeggios in several keys, as well as Many of the pieces have no rests at all, American Recorder Teachers’ Association the chromatic scale, should be able to but of course some rests appear in the for 10 years. sight-read most of the material in these duets and in the accompanied solos. books. But there are some surprises— Musical aspects that advanced DEVOTIONAL HYMNS FOR some skips and patterns that don’t fall consort players encounter, such as pro- SAT RECORDERS, ARR. SUSAN within scales and arpeggios. Some of the portions and clefs other than soprano LINDVALL. Sweet Pipes SP2408 (Mag- pieces made me glad that I have studied and bass clef, are not covered. Rhythmic namusic), 2008. SAT. Sc 19 pp. $4.95. Kees Boeke’s Three Exercises. idioms found in Medieval music are Susan Lindvall writes in the There are enjoyable pop-style also not represented. introduction that “the eight devotional works—rags, tangos, rhumbas, Latin This sight-reading series is also hymns presented here were first used selections, and a jazzy waltz. Some pieces published for several other instruments. during Lenten evening worship services are written in the whole-tone scale, and Kember is the composer for all of these and during Communion throughout the some atonal pieces are included. books, supported by another composer/ following year.” The hymns she put in editor who is a specialist in that particular this delightful volume are: “Let All www.nicholaswww.nicholas---wynne.co.ukwynne.co.uk Original sheet music for recorders and a variety of other instruments. Instantly available as pdf downloads or as hard copies by post

42 March 2010 American Recorder WORKS BY CORELLI, ARR. R. D. TENNENT, published by The Avondale Press (Magnamusic) TWELVE TRIO SONATAS BY ARCANGELO DUO SONATAS BY ARCANGELO CORELLI, CORELLI, VOLUME 1 (NOS. 1-3). AvP 114, 2008. VOLUME 1 (SONATAS 1-3). AvP 122, 2008. AB. ATB. Three full sc, 16 pp ea. $28. Two sc, 13 pp ea. $19. TWELVE TRIO SONATAS BY ARCANGELO DUO SONATAS BY ARCANGELO CORELLI, CORELLI, VOLUME 2 (NOS. 4-6). AvP 115, 2008. VOLUME 2 (SONATAS 4-6). AvP 123, 2008. AB. ATB. Three full sc, 16 pp ea. $28. Two sc, 13 pp ea. $19. TWELVE TRIO SONATAS BY ARCANGELO I like to play Corelli on recorder, I like R. D. Tennent’s CORELLI, VOLUME 3 (NOS. 7-9). AvP 116, 2008. arrangements, and I like finding pairings of recorders that ATB. Three full sc, 16 pp ea. $28. aren’t as common—here, an alto and a bass. These volumes TWELVE TRIO SONATAS BY ARCANGELO represent bits and pieces of the Opus 5 sonatas crafted into CORELLI, VOLUME 4 (NOS. 10-12). AvP 117, four-movement works with clear indications of sources. 2008. ATB. Three full sc, 16 pp ea. $28. In the introduction, Tennent writes: “The sonata á 2 These volumes contain bits and pieces of the 48 trio (duo sonata) form was in vogue in Italy in the late 17th sonatas (Op. 1-4) crafted into four-movement arrangements century. A duo sonata is a duet (i.e., has two melodic parts), by R. D. Tennent. Arcangelo Corelli (1653-1713) wrote these sometimes but not always, with a basso continuo accompani- between 1681 and 1694 for two violins and basso continuo. ment. Even if one of the melodic parts is at a low pitch, a duo Published in Rome, they established his reputation and were sonata is not an accompanied solo: often the parts imitate each disseminated widely throughout Europe, both with Corelli’s other, and in some movements, or parts of movements, a lower instrumentation and as transcriptions for other instrumental part may be busier than the upper part. And even if there is an combinations. Tennent explains in the introduction that “the accompaniment, a duo sonata is not a trio sonata, which should violin parts are assigned to alto and tenor recorders, and the have three melodic parts.” continuo part to a bass recorder.” Corelli published the 12 Opus 5 While I expect octave transpositions What can I say except sonatas (his most famous duo sonatas) whenever a transcription is made, I find in Rome in 1700. The instrumentation it interesting that movements Tennent that Corelli is always specified was a “violin solo e violone o deemed “unsuitable” for recorders were cembalo; that is, a single violin and a “replaced by compatible movements wonderful to play