winter 2018 winter Published by the American Recorder Society, Vol. LIX , No. 4 • www.americanrecorder.org

Editor’s ______Note ______Volume LIX, Number 4 Winter 2018 Features any of us don’t like to practice, but we Practice Makes Perfect? Nah all have to do it to play better. This (But it does a heck of a lot of other things) . . 17 issueM launches the American Recorder Practice Project (page 17), a four-part By Tina Chancey Tina series based on a workshop led by Departments  Chancey. The first installment asks you to keep a practice log , and then share how Advertiser Index and Classified ...... 32 your weeklong practice commitment went; visit the Practice Project online at https:// Book Reviews ...... 25 americanrecorder.org/practice_project.php . Anne Timberlake reviews an important book about As the title of Tina’s first installment using rhetoric in music of the 17th-18th centuries suggests, we may find that practicing doesn’t make us all into virtuoso players—but per- Compact Disc Reviews ...... 21 haps we’ll reap other rewards. This parallels French + German + Italian +Polish =  ongoing research that extols the benefits of music: for young and young at heart, making International Baroque styles music is credited with enhanced emotional Music Reviews...... 26 well-being, increased brain health and learn- ing, and even with better hearing. (This was Method books for both C and F recorders; mentioned in a 2017 Wall Street Journal arti- Sonatas, airs and dances by both Bach and Telemann cle, “The Joy of Learning to Play an Instru- ment Later in Life.”) The benefits surely President’s Message ...... 3 multiply through effective practice. ARS President David Podeschi wants you to keep your  Music Reviews (page 26) include sug- copies of American Recorder for a 2019 survey gestions for methods as well as music to play just for fun. It all counts as practice! Tidings ...... 4 Finally, we remember a good friend, a ARS to present Distinguished Achievement Award to talented musician, and former AR columnist, Thomas Prescott, Presidential Special Honor Award Pete Rose (page 6). The best way to know to Eric Haas; tributes to Pete Rose (1942-2018); him is by hearing him play; visit the ARS YouTube channel URL below. Focus on ARS Business Members (page 14) Gail Nickless Bits & Pieces: David Lasocki interviewed; Peabody  www.youtube.com/americanrecordermag Conservatory adds advanced degrees in recorder; www.facebook.com/groups/americanrecordersociety welcome back to the U.S.—BiBi recorder players

Gail Nickless, Editor ON THE COVER: Contributing Editors Tom Bickley, Compact Disc Reviews • Mary Halverson Waldo, Education Photo by Amanda Pond & Cynthia W. Shelmerdine, Line Editors William Stickney. Advisory Board ©2018, American Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin Recorder Society Thomas Prescott • Kenneth Wollitz www.AmericanRecorder.org Copyright©2018 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Illinois Ohio Birmingham: Chicago: Ben Eisenstein 847-998-0198 Greater Cleveland: Janice Williams 205-870-7443 Chicago–West Suburban: Edith Yerger 440-826-0716 Arizona Joanne Miller 847-359-8750 Columbus–Central Ohio Recorder Indiana Players & Friends: Vickie Starbuck Desert Pipes (Phoenix): 614-404-1273 AMERICAN Karen Grover 623-687-4791 Recorder Orchestra of the Midwest: Arizona Central Highlands–Prescott: Marilyn Perlmutter 419-265-3537 Toledo: Charles Terbille 419-474-6572 Georgeanne Hanna 928-775-5856 Oregon RECORDER Tucson: Scott Mason 520-721-0846 Louisiana Eugene: Lynne Coates 541-345-5235 Arkansas New Orleans: Victoria Blanchard Oregon Coast: SOCIETY 504-810-8540 Aeolus Konsort: Jane Boyden 541-994-5198 INC. Don Wold 501-666-2787 Maryland Portland: Honorary President California Northern Maryland: Susan Campbell 503-288-4024 Richard Spittel 410-242-3395 Recorder Orchestra of Oregon– Erich Katz (1900-1973) Barbary Coast Recorder Orchestra: Portland: Laura Kuhlman Frances Feldon 510-527-9029 Massachusetts 503-234-2530 Honorary Vice President Central Coast Recorder Society: Boston: Winifred Jaeger Karen Bergen 310-850-1227 Henia Yacubowicz 978-857-7418 Pennsylvania East Bay: Susan Jaffe 510-482-4993 Recorders/Early Music Metro-West Bloomsburg Early Music Ens.: Inland Riverside: Statement of Purpose Boston: Bonnie Kelly 781-862-2894 Susan Brook 570-784-8363 Greg Taber 951-683-8744 Worcester Hills: The mission of the American Recorder Society Los Angeles Recorder Orchestra: Erie: Linda McWilliams 814-868-3059 is to promote the recorder and its music by Julie Massi 617-272-5216 Philadelphia: Matt Ross 949-697-8693 Michigan developing resources to help people of all ages Mid-Peninsula Recorder Orchestra– William Bowie 215-884-5041 Palo Alto: Fred Palmer 650-591-3648 Ann Arbor: Pittsburgh: and ability levels to play and study the recorder, Nevada City: Kevin Gilson 734-780-7476 Helen Thornton 412-486-0482 presenting the instrument to new constituencies, Miriam Morris 530-265-0986 Kalamazoo: Rhode Island North Coast: Kathleen Kinkela-Love David Fischer 269-375-0457 encouraging increased career opportunities for 707-822-8835 Metropolitan Detroit: Rhode Island: professional recorder performers and teachers, Orange County: Molly Sieg 313-532-4986 David Bojar 401-944-3395 and enabling and supporting recorder playing as Win Aldrich 909-625-7722 Northwinds Recorder Society: Tennessee Redding: Kay Hettich 530-241-8107 Cynthia Donahey 231-526-7157 a shared social experience. Besides this journal, Sacramento: Western Michigan: Greater Knoxville: ARS publishes a newsletter, a personal study Mark Schiffer 916-698-5774 Jocelyn Shaw 231-740-8110 Ann Stierli 828-877-5675 San Diego County: Minnesota Greater Memphis: program, a directory, and special musical Vanessa Evans 619-297-2095 Samuel Sidhom 901-848-1955 editions. Society members gather and play San Francisco: Twin Cities: Garth Riegel 651-771-1045 Greater Nashville: Greta Haug–Hryciw 415-377-4444 Missouri Carol Vander Wal 615-226-2952 together at chapter meetings, weekend Sonoma County: and summer workshops, and many Nancy Kesselring 707-823-7455 Heartland Rec. Orchestra–Warrensburg: Texas South Bay: Ani Mahler 408-638-0161 Patrick Larkin 660-909-1835 ARS-sponsored events throughout the year. St. Louis: Cora Lippi 314-614 0042 Austin: Derek Wills 512-471-3424 Southern California: Dallas: Alice Derbyshire 940-300-5345 In 2019, the Society celebrates 80 years Ricardo Beron 818-782-0710 Nevada Fort Worth–Cowtown Recorder of service to its constituents. Colorado Las Vegas: Buddy Collier 702-610-6148 Society: David Kemp 940-224-7896 Boulder: Trudy Wayne 303-651-6860 Sierra Early Music Society: Rio Grande: Colorado Recorder Orchestra: Kay Judson 775-742-4507 Marcia Fountain 915-544-3427 Rose Marie Terada 303-666-4307 New Hampshire Utah Board of Directors Denver: Sharon Bolles 303-790-0149 David Podeschi, President Fort Collins: Pattie Cowell Monadnock: Utah Salt Lake: 970-484-0305 Kristine Schramel 413-648-9916 Mary Johnson 801-272-9015 Ruth Seib, Vice-President, Asst. Treasurer & Lynn Herzog 802-254-1223 Jennifer Carpenter, Secretary and Connecticut New Jersey Vermont Communications Chair Connecticut: Monadnock: John Vandermeulen 203-810-4831 Bergen County: Reita Powell 201-944-2027 Kristine Schramel 413-648-9916 Wendy Powers, Treasurer Eastern Connecticut: & Lynn Herzog 802-254-1223 Betty Monahan 860-536-7368 Highland Park: Alice Derbyshire, Asst. Secretary and Donna Messer 732-828-7421 Virginia Membership Chair District of Columbia Montclair Early Music: Julianne Pape 845-943-0610 Northern Virginia: Mollie Habermeier, Governance Chair Washington: Edward Friedler 703-425-1324 Daniel Bruner 202-669-3388 Princeton: Shenandoah–Charlottesville: David Melanson, Educational Outreach, Delaware MaryJoan Gaynor 609-924-8142 Grants & Scholarships Chair New Mexico Gary Porter 434-284-2995 Brandywine: Tidewater–Williamsburg: Barbara Prescott, Fundraising Chair Roger Matsumoto 302-731-1430 Albuquerque: Vicki H. Hall 757-784-2698 Bryan Bingham 505-299-0052 James Chaudoir Greta Haug–Hryciw Florida Rio Grande: Washington Phil Hollar Carol Mishler Judith Smutek Largo/St. Petersburg: Marcia Fountain 915-544-3427 Moss Bay: Elizabeth Snedeker 727-596-7813 Santa Fe: John O’Donnell 505-662-5745 Michael Bancroft 206-523-6668 Miami: Ruth Trencher 305-665-3380 New York Recorder Orchestra of Puget Sound: Greater Orlando: Jacqueline Singleton Buffalo: Bonnie Sommer 716-662-5975 Charles Coldwell 206-328-8238 Staff 407-260-9238 Seattle: Laura Faber 206-619-0671 Orlando Consort: East End Recorder Ens. (Montauk): Susan Burns, Administrative Director Cheri Grayson 407-299-3076 Tom Dunfee 917-561-0575 Wisconsin Hudson Mohawk: Julia Ward, Administrative Assistant Palm Beach: Green Bay: Denise Jacobs 920-606-9188 Beverly Lomer 954-592-2852 Kathryn Kuhrt 518-477-8450 P. O. Box 480054 Milwaukee: Pensacola: Long Island: Pat Cassin 516-238-6924 Charlotte, NC 28269-5300 Charles Tucker 805-525-8256 New York City: Deborah Dorn 414-405-1081 704-509-1422; tollfree 1-844-509-1422 Sarasota: Natalie Lebert 212-666-7606 Southern Wisconsin: Recorder Orchestra of New York: Greg Higby 608-256-0065 866-773-1538 fax Charlotte Trautwein 941-504-9594 Georgia Karen Wexler 631-751-5969 Canada [email protected] Rochester: Atlanta: Mickey Gillmor 404-872-0166 Paul Breese-Garelick 585-738-1028 British Columbia (Vancouver): www.AmericanRecorder.org Hawaii Westchester: Elizabeth Paterson 604-228-0600 Erica Babad 914-769-5236 Edmonton: Vince Kelly 780-436-9064 In accordance with the Internal Revenue Service Big Island: Garrett Webb 808-960-3650 Taxpayer Bill of Rights 2, passed by the United States North Carolina Okanagan Recorder Orch.–Kelowna, Hawaii: Irene Sakimoto 808-734-5909 BC: Bruce Sankey 250-766-1550 Congress in 1996, the American Recorder Society makes West Hawaii Recorders: Carolina Mountains: Susan Hartley Montréal: Mary McCutcheon freely available through its office financial and Marilyn Bernhardt 808-882-7251 423-612-0421 514-271-6650 incorporation documents complying with that regulation. Idaho Greenville Recorder Society: Jon Shaw 252-355-2737 Toronto: Sharon Geens 416-699-0517 Les Bois–Boise: Triad–Greensboro: Kim Wardwell 360-202-3427 Susan Benson 252-414-4044 Please contact the ARS office Triangle: Jan Jenkins 919-870-0759 to update chapter listings. 2 Winter 2018 American Recorder President’s Message ______Greetings from David Podeschi, ARS President [email protected]

write this after returning from an for a delicious potluck supper and play- • Continue improving our ARS Board Meeting. Your all-vol- ing session. We also welcomed two engagement with Chapters, unteerI Board meets twice per year from new Board members—Phil Hollar of Consorts & Recorder Orchestras Thursday evening to Saturday evening. Greensboro, NC, and Judy Smutek • Increase membership through a We try to find a city where there is a of Ann Arbor, MI. new member drive chapter or other active recorder organi- One of the first things we do at a And we added a new initiative zation to assist with local details. Board meeting is review our Strategic I’d like to mention: Make the AR This Board Meeting was in Plan, especially in light of a member magazine as relevant as possible to Denver, CO, and I thank Mark survey earlier this year. In doing so the widest audience of members. Davenport and Regis University for we confirmed our major initiatives: I want to expand on this last point providing us with meeting facilities, • Continue improving the benefits since the magazine is the number one and the Denver Chapter for hosting us most important to our members member benefit, according to the member survey last March. This means Hold on to this issue as a reference when the survey arrives. we already have an excellent magazine, thanks to our editor, Gail Nickless, and to all who have contributed over the years. But, like everything in this fast- changing world, the magazine must change in order to maintain its excel- lent reputation. Over the years I’ve read the Wall Street Journal and the New York Times and watched how these excellent publi- cations have changed—both to main- tain their traditional reader base, and also to attract a new audience and keep up in the digital age. I think it is time for us to look at AR in the same way. What kinds of articles will appeal to the most members and to different kinds of members, beginners through professionals? Should we look at devel- oping an interactive digital edition? Our next step is creating a maga- zine-focused member survey, hopefully fielded within a month or two of this edition of the magazine. If you don’t already save your copies, I am asking you to hold on to this issue as a refer- ence when the survey arrives. Please, respond to the survey. Your input is important as we strive to make AR the best it can be for our members. www.AmericanRecorder.org Winter 2018 3 Tidings ______ARS awards, past and future; a chat with Teresa Deskur, ______Peabody Conservatory adds advanced early music degrees

