Conrad Paumann • In the Middle Ages and early Renaissance, ~ instruments were often classified into enalSSanCe haut (or loud) and bas (or soft), depending upon their volume. The recorder, being a soft instrument, although not yet explicit ecor~er pla~ers ly called a flauto dolce or flute douce, R belonged in the bas category. The most famous bas player in the lry David Lasocki 'l"l That do you know about the recorder 15th century was a blind man: Conrad in the Renaissance? You have proba VV Paumann (c.141 0-1473), also recognized bly heard of the major treatises that deal as the most distinguished German com with the instrument: Virdung, Agricola, poser of his age, hard as that may be for us Ganassi, Jambe de Fer, and later Praeto to appreciate since most of his composi rius. You may also know that there were tions have been lost. In 1447, he was ap several types of recorder in the Renais pointed to the post of portative organ sance, all different from Baroque player in the civic organllute duo in his na recorders. And from Anthony Rowland tive Nuremberg. A poem written the same Jones's fine articles in American Recorder, year by Hans RosenplUt immediately rec you may also be familiar with some of our ognized Paumann as "a master above all instrument's symbolism and associations masters" (ein Meyster ob allen Meystern). during this period. Only three years later, to the dismay of But until relatively recently, none of us the Nuremberg authorities, he was lured have known much about the musicians away, to the Court of Duke Albrecht III of who played the recorder during the Re Bavaria-Munich, where he remained for naissance: 'who they were, where they the rest of his life. played, what they played, and what kinds Evidently, Paumann played the organ oflives they led. Twenty years ago, I wrote or lute by himself, or sometimes joined in my doctoral dissertation on recorder play with the Court lute duo. When he visited ers in England in the Renaissance and Augsburg in 1455 and 1457, he was Baroque periods, later turning some of noted as a "master" lutenist. Tinctoris that material into a book on the Bassano (De inventione et usu musicae, 1487) family and my share of a biographical dic believed him to have been one of the orig tionary of English Court musicians. inators of playing the lute polyphonically, Last summer, I was asked to give a lec and Virdung (1511) ascribed to him the ture on "Tracing the Lives of Players and invention of German lute tablature. He Makers" at an international symposium was in demand throughout Bavaria as an on the Renaissance flute and recorder organist, organ teacher, and evaluator of consort in Utrecht, sponsored by STIMU, organs. On his many travels later in life, he the Dutch early-music foundation. astonished kings and dukes with his pow Preparing for this lecture gave me the in ers of improvisation, being showered with centive to expand my research beyond gifts and offers of employment. England to cover the European continent Paumann was buried outside the and even part of Latin America. Church of Our Lady in Munich, where an The lecture, an expanded version of epitaph, now inside the church, shows which should be published later this year him playing the portative organ and sur in the proceedings of the symposium, was rounded by a lute and what we may as framed around a series of general ques sume are his other main instruments: tions about the lives of players. In the harp, fiddle, and recorder (see Figure 1). present article, I have a different empha David Lasocki, a music librarian Yet two accounts of him indicate that he sis: to share with you my findings about at Indiana University, writes about also played some loud instruments. One the life and work of some interesting indi woodwind instruments, their history, chronicler described him as being able to vidual Renaissance recorder players, giv repertory, and peiformance practices. play "on organ, lute, [other] plucked ing more space to those to whom little at For help with the present article, string instruments, fiddle, recorder, pipe, tention has been paid before. I will discuss he is especially grateful to and trombone, and on all musical instru only professionals, saving the equally fas Becking, joanna Biermann, ments." And a report of him on tour in cinating subject of amateurs for another Liane Ehlich, Wendy Gillespie, Mantua in 1470 marveled that this blind day. Throughout, I try to consider the Giulio Ongaro, Massimo Ossi, man, who "played every instrument ... if wider implications of recorder players for Keith Polk, Anne Smith, he heard a verse or a song ... knew how to our understanding of the instrument's Nikolaj Tarasov, Dina Titan, play it [by ear] either on the organ, or the Renaissance and Erich Tremmel. bagpipe, or on plucked string instru ments, or on the harp, or on the shawm."
