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Feb 2009 BROADSIDE3.Pub T H E A T L A N T A E A R L Y M U S I C A L L I A N C E B R O A D S I D E Volume X, # 3 March, 2009 Mid Winter Early Music Workshop 2009 AEMA MISSION It is the mission of the Atlanta Early Music Alliance to foster enjoyment and awareness of the historically informed performance of music, with special emphasis on music written before 1800. Its mission will be accomplished through dissemination and coordination of information, education and financial support. AEMA’s Website: www.atlema.org In this issue: Mid-Winter Workshop pages 1- 3 Workshop musicians playing the Finale Blowers and Bowers page 4 Review of “ Quink ” page 5 Name that Composer pages 6—7 Information page 8 Membership Page, page 9 2 B R O A D S I D E March, 2009 The Atlanta Early The Mid-Winter Early Music Workshop has now become an annual event, sponsored by AEMA, the Music Alliance Atlanta Recorder Society and members of the Viola da Gamba Society of America. In fact, we can now look back on our 6th workshop, held on January 23rd and 24th, drawing Early 2008/2009Board of Directors Music lovers from AL, FL, GA, NC, SC and TN and even from Venezuela. We have been so fortunate to be generously hosted by Clayton State University and Dr. Kurt-Alexander Zeller of the Susan Patterson, Music Department. All who have attended throughout the years have enjoyed playing and singing in President the Music Education Building. Not only did we enjoy the music, from several rooms we also observed [email protected] the swans and other water fowl swimming on the lake. Jane Burke, The Theme for this event was “Earth, Water, Air and Fire”, representing the ancient Greek “elements”. Vice President, The faculty had provided most of the featured music in October, and participants received the sheet Membership Chair music weeks before the workshop for exploring, practicing and as a sourcebook for future ensemble [email protected] playing. Vicki Porter-Fink The organizing committee, including Kathleen Carroll, Mickey Gilmor, Vaneesa Little, Gisela Secretary McClellan, Jane McLendon, Susan Patterson, Vicki Porter-Fink, Jorg Voss, Patsy Woods, and Kurt- Alexander Zeller, had spent many fruitful hours preparing this workshop, so that participants might Gisela McClellan, maximize their joy of music making. Treasurer New this year, by special request, were: Harp classes (Paula Fagerberg), a brass session (Stewart Gray Crouse, Carter), and two periods of “Minutes of Glory”, the latter giving groups and individuals a chance to at large demonstrate their favorite pieces and early instruments. Darcy Douglas Among the many Recorders of nearly all sizes, we heard the sounds of Chalumeau, Cornetto, at large Dulcians, Baroque Flutes, Harps, Hurdy-gurdies, Psalteries, Sackbuts, Shawms, Violas da Gamba and percussion instruments, some barely audible, and others with commanding voices. Paula Fagerberg John Mortison again led the Early Reed sessions on Friday evening, while his wife Joyce gathered at large several Baroque Flute players for her sessions. Brad Hughley Our faculty came from near and far to teach and guide the 78 of us for 9-1/2 hours of intense yet at large lovely singing and playing: Paula Fagerberg (Alpharetta, Harp), Stewart Carter (Winston-Salem, NC, Recorders and Brass), Susan Patterson (Atlanta, Viols), Pat Petersen, (Durham, NC, Recorders), George Lucktenberg, Claire Rottembourg (Birmingham, AL, Recorders). Gail Ann Schroeder (Asheville, NC, Viols), John representing Tyson (Cambridge, MA, Recorders), The workshop climaxed, when Voices and all available Keyboard interests instrumentation joined in performing – strictly for ourselves - the intensely emotional 8-part choral- within AEMA instrumental double choir work “Super flumina Babylonis” by Tomás Luis de Victoria.(1548 –1611). Barbara Stark The “Charlotte Waites” : Web Master John Trexler (Shawm), Susan Burns (Crumhorn), John Burns (Dulcian) and Submissions for Don Boekelheide (Cornetto) BROADSIDE……to Jorg Voss 1495 Ridgefield Drive Roswell, GA 30075 [email protected] Early Music Concerts or Events: AEMA wants to help spread the word! If you want to make announcements, contact: Jorg Voss, [email protected] Content Copyright 2008, Sackbuts in action: Atlanta Early Music Alliance Henry Kahn, Clarke Weigle and John Burns March, 2009 B R O A D S I D E 3 Robin Prechter on C-Bass Recorder Kurt-Alexander Zeller on Harp Allison Willett on Treble Viol Contrabass Recorder Contrabass Jane Alexander on Harp Jane Alexander Claire Rottembourg on Claire Rottembourg Joyce Mortison on Baroque Flute Gail Ann Schroeder, 7-string Bass Viol Viols on Woodcock Pam and Nichols Mike Susan Patterson on Bass Viol 4 B R O A D S I D E March, 2009 Blowers and Bowers Getting our Act Together by Susan