The ARS willARS present two toprestigious honor recalls Tom hearing PrescottSammar­ tini’s Concerto and in ing Eric the Brook Haas­line, MA, store, and in awards during the next Boston Early C for soprano recorder and orchestra at the his illuminating and often humorous Music Festival (BEMF). Recorder National Music Camp in Interlochen, posts on Facebook—detailed and fasci- maker Tom Prescott will receive the MI. Customers of Prescott Workshop nating information he has come across ARS Dis­tinguished Achievement are familiar with Prescott’s great enthu- that is of interest to the recorder world. Award and Eric Haas will receive the siasm for the Since starting in 1990 at the Early Presidential Special Honor Award. recorder, which Music Shop of New England, the arm Both recipients have strong ties to began then. of the Von Huene Workshop that sells BEMF, so it is fitting that these awards Many will sheet music and accessories, he has will be presented during the 20th bien- recognize Eric become indispensable as a resource. nial BEMF, June 9-16, 2019. Prescott Haas as the Haas’s career has been centered was among the original group that first voice of the on the recorder and early flutes. With met in 1979 to explore holding a festi- Von Huene degrees from The New England val in Boston, MA. He also appren- Workshop, Conservatory of Music (Master of ticed from 1973-75 with the legendary both when call- Music in Early Music Performance) recorder maker Friedrich von Huene, who along with his wife Inge guided ARS Distinguished Achievement Award Recipients the early BEMF plans. The ARS Distinguished Achievement Award was set up by the Board in 1986 to recog­nize and honor individuals who have made extraordinar­ y contributions to the develop­ment of the recorder movement­ in North America. Friedrich von Huene 1987 Joel Newman 2007 Bernard Krainis 1989 Ken Wollitz 2009 Shelley Gruskin 1991 David Lasocki 2011 Nobuo Toyama 1994 Bernard Thomas 2013 LaNoue Davenport 1995 Piffaro 2015 Martha Bixler 1996 Flanders Recorder Quartet 2018 Edgar Hunt 1997 Thomas Prescott 2019 Eugene Reichenthal 1999 The recorder maker founded Members are invited to send a Frans Brüggen 2001 Prescott Workshop in 1975. For the Distinguished­ Achievement Award Valerie Horst 2002 past 43 years, the workshop has crafted nomination, along with the reasons for Pete Rose 2005 over 4,600 Baroque, transitional, and nomina­ting that individual, at any Marion Verbruggen 2006 Renaissance recorders of the highest time for consideration by the Board. quality, selling them to players ARS Presidential Special Honor Award Recipients throughout North America and over- Established in 2003, this award—given at the ARS President's discretion, and seas. The family of Prescott Renais­ approved and voted on by the ARS Board—honors a person or group that has sance recorders, introduced in 1991, has made significant contributions to their own community that have had a ripple effect been received enthusiastically by ama- throughout the larger recorder world. teurs and professionals, including David Goldstein 2003 Corlu Collier & Oregon Coast members of the Flanders Recorder Carolyn Peskin 2005 Recorder Society 2009 Quartet and Palisander, and by conser- Marie–Louise Smith 2005 Louise Austin 2011 vatories in North America and Europe. Connie Primus 2006 Peter Seibert 2012 During a summer 1970 break Anthony Rowland–Jones 2007 Gail Nickless 2014 from Lake Forest College, Prescott Shirley Robbins 2007 Eric Haas 2019 4 Winter 2018 American Recorder and East Carolina University (Bachelor (l to r) ARS Board of Music in Theory and Composition), members Barb he is not only a skilled recorder and Prescott, Wendy flute player, teacher and performer, but Powers and Judy a talented composer whose original Smutek presented works and arrangements are enjoyed the 2018 DAA to the by many recorder players. He wrote the Flanders Recorder ARS 2018 Play-the-Recorder Month Quartet (Joris Van selection, Fantasia on a shape-note hymn. Goethem, Paul Van Watch future issues of AR for Loey, Bart Spanhove, details about the 2019 award ceremony. Tom Beets) consort. Good arranging solved that problem. Anyone LAST STOP FOR FRQ hoping for extended techniques and lickety-split prestos would have been disappointed in this concert, but those By Judith Anne Wink, New York City, NY who wanted to hear familiar works played flawlessly would have been delighted. Some of us go out on top. Holy Roman Emperor Charles V After the concert, ARS Board members Barbara abdicated at the height of his power. Heavyweight champion Prescott, Wendy Powers and member-elect Judy Smutek Rocky Marciano retired undefeated. gave FRQ the ARS Distinguished Achievement Award. After 30 years of professional triumphs, the Flanders Prescott said she’d never been so thrilled to present such an Recorder Quartet (FRQ) decided to call it a day—at the award. Established in 1986, the award went first to the late same time that its members were honored with the ARS Friedrich von Huene. As Prescott said, things have come full Distinguished Achievement Award (DAA) (see photo circle: FRQ played at von Huene’s memorial service in 2016. above right by Paul R. Johnson). The ARS team spoke of the group’s tours of Asia, South If you read the Summer AR, you know that the group America, Africa, Europe and the U.S. They also mentioned spent much of 2018 on a farewell tour. One of the stops was its massive discography, the long list of composers from the Amherst Early Music Festival, held at Connecticut whom the group has commissioned works, and the reputa- College from July 8-22. Here the four musicians taught mas- tion of each member as a master teacher at home and abroad. ter classes, led recorder orchestras and, on July 16, gave their When ARS officials in attendance asked ARS members last concert in the U.S. Called “In Pursuit of the Muse,” in the audience to stand, they were delighted that nearly it was both an homage to great music and a thanks offering everyone in the auditorium rose to their feet. (the subtitle was “In gratitude”) to the individuals and orga- A question and answer session followed the award pre- nizations who have helped and inspired them along the way. sentation. What was the group’s most memorable touring FRQ has accumulated an enormous repertoire, includ- disaster? In Mexico, all of their big instruments were stolen ing the most technically demanding Baroque pieces and and had to be ransomed. What will happen to the 40-odd contemporary works that push the recorder to its limits. instruments that the group owns? They’ll keep some and None of these appeared on this program. sell the rest—Van Loey advised everyone to check the The group started with four pieces from Odhecaton that group’s web site, www.flanders-recorder-quartet.be. Tom Beets called the top hits of the Renaissance. This was What can they say about their relationships with instru- followed by Suite for Pipes by Ralph Vaughn Williams, ment makers over the years? Van Goethem admitted that played, as the composer intended, on bamboo pipes. Bart makers think they’re difficult because they have some pecu- Spanhove called them original instruments because Beets liar demands, like an extra key on an F contra bass to give it and Joris Van Goethem had built them. both a loud and a quiet C#. Next came Matthew Locke’s Suite in F, a piece that And what were their future plans? This was hardly the shifted from light to shadow but ended with a burst of pure first time they’d been asked this question, and they were happiness. Five more Renaissance pieces followed, played on ready with answers: a few months’ rest, and then teaching a consort of Prescott recorders that sounded like one instru- and performing with other groups. Each man had some ment. projects in mind; Spanhove, for instance, wants to research The concert ended with three works by J. S. Bach—the how to practice. greatest composer of all time, said Paul Van Loey, and Bach Whatever these four musicians do next, they will made only one mistake: he never wrote anything for recorder do it superbly. www.AmericanRecorder.org Winter 2018 5 PETE ROSE (1942–2018) Pete was a unique musician and a mentor to us all. He loved all music, and American recorder player and through his performances and wonderful, composer Pete Rose passed original compositions, he helped us grow away on August 13 at age 75 in and learn how much more was possible Bridge­water, NJ, where he with the recorder. resided. He has been described For me like many, I believe, hearing as the foremost interpreter in the Pete perform the cutting edge repertoire U.S. of contemporary music for of the late 20th century was a revelation. recorder and one of few recorder Many other players were doing impressive players who played jazz recorder. performances of this music, but hearing Rose won critical acclaim for his Pete’s interpretations for the first time interpretation of works involving microtonality, circular breathing and jazz changed me musically. I was opened to elements. He was significantly involved in performing, teaching (from private completely different concepts and modes lessons to workshops and master classes to ARS chapter meetings) and pro- of expression. He made me understand moting a wide range of recorder repertoire, particularly in making new music how varied, compelling and even tender accessible to players and audiences worldwide. these complex compositions could be. His Rose was especially known for performing the music of composers such stunning ease and naturalness with works as Daniel Goode, Ryōhei Hirose, Luciano Berio and Benjamin Thorn. His employing extended techniques truly recordings included Recorderist Pete Rose (Pitch, 2004, www.CDbaby.com) and made me love the recorder even more. Daniel Goode - Eight Thrushes in New York (Frog Peak Music, 2002, hard to Pete was also a dear friend and a kin- find); he also recorded on Opus One and New Wilderness Audiographics. dred spirit. I feel so fortunate to have had Rose has many published recorder works, available through Universal the opportunity of collaborating with Edition, Heinrichshofen, Moeck, Carus-Verlag and Ricordi. He wrote him—doing workshops and enjoying fun a number of comprehensive articles documenting the use of the recorder in visits to his place. I had the opportunity to contemporary classical music, and he edited or wrote “On the Cutting Edge” record an informal interview with Pete at in AR from 1991 to 2002, when he stepped down to pursue other activities. 2005 ARS Distinguished Achievement Award the Amherst Early Music Festival (at Rose was awarded the www.youtube.com/americanrecordermag). during the Boston (MA) Early Music Festival (he is shown at right, above left, He generously wrote pieces for many holding his certificate presented by then-ARS President Alan Karass). In his professional players and was kind enough acceptance speech, he thanked the many people who opened doors for him to include me in his dedication of Nice and made his achievements possible, adding: “I must admit that I was quite Folks. He wrote Voices of the Way for me surprised that the ARS would choose someone so far outside of the Early and my wife Miyuki Tsurutani, playing Music mainstream. The fact that they did clearly shows that the ARS leader- recorder; and my son Dylan Tyson on ship recognizes and values the diversity of its constituency.” As part of his electric bass guitar. It is a wild, joyous mix award, he was commissioned to compose special Play-the-Recorder Month of throbbing rock bass, Baroque, Japanese music (Dynamo, which appeared in the January 2006 AR). and contemporary recorder repertoires. The ARS also produced a video of a live recital Rose gave during the His title suggests the coming together of 1992 Amherst Early Music Festival, with a segment where he was inter- the many characters of the Tao, the viewed by ARS member professional John Tyson (available in segments at underlying way of the universe (perhaps www.youtube.com/americanrecordermag; Bye Bye Blackbird, a popular selec- . an apt message in our age). Here is a link tion and one of his encores to the recital, is one segment posted there) www.youtube.com/ New York Times to hear the piece: In a March 2, 1999, article on the “East-West sounds” of watch?v=T1bPs2Qq4ns. the music of Maki Ishii, Anthony Tommasini said: “As performed by Peter It’s difficult to express the sadness of Rose, Black Intention I, for one recorder, was an engaging work of musical losing such a great person. We can no theater. Mr. Rose began by playing two soprano recorders at once to produce longer hear Pete in concert or await his spiraling flights, drones and whis- new compositions or enjoy his friendly tling figurations, until the music laughter, but I feel that he is much with us turned frantic, and he screamed, in his music and in the spirit he has left grabbed a mallet and struck a with us. The good vibes are still ringing! huge gong.” John Tyson, Boston, MA 6 Winter 2018 American Recorder I started seeing Pete Rose’s name Rose playing soprano recorder the globe for many years after (hear it back in the 1970s. Clearly something and percussion on his in 1993, played by ALSQ, www.you- of a maverick, Pete was giving per- own Signals - Limits, tube.com/watch?v=kcB49KkQEm4). formances that bore no resemblance in 1990, Germany Pete loved to use numerous and to the typical “early music” concerts humorous quotes in his jazz works: of the day. He had created a hybrid even for the final five notes of Tall P, of jazz improvisation and new music he incorporated the 1950s frozen playing techniques—of America and food commercial jingle tune of Europe (and Japan), as it were—and “Better Buy Bird’s Eye!” was the composer of recorder music Last but not least, I would like that was stunning in its originality. to express my respect for Pete’s qual- I finally got to meet him during ity contributions and reviews in his the 1980s when the Composers former “Cutting Edge” column in Guild of New Jersey (CGNJ), to the ARS magazine. We miss you! which I belonged, began presenting ... a refreshing sound Your Tall P, Paul Leenhouts, Pete in concert. I had the honor of in the uncharted Denton, TX introducing him at a CGNJ event at American contemporary the Toms River (NJ) Public Library, recorder scene. I met Pete at Amherst around 1990. and was also involved in planning and I was very impressed with his solo presenting his concert appearance at lonely life as a jazz reed player for performances of contemporary music, the State Museum of New Jersey in the decades, Pete found his renaissance in including some of his own works, using 1990s. Incorporating some of his inno- being creative with what some call a a very idiomatic way that communi- vative playing techniques into my own “squeaky little pre-band instrument.” cated well with the audience. After performances and compositions was Not sculpted by any particular hearing his compositions, I asked if he the inevitable result. (recorder) school, Pete’s self-made could write a duo piece for recorder Some of his “hit tunes”—such creations and performances evoked and piano. The result was The Kid from as The Kid from Venezuela (written for a refreshing sound in the uncharted Venezuela. My wife Patricia and I (Duo Aldo Abreu) and Tall P (commissioned American contemporary recorder Abreu) performed this work numerous by the Amsterdam Loeki Stardust scene. One of Pete’s most outstanding times with great success and in many Quartet)—remain among my favorites. works, Right Hand Pentachord venues including Weill Recital Hall at His CD produced and released by Variations—virtuosically performed Carnegie Hall. The piece became the American Festival of Microtonal during his very first solo recital at extremely popular worldwide and is Music, Recorderist Pete Rose, is essential Amherst—forced one quarter of the considered standard repertory. listening, I believe, for all aspiring audience to walk out of the hall. While During the 1990s, Pete and I recorder players. using a superb circular breathing tech- stayed in touch and saw each other There may never be another nique, he drove his soprano recorder at various Amherst festivals. In 1998, like him. into over(tone)-gear within an impres- I invited him to teach a master class Tim Broege, recorderist, organist, sive time stretch of about six minutes. in Boston for students of mine and harpsichordist, composer, and editor/writer Recognized and invited by profes- others in the Boston area. for “On the Cutting Edge,” AR, 2002-14 sor Gerhard Braun, Pete presented Around 1997, John Tyson came another remarkable solo recital at the up with the idea of commissioning a During the mid-1980s I had the extensive Internationales Blockflöten- piece for recorders and guitar. This pleasure of meeting Pete Rose for the Symposium in Karlsruhe, Germany, piece was commissioned by and first time in the faculty lounge of the at the end of August 1990 (above). dedicated to John Tyson, David Amherst Early Music Festival. During the year before, Pete wrote Barnett, the late David Bellugi, Vicki Pete, a “bad cat” ex-saxophone Tall P [ATBgB, Moeck MK02816] Boeckman, Cléa Galhano and me. player from Maplewood, NJ, intro- for the Amsterdam Loeki Stardust The piece Nice Folks was premiered by duced me to all sorts of jazz slang and Quartet. We premiered it while he was John in Jordan Hall in Boston in 1998. got me interested in his unstoppable attending the same festival in Karls­ Pete will be missed very much! passion for North American avant- ruhe. We highly enjoyed performing Aldo Abreu, Boston, MA, garde repertoire, bebop and inventive his virtuosic “beboppy” piece all over www.aldoabreu.com improvisations. After a somewhat www.AmericanRecorder.org Winter 2018 7 I don’t remember exactly when I first “Don’t play [the jazz remain a big part of my life and my met Pete, but it must have been some- development as a recorder player. time in the late 1980s or early ’90s, inégale] like that! You sound You were one of a kind, and my life is when we were both teaching at the like Lawrence Welk!” You much richer for having had you in it. Amherst Early Music Festival. We still make me laugh, Pete. Judith Linsenberg, Oakland, CA, connected over contemporary recorder www.linsenberg.com music, which I’d been working on when When I told him I didn’t have much I was studying in Vienna in the mid- money to commission it, he offered me It must have been 1993 or 1994 when ’80s. We had many conversations about a very generous arrangement, where I I first met Pete during the Amherst that music, how to interpret different could pay him just $10/month—which Early Music Festival. Also during that pieces and the various symbols used I did. I didn’t tell him anything about time, I first heard Judy Linsenberg play in them. what I wanted in the piece, but was I’d rather be in Philadelphia, which to Each summer we were both at delighted when he came up with this day is the one piece I turn to when Amherst, he would bring different con- I’d Rather be in Philadelphia (1992). I quickly need to pull out something to temporary duets for us to play together, The story of the title of the piece, play on any given occasion. Pete’s music as if he were on a mission to expose me and the individual movements, is writ- has become part of my musical identity. to pieces I’d not played before. Looking ten in the preface to the printed edition From our first encounter, Pete just back now, I realize how lucky I was that (although I will always treasure my blew me away. On every occasion when he took it upon himself to mentor me hand-written copy), and heard in we met after that, I was always in awe in that way. He would also suggest my introduction to a performance of of his musicianship: his intensity and pieces for me to learn and give me it at www.youtube.com/watch?v=zQFz dedication, his mastery of the instru- guidance in how to perform them. WUnygOI&feature=youtu.be. ment, his knowledge of the contempo- For one of the Amherst faculty For those who don’t have access to rary repertoire, his seriousness and, at concerts, he encouraged me to play Bob that, the gist of it is that Pete came to the same time, his boyish playfulness. Margolis’s Fanfare for a soprano and see me while I was visiting my parents He touched me deeply, took my breath alto recorder played by one player. He in Philadelphia, PA, before I was to away, and at times made me grab my insisted that I had to be first on the leave for Europe. I didn’t have much ears in pain (especially that time when program (he had very strong ideas time, and he was running late too, so I he played his Limits piece for me in a about things!), and that I play the piece asked him if he wouldn’t mind coming small Amherst dorm room). from the balcony, popping up as a sur- with me while I did a few errands. We Pete single-handedly projected the prise before the audience had even fully stopped at the Optometrist (first recorder into another universe. All the quieted down. (It was very effective!) movement); the Shoe (repair) Store different techniques he developed, col- I feel grateful that I was able to (second movement); and then had ors he came up with when composing hear Pete perform on numerous occa- Lunch (third movement). Pete often and performing his own compositions, sions—many contemporary pieces, but included snippets of well-known tunes as well as through his collaborations especially his own pieces, with all their in his pieces. I’ve often wondered what with other artists, truly transformed mind-bending sound effects, enhanced he thought of me, since in this piece he our beloved instrument. by his awe-inspiring circular breathing included The Irish Washerwoman We became good friends from that that went on and on and on (and on). (twice) and Donkey Serenade; but also first time we met, and during following His passion for the music, dedication the Shirley Temple song, Animal visits, I was able to get to know him and incredible technique were a won- Crackers in my Soup; as well as better, even more so when my wife der to behold—inspiration to me and, Carmen, and others. Ellen decided to write her master’s the- I believe, to any other recorder players I played the piece for him before sis on him. During long talks, I found who had the good fortune to hear him. I premiered it at Amherst. I’ll never out why he turned to the recorder, after After he wrote The Kid from forget when—never one to mince being frustrated with the saxophone. Venezuela for Aldo Abreu, he sent me words—he said to me, “Don’t play He couldn’t find his own voice there, a hand-written copy of it along with a [the jazz inégale] like that! You sound since he felt that he would copy some cassette tape of himself playing the like Lawrence Welk!” other player, at best. With the recorder piano accompaniment, for me to prac- You still make me laugh, Pete. he developed his own voice. tice with it. I loved it so much that I Although we didn’t see each other for During one of our visits, which asked if he would write a piece for me. many of the last years, you’ll always regrettably were far too few, he talked 8 Winter 2018 American Recorder Pete Rose, It is always so hard to lose a colleague, and guitar, Nice Folks. As usual, Pete about a friend, and a wonderful musician wrote it with great charm and artistry. 2004 and performer. Pete was all of these. I was fortunate to organize many I met him soon after I moved master classes for Pete in Saint Paul. from Brazil to Minnesota. He con- His girlfriend had a daughter here, tacted me after reading an AR article and they visited many times, until he I wrote about Brazilian music. He was could no longer travel. I loved Pete’s then the editor of the “Cutting Edge” smile, warmth, and intelligence. We column in AR. After that first contact, always exchanged Christmas­ cards. about his love for traditional music, we developed a warm relationship. His always had flowers in a Japanese like that played by Indian flute play- He was a big part of the ARS style and beautiful messages. ers. He played these recordings while American Jazz Recorder Workshop I end with words that he wrote he explained their totally different that I organized at Berklee College for my CD, Magic Circle: “Magic: approach towards playing and teach- before the 1997 Boston (MA) Early Charm­ing, bewitching. Circle: An ing. This inspired him tremendously. Music Festi­val (covered in his intimate association group.” This His love for these traditional cultures September 1997 AR “Cutting Edge”). describes perfectly my feelings for had a big influence on Pete’s eclectic He knew all about jazz, and gave me Pete Rose. He was a charming, compositional style. valuable advice regarding the festival. bewitching, and inspiring musician, A good friend passed away, and a Later, I recorded his composition and I was fortunate to be involved in unique musician. I hold it very dear that he wrote for Aldo Abreu,The Kid his “intimate association group.” that Pete once had called me his soul from Venezuela. I would call him and Thank you, my dear Pete. Rest in brother. I’ll miss you, brother! play for him over the phone. He Peace, and keep being this inspiring Geert Van Gele, Belgium, always kindly gave me great ideas and person and musician, wherever you are. http://geertvangele.com , inspired me. A group of recorder play- Cléa Galhano, St. Paul, MN, www.youtube.com/geertvangele ers commissioned a piece for recorder www.cleagalhano.com