violoncello, with the option of replacing from other Corelli sonatas.” Fortunately, the latter with a harpsichord. In the the source of each movement is clearly on recorders and 18th century, the duo-sonata form went marked at the bottom of the page. For out of fashion and the Opus 5 works example, Sonata 4 (in Volume 2, p. 6) is Tennent makes began to be regarded as sonatas for really Op. 3, No. 8, with movements violin with a basso continuo accompani- 3 and 4 taken from Op. 1, No. 3, and good arrangements? ment.” This, of course, led to confusion transposed from A major to C major. in music history, but Tennent quotes Avondale Press prides itself on eliminating bad page turns Dr. Peter Allsop regarding this: “Corelli’s first choice of in their editions. They have done that here by printing instrumentation in Opus 5 requires no realized continuo Movement 4 of Sonata 2 (found in Volume 1) in the physical accompaniment.” In a nutshell, this means that both the place of Movement 3, but then noting that Movement 3 (on p. alto and the bass recorder parts are interesting. 10) should be played ahead of Movement 4 (found on pp. 8-9. A final quote from the introduction: “Today, several This flip-flopping of movements within sonatas to avoid page editions of Opus 5 sonatas arranged for alto recorder are turns happens throughout all four volumes. available. These all have full continuo realizations for key- As to the arrangements themselves, what can I say except board (usually played on a piano) and a cello part ad that Corelli is always wonderful to play on recorders and libitum….The six sonatas of the present edition are arrange- Tennent makes good arrangements? These seem expensive ments for alto and bass recorders, without accompaniment; initially, but note that three copies of the score are included this combination respects Corelli’s conception of the Opus 5 with each volume, so everyone plays from a full score. sonatas as duets for instruments from the same family.” Avondale Press lists these arrangements as “moderately The volumes include two scores so that each player easy.” I consider the level for intermediate to advanced players, plays from the full score. Avondale Press rates Volume 1 as and all three parts are equally challenging. I highly an intermediate level and Volume 2 as “difficult.” recommend them. Valerie E. Hess

www.AmericanRecorder.org March 2010 43 Mortal Flesh Keep Silence,” “Abide Classified CONSIDER ADVERTISING IN with Me,” “Lord, Take My Hand and ______Lead Me,” “Go to Dark Gethsemane,” ______“Ah, Holy Jesus,” “O Sacred Head” ______(this reviewer’s favorite), “Beneath the ______Full page ...... $552 Cross of Jesus” and “Were You There.” 2/3 page ...... $439 These arrangements are self-iden- Where the haves 1/2 page ...... $366 1/3 page ...... $286 tified as moderately easy, but they are and have-nots 1/4 page ...... $223 well-done with interesting harmonies 1/6 page ...... $175 of the recorder world 1/8 page ...... $127 and distribution of the melody among 1/12 page...... $ 95 the three parts. The music is laid out on can find each other 1 column inch ...... $ 58 two pages within each score so page- Prices include web site/e-mail link directly from your ad in the online AR at turning is not an issue. They are about MUSIC REVIEWERS for AR needed. Reviews www.americanrecorder.org. three minutes long, a good length for must be submitted by e-mail. Please send a brief bio with a list of the types of music Circulation: Includes the membership of the use in church. This publication is also you are interested in reviewing to Sue ARS, libraries, and music organizations. reasonably priced, so each player could Groskreutz, 1949 West Court St., Kankakee, IL Published five times per year: purchase his or her own book. 60901, or [email protected]. January, March, May, September, November. I kept thinking these arrangements SEND IDEAS for articles on education topics, Reservation Deadlines: would be great for beginning ensembles or submit an article or lesson plans, to December 1 (January), February 1 (March) , education department editor Mary Halverson April 1 (May), August 1 (September), of children or adults. As an example, Waldo at [email protected]. October 1 (November).