8 American Recorder FIGURE 1 Conrad Paumann's epitaph (1473) tus for this gift of instruments from Bur gundy to Ferrara was Copetrippe's desire "to introduce to the Court of Ferrara an ensemble of instruments similar to that which he had directed several years earlier in the service of Philip the Good." In 1443, the Burgundian Court paid the instrument maker Jean Chapuis for "4 ivory recorders, one decorated with gold and jewels and the others plain." An undated inventory from the Court seems to describe three of the four ivory recorders in more detail: "Item, three leather cases, covered with gold, in all of them ivory recorders, both large and small; one of the large recorders is orna mented with gold on the mouthpiece, and lower down decorated with two gold rings and strewn with little emeralds, garnets, and rubies, and nothing is lacking. " As Marix shrewdly remarked, ':A.t the coun no minstrel was paid as a recorder player, but no doubt the virtuosi of the shawm and bombard knew also how to use it on occasion-for example, Verdelet, the so-called 'minstrel of the king of min strels,' whose reputation was great. According to Martin Ie Franc [c. 1440J, , . . . never have we encountered on dou~aine or flaiolet anyone who played them like the late Verdelet used to do.'" The word flaiolet would not have meant the flageolet as found in the late 16th cen tury (with four fingerholes and two thumbholes) but rather have indicated some other kind of duct flute, such as the recorder. The Burgundian Court had five wind players in 1443: Hennequin Janson, trompette des menestrels; and Jehan Van The records are silent about how Pau out with leather cases and with chests, Artinghem, Jehan Caresme, Pierre mann used the recorder. Did he play it which Monseigneur ... has had taken and Claisonne Ie Brun, and Thibaut de Stras solo, like the 17th-century blind musician bought from him to send to the Marquise bourg, minstrels. The simplest inference is Jacob van Eyck? Did he join in a trio with of Ferrara." What were these instruments that the four minstrels, and perhaps the lute and fiddle, as depicted in some 15th and what might have occasioned the gift? slide trumpeter too, played the recorders century paintings? Or did he and his bas The "minstrel instruments" are likely that had been bought from Chapuis. colleagues form a recorder consort, as we to have been a set of shawms, the most What more do we know about the in are about to see in other places? Perhaps common instruments played by minstrels comparable Verdelet? Marix provided further research will bring us closer to the everywhere during this period. Douchaine, biographical details of two players, father answer. more frequently spelled dOUfaine, seems and son, with this nickname: Jehan Bois to have been a cylindrical reed instrument, ard called Verdelet, "former king of min 15th-Century Bmges an early, cap less crumhorn. strels," and his son, "minstrel of the king Surprisingly, the recorder seems to have The unqualified word fleuste seems to of minstrels." She suggested that the son been found more often in the hands of have indicated recorder from the end of received his title because he was appren haut musidans who worked at courts or the 14th century (as far back, in fact, as we ticed to Jehan Faden, the "king of min for cities and towns, even at the beginning can be sure of the instrument's existence). strels" at that time. The older Verdelet, of the 15th century. In 1426, Duke Philip Hennequin Cope trippe, who had and later Faden, were "kings" because the Good of Burgundy paid the instru played the trumpet and the trompette des they had some kind of authority over all ment-maker Loys Willay, "living in menestrels (slide trumpet) at the Burgundy the minstrels in those territories, includ Bruges," a large sum of money" due to him Coun, moved on to the Coun of Ferrara ing Burgundy, that recognized the King of for four large instruments de menestrelz, around 1422. Jeanne Marix, writing in France as overlord. Both the Verdelets four douchaines, and four fleustes, all fitted 1939, suggested plausibly that the impe were among the five minstrels that King