Patterson We as musicians love playing music together, but often there are issues between recorder and viol players. The ensemble sound often doesn’t work well. What’s going on? Here are some thoughts about why there are problems and what to do about them. It’s good to know where we are coming from. Recorder technique usually starts with articulation and breathing and learning to play smoothly is a more advanced technique. Viol technique usually begins with a legato bow stroke. The control needed for articulation is learned later. Be aware – breathing is equivalent to bowing in both sound and phrasing. The tongue is equivalent to right hand fingers for articulation. Be aware – a treble viol is about the same range as a tenor recorder. The gap in range between a bass viol and a treble recorder is huge and can lead to an unsatisfying sound. Controlling pitch on recorders as well as viol players is an ever present challenge. Recorder players need to give a well supported tone for the viols to tune. Viol players need to be ever aware of their frets and adjust them to the recorder wisely. What can help? The goal of playing is to make music, well, musically. Listen! Listen to live performances. Listen to recordings. Listen to each other. Listen to yourself. Ask questions. Does the sound match? How about articulation? Which notes sound best stressed? Where is the high point of the phrase? What about the decay? Play for each other. How does one member of the ensemble play a phrase? What’s different, or what matches about another’s sound on the same phrase? How can we make everything match more? Sometimes you need contrast, but make sure it’s by choice. Dissonance and Cadences – musically point out and relish dissonances, then gently resolve. Articulation and Phrasing – sing the music! Where is the phrase going? Which notes are stressed and which are relaxed? Take lessons. You really do improve your playing and make yourself a stronger member of your ensemble. Get a coach to hear your group periodically. Even just every once in a while can make a big difference. Have fun! Relish the sound of your group. Enjoy making wonderful music together. & B V ? Brigitte Nahmias , 2005 Patsy Woods, 2005 Victor Eijkhout, 2005 March, 2009 B R O A D S I D E 5 Review of a performance by Quink byVicki Porter-Fink Sunday, January 25, 2009 saw the return of the Dutch vocal ensemble Quink, with a performance at First Presbyterian Church of Atlanta as part of the church’s Musica Sacra Series. The unique quintet proffered a highly artistic performance of both sacred and profane 3, 4 and 5 part pieces. The sacred program of the first half featured the William Byrd Mass, Sine Nomine à 4, one of his early “underground” Catholic Masses. The movements of the mass were interspersed with sacred songs by English contemporaries of Byrd, lutenist Robert Johnson and organist/choir master Martin Peerson. These additional songs all came from William Leighton’s 1614 compilation “The Tears and Lamentations of a Sorrowful Soule”. Two of Byrd’s 5 part graduals were also woven between the mass movements. The program was a seamless sampling of English church music of the late 16th, early 17th century. Quink sang with impeccable intonation. Using very little vibrato, the dissonances characteristic of Byrd’s writing were focused and jarring, then resolved to a perfectly tuned cadence. The two sopranos, Marjon Strijk and Mariëtte Oelderik, blended flawlessly. One of the interspersed pieces by Martin Peerson, “O let me at Thy Footstool Fall”, was particularly chromatic and stood out as a gem because of the fine tuning. Other members of the group are alto, Elsbeth Gerritsen, and the only two remaining original members, tenor Harry van Berne and bass Kees Jan de Koning. The second half of the program was dedicated to secular works of three British composers of the 20th century. The first offering by Gerald Finzi was the “Seven Poems of Robert Bridges”. The poems all set scenes related to nature and the out-of-doors. Quink interpreted the songs with beautiful, long and arching lines, melding the words and music perfectly. Four songs by Ralph Vaughn Williams comprised the middle section of the program. And the last three song grouping was composed by Hungarian born Matyas Gyorgy Seiber, who taught at Morley College in London from the outset of WWII until his death in 1960. Quink treated these songs with grand dynamic changes and exacting diction. The personable group stayed for a reception following the performance. Quink has a very broad reper- toire and supporting discography that can be viewed at their web site: www.quinkvocal.com . 6 B R O A D S I D E March, 2009 Name that Composer This composer (c. 1505 – 23 November 1585) was an English composer.
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