“Lord, Take My Hand and Lead Me” COMPACT DISC reviewers for AR needed. Rates good through November 2010. Please inquire about discounts on multiple-issue Reviews must be submitted by e-mail. Please alternates solo and tutti sections, so that contracts, inserts, or other special requests. multiple players on each part would send a brief bio with a list of the types Extra charges for typesetting, layout, half- of music you are interested in reviewing to tones, and size alterations. 133-line screen give even more interest. Tom Bickley, [email protected]. recommended. Advertising subject to These arrangements would also acceptance by magazine. First-time adver- AMERICAN RECORDER seeks articles on the tisers must include payment with order. be good “snow day” pieces for more recorder: history, performance practice, artists advanced ensembles that offer their gifts and repertoire, education, instrument building, For more information, contact the etc. Also, photographs, reports of news events. ARS office, 1129 Ruth Drive, St. Louis, in church and suddenly need to switch Will consider artwork, poetry, riddles, puzzles. MO 63122-1019; 800-491-9588 toll free; out the planned anthem due to weather Modest honoraria by special arrangement. Send 314-966-4082 phone; 314-966-4649 fax inquiries to: American Recorder Editor, 7770 [email protected] or illness issues. I know I will keep it South High St., Centennial, CO 80122 U.S.; Advertiser Index well in mind for my group. [email protected]. Valerie E. Hess, M.M. in Church AMERICAN ORFF-SCHULWERK ASSN...... 17 Classified rate for American Recorder: 60¢ AMERICAN RECORDER SOCIETY ...... 15, 16, 31 Music/Organ from Valparaiso University, per word, ten-word minimum. “FOR SALE” AMHERST EARLY MUSIC FESTIVAL ...... 20 and “WANTED” may be included in the is Coordinator of Music Ministries at Trin- STEPHAN BLEZINGER ...... 12 copy without counting. Zip code is one ity Lutheran Church, Boulder, CO, where JEAN-LUC BOUDREAU...... 12, 29 word; phone, e-mail, or web page is two. CANTO ANTIGUO EARLY MUSIC WORKSHOP . . . . 21 she directs the Trinity Consort. She has also Payment must accompany copy. Deadlines published two books on the Spiritual are one month before issue date. Send copy COURTLY MUSIC UNLIMITED...... 3 EARLY MUSIC AMERICA ...... 32 Disciplines. with payment to: ARS, 1129 Ruth Drive, St. Louis, MO 63122-1019. HONEYSUCKLE MUSIC ...... 30 BILL LAZAR’S EARLY MUSIC ...... 32 KEITH E. LORAINE EARLY DOUBLE REED SERVICE . . 37 AMERICAN RECORDER (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published bimonthly (January, March, May, September and November) for its members by the American LOST IN TIME PRESS...... 13 Recorder Society, Inc. $20 of the annual $45 U.S. membership dues in the ARS is for a subscription MADISON EARLY MUSIC FESTIVAL ...... 19 to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their individ- MAGNAMUSIC DISTRIBUTORS ...... BC ual authors. Their appearance in this magazine does not imply official endorsement by the ARS. MOECK VERLAG ...... IFC MOLLENHAUER RECORDERS ...... IBC EDITORIAL DEADLINES: November 15 (January), January 15 (March), March 15 (May), July 15 OBERLIN BAROQUE PERF. INSTITUTE ...... 23 (September), and September 15 (November). Submission of articles and photographs is welcomed. POLYPHONIC PUBLICATIONS ...... 5 Articles may be typed, or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes- PRESCOTT WORKSHOP ...... 10 sage. They should be for the exclusive consideration of AR, unless otherwise noted. Photos may be sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). Advertisements may be sent in PROVINCETOWN BOOKSHOP...... 34 PDF or EPS format, with fonts embedded. THE RECORDER MAGAZINE ...... 11 THE RECORDER SHOP...... 30 EDITORIAL OFFICE: Gail Nickless, Editor, 7770 S. High St., Centennial, CO 80122-3122; SAN FRANCISCO EARLY MUSIC SOCIETY ...... 22 303-794-0114 (phone & fax); [email protected]. Books for review: Editorial office. Music GLEN SHANNON MUSIC ...... 36 for review: Sue Groskreutz, 1949 West Court St., Kankakee, IL 60901. Recordings for review: Tom SWEETHEART FLUTE CO...... 13 Bickley, 1811 Stuart St., Berkeley, CA 94703. Cutting Edge: Tim Broege, 212 Second Ave., Bradley TEXAS TOOT SUMMER WORKSHOP ...... 27 Beach, NJ 07720-1159. Chapter newsletters, other reports: Editorial office. Postmaster: Send address changes to ARS, 1129 Ruth Drive, St. Louis, MO 63122-1019. Periodicals postage paid at VON HUENE WORKSHOP, INC...... 28 St. Louis, MO, and at an additional mailing office. NICHOLAS WYNNE SHEET MUSIC...... 38 44 March 2010 American Recorder