March2004 9 Charles VII of France offered in payment of ers," who probably constituted a standard a Gillis, said to be of Busegnies in Hene his debts to Ferdinand of Aragon in 1426. haut band of treble shawm, two tenor gauwe (now the village of Busignies-sur By 1436, the younger Verdelet shawms (bombards), and one trombone. Roc in the French-speaking province of probably the one known to Martin Ie In the fiscal year 1482-83, the band ex Hainault). France-seems to have been in the service panded to five players, probably by adding Anthuenis became a citizen of Bruges of the duke of Bourbon when he fell ill at a second trombonist, and their names are in 1475. (It is curious that this was neces the Peace of Arras, then died soon after given in the records: Willemaert, Anthue sary, since his father was already a citizen.) wards. No doubt this pattern of players be nis Pavillon,jan van der Schuere, Anthue He is said in the citizenship record to be ing sent around to different masters nis van der Beke andjan Fauset. That same from "Vaulx, land of Gyyse in France" spread the cause of recorder-playing from year, Pavillon was sent to Antwerp "to find (probably Vaulx en Velin, in Normandy), country to country. a trumpet," the city bought five trumpets so perhaps he had served an apprentice If the evidence for minstrels playing the for the band, and Willemaert was paid for ship elsewhere, or had at least moved away recorder in the early 15th century is indi teaching a boy "to master the art of the from Bruges after training with his father. rect, for the later part of the century itis di trumpet." Doubling was a cheap way for In 1479, Anthuenis was paid for travel rect and also more plentifuL In the same the city to have a shawm/trombone band ing to "Namur, Maastricht, Cologne, and city of Bruges that produced Willay, the and a trumpet band. That at least four of elsewhere" to search for a replacement for earliest recorder maker known to us by these minstrels also played the recorder his father, who had just died. This record name, Duke Charles the Bold of Burgundy had already been confirmed the year be shows he had become one of the city min was married to Margaret of York in 1468. fore, 1481-82, when the city bought "a set strels himself. In 1496-97, he was joined Reinhard Strohm, in his book Music in of recorders" for their use. But as we have by Lieffaert Pavillon, presumably his son, Late Medieval Bruges, has written of this seen, at least one member was already who had replaced Anthuenis van der Beke. occasion that "The minstrels and court dealing in recorders, so presumably he Anthuenis PavilIon is last mentioned in singers of the town worked side by side and probably others had used their own the city's records in 1510. with the court minstrels and those of the instruments with the band. Adriaen Willemaert likewise came English delegation." from a minstrel family. In 1459, his father Yet we know from the researches of What do we know of the Nycaise (Nicasius) and his uncle Pierre Marix and Barbara Haggh that the number were among the five minstrels of the count of minstrels at the Burgundian Court had Bruges minstrels at this of Saint-Pol who were given a payment for dwindled towards the end of the reign of playing before the duke of Burgundy in Philip the Good (d. 1467), to the point time? Fortunately, more 1459. Nycaise died around 1466, when that in 1468 only one was left, a man Gillis PavilIon was appOinted tutor of his named jacques de Rectre, player of the than about those ofany minor children in Bruges. Perhaps not co slide trumpet, and even he had previously incidentally, Adriaen became a citizen of been listed as a field trumpeter. This sug other 15th-century city. Bruges the same year, when he was de gests that the bulk of the instrumental scribed as coming from 'i\rcane in Hene music at the wedding was played by the In 1485-86, on the city's behalf, Pavil gouwen" (Arc-Ainieres in Hainault, be Bruges city minstrels. Ion and Willemaert began teaching the tween Tornai and Kortrijk), and presum A series of suppers was held every day recorder in their own homes to four ably received his appointment in the city for ten days, at which music was per "youngsters. " When Willemaert died only minstrels. formed by musicians disguised as animals. about a year later, Pavillon continued Another Willemaert, Hanin, was At one supper there appeared "four wolves teaching two of the boys for at least two among the minstrels of the count of having recorders in their paws, and the more years. This arrangement is puzzling, Estampes who received a New Year's gift in said wolves started to playa chanson." As since only recorders are mentioned. A nor Brussels in 1461. jehan Willemaert, per Isabelle Cazeaux has noted: "The wolves' mal apprenticeship would have