www.AmericanRecorder.org Winter 2018 9 Recorder heard in Mass for World Communion Sunday “Imagine a delicately For World Communion Sunday on October 7, recorder and Baroque flute per- former and educator Frances Feldon played with six percussionists in a newly- layered melodic percussive composed mass by Rev. Todd Jolly. The mass is scored for recorder (or atenteben); contrapuntal sound.” six percussionists playing various instruments including marimba, gongs, bass writing liberally uses intricate rhythms, drum, congas, bongos, claves and cymbals; and choir, with congregational partici- hemiola, syncopation, melodic call and pation. Jolly incorporated musical traditions of Africa, Asia, the Pacific Islands and response among the percussion instru- Central and South America. “Five of the movements are call-and-response, and ments and between the percussion and one has a repeating musical phrase with different underlay of text. Portions of the recorder.... The total effect of the mass piece borrow from Chinese and Latino music, and there is even a moment of is compelling and approachable for an blues.” Not being a traditional mass, its texts come from alternatives such as lines audience, with its sweet harmonies, by naturalist John Muir, “No synonym for God is so perfect as Beauty....” catchy rhythms, ethnic musical deriva- The recorder participates in 11 of the 14 movements (some lasting only a tion, melodious writing for the percus- minute) of the mass, and is featured in five of those movements. Feldon elaborates, sion instruments, unusual sound and “The ‘sound picture’ of the part played by me on recorder is based on the atenteben, scoring, and haunting recorder parts.” a bamboo flute from Ghana, which is a fully chromatic, vertical end blown fipple A percussionist with an interest flute like the recorder. I used a Moeck Ehlert modern recorder to play the parts, in early music, as well as an ordained since that instrument has a very full, loud ‘woody’ sound suitable for the ‘ethnic’ minister, Jolly says that his past works aesthetic of the composition, and which balanced with the six percussionists very included “musical settings for commu- successfully without amplification. In addition, this model of recorder has a really nion services in order to attempt to nice second octave and high range, needed for some of the solo passagework.” bring the worship style into the The recorder part has several technically demanding moments with some twentieth century.” tricky technical spots inherent in the key of F minor. It also calls for pitch slides, Jolly holds a Bachelor of Arts in mimicking some of the sounds of the traditional Ghanaian flute. Feldon described music education from Trenton State the mood of the mass: “Imagine a delicately layered melodic percussive contra- College (NJ), which led to positions puntal sound, with moments of loud drama as demanded by the mass text. The such as serving as choirmaster and teaching third through eighth grade music at Stuart Hall for Boys in San Francisco. In 2005 he became the first music director of San Francisco Renaissance Voices, a professional ensemble dedicated to the singing of a cappella works of the Renaissance. Concurrently since 2007, he has directed the music program at St. John’s Presbyterian Church. Some of his musical works were commissioned while he was the vocal program’s com- poser-in-residence at San Francisco­ School of the Arts. His retirement last summer from classroom teaching, and its obligation of writing for his stu- dents, gave Jolly more time to pursue projects like this full mass—which grew out of his previous liturgical works, such as a jazz setting of the sanctus and memorial acclamation, the basis for a mass completed in 2002. Contact Jolly at maestrotoddjolly@ gmail.com.

10 Winter 2018 American Recorder Richard Carbone (front right) played sopranino recorder with the Dixie All Stars in the annual Arnold Mills July 4 parade in Cumberland, RI. The group has played this event for over 20 years with older and newer players. Teenaged violinist Charlotte McClanahan is the newest member, her second time to join in. For most pieces, Carbone plays clari- net, but uses various recorders for some pieces as well. This time, he played his Kung sopranino, his oldest recorder, which he bought at Harold Newman’s New York City shop in the 1960s. Ensemble Caprice Throughout the concert, Maute Oratorio.” As this implies, the program placed live roses into a vase, one rose for included the festive oratorio, BWV11, in Indiana each segment, while he dramatically “Lobet Gott in seinen Reichen” (Laud delivered a statement explaining that to God in all his kingdoms), breathtak- By Marilyn Perlmutter, Bloomington, IN rose’s meaning. For the segment above, ingly beautiful and rousing. Maute was the rose represented “music that will heard as soloist on Partita in A minor, The last weekend of the 52nd keep ringing in one’s heart and soul.” BWV1013, and a stirring rendition for Indiana ­polis Early Music Festival The July 15 concert saw the addi- soprano recorder and five strings of (IEM) at the Indiana History Center tion of violins, oboes, flutes, natural Bach’s Italian Concerto, BWV971. was devoted to three different concert trumpets, harpsichord, organ and tim- Maute’s tones have a lovely clarity. programs by Ensemble Caprice (EC), pani (with natural skin and struck with His notes and phrases swell and dimin- including recorderists Sophie a wooden beater). Soloists of The Bach ish in a beautiful way. The audience Larivière and Matthias Maute, plus Society of Minnesota (which Maute members only just managed to stay their friends. I heard two of their pro- directs, in addition to EC) and from in their seats until he finished the last grams, on July 13 and July 15, 2018. the Echoing Air Vocal Ensemble piece—thundering applause greeted Both have been offered in other cities, also increased the numbers. its completion. and are also set for future EC concerts The stage was crowded, with 12 The 53rd IEM schedule has been —the second is part of their offering of instrumentalists and eight singers, for released; see http://iemusic.org the complete cycle of Bach cantatas. the program, “J.S. Bach: Ascension or the Spring AR for details. The first, “Chaconne: Voices of Eternity,” consisted of nine song group- ings from composers such as Johann Schmelzer, Henry Purcell, Carlo Calvi, J.S. Bach, Tarquinio Merula, Biagio Marini, Antonio Vivaldi and Anony­ mous. All great showpeople, the per- formers were highly accomplished. Among the favorites were two pieces by Purcell. In his Two in one upon a Ground, Larivière stayed on the stage; at one point, Maute moved into the audience, while they both contin- ued playing with both accuracy and delicacy. The skill and the players’ enjoyment was palpable and left listeners feeling quite satisfied.