also in haps Adriaen's brother, joined the min feat anticipates Attaingnant's Vingt et sept cluded shawms and trombones, perhaps strels of the duke of Burgundy in 1470, fol chansons musicales a quatre (1533), also trumpets. Since the boys were housed lowed by Lussart PavilIon, perhaps An playable on flutes [and recorders]' by in the minstrels' homes, the most likely ex thuenis's brother, in 1473. (They stayed at more than half a century, and shows that planation is that they had full apprentice the court until at least 1475, after which although scribes did not specifically say ships and the term "recorders" was being the records peter out.) An Adrian so, 15th-century motets and chansons used as shorthand for "wind instru "Wilmorth" or "Willeme"-clearly Wille were already 'convenables tant a la voix ments." Still, recorders do seem to have maert-turns up at the English Court in comme awe instruments' [suitable both for been especially important in Bruges, as 1503 as an apprentice of a Flemish wind the voice and for instruments] ." confirmed by a reference to the city min player named Guilliam van der Bergh What do we know of the Bruges min strels as "players of recorders and (who, as we shall see below, played the strels at this time? Fortunately, more than shawms," rather than the standard recorder). about those ofany other 15th-century city. shawms and trombones, when they visit The Bruges minstrels generally played Highly relevant to this topic, in 1470 Adri ed the court of Margaret of Austria in outside or facing the outdoors. They took aen Willemaert sold some Jleutes to a Flo 1522-23. part in two important annual processions: rentine banker or merchant named Gero Anthuenis Pavillon belonged to a fami first, that to celebrate the relic of the Holy lamo Strozzi, resident in Bruges. Wille ly of minstrels. He was the son of Gillis Blood on the feast of the Invention of the maert was a member of the city's band of Pavillon, who served in Bruges between Cross (May 3). This feast coincided with four scalmtyers-literally "shawm play 1456 and 1479 and was himself the son of the beginning of the secular May Fair, the
10 American Recorder Detail from the chest ofBenvenuto Cellini's bust ofCosimo I de' Medici (in the Bargello Museum, Florence, Italy city's most important event, which attract Ave regina celorum on three other occa ed merchants and visitors from all around, sions over the following two years. With including abroad. their theme of the Virgin Mary, both Second, they played for the procession motets would have been highly appropri on St. Donatian's Day (October 14), to ate for the Salve concerts. Strohm writes that in 1504 he was one of the 11 Floren celebrate the patron saint of the city, when that the minstrels' concerts in St. Donat tine citizens chosen as a jury to decide on five or six tubicinantes (trumpeters) are ian's "were held in honor of the Virgin, the placement of Michelangelo's David. noted as walking in front of the saint's and one has to assume that the minstrels He apparently gave up a career as an artist relics. The city minstrels are also reported played sacred works ... especially the and engineer in order to marry and take as playing on different occasions in the Salve regina and other Marian pieces, or steady employment-with the city pifferi. market square as well as in front of the sections from masses that were suitable for Benvenuto says that in addition to town hall and from its windows, belfry, or instrumental performance." He goes on to recorder and shawm (and presumably cor estrade (especially built for them). suggest that the celebrated Jacob Obrecht, nett), his father played violL N one of these locations would pre who became master of the choirboys of St. The members of the Florentine pifferi sumably have been suitable for recorders. Donatian's in 1485, composed for these specialized in playing not a certain type of But we !mow that the Bruges minstrels al concerts, including such surviving secular instrument but parts of a certain range. so played indoors. They joined in dances works as T'Andernaken, "a cantus firmus When Giovanni was appointed, he played at the Burgundian court: "open" balls in setting of the well-known tune, which ap the soprano part. After being dismissed for the palace, when townswomen were invit pears in the tenor in very long notes, while political reasons in 1491 and reappointed ed to participate, and balls in the reception the other two voices spin an elaborate four years later, he was given the contra room of the new town hall, which had a counterpoint around it" (see Example 1, alto and contra basso parts, but received balcony expressly for minstrels. They which would work on alto, tenor and bass only benefits, not a salary. played for banquets during the May Fair at recorders) . which prominent visitors were enter Giovanni himself knew tained. For the citizens, they also did a cer Giovanni and Benvenuto Cellini tain amount of freelance work, such as The celebrated sculptor and goldsmith enough about art that in weddings. The extent of the resulting extra Benvenuto Cellini (1500-1571) was also a income is implied by a vote of the city recorder player. His father, Giovanni, was a 1504 he was one ofthe council during the war years of 1480 and wind player and a member of the Floren 1481 to give the musicians an additional tine town band, the pifferi. Benvenuto 11 Florentine citizens sum of money because they had "little or wrote in his famous autobiography that nothing to do because of the sober times Giovanni taught him to play the recorder, chosen as a jury to decide that now rule. " cornett, and shawm, to sing, and to com Beginning in 1481, the city instituted pose. Furthermore, that as an apprentice Salve or lof ("praise") concerts in honor of before the age of 12 he was already per on the placement of the Virgin Mary in St. Donatian's church forming with the pifferi on cornett and every day of the year, performed by the recorder-still so short that he had to play Michelangelo's David. succentor and choirboys with the organ. while seated on the shoulders of a servant. Two years later, in May 1483, just after the Then his father sent him to Bologna for In 1497, he was given a full place again, city bought the official set of recorders for six months to study the shawm daily with and now played soprano and contra basso the minstrels, the city paid them to per master Antonio Capistraro, a member of parts. He was charged with illegally buying form instrumental music after the singing the Concerto Palatino. "While there he the place from another member, but the during the Salve concerts on the three earned money playing alongside Ercole Al charges were later dropped. "free" market days. These concerts were bergato del Piffero, a well-known actor, At the age of 63, Giovanni retired, the one of the initiatives of the city to entertain string player, stage designer and composer. official reason being that he was consid the populace and visitors during the mar On his return to Florence, Benvenuto ered too old for the daily obligations of the ket. Although the church had given per continued to perform with the brothers job. Benvenuto claims that his father was mission for the "trumpeters" to play in Pierino and Girolamo da Volterra (who actually pensioned off because he was un these concerts, we may assume that the both became members of the pifferi before willing to go to Rome to serve Cardinal minstrels also used this resonant indoor long). So he had reached a high profes Giovanni de' Medici, who had just be setting to show off their recorders to good sional standard at an early age. come Pope Leo X. In 1527, Giovanni died effect. Giovanni di Andrea di Cristofano Celli of the plague. As to the repertory employed, in ni (1451-1527), to give him his full name, We owe many of these juicy details to 1484-85 Nicasius de Brauwere, master of served in the pifferi between 1480 and Benvenuto's fame as an artist. Ifhe had re the choirboys at St. Savior's church in 1514. Several times he is mentioned as mained a player, we would probably know Bruges, was paid for writing a set of motets maestro, apparently signifying leader of the less about him than we now know about for the use of the "minstrels of this city." group. His grandfather was named Cristo his father. In any case, it seems to have The payment record gives no more details fano; his father, Andrea, was a bricklayer. been Giovanni's perhaps enforced retire of these particular motets, but the min Interest in the arts and building was high ment that lost Benvenuto the right to suc strels are noted as performing the Salve in the family. Giovanni's brother Bar ceed his father in the pifferi, giving him regina and Ave regina celorum at the town tolomeo ("Baccio") became an architect. added incentive to pursue the art of gold hall during a celebration in 1488, and the Giovanni himself knew enough about art smithing rather than music.