www.AmericanRecorder.org Winter 2018 11 33 Years of Friendship with German School Celebrated in Chicago By Glen Shannon, El Cerrito, CA be played by recorders, guitars, concert band, In the Summer 2013 and Fall 2014 jazz ensemble and issues of American Recorder, I intro- strings, together or sep- duced the German recorder orchestra arately in any combina- from the Musikschule im Schloss in tion. The result is the Bietigheim-Bissingen (“BiBi”), near Friendship Canzona, Stuttgart in the southwest of the coun- which they premiered try. I described their longstanding in Germany in June friendship with the Central School and played again in District 99 (CSD99) in Downers Illinois on August 29. Grove, IL. 2018 was another year for It was a massive school exchanges, with the U.S. kids concert in the audito- visiting Germany in June, and the rium of Downers Grove South High ...an incredible performance Germans coming to the U.S. at the end School—with recorders and guitars of August. I had the great pleasure of tag-teaming for the first half, the string of Friendship Canzona joining them on the U.S. visit, teaching orchestra playing the second half, and a workshop with the recorder orchestra, finally everyone coming together for an with 100+ musicians. and playing in the Big Final Number incredible performance of Friendship players, who tossed me a tenor before I of their joint concert. Canzona with 100+ musicians. I joined could protest. For this final piece, CSD99 com- the recorders in this piece at the last- The week’s schedule was full, and missioned a work from me that could minute insistence of the recorder there wasn’t much time for recreational playing. Undeterred, we did manage to organize a playing session with some of the veteran recorder orchestra members (photo, top left on facing page). We read some of my smaller pieces, on the night before their departure for St. Louis, MO, the next leg of their journey, and before my return to California. These “kids” (actually age 14 to grad students in their 20s) are excellent sight-readers! CSD99 has a fantastic music pro- gram with multiple concert bands, jazz ensembles, and amazing special classes that my high school didn’t have, such as a newly inaugurated Rock Music where kids study the form, structure and history of early rock classics and learn to play them by ear. Alas, how- ever, despite my best efforts, they don’t have a recorder ensemble, let alone a matching Renaissance consort. I did manage to brighten the eyes of a senior clarinet/bassoon student with aspirations to be the next Andrew Lloyd Webber, by telling her about the 12 Winter 2018 American Recorder Baroque bassoon, curtal and dulcian, none of which she had ever heard of. (My work is done here.) YouTube links for the BiBi concert: Friendship Canzona in concert (closing number), www.youtube.com/watch?v=HUtDYxDqywg; Württemberg Overture (opening number), www.youtube.com/watch?v=RSuH0_rQJtg

Informal playing with the German students (Glen Shannon is in the middle, in front of bookcase)

Ritornello Baroque Ensemble kicked off its 18th year with a Department of Curiosities September­ 17 performance at Fellowship Presby­terian Church In the Landesmuseum, the state museum in in Jasper, GA. The small town of about 4000 residents is ripe with Innsbruck, Austria (www.tiroler-landesmuseen. culture and hosts multiple concert series to bring in live art music. at), a recent exhibit about music used a wall Presented as a combined lecture and concert, the event treated of recorders to divide the space examining the audience “Stereotypes: Against a Musical Mono-culture.” to informa- (Photo by Jerry Cooper) tion about the composers and the music. Violinist Ute Marks related the design of the Baroque violin to the fiddle that is common in American folk and dance music. Harpsichordist Calvert Johnson explained the improvisatory approach to playing from figured bass, while Jacob Bitinas showed the unique qualities of the viola da gamba. Recorder players Jonathan DeLoach and Jody Miller (second from right and right, respectively, photo above) gave some history of the recorder, which resulted in a mid-concert Q&A. The audience learned about the practice of teaching birds to sing tunes played on the recorder; names of the recorder in other languages; and the eventual replacement of the recorder by the louder instruments known during the Classical period. Repertoire played by the Atlanta-based Ritornello spanned the Baroque period, starting with music of Andrea Falconieri, all the way to Carlo Cormier’s Sonata in C Major from the late 18th century—composed right around the time of Mozart’s death! Miller, also a band director at McCleskey Middle School in Marietta, GA, offers a recorder ensemble opportunity to his stu- dents, while Bitinas, an orchestra director at Dickerson Middle School in the same school district, offers a viola da gamba consort for his orchestra members. Ritornello’s mission is not only to perform, but also to educate folks of all ages. Jody Miller, Marietta, GA, [email protected] www.AmericanRecorder.org Winter 2018 13 FOCUS ON ARS BUSINESS MEMBERS AMERICAN ORFF-SCHULWERK ASSOC. LAZAR’S EARLY MUSIC PRESCOTT WORKSHOP Tiffany English, President Martin Shelton Tom & Barb Prescott 147 Bell Street, Suite 300, 761 N. Cherokee Rd, Suite C, 14 Grant Rd., Hanover, NH 03755-6615 Chagrin Falls, OH 44022 Social Circle, GA 30025 603-643-6442 440-600-7329 770-366-8596; 866-511-2981 (toll free in U.S.) [email protected]; www.prescottworkshop.com [email protected], [email protected]; www.aosa.org [email protected]; Prescott Workshop offers Baroque, transitional The American Orff-Schulwerk Association http://LazarsEarlyMusic.com and Renaissance recorders. After 45 years making (AOSA) is a professional organization of We sell recorders by Moeck, Mollenhauer, Küng, recorders, Tom still is enchanted by the instrument educators dedicated to the creative music and Yamaha, Kunath Paetzold Square bass, Ehlert and and grateful that he found and follows his dream movement approach developed by Carl Orff Wenner hand-made, and Breukink Eagle; Martin profession. and Gunild Keetman. 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CLARION ASSOCIATES, INC. 49-05141-088530; Fax: 49-05141-885342 VON HUENE WORKSHOP/ Dan Schoenfeld, CEO/President [email protected]; www.moeck.com EARLY MUSIC SHOP OF NEW ENGLAND 35 Arkay Dr., Suite 400, Hauppauge, NY 11788 Family-owned enterprise in the fourth generation, 800-VIVALDI (800-848-2534); producing high-end recorders and publishing Eric Haas Fax: 631-435-4501 recorder music, books on music and Tibia 65 Boylston St., Brookline, MA 02445-7694 [email protected]; www.clarionins.com Magazine for Woodwind Players. Moeck recorders 617-277-8690; Fax: 617-277-7217 Largest insurance firm dedicated solely to and music publications are available at Honey­ [email protected]; www.vonHuene.com the needs of musicians. Discounts for ARS suckle Music, Lazar’s Early Music and Von Huene Founded in 1960 by the late Friedrich von Huene members (subject to underwriting approval, Workshop, Inc. Moeck organizes courses for and his wife Ingeborg, the Von Huene Workshop, not all may qualify). recorder players and promotes the recorder on a Inc., has enjoyed a reputation for producing the professional level by awarding prizes at the finest recorders available for nearly 60 years. Today, EARLY MUSIC AMERICA Moeck/SRP Recorder Playing Competition in this tradition of excellence continues with Karin Brookes, Executive Director London, the Montréal International Recorder Friedrich’s son Patrick and his staff. Our shop is 801 Vinial St., Suite 300, Pittsburgh, PA 15212 Competition and others. inter­nationally renowned for both the exceptional 412-642-2778 quality of our instruments and unparalleled repair [email protected]; PERIPOLE, INC. work. We are the North American warranty repair www.earlymusicamerica.org Dr. Andrew Perry, President agents for Moeck, Mollenhauer­ , Aafab (Aura, Early Music America (EMA) is the North PO Box 12909, Salem, OR 97309-0909 Coolsma, Dolmetsch & Zamra recorders), American community of people who find joy, 800-443-3592; Fax: 888-724-6733 Blezinger, Küng and Yamaha. In addition to our meaning, and purpose in historically-informed [email protected]; www.peripole.com own von Huene recorders, we stock a wide performance. For more than 30 years, EMA has Peripole, Inc. is a company founded by music selection of instruments from these makers as enriched the field of early music by developing educators to serve the needs of music educators well as Paetzold/Kunath & Martin Wenner. We interest in the music of the past, so that it informs and the music education community. Each also have an extensive and ever-changing and shapes lives today. Through its membership year, Peripole makes a major contribution to inventory of pre-owned recorders and other publications and activities, EMA supports the the support of music education, nationally, state- instruments as well as one of the largest selections performance and study of early music and by-state, and locally. As a company of music of accessories, books, sheet music and facsimiles promotes public understanding of its potential educators, it sees itself as having a key leadership for recorder and other early instruments in the impact on people and communities coast-to-coast. role to play in helping to establish and maintain U.S. We are happy to send instruments “on the highest possible standards in music educatio­ n, approval” for those players who wish to compare HONEYSUCKLE MUSIC thus helping to bring those standards to class­ their options before making a commitment. Jean Allison-Olson rooms all over North America. Peripole instru­ WEINER MUSIC 1604 Portland Ave, St. Paul, MN 55104 ments are also used in Music Therapy, community 651-644-8545 musical activities and programs, and by individual Fred Weiner [email protected]; musicians. Sole-source distributors of the Peripole 168 Jericho Turnpike, Mineola, NY 11501 www.honeysucklemusic.com Angel Halo Soprano and Alto Recorder. 516-747-5004 Selling Yamaha, Aulos, Moeck, Mollenhauer [email protected]; recorders, Kelhorns, as well as recorder method Music Garden http://weinermusic.com books, a wide variety of recorder sheet music, Chih Chiang Hsu Specializing in woodwind instruments including recorder music for large groups & recorder No.19, Xiang-Xin Road, Nan-Tun District Moeck recorders, recorder music publications, orchestras and music arranged for recorder & Taichung City TW 40863 Taiwan recorder accessories, as well as repair work. other instru­ments. We have Susan Lindvall 04-23893660l; Fax: 04-23816571 recorder music arrangements. You will find [email protected]; among our accessor­ ies recorder cases, stands, clip www.musicgarden.com.tw on and wooden thumb rests and more. We also The Music Garden Library has about 4,000 carry music for flutes, crumhorns, ocarina, tabor original foreign books, and about 400 recorder Information supplied by Business Members pipe, tin whistle, bodhran, guitar, strings, fiddle, CDs and recorders from sopranino to contra bass. responding. Please contact the ARS office harp, reed, keyboard, voice and choral music. The Music Park is dedicated to the related services to update listings. of the recorder: method books, CDs, and DVDs. 14 Winter 2018 American Recorder Bits & Pieces Robert Cole, Marie Bertillion Col­ lins, Cherie Grant, Violet Grgich, Steven Rood, Reed Schmidt, Bill Stewart, Michael (Mike) Stewart, Elizabeth Wilson and Kent Young. Officers are: Joyce Johnson Hamilton, David Lasocki An interview with Historical Perfor­mance instruments. president; Gloria Eive, vice president; https://peabody.jhu.edu/ about his (first) career as a music Details are at Juliette Faraco, secretary; and Randy academics/instruments-areas-of-study/ researcher appears in the July 2018 Mata­moros, treasurer. Recorders were historical-performance/degrees. newsletter of the National Early Music also represented in new affiliates— Gwyn Roberts Association in England. Download it has taught since 1998 Virtu Ensemble, Nash Baroque and http://music.instantharmony.net from at Peabody, where she is professor of Peralta Consort—bringing the total (click on Free Articles) and find out recorder and Baroque flute (as well as a number of SFEMS affiliates to 33. how the scholar’s “unpromising begin- writer of AR music and book reviews); The Isle of Dogs soundtrack by [email protected]. nings” changed as his “process of contact her at Alexandre Desplat includes Taiko learning about music went through She elaborated, “I have two terrific new drumming, a nod to legendary film- a surprising series of steps.” freshman recorder players at Peabody maker Akira Kurosawa, and recorders Isabella Pagel (below), a student this year, including one courageous and playing the three-note call that the for a decade talented young woman who came all dogs use to communicate across Trash Vicki of the way from Iran. It’s a thriving Island where they are exiled. This Boeck­man department, with lots for recorder play- fourth film directed by Wes Anderson in Seattle, ers to do and learn.” Her former stu- with Desplat’s music is the second with WA, has dents include professional players and recorders (Fantastic Mr. Fox, 2009, also enrolled at teachers in Taiwan, Singapor­ e, Den­ used recorders). Don’t blink, or you will the Royal mark, Japan, France, Holland and miss the list of musicians in the credits. Con­serva­ cities all over the U.S. tory of The U.S. Census Bureau and the The Hague. National Endow­ment for the Arts In 2015 she has released the 2017 Survey of Public continued her recorder studies with Participa­tion in the Arts. Compared Nina Stern of S’Cool Sounds (SCS), with 2012 results, new data show that becoming an SCS intern and traveling the share of adults who attended visual to Kenya twice with the SCS team. or performing arts activities grew by Pagel says: “Walking into the [Facing 3.6 percentage points to 132.3 million the Future] school in Kibera this June, people, or nearly 54 percent of the U.S. I saw 40 ecstatic kids play a piece we adult population. See details at www. taught them the previous year. Their arts.gov/news/2018/new-report-arts- passion for music and their incredible attendance-shows-gains. spirit are an inspiration to me!” At the annual meeting of the Students from two SCS partner San Francisco Early Music Society schools in the Kibera slum of Nairobi, (SFEMS), held September 12 at Kenya, won first and second prize in Musical Offering Cafe in Berkeley, the Kenyan National Music Festival CA, various changes were announced, in summer 2018. Two young musicians including the decision by Executive from one of the schools also took first Director Harvey Malloy to step down and second prize in the solo recorder from his position on October 1. A competition. Visit www.scoolsounds.org search for his replacement is being for more information. Congratulations! held. Visit http://sfems.org/?p=14091. In addition to Bachelor and Several recorder enthusiasts serve Master degrees, Peabody Conserva­ on the SFEMS Board. Members tory has added Doctor of Musical present at the September annual Arts degrees in recorder and other meeting elected the 2018–19 Board: www.AmericanRecorder.org Winter 2018 15 Catching up with Teresa Deskur Barbara From the description of your major and Teresa Deskur of Vestal, NY, was the 2016 Kaufman, minor, it sounds like you may be headed Piffaro National Recorder Competition used for a career in music. What do you see winner. In 2017 alone, she played along- recorder and yourself doing a decade from now? side Piffaro musicians at their February percussion A decade from now, I see myself doing 2017 concert, and in June on the ARS instruments a combination of teaching and per- Great Recorder Relay, showing “not only to involve all forming. I hope to be a band director, her technical skill but also her expressive- the students and would eventually like to move to ness and lovely tone.” Now she is “loving in music. collegiate teaching. I also hope to do it!” during her first year at Peabody Con­ After this school closed when I was 7, freelance gigs with horn and recorder, serv­a­tory. Her major is Horn Perform­ance I continued to take private lessons with have a private studio, and keep per- and Music Education, with a minor in Barbara. As I got older, I began to forming very much a part of my life. Historical Performance. She studies realize that the repertoire I was playing recorder with Gwyn Roberts, an occa- was considered early music, and really Last spring you received the Gold Award, sional writer of Music and Book Reviews developed a love for the genre. the highest achievement within the Girl for AR. Deskur plays in the Peabody Scouts of the U.S. (like the Boy Scouts’ Recorder Consort (which Roberts directs) What about early music spoke to you? Eagle rank). I also heard that your Gold and also in the Peabody Renaissance What spoke to me most about early Award project reflects your love of music. Ensemble and Baltimore Baroque Band. music is how you can incorporate so The goal of the Girl Scout Gold much individual expression into play- Award is to identify a need in your How did you get started playing recorder? ing it. The emphasis on unique orna- community, and create a sustainable I began playing recorder at the age of 5, mentation and putting your emotions solution to this need. I was inspired by when I attended a private school where and ideas into the music really allows my love of recorder and music to do a recorder was taught to all the students you to make it your own. There’s just project that focused on bringing aware- throughout all the grades. Our music something about early music that’s so ness to the recorder as an instrument teacher (later my private teacher), incredibly fun! and as a tool for music education. I worked with some of my teachers to create a half-hour program, which I presented to third-graders during their recorder units. I taught the kids some history of the recorder, demonstrated different sizes, and did lots of playing, showing how recorder can play any- thing from Mozart to music from the film Moana! It was so wonderful to see their enthusiasm for the instrument. To make this sustainable, I turned the program into six short videos that teachers could show to their classes, all of which are posted on YouTube (search for the “AllAbouttheRecorder” channel, no spaces). I also raised funds to purchase class sets of recorder books for the schools, and put together a packet of resources for general music teachers, including information about great recorder groups to listen to, and contact info for private recorder teach- ers. It was a really great experience, and I loved being able to share this amazing 761 N. Cherokee Rd, Suite C, Social Circle, GA 30025 instrument with my community. 16 Winter 2018 American Recorder Practice Makes Perfect? Nah (But it does a heck of a lot of other things) TOPIC 1: By Tina Chancey Goal-Oriented Practice Tina Chancey is the director of HESPERUS, which performs Last year I addressed my Facebook friends: early music soundtracks for classic silent films. Currently known for her work with early bowed strings, particularly viol and “I’m teaching a workshop on practicing in a few weeks. pardessus de viole, she has also played recorders, shawm, krum- Any tips from your experience?” horn and rauschpfeife with her late husband Scott Reiss in the Folger Consort at the Folger Shakespeare Library in Washington, Within 24 hours I received 83 heartfelt and passionate D.C., as well as in the New York Renaissance Band, the replies from some of the best musicians I know, and every New York Ensemble for Early Music, and on tour with single person said something different. Some practiced rocker Ritchie Blackmore in Blackmore’s Night. slowly; others never did. Some made sure to have a plan; a vocal minority found that distracting. A few practiced A prize-winning composer by the age of 15 at Interlochen at the same time every day to build consistency; an National Music Camp, Chancey conducted her own double equally opinionated group varied the time to encourage woodwind quintet at her high school graduation. She subse- spontaneity; etc. quently attended Oberlin College and received a Master of Arts A little desperate to find some pattern, I separated in Performance from Queens College; a Master of Arts in seven basic approaches to practicing the advice into these , Musicology from New York University; and a Ph.D. in which I call models. Here they are, illustrated with Musicology, Music Technology and Women’s Studies from representative comments culled from the 83. the Union Institute. Chancey teaches, performs, improvises, produces recordings, composes and arranges, and directs both I. INSPIRATIONAL MODEL: JUST DO IT the SoundCatcher: Play by Ear and What’s That Note: • Just do it-—Don’t ever give up—Practice early and Tune-Up workshops. Her articles on playing by ear and often, every day improvisation appear in American Recorder and • The hardest thing is to get the instrument out of its Early Music America magazines. case—once you do that you’re home free • Believe you can change some aspect of your playing Recent artist residencies have taken her to Geneva, Switzerland; or can overcome a musical difficulty Melbourne, Australia; Hamburg and Berlin, Germany; Oberlin College Conservatory; and the Hong Kong Academy of Perform­ II. PHILOSOPHICAL MODEL: KEEP ing Arts. She has received an Early Music America Special Edu­ THINKING ca­tion Achievement Award, and four Wammies for best classical • Never practice a mistake instrumentalist by the Washington Area Music Association. • Don’t forget to be musical • Once you get it right the repetition begins, but not This article is an adaptation of a series of How to Practice mindless repetition workshops Chancey led for classical and traditional musicians • Only take advice from good musicians in the Washington, D.C., area in 2017. III. PSYCHOLOGICAL/ANTI-ANXIETY MODEL: ACCEPTANCE • Mistakes are friends that tell you things you need to know • Learn to observe without judging • Embrace your wrong notes • Talk to yourself with kindness, like a good kindergarten teacher (my favorite) www.AmericanRecorder.org Winter 2018 17 IV. MENTAL MODEL: TAKE CONTROL At various times, I have practiced to: • Teach yourself what you’re trying to learn by making it an exercise ❑ Have fun • Decide what your focal points are—have a plan, ❑ Work organize your practice to help you get started ❑ Have fun working • Keep a practice diary ❑ Learn something scary hard • Practice when you get up, when your brain is fresh ❑ Enjoy playing something easy and not distracted, particularly when memorizing ❑ Kill 10 minutes until it’s time to leave • Be your own best teacher ❑ For no particular reason ❑ V. ZEN—BODY/MIND MODEL: BREATHE Other______• Meditate for 5-10 minutes before and after a practice session ❑ Spend some time with my instruments • Stay physically relaxed, and never practice longer than ❑ Familiarize myself with a new instrument you are able to stay relaxed ❑ Try to tune the high notes of an instrument • Focus—Stay grounded—Don’t be distracted—Breathe ❑ Drill a fingering, a trill, or some hard octaves ❑ Work on double-tonguing VI. BEHAVIORAL MODEL: ❑ Work on breath pressure UNDERSTAND YOURSELF ❑ Improve my endurance • Make it easy to practice/have your space set up/ ❑ Use a metronome on a tricky passage have extra pencils, paper, food • Avoid distractions, put your phone in airplane mode ❑ Revisit some favorite music • Practice with a timer ❑ Discover some new works by a favorite composer • Limited time: six minutes each of yoga stretches, ❑ Psych out the rhythm of a complicated piece meditation, vocalizing, technique; finally, play ❑ Choose a new solo to work up a piece of music ❑ Read through an entire repertoire, like Playford’s Country Dances or the Odhecaton VII. ATHLETE/PHYSICAL MODEL: ❑ Get to know the character of a piece, how it breathes INNER GAME ❑ Write in 1 + 2 + … above a phrase • Include a proper warmup, then start with easy pieces, ❑ Check the ranges of a vocal piece for recorders then go on to hard ones ❑ Plan a program for my group • Have some cool-down pieces and stretch at the end • Take regular breaks to integrate the music into your ❑ Prepare for a rehearsal body ❑ Prepare for a concert ❑ Prepare for a recording Well, that was amusing, even illuminating—but it still ❑ Prepare for a master class didn’t explain the variety of responses. It was as if everyone ❑ Prepare for a competition were talking about a different activity. ❑ Prepare to teach a specific piece Then I realized that they were. ❑ Amuse my cat Different people have different goals for their practice ❑ Because there was nothing else I would sessions. Heck, the same person will have different goals for rather have done any two of their own practice sessions. And I can’t help you ❑ Other______learn to practice better without getting specific. ______So, pick up a pencil and check all of the practice goals (listed in the box at right) that have applied to you in the ❑ More?______past six months or so. ______Different people have different goals for their Count them up. How many different practice goals have you had lately? ______practice sessions.