March 2004 11 Example 1. Tandernaken byJacob Obrecht, from Harmonice musices odhecaton (Venice: Petrucci, 150l),ff. 75-76 (clefs: C2, C4, F4)
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AMIDI playback of this piece and an enlarged version more suitable for ensemble playing are available in Recorder On-line at
14 American Recorder 1512. The Antwerp inventory, however, is through several editions: two chanson se Pylken and his colleague Gommaer van the first time that numbers of instruments ries, two motet series, a mass series, a Oisterwyck, "fugitives," were sentenced are explicitly associated with sets-and Dutch-texted series, and one dance vol in their absence for taking part in the they are surprisingly large numbers (eight, ume (the famous Danserye). Calvinist uprising. They were banished nine, and twelve). Since there were only His house/store was situated in a prime from the city and their goods seized. four or five musicians in the Antwerp en business location, near the city's Bourse Pylken was already in England, where two semble, they must have drawn on these (exchange). The house from which Susato years later he was appointed to the Lon large sets, as needed, to create variety of conducted his business from 1551 don Waits in a specially created seventh sizes and numbers in consorts. onwards was called, not the recorder place. Not long before, the city had bought Although the method books of the first but the Cromhorn-perhaps a more a "whole set of recorders" and six cornetts half of the 16th century report only the al eye-catching instrument for a sign. The for its Waits, to add to their ch<::lurrnc to, tenor, and basset sizes of recorder, we location was a new development, north bones, and viols. Pylken know from documents and surviving in of the city, called the New Town, in which ed musician, because on his ae1paltUl:e struments that larger sizes were made. For he was also an investor. later was an unprecedented example, in 1535, Wolff Gans (see below) During the 1550s he became increas of money. Oisterwyck, too, went bought for the Brussels court a recorder ingly involved in business activities, in to London, where in 1570 he became a "the height of a man, for the contrabass cluding iewel tradinQ: and land soecula member of the Court flute and cornett part." consort. Antwerp Tielman Susato to become "commission bailiff and sher Sylvestro Ganassi As to what repertoire would have been iff" of the dikes in Alkmaar. Surprisingly little has been published played on these sets of recorders, one an After participating in a failed diplomat about the life of Sylvestro di Ganassi dal swer comes from another city player men ic mission for Sweden in 1565-66, in Fontego, one of the most famous names in tioned in the Antwerp inventory of 1532: which he destroyed some letters that he the history of the recorder. His date of Tielman Susato. Born in Soest in the re feared would fall into the hands of the birth is given in reference books with con gion of Cologne (thus the last name he country's enemy, Denmark, Susato was fidence as 1492, presumably based on his adopted), Susato arrived in Antwerp at brought before the High Court of Sweden, statement in his second treatise for the about the age of 14 around 1529 and then released. The last known documents viol, Lettione seconda pur della prattica di worked as a music callhrraoher at Onze about him, from 1569 and 1570, find him sonare il violone d'arco da tasti (1543), that Our Lady). still in Sweden working as a German scribe "of the 51 years I have encountered, I have Two years later, he joined the Antwerp and as a mediator in a property dispute. had the time to study for at most five civic ensemble. Its players performed dai years." Fifty-one certainly sounds more at the city hall, in the Church of Our like an accurate number than, say, 50 and for processions and state occa Pylken and his colleague would have been, but even so we can sions. They were also often employed by say that he was born in 1491 or 92. the Confraternity of Onze-Lieve-Vrouw Gommaervan Under the name "Silvestri Antonij" he Hof to play for mass and on feast days. The was hired as a piffero of the Doge of Venice city made payments to Susato for playing Oisterwyck, ''fugitives,'' in June 1517 to replace one Melchiorre, the trumpet (1531) and for two trumpets, deceased, who had played the contra alto a tenor and a bass, "bought for the city were