18 Winter 2018 American Recorder PLEASE BE ADVISED: LOOKING FORWARD YOU ARE ENTERING A NO BLAME ZONE. These four articles are designed to give an overview of the many issues connected to good practicing. We’re talking here about setting practice By reading these articles goals and self-motivation. Upcoming topics include: and participating in these • Making self-evaluation less painful explorations, all regrets, • SHMRG: a fun and functional way to analyze music recriminations, self-flagellation, • Three crafty ways to use a metronome and feelings of guilt and shame • Creative Problem Solving 101 experienced during the • Anxiety is your friend. Yes, it is. practicing of your • How the Alexander Technique helps you trill faster instrument(s) are hereby • Cooling out with meditation before you go on stage declared null and void. That is all. … and these Practice Hacks (partial sample): • How to get a passage up to speed It makes sense that different practice • Shortcuts to faster music reading goals require different practice techniques. • Drilling with superimposed rhythms: you know you need it How can I teach them all? Ah, but I don’t • Rephrasing? Why? have to teach them all—I just have to • Scoping out the form on the fly teach what you need to learn. • Halloween special: Separating the skeleton of a tune from the flesh How do I know that? You tell me. I propose that, over this coming sea- By the third article, we’ll be using the Practice Project forum as a son, we spend some time together explor- chance for everyone to bring in problem spots, and we’ll workshop them ing and refining the concept of “practicing” together. so you can develop your own practice plan that’s efficient, targeted to your own weak- nesses and strengths, and works with your TOPIC 2: What’s my Motivation? schedule. We need to be partners in this; CLEAR GOALS + MOTIVATION = A GOOD PRACTICE SESSION, I’ve got the questions, but you have the I think. Whatever your goal(s), a clear intention will start your engine, but answers. what puts you into gear is motivation. The combination helps you concentrate I’m going to write three more articles and enter the zone—that altered state of mind where learning takes place. for AR in the next year; if you’ll answer my But how do you get motivated? questions and experiment with the musi- For some, getting started is the hardest thing; once they pick up the cal examples, by the end I bet you’ll have a instrument, they’re fine. Others work for 10-15 minutes, and then they’re pretty good idea of what you want to do. sidelined by a technical snag and lose momentum. My problem is that I can’t One good thing about an extended seem to distance myself from the world; I get distracted by a text or phone call time period is that, over the year, you can or a troubled housemate, and my energy and concentration just seep away. send me questions and comments to make What kinds of things happen to you? sure that you get exactly what you need. How about those times when you’re successful? How do you motivate I could really use your feedback when yourself to exercise? To do other tasks that take effort and focus? Some I’m creating online exercises—meet me players weigh in: at https://americanrecorder.org/practice_ project.php. Jean K: “Anytime I play the recorder I have fun, so it’s easy for me to set aside Periodically, new material will appear 45 minutes after dinner to play. I treat the exercises as games and always on the Practice Project. There will be end up playing my favorite piece.” exercises and quizzes, a discussion board, related articles, and suggestions from Arthur P: “I make a daily to-do list and it feels good to cross things off; professional recorder players and teachers practicing is just one more item on the list. Not a biggie.” who have been devising their own exercises and practice techniques for Martha M: “I schedule my practice times for afternoon, when my practice room decades. is sunny and warm in the winter. I made it into a place that’s colorful and

www.AmericanRecorder.org Winter 2018 19 comfortable and just for music, so I By the way, some might say, CHALLENGE 1: For the next really like being there. Once I go “When I have a concert it’s easier seven days, commit to picking up in the door, I can focus.” to practice.” Anxiety is certainly a your recorder with the simple goal potent motivator—but procrastination of playing for 30 minutes a day. Fred J: It’s like pulling teeth, but also happens when you’re anxious, It doesn’t matter what you play: once I’m playing I enjoy it. So I keep so I think the Challenge activity (at play old favorites, sight-read, play my recorders and music out on the right) is still good to try. tunes by ear, work on concert pieces, sideboard in the dining room and See you in the next edition of AR, or just make music. every time I pass I toot a little, online at the AR Practice Project, https://americanrecorder.org/ ten minutes here, fifteen there.” DETAILS practice_project.php : Those 30 minutes can be in any configuration; three 10' What works for you? Let’s find out. Tina Chancey segments, two 15' segments or one 30' segment, etc. I don’t want to practice! I want to skip ahead to the part IF YOU MISS A DAY OR TWO, where I’m awesome like you. PICK IT UP AGAIN: NO PROBLEM. You’ll learn (Transcribed and more if you do it for more days, arranged for recorders but you’ll learn something from Savage Chickens) even if you just do it once. photo: William Stickney Once some patterns start emerging, keep a practice log; you could even write it down here. Tell me: • What’s the easiest time configuration for you? 3 x 10'? 2 x 15'? 1 x 30'? • Best time of day? ______• What’s harder—to get started or to keep going? ______• Did you lose concentration? At what point in the process? How often? ______• Was the experience different on different days? ______• Was it fun to play just for the sake of playing?______Comments: ______

I’d like to know how this worked for you. Would you write a sum- mary and post it on the Practice Project community forum link from https://americanrecorder.org/ practice_project.php?

20 Winter 2018 American Recorder Compact Disc Reviews ______International Baroque

Reviewed by Tom Bickley, [email protected], http://tigergarage.org online retailers incl. HBDirect, www.hbdirect.com/album_detail. A.H. Schultzen Recorder Sonatas & php?pid=2945237, CD $21.99 (sale Anonymous Viola da Gamba Sonatas. price $16.88); mp3 downloads from Barbara Heindlmeier, recorder; Ensemble www.iTunes.com, $9.99. La Ninfea (Christian Heim and Marthe Perl, Released a year before the disc viola da gamba; Simon Linné, theorbo, of Schultzen sonatas, Ensemble La Baroque lute; Andreas Küppers, harpsi- Ninfea’s Le Masque de Fer +1703 is a chord, organ). Raum Klang RK3402, 2015, gathering of French music of the time 1 CD, 70:33. www.asinamusic.com/shop-516-schultzen- of the legendary “Man in the Iron blockfloetensonaten-la-ninfea.html, CD abt. $20.60/mp3 $11.50. Avail. via online Mask” (the latter part of the 17th retailers incl. HBDirect, www.hbdirect.com/album_detail.php?pid=2977160 century). The historical figure who CD $21.99 (sale price $16.88); mp3 downloads from www.iTunes.com, $9.99. inspired this work was an unidentified Video of Sonata No. 1 in D minor: III. Largo: https://vimeo.com/143049009. political prisoner, and that is the laud- Arguably, “Baroque” compositions—i.e., 17th- and 18th-century works—are able rational for this CD booklet to the most familiar genre of early music for many listeners. As recorder players, we guide listeners to Amnesty Inter­ rightly focus on the canon of sonatas by composers like Handel and Telemann. national’s Write for Rights campaign It is a surprise and pleasure to encounter a recording of relatively unknown, (www.amnesty.org/en/get-involved/ yet thoroughly mainstream, stylistically Baroque music. This disc by German write-for-rights). player Barbara Heindlmeier (www.barbaraheindlmeier.de/en_index.html) provides Composers on this recording the six Schultzen recorder and continuo sonatas interspersed with anonymous are Marin Marais, Jean de Sainte- sonatas for viola da gamba and continuo in similar style. Colombe, Jacques Champion de A.H. Schultzen (1682-1762) was a German composer—yet, like Telemann Chambonnières, and the all-but-anon- and others, he uses an explicitly Italianate sound in many movements. The effect ymous Mssrs. Toinon and Le Moyne. of the whole disc is of a lyricism that flows with a bright energy. Heindlmeier All of the works are ably played and employs a variety of articulations and marvelous sense of ornamentation. make for satisfying listening— Each movement has a separate track number, making access to each one very straightforward. The recording, from the studios of Radio Bremen, sounds great. The notes are helpful, and expand the tiny amount of information about Schultzen. I recommend also reading Patricio Portell’s article, “The Virtuoso Recorder Sonatas of the Mysterious ‘Signore’ Schultzen’” (including examples of his printed music, in the March 2001 AR) along with the CD booklet. Honeysuckle Music I encourage purchase of the CD for both the sound quality and access to the booklet. Recorders & accessories Le Masque de Fer/The Iron Mask +1703. ... Ensemble La Ninfea (Barbara Heindl­meier, Music for recorders & viols recorder; Christian Heim, recorder, viola Jean Allison Olson da gamba; Marthe Perl, viola da gamba; 1604 Portland Ave. Simon Linné, theorbo, Baroque guitar; Alina St. Paul, MN 55104 Rotaru, harpsichord). Raum Klang RK3308, 651.644.8545 2014, 1 CD, 69:45. www.asinamusic.com/shop-510-the- [email protected] iron-mask-1703-ensemble-la-ninfea.html, CD abt. $20.60/mp3 $11.50. Avail. via

www.AmericanRecorder.org Winter 2018 21 G. Ph. however, more impressive are the The CD is the clear choice, arrangements and improvisations by Tele­mann, Ensemble La Ninfea. Com­plete due to the superb sound This disc’s particular value for Suites and quality of Bosgraaf’s recorder players is as a model that Concer­ shows how our instrument can blend tos for virtuosity, the presence of with the rich timbres of gambas, theor- Recorder. excellent notes describing bos, Baroque guitar and harpsichord. Erik Bosgraaf, recorder; The improvised preludes (track 14, Ensemble Cordevento the music by well-known theorbo and track 16, recorder) stand (Zefira Valova, Egeny AR author David Lasocki, Sviridov, Anna Dmitrieva, out for their sensitivity to the period and the price point of $8.99. and for musicality. violin I; Ivan Iliev, Tomoe The ensemble’s arrangements of Badiarova, violin II; Zdenka May 2008 AR). His disc of Telemann dance tunes from the Saizenay manu- Prochazkoa, Femke Huizinga, suites and concertos can be seen as a script delight the ear (tracks 11-13), viola; Linda Mantcheva, Heidi companion to the 2015 Telemann and Christian Heim’s arrangement of Peltoniemi, ’cello; Tomoki recorder sonatas (reviewed in the Marais’s well-known “Cloches ou Sumiya, double bass; Marije Spring 2016 AR) and the 2016 Tele­ Carillon” brings the disc to a weighty van der Ende, bassoon; Yavor mann double concerto recordings. and satisfying end. The recorder play- Genov, chitarrone, Baroque Ensemble Cordevento (“strings ing by Heindlmeier and Heim on this guitar; Alessand­ ro Pianu, and winds”) expands from its original disc is top-notch. harpsichord). Brilliant Classics trio size to provide a rich string and It should be noted that the iTunes 95248, 2016, 1 CD, 75:46. Stream continuo sound, supporting its director download includes a digital booklet, from www.brilliantclassics.com/ Bosgraaf in these works. The repertory making that mode of access a reason- articles/t/telemann-complete-suites-and- demonstrates Telemann’s mastery of able choice. The booklet includes concertos-for-recorder. Avail. via online French and Italian styles, and includes details on the full array of instruments retailers incl. HBDirect, www.hbdirect. touches of “exotic” Polish influence used, and complements this appealing com/album_detail.php?pid=3140491, (for example, track 14, “Polonaise”). recording. CD $8.54; mp3 downloads from Certainly the fast movements Janelle Davis featured Le Masque www.iTunes.com, $6.99. move along at breakneck speed, and de Fer in the Harmonia Early Music Brilliant Classics releases a wide the slow movements could be slightly https:// podcast, which can be heard at range of music, well recorded and slower. However, at the quick tempos, indianapublicmedia.org/harmonia/ packaged, and Dutch recorder player the music and performance truly iron-mask. Erik Bosgraaf ’s 13 discs on this label sparkles. are all worth attentive listening (read The CD is the clear choice, due to an interview with Bosgraaf in the the superb sound quality of Bosgraaf ’s

•Recitals

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[email protected] www.LEnsemblePortique.com 309.828.1724

22 Winter 2018 American Recorder virtuosity, the presence of excellent American Recorder Society Publications notes describing the music by well- Musical Editions from the Members’ Library: known AR author David Lasocki, Additional hard copies may be ordered: ARS Members, $3; non-members, $5 (including U.S. postage). and the price point of $8.99. Please ask about discounts for multiple copies. ARS Members may also download at the ARS web site. Algunos lugares 1 (A solo) Marcelo Milchberg Los Pastores (S/AAA/T + perc) Arioso and Jazzy Rondo (AB) Carolyn Peskin Virginia N. Ebinger, arr. Fisranço Belmont Street Bergamasca (ATB) Sean Nolan Lullaby (AATB) and Cake Walk (SATB) from Couperin: Berceuse–Fantaisie (SATB) Jean Boivert Suite for Recorder Quartet Hildegard Erle Blues Canzonetta (SATTB) Steve Marshall Many Recorders Playing with Class (var.) Les Bruckner’s Ave Maria (SSATTBB) Bradford Wright Jennifer W. Lehmann, arr. Mere Bagatelle IV (AAA/T) Anthony St. Pierre Nations Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) Erich Katz Dancers (AT) Richard Eastman Nostalgium (SATB) Jean Harrod Réunies Danse de Village (SAB) Kevin Holland Nottasonata No. 1 (SATB) Daniel Thrower & autre Danse from Primodal Episodes (SATB) Other Quips (ATBB) Stephan Chandler John Winiarz Poinciana Rag (SATB) Laurie G. Alberts sonades. Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. Hugo Reyne, recorder, oboe, Carolyn Peskin Serie (AA) Frederic Palmer conductor; La Simphonie du Elizabethan Delights (SAA/TB) Slow Dance with Doubles (2 x SATB) Jennifer W. Lehmann, arr. Colin Sterne Marais (Jorlen Vega, Amadine Faded Memories/Opus 88 (ATBB/SATB) Sonata da Chiesa (SATB) Ann McKinley William Ruthenberg S-O-S (SATB) Anthony St. Pierre Bernhardt, violin; Etienne Fallen Leaves Fugal Fantasy (SATB) 3 Balkan Line Dances (SATB) Emilie George, arr. Mangot, viola da gamba; Dominic Bohbot they danced by the light of the moon Far and Away (TTB) Jeannette Bertles (SAA/T) joseph wilcox André Henrich, archlute; Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin Yannick Varlet, harpsi- Gigue (SATB) Thomas Van Dahm Three Dutch Folktunes from Hollantse Boeren- chord; Christoph Mazeaud, Gloria in Excelsis (TTTB) Robert Cowper lieties en Contredansen (SAAT/AAAA/ATTB) He Talks, She Talks (AT) Bruce Perkins Victor Eijkhout recorder, oboe; Marc Havana Rhubarb Rhumba (SATB up to Three in Five (AAB) Karl A. Stetson 7 players) Keith Terrett Tracings in the Snow in Central Park (SAT) Duvernois, bassoon). Musiques Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) George T. Bachmann à la Chabotterie 605018, 2018, 1 CD, In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey https://smile.amazon. In Memory of David Goldstein (SATB) Two Bach Trios (SAB) William Long, arr. 72:10. Avail. at Will Ayton Two Brahms Lieder (SATB) com/Couperin-Nations-Reunies- Jay’s Pyramid Scheme (SATB) Jay Kreuzer Thomas E. Van Dahm, arr. Lay Your Shadow on the Sundials (TBgB) Variations on “Drmeš” (SATB) Martha Bishop Sonades-digipack/dp/B07BQNMYT9, Terry Winter Owens Vintage Burgundy (S/AS/ATT) Leaves in the River (Autumn) (SATB) Jennifer W. Lehmann, arr. CD $16. Erik Pearson Western Union (ATBgB) Peter Dixon LeClercq’s Air (SATB) Richard E. Wood Woodland Whimsy (SATB) Gary Betts Hugo Reyne and his ensemble Little Girl Skipping and Alouette et al ZIP Code Boogie (SATB) Charlotte Van Ryswyk La Simphonie du Marais contribute (SATBcB) Timothy R. Walsh this enjoyable recording to the 350th ARS Information Booklets: ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 birthday celebrations for François Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 Couperin (1668-1733). For this *Free online to ARS members Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis disc, the players include the four trio Renaissance Music Peggy Monroe Music for Mixed Ensembles sonatas in his 1726 collection, Les *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Nations (covering France, Spain, Judith Whaley, coord. *Recorder Care Scott Paterson Italy’s Piedmont region, and the Holy Education Publications Available Online and Free to Members Roman Empire). The recording also The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). Guidebook to the ARS Personal Study Program (1996). includes “other sonatas,” meaning the ARS Music Lists. Graded list of solos, ensembles, and method books. earlier trio sonatas La Steinkerque, La Superbe, La Sultane, and harpsichord Videos Available Online to All Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting pieces La Visionnaire, La Superbe ou resource about teaching recorder to young students. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music La Forqueray, and La Convalescente, Festival recital, playing a variety of music and interviewed by ARS member professional John Tyson. with the last track being Tombeau de François Couperin. That final track Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those juxtaposes quotations from the considering forming an ARS chapter. ARS members, $10; non-members, $20. One free copy sent to each ARS chapter with 10 members or more. composer’s last writings with Consort Handbook. Available Online and Free to Members. musical quotations. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. Membership Directory (published twice per year, for members only) $8 Given the music on this disc, one could think of the title as “The 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/foreign postage, pay by credit card; actual postage is Nations Reunited,” and thereby charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. See www.AmericanRecorder.org for complete publication offerings. appreciate the connections Reyne ARS, P. O. Box 480054, Charlotte, NC 28269-5300 and company draw among the works. tollfree 1-844-509-1422 t 866-773-1538 fax t [email protected] Couperin was noted for bringing the www.AmericanRecorder.org Winter 2018 23 Couperin was noted for bringing the Corelli-style trio sonata to popularity in France. Corelli-style trio sonata to popularity in France. The charming music here shows the composer’s fluency in that Italian style, plus more stylistically French approaches to dance forms. Recorders played by Reyne and Mazeaud fit into the textures seamlessly— not so much as solo instruments, but rather as essential colors. The recorded sound is clear and presents a flattering stereo image of the ensemble as it played in the Salle Colonne in Paris. Two unusual aspects of this project merit mention: members of the ensemble announce the pieces just prior to playing them; and the very helpful CD booklet contains an “interview” by Reyne, in which he discusses this repertory with François Couperin himself. Reyne compiled the master’s responses from Couperin’s various prefaces. That echoes Ensemble La Ninfea’s address to the listener in their booklet for Le Masque de Fer. In both instances, the artifice works, and contributes to the appeal of each project.

24 Winter 2018 American Recorder Book Reviews ______How do you seize the hearts of your listeners?

Reviewed by Anne Timberlake, St. Louis, MO, www.annetimberlake.com to hone their rhetorical skills through informed use of timing, gesture, accent, T he PaTHETICK Musician: Moving an decoration, articulation and other tools Audience in the Age of Eloquence, of the trade. It’s not an easy book, and by Bruce Haynes and Geoffrey Burgess. it poses more questions than it answers. Oxford University Press (https://global.oup.com/academic/ But most adventures do. product/the-pathetick-musician-9780199373734), 2016. Anne Timberlake is a freelance 360 pp. Hardcover or e-book. $42. ISBN 9780199373734. recorder player and teacher, leading ses- sions for ARS chapters and serving as a “If there were an oath that young musicians take as they enter faculty member for workshops. She is also the profession, like doctors who take the Hippocratic oath, its a speech-language pathologist, a freelance first clause would be the imperative to touch and move the writer of classical music criticism and hearts of listeners by discovering and expressing the music’s passion.”—Bruce Haynes music-related feature articles, and just How do you seize the hearts of your listeners? completed a term on the ARS Board. She It’s a question musicians have been struggling with (or struggling against) for plays recorder with a variety of ensembles, as long as there have been musicians and listeners. It’s the question at the heart of and co-directs her own award-winning Oxford University Press’s The Pathetick Musician: Moving an Audience in the Age of ensemble, Wayward Sisters. Eloquence, a collaboration between oboist Bruce Haynes (1942-2011), who passed away before completing this project, and his colleague, the oboist and recorderist Geoffrey Burgess. In this volume, Burgess continues their earlier writing collabo- rations, expanding on Haynes’s notes and outlines, and shaping it with the addi- tion of material of his own. The book’s patchwork origins are mirrored in its pages. The Pathetick Musician is a rabbit hole, dropping its intrepid reader into a warren of history and scholarship. There is a lot here. We begin with Haynes smoking a pipe (“I’ve just loaded my 9BC with Balkan Sasieni and lit up. What a pleasure!”). We then quickly crosscut to music history, rhetorical theory (influencing a musical audience), Bach, performance practice, ornamentation, expressive timing, comparative analysis of recordings, and much more. The book includes a foreword, a preface and an introduction. Each chapter opens with multiple epigraphs and closes with extensive suggestions for further reading. There is even a companion web site at http://global.oup.com/us/compan- ion.websites/9780199373734, featuring excerpts of the music described. It’s a Wonderland of detail—even if one emerges, like Alice, slightly dazed. It’s also a call to arms. As in his best-known book, The End of Early Music, Haynes expresses dismay at the hastening assimilation of early music into the classical music mainstream. Increasingly, it’s “together and in tune at the expense of expressive and new,” as he wrote to colleague Frans Brüggen in 1982. Burgess puts it more baldly: “Early music has sold its heart and soul to the establishment.” How do we buy back our hearts? That’s the concern of the rest of the book, which urges early music professionals, pre-professionals and serious amateurs

www.AmericanRecorder.org Winter 2018 25 Music Reviews ______Jazzy quintet, method books, ______a cross-section of Baroque works

JUST FOR NOW by Allye Groove Connection - Alto , ... fun for an intermediate Sinclair. Orpheus Music OMP237 Recorder: Major scales (www.orpheusmusic.com.au), 2015. level recorder society session and arpeggios for one and more alto recorders; SAATB. Sc 8 pp, pts 2 pp ea. Abt. $19. with a good teacher... This jazzy piece was originally Groove Connection - Alto written for the 20th anniversary of Returning to 4/4, a slow second Recorder: Dorian – Mixo­ Orpheus Music in Australia, and first bridge restates the first theme in the lydian – Pentatonic Scales performed at the Orpheus Recorder soprano line, while the other instru- – Blues Scales for one and Boutique in January 2015 (chronicled by ments hold long notes. At the more alto recorders, both Allison Hutton in the Summer 2015 AR). a tempo, the second theme and by Klaus Dickbauer. Universal Allye Sinclair is a ’cellist, composer and third theme are brought back. Edition UE36412/UE36668 (www. teacher based in Adelaide in South Near the end, the second alto and universaledition.com), n.d. A. Sc 40 pp Australia. She is a composer of instru- tenor play a unison descending line, & 44 pp, ea with CD. Abt. $20.70 ea. mental and vocal pieces including a with the soprano joining the unison These sets of studies, as the author musical for children. She plays and for the next measure. All five parts explains, represent a non-conventional sings original music with Candlelight, play in unison in the penultimate approach to improvisation working Inkling and Sneak’s Noise, and teaches measure—ending in the final chord. from scales and chords. Rather than music at the Willunga Waldorf School. As can be seen from the above, require the student to memorize scales Just for Now begins in 4/4 with this is a playful and complex piece that and arpeggios in the traditional man- the soprano playing the first theme in the publisher’s web site notes should be ner, he advises that diligent practice of a duet with the tenor. The first alto done in a “swing style.” It would be the multi-part exercises is intended to joins the soprano on the second time appropriate and fun for an intermedi- help students to develop an automatic through the theme, as the bass anchors ate level recorder society session with a facility with the pitches and intervals in the first and third beats of the measure good teacher to lead the group through each key or mode, presented in a vari- with eighth notes. In m.16, soprano the transitions. The most rhythmically ety of melodic and rhythmic configura- and tenor introduce and repeat a short challenging spots are off-beats, mostly tions. This enhances each player’s abil- second theme. A third theme starts in in the soprano, but those spots are easy ity to improvise in any tonality. the first alto while the soprano and sec- to hear and quick to learn. Though the author does not ond alto play eighth-note off-beats. In All parts have the theme at differ- explicitly identify the specific types of m.29, soprano and first alto return to ent points, and the long solo bass line is improvisation he intends, the stylistic the opening theme until m.36, when not too demanding. This would be a features of the exercises and directions another new theme is introduced by good ensemble piece for players to for group/solo performance suggest a the soprano and tenor in unison, learn to listen for and to play along followed by a return to the second with other parts that are playing the theme, also in the soprano and tenor. same rhythms or that are sharing A 3/4 bridge for four measures thematic material. leads to a 6/8 section, shifting the feel Bruce Calvin has reviewed videos from a triple to duple. After a series of and books for professional library publica- short ascending lines starting in the tions over the years. He and four others bass and moving up, similar to a trum- meet weekly in the Washingt­ on, D.C., pet fanfare, the top three lines play area to play recorders. The group enjoys repeated eighth notes as the bass shines Renaissance through cont­emporary music, in a 17-measure solo. performing occasionally for special church events. 26 Winter 2018 American Recorder jazz or popular idiom. This is true for Dorian and Mixolydian modes, with Methodische Etüden both volumes. several transpositions of each. für 1-2 Altblockflöten; It is always suggested that the stu- The pentatonic scale exercises are Methodische Etüden dent studying alone try to work with a similar to the modal studies. They für 1-2 C-Block­flöten, teacher. The exercises, though written include the pentatonic scale based on both by Adrian Wehlte. Edition for three or four, can be accomplished C major and transpositions to keys of Floeno EFL1490/1491 (www.edition- effectively by playing with an instructor three sharps or flats. A separate section walhall.de/en/woodwind-/recorder/ and/or with the recorded CD accom- touches on the minor pentatonic and is wehlte-adrian-methodische-etueden1. paniments that are included. Addi­ accompanied by song examples. html), n.d. AA; SS or TT. Sc 32 pp ea. tional recorded material is also available Both the modal and pentatonic Abt. $16.75 ea. online at the above URL. etudes are scored in three parts. As in If you are a “technique nerd,” The volume numbered UE36412 the other book, a blank staff with chord chances are you will really like these is based on traditional major keys and symbols for improvisation is found companion editions of etudes for alto encompasses all of the sharp and flat after each. and soprano or tenor recorders. If you signatures. The first set of etudes is The exercises are not difficult. entitled “Stairs to Luck.” Scored for Though they reach to the alto record- three melody instruments and bass, the er’s high register, and include key sig- set comprises passages and variations natures with up to three flats and three on the scale and arpeggio in each sharps, they are accessible to advanced respective key. Some include an ad lib beginner and intermediate players. option in one line. There is also a blank The two volumes could be inde- staff with chord symbols at the end of pendent methods, but it seems that one each designed for solo improvisation. might want to utilize both. The scale- They are not difficult, but those with based studies are fairly self-explanatory, multiple sharps and flats do present a as most students and players are famil- bit of a challenge. iar with standard key signatures and The second set of studies, “Funky,” chords. The modal book has some is treated similarly to the “Stairs to drawbacks. The explanation of how the Luck.” They are more or less in free modes and chords are constructed is form and less connected to scale and minimal, over-simplified and some- chord patterns. They introduce some what confusing. Students who are chromatic notes, and a unison exercise unfamiliar with modal theory would is found at the end of each one. find it difficult to extrapolate from the Also included is a set of studies material in the book how to work with on scales in different variations, plus modes or transpositions that are not several popular ballads as examples included here. for improvisation. The approach to improvising In the UE36412 book, the author based on learning and memorizing gives some general instructions for patterns has merit. Though not partic- improvisation, but those are more ularly suited to early music ornamenta- along the lines of reflections than spe- tion, which operates according to cer- cific musical directions. He discusses tain prescribed conventions, the such topics as sound, intent, shape, method is not unlike the approach of relaxation and breathing, with the goal some early musicians—the memoriza- of creating something touching. tion of particular configurations that The other volume, UE36668, con- can be applied when making divisions sists of studies based on modes and the or otherwise elaborating on the written pentatonic scale, and also includes a line. short segment on the blues scale The author’s intent is to encourage (which is really a set of major/minor students to experiment and to indulge scale alternatives, https://en.wikipedia. in personal creativity. Thus a player can org/wiki/Blues_scale). The modal sec- make use of his methodology in any tion is made up of exercises in the manner that works. www.AmericanRecorder.org Winter 2018 27 tend to avoid music with many sharps becoming comfortable in these com- Playing them at quick tempos accom- and flats and other chromatic elements, plex keys, which comes from fixing the panied by the metronome—at least at you will find it useful in honing these fingerings in the memory; and being first, as an aide to maintaining evenness skills, and hopefully in helping you to able to perform the etudes on both alto and quicker speeds—would be an approach such music without dread. and soprano/tenor. ongoing challenge. Each book contains 12 studies, So, as in any efficient practice, it is As far as the second half of the seven of which cycle through the circle best to take things one or two steps at a volumes is concerned, there the works of fifths in all of the major and minor time, even if you are a relatively experi- present more as compositions and less keys, and five duets that apply the enced player. One suggestion would be as technical exercises. The duet lines chromatic proficiency gained through to select a single etude and work on take on more of a dominant and sec- diligent practice of the earlier exercises. one flat and one sharp key at a time, ondary character—but even in the sec- In the first set, the parts are gener- moving on until one feels secure. ond part, which most often assumes ally equivalent, often canonical. There Another would be select one or two the harmonic function, there are many are occasional departures by the second keys and play all of those segments in opportunities for technical work. They line into a more harmonic role. The various etudes until those become are, however, really intended to be per- exercises are primarily structured automatic. formed as duets and are quite complex. around scales, but also include leaps Of course one also needs a strategy As such, they are suited to advanced or and other intervallic movement. One for practicing different keys on both advanced intermediate players. etude is based entirely on arpeggios. instruments, F and C. It would proba- Having said that these are geared These pieces also can be used well bly work best, and also prevent one primarily to more advanced students, for solo practice; indeed to become from getting bogged down, if both another possibility is using them as a fluent in playing in keys with four or instruments were approached simulta- long-term study project for those with more sharps or flats requires consider- neously on the selected segments. less experience. They could benefit able self-study. Only after mastering Only after achieving reasonable from working individually on the less the more difficult keys—so that they fluency would it be advisable to take on complicated segments and expanding can be articulated fluently—would it an entire study, either solo or as a duet. their reach over time. This is an excel- be advisable to play the etudes as duets. As duets, they are quite difficult. lent set of etudes designed to enhance The pieces in the second half of each volume are designed as true duets, though there are sufficient technical challenges in the individual lines to also work on these in solo practice. These selections do not modulate from one key to another, but they are highly chromatic. They serve to increase the ability of the player or student to flu- idly realize music containing multiple and/or complicated chromatic passages. The program notes are in German, unfortunately, and Google translate was only somewhat helpful. What I was able to discern from the limited translation is the suggestion that the student approach these studies by focusing on individual key segments, an approach I wholeheartedly endorse. There are several options that would accomplish this goal effectively. To begin, it is important to isolate and identify the technical issues to be mastered. They include learning not to fear/avoid key signatures with more than two or three flats or sharps; 28 Winter 2018 American Recorder musical flexibility and the ability to S oNATAS 1-3, TWV 40: 141-143, by Georg Philipp Telemann, arr. fluently perform music that involves Vince Kelly. Cheap Choice/Brave and New Music Editions, Euterpe Series chromatic notes or difficult keys. EUT-005 (www.edition-walhall.de/en/woodwind-/23-recorders/telemann-georg- The editions are well presented. philipp-16811767-sonatas-twv-40141149.html), 2016. AA. Sc 26 pp. Abt. $18.50. The covers are colorful artwork. There The three sonatas in this edition have been arranged by Vince Kelly for two are no page turns. Line spacing and alto recorders from the flute originals and contain historical performance annota- contrast are excellent, rendering them tions by J. J. Quantz (1697-1773). According to the Edi­tion Walhall web site, they friendly to use and easy to read—an are part of a larger collection of nine such arrangements. In this set, all three sona- important factor for technical exercises. tas have been transposed from their original keys in order to fit the range of the The one drawback is that there is alto recorder. The resulting keys of D minor, G minor and Bb major are also no English translation of the compos- friendlier to an F instrument. er’s commentary. However, most play- The notations by Quantz outline phrasing, articulation and slurs, and in ers will have no trouble figuring out some cases, differ from those in the edition. how to make good use of the material. The pieces are not especially long. Sonatas I and II consist of three move- For those who like technical work, ments, and Sonata III has four. There are no repeats. the best fun with these etudes can be They are presented in a single score format. With the exception of the had if one has a like-minded duet Allegro of the third sonata, they are nicely arranged so that no page turns are partner who also enjoys high-energy needed. It would have been preferable to adjust the paging so that the turn in technique practice. the final movement could be avoided. The absence of a second printed part

with Vicki Boeckman and Cléa Galhano

www.AmericanRecorder.org Winter 2018 29 means that players will need to purchase two copies if they Drei Sonaten für Altblock­­flöte plan to pursue playing these pieces seriously. und Basso continuo, BWV1033-1035, by The level of difficulty is considerably less than is found J.S. Bach, ed. Martin Nitz. Heinrichshofen N1279 in some of Telemann’s other compositions for recorder. They (www.heinrichshofen.de/shop), 2002. A, bc (pf/hc/organ). are suitable for the advanced intermediate level and higher. Sc 44 pp, 2 pts 15 pp ea (rec, bc). Abt. $20.50. Though they utilize the highest range of the alto recorder, Authenticity, that desirable but elusive goal in the edit- they do not approach the highest pitches in ways that make ing and performance of early music, is the question of the them difficult to articulate. There are quite a few chromatic day when examining this publication of three Bach sonatas. notes, but they are not extreme. The rhythms are for the Originally composed for flauto traverso, until now they have most part straightforward, with some trickier segments been most easily available to recorder players in a 1960 edi- such as a 16th followed by a dotted eighth note, 32nd tion by Greta Richert (from Hofmeister, hard to find). Some notes, written out ornamentation and 16th-note triplets. recorder players may already own that version, so it makes The parts are basically equivalent, but the top line sense to compare Martin Nitz’s edition to Richert’s. tends more toward the higher register. In the pursuit of greater historical authenticity, Nitz has After playing through the duets a number of times, made editorial decisions that differ from Richert’s, some of we concluded that they are quite pleasant, but less intricate which are more successful than others. I am indebted to my and hence a bit less musically compelling than some of friend, retired recorder soloist Martin Wachter, for his col- Telemann’s other works available for recorder. However, laboration on this review. because they are more accessible and require less technical Of the three sonatas, the one that presents the greatest proficiency, they are particularly useful as an introduction to challenge is BWV1033. The original for traverso is in the music of Telemann for intermediate players and as a C major. The 1960 edition transposes it to F, a very comfort- lighter, less intense option for folks with more experience. able key for alto recorder; it’s as if you simply employed C Beverly R. Lomer, Ph.D., is an independent scholar and fingerings on an F instrument. Although one encounters recorder player whose interests include performance from original high F many times and high G several times, everything lies notations and early women’s music. She is currently collaborating within the normal range of the instrument. on a transcription of the Symphonia of Hilde­gard of Bingen for Nitz has chosen to transpose the piece to Eb, stating: the International Society of Hildegard von Bingen Studies. “this key facilitates a precise rendering of the original.” There

30 Winter 2018 American Recorder is little to be gained from this change; it instead exacerbates We have here the classic debates of performer vs. the complications of playing it. As we all know, playing in Eb scholar, practice vs. theory. I am inclined toward the former involves dealing with numerous cross-fingerings—and when position, which favors giving the instrument and its player the piece modulates, in effect you are playing in four flats. the best chance of success. Nitz accomplishes this with Nitz has taken a difficult but playable sonata and rendered it BWV1035, but is less successful in his other efforts with inaccessible for all but the most highly-skilled performers. BWV1033 and perhaps even with BWV1034. For this sonata, Nitz has eliminated slur markings in Anne Fjestad Peterson, with Martin Wachter the recorder part (he has preserved them in the score), “thus enabling each performer to enter his or her own phras- Air from Orchestral Suite No. 3, by Johann ing marks adapted to characteristics perculiar [sic] to the Sebastian Bach, arr. Helen Hooker. Peacock Press recorder.” Slurs are included in BWV1034 and BWV1035. P524 (http://recordermagazine.co.uk/peacock_press.htm), n.d. The realization of the figured bass has been sensitively A, pf/hc. Sc, pt. Abt. $7. done and doesn’t get in the way of the solo line. The edition In arranging this well-known air of Bach, often is also much less cramped and therefore more legible than called “Air on a G string,” Helen Hooker has taken the the older one. opposite approach from that of Martin Nitz. She preserves Originally in E minor, BWV1034 has been transposed the original key of D major, while changing the orchestra- in both editions to G minor. As Nitz states, “this largely dis- tion from strings to solo recorder and piano or harpsichord. penses with octave transpositions,” but in a few places the As is usual for Peacock Press, this is not a scholarly edi- octave changes of the 1960 edition are greatly to be desired. tion; it contains no editorial notes and does not even indicate Two high notes, a Bb in the Adagio ma non tanto and an the Bach classification of BWV1068. However, also true for A in the Allegro, are out of the normal range and require Peacock, this is a clear, cleanly printed edition with minimal fingerings that include covering the foot hole with one’s intrusive interpretation. knee. Nitz does give alternatives “in the event of this note Several commonly performed anticipatory grace notes failing to speak”—an extremely likely occurrence, given the have been left out, and one hopes that the performer will necessity of getting to the required position quickly enough instinctively add them back. However, although I am without knocking out a front tooth. The notes are possible generally in favor of minimal editing of Baroque pieces, I in theory, extremely awkward in practice. find it inexplicable that Hooker hasn’t included the piece’s BWV1035, an E major sonata as composed, has been Adagio tempo marking. transposed by Richert to G and by Nitz to F. This editing is Since the air has been taken out of its original orchestral the most successful of the three and best accomplishes Nitz’s form, the recorder line naturally plays the first violin part, previously stated aim of presenting “a precise rendering of while the keyboard substitutes for the 2nd violin in the right the original.” It eliminates a few octave transpositions neces- hand. Although alto recorder is specified, it could also be sary in G (for example, in m.5 of the Siciliano and mm.18- played on soprano or tenor; there are a few instances of 20 of the Allegro assai). Moreover, although G isn’t a diffi- high B and one high Cn cult key, F is even easier, especially in 16th-note passages. . The timbre of the lower key is less bright and perhaps more This little 19-measure gem is an excellent akin to that of the original flauto traverso. introduction to performing Bach. The most historically correct performance of these sonatas would be, of course, to play them on flauto traverso. For the intermediate-level player, the complex rhythms But if an editor decides to arrange them for another instru- may be difficult, especially in 32nd-note passages. (Although ment, then the question becomes: does one best serve the the piece is in 4/4, I would have a student count eighth instrument or the music itself? Does one edit in such a way notes.) However, the slow tempo means that the piece isn’t that the natural strengths of the recorder are exploited and technically demanding. its weaknesses de-emphasized? Or is it better to recreate as The other challenge is having the breath control to sus- exactly as possible what Bach wrote, just in a different key? tain the long notes that aren’t problematic for strings. KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; All in all, this little 19-measure gem is an excellent B=bass; gB=great bass; cB=contra bass; Tr=treble; qrt=quartet; introduction to performing Bach. pf=piano; fwd= foreword; opt=optional; perc=percussion; pp=pages; Anne Fjestad Peterson has a Bachelor of Arts in music edu- sc=score; pt(s)=part(s); kbd=key­board; bc=basso continuo; hc=harp­ sichord; P&H=postage/handling. Multiple reviews by one reviewer cation from Concordia College, Moorhead, MN, and a Master of are fol­lowed by that review­er’s name. Publi­ca­tions can be purchased Music in music history from the University of Colorado. She has from ARS Business Members,­ your local music store, or directly from taught private and class recorder in Boulder, CO, since 1974 and some distributors. Please submit music and books for review to: 7770 S. High St., Centennial CO 80122 U.S., [email protected]. has performed since 1980 with the Boulder Renaissance Consort.

www.AmericanRecorder.org Winter 2018 31 DANCES AND AYRES, by Georg As might be expected, the major- A possible difficulty is that one move- Philipp Telemann,­ ed./arr. ity of the 14 selections in Seibert’s col- ment was omitted in the alto part of Peter Seibert. PRB Pro­ductions lection are standard dance movements, the review copy—but this has been B063 (www.prbmusic.com), 2015. but there are also several character corrected for subsequent copies. SATB. Sc 22 pp, pts 11 pp ea. $25. pieces such as Les Postillons, a Fanfare, Given the quality of Telemann’s Peter Seibert has had the very and two Plaintes. The music shows writing and the abundance of source good idea of transcribing several Telemann’s typical wit and inventive- material, let us hope that another col- movements for recorders from three ness and has been carefully arranged lection of similar arrangements might of Telemann’s orchestral and chamber so that it lies well for the recorders. be forthcoming. suites. The source works are two Seibert has added a fourth part to Scott Paterson, a former ARS Board suites in D for trumpets and strings, the trio sonata texture of TWV55:A5 member, teaches recorder and Baroque TWV55:D7 and TWV55:D18, and and has supplied articulations through- flute in the Toronto (ON) area, where he a suite in A for two violins and out the collection. Many of his articu- is a freelance performer. He has written continuo, TWV55:A5. lation choices are somewhat idiosyn- on music for various publications for over STATEMENT OF OWNERSHIP, MANAGEMENT cratic—but he explains in a short but 25 years, and now maintains his own AND CIRCULATION American Recorder magazine. helpful introductory note that he has studio after over 30 years at the Royal Publication 0003-0724. 9/26/2018. Quarterly. 4 issues. $38 per year. Association and Publisher address: Susan been guided by the Baroque principle Conservatory of Music of Toronto. Burns, American Recorder Society, 3205 Halcott Ln, Consider advertising in Charlotte, NC 28269-9709; 704-509-1422; Editor: Gail of good and bad beats, and that all of Nickless, 7770 S High St, Centennial, CO 80122; Owner: his suggestions are subject to change American Recorder Society, PO Box 480054, Charlotte NC 28269-5300. No bond holders, mortgagees, or other by the performers. With this idea in security holders. Purpose, function, and nonprofit status of American Recorder Society has not changed during mind, it would have been helpful to preceding 12 months. Circulation Fall 2018: (Average have had an indication of those few For current rates and specifications, see number of copies each issue during preceding 12 months/Actual http://americanrecorder.org/advertise_ number of copies of single issue published nearest to filing date): places where Telemann did mark with_ars.php. Please inquire about discounts (a) Net press run (2200/2250); (b) Paid Circulatio­ n (By his own articulations. on multiple-issue contracts or other special Mail and Outside the Mail): Outside county mail requests. Advertising subject to acceptance subscriptions (1836/1841) (2) In-county mail subscrip­ The four voices are generally by magazine. Reservation Deadlines: tions (0/0) (3) Sales through dealers, carriers, street January 1 (Spring), April 1 (Summer), vendors, counter sales and other non-USPS (0/0) (4) quite equal, and the writing would suit July 1 (Fall), October 1 (Winter). Other classes mailed through USPS (126/126); (c) Total an intermediate ensemble. If one line paid distribution (1962/1967); (d) Free or nominal rate For more information, contact the ARS distribution by mail (samples, complimentary and other does predominate from time to time, office,P. O. Box 480054, Charlotte, NC free: (1) Outside-county USPS rate (0/0) (2) In-county it is usually the soprano—for instance, 28269-5300; 704-509-1422; tollfree USPS rate (0/0) (3) Other classes mailed through USPS 1-844-509-1422; 866-773-1538 fax; (84/27) (4) Free distribution outside the mail (58/50); in the two Plaintes, which are very [email protected] (e) Total free or nominal rate distribution (141/77); much solos with accompaniment. (f ) Total distribution (2103/2044); (g) Copies not distrib­ Classified rate for American Recorder: 60¢ per uted (388/206); (h) Total (2200/2250); (j) Percent paid The presentation is clean and and/or requested circulation (93.3%/96.23%). Electronic word, 10-word minimum. “FOR SALE” and Copy Circulation: (a) Paid electronic copies (147/147); easy to read, and care has been taken “WANTED” may be included in the copy (b) Total paid print copies+ Paid electronic copies without counting. Zip code is one word; (2102/2114); (c) Total print distribution + Paid electronic to avoid page turns in the parts. There phone, e-mail or web page is two. Payment copies (2243/2191); (d) Percent paid (both print & are a few errors in the parts but these must accompany copy. Deadlines are electronic copies) (93.71%/96.48%) I certify that 50% one month before issue date. Send copy of all distributed copies (electronic and print) are paid are easily identified and can be quickly with payment to: ARS, P. O. Box 480054, above a nominal price. Susan Burns, Business Manager corrected by comparison with the score. Charlotte, NC 28269-5300. American Recorder (ISSN 0003-0724) is published 4 times a year, February (Spring), Advertiser Index May (Summer), August (Fall), November (Winter), by American Recorder Society, Inc., 3205 Halcott AMERICAN ORFF-SCHULWERK ASSN...... 3 Ln, Charlotte, NC 28269-9709. Periodicals Postage Paid at Charlotte, NC, and additional mailing AMERICAN RECORDER SOCIETY . . . .1, 14, 23, 24, 32 offices. POSTMASTER: Send address changes to American Recorder, PO Box 480054, Charlotte, NC AMHERST EARLY MUSIC FESTIVAL...... 11 28269-5300. $38 of the annual $50 U.S. membership dues in the ARS is for a subscription to JEAN-LUC BOUDREAU, RECORDER MAKER. . . . . 15 CANZONET...... 20 American Recorder. EARLY MUSIC AMERICA...... 29 EARLY MUSIC GUILD OF OREGON WORKSHOP. . .22 Editorial Deadlines: December 15 (Spring), March 15 (Summer), June 15 (Fall), and EARLY MUSIC HAWAII WORKSHOP...... 29 September 15 (Winter). Submission of articles and photographs is welcomed. Articles may be sent EDITION WALHALL...... 24 HONEYSUCKLE MUSIC ...... 21 as an attachment (.doc or .rtf preferred) or text in an e-mail message. They should be for the exclusive JGJG SHEET MUSIC...... 27 consideration of AR, unless otherwise noted. Articles, reviews and letters to the editor reflect the LISETTE KIELSON RECORDER PLAYER...... 22 viewpoint of their individual authors. Their appearance in this magazine does not imply official LAZAR’S EARLY MUSIC...... 16 LOST IN TIME PRESS...... 25 endorsement by the ARS. The ARS reserves the right to publish any submitted magazine content on MAGNAMUSIC ...... 30 the ARS web site. By submitting material to be published in a printed issue of AR, American Recorder’s MOECK VERLAG...... IFC editors and authors grant the America Recorder Society permission to use their material in this addi- MOLLENHAUER RECORDERS...... OBC tional manner. Photos may be sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). PORT TOWNSEND EARLY MUSIC WORKSHOP. . . .28 PRESCOTT WORKSHOP...... 3 Advertisements may be sent in PDF or TIF format, with fonts embedded. THE RECORDER SHOP...... 6 RHYTHM BAND INC./AULOS RECORDERS...... 9 Editorial office: Gail Nickless, Editor, [email protected], 7770 South High St., GLEN SHANNON MUSIC ...... 10 Centennial, CO 80122-3122. Books and Music for review: Editorial office. Recordings for review: TEXAS TOOT SUMMER WORKSHOP...... 26 VERY GOOD RECORDER TRANSCR...... 27, 29 Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. Cutting Edge: Editorial office. Chapter newsletters, VON HUENE WORKSHOP, INC...... 12 other reports: Editorial office, Publisher's office. YAMAHA CORP...... IBC

32 Winter 2018 American Recorder