sentenced in their part in the ensemble. (As in Florence, the musicians for the procession and to play Venetian ensemble speCialized in part- in the church with singers on high feast absence for taking part in Ganassi was said to be living at days" (1542). that time "close to the government grana Susato remained in the ensemble until the Calvinist uprising. ry near the Rialto" (ad fonticum Farine in 1549, when he and three other members Rivoalto ad tria capita). This storehouse were dismissed, apparently for religious (jontego in Italian) gave rise to his appella insubordination during the entry into Susato indicated that many of the vocal tion "dal Fontego"-and in tum, of Antwerp of Emperor Charles V and his pieces he published could also be played course, to the name of his famous recorder zealously Catholic son, Philip of Spain. on "all" instruments. The title page of the treatise, Opera intitulata Fontegara [Work Clearly, Susato was sympathetic to the collection from which Example 2 is taken, entitled "Fontegara"] (Venice, 1535). The growing Calvinist movement. Later docu Vingt et six chansons, says merely that its Antonio appended to his name in the hir ments still describe him as a "musician" parts are "suitable both for the voice as al ing record no doubt refers to his father. (speelman), suggesting that he was now so favorable to play on various instru About his origins, Ganassi wrote in the performing freelance. ments" (convenable tant a la uoix comme introduction to his first treatise for the Meanwhile, in 1542, Susato had begun aussi propices a iouer de diuers Instru viol, Regola rubertina: Regola che insegna an illustrious second career as the first mu ments). This example, in which the second sonar de viola darcho tastada (Venice, sic publisher in the Low Countries, initial part is derived from the first by canon at 1542): "In ancient histories, we find the ly in collaboration with two other men, the lower octave, would work on soprano philosopher giving thanks to God for three but already under his own printing privi recorder, three tenors, and bass. things: first, that he was a Greek not a bar lege the following year. Between 1543 and A postscript: one of the other Antwerp barian; second, that he was a rational be 1561, he published no fewer than 55 musicians dismissed in. 1549, Segher ing and not an irrational one; and "music books," many of which went Pylken, was soon reinstated. But in 1568, that he was a man and not a woman. I, too,
March2004 15 Example 2. ''Je my levay par ung marin" byJean Descaudain, from Vingt et six chansons musicales &£ nouuelles a cincq (Antwerp: Thielman Susato, (1543}); superius, contra tenor, tenor, bassus, allf. vv (clefs: Cl, C4, C4, F4)
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12
A MIDI playback of this piece and an enlarged version more suitable for ensemble playing are available in Recorder On-line at - - - ~ ~' ~ - II - '" - - - II - - - - - , - i ~ r- r- - - - I ) ~) - - f- ~' - ~ ~ , i " ~ ) - " ( - • ~ l - ~ - - ~ ~ - ] - II ( r ~ J) .. .. ~. Cl:>C <" ~ C ~ -::-. <" ~ Cl:>C -::-. <" b C CIOC <: ~ ~ III~ ~ <:~ I~ ~ <:1' ~ ~ I'~ - - ~ <: '" ~ thank God for three things: first, that I am There is one other relevant record placabile) effect of the semi tone. The ma of Bergamasque ancestry; second, I was about the family: a lawyer called 'i\ntonius jority of the treatise is taken up with a se born in the city of Venice; third, I am a de Ganassis a fontico," perhaps Sylve ries of tables of the divisions or passaggi Christian and not a pagan. I will tell you stro's son, is mentioned in a Venetian doc that may be applied to a melodic line. the reason why: this Lombard ancestry en ument of 1549. For what audience did Ganassi write dowed me with ability; the greatness of the Ganassi's Fontegara is at once the most this treatise? In his introduction to Regola Venetian homeland made me studious; revealing and the most frustrating of all rubertina he wrote: "I have taken to heart, and faith made me work for things useful recorder treatises, tantalizing us with hints as I already did with my other work enti to body and soul." (The title of this trea of an astonishingly well-developed style of tled Fontegara, which taught how to play tise, like that of Fontegara, is a pun: the playing. (Please note that I have made my the recorder and to make diminutions, to work is dedicated to Ruberto Strozzi, a own translations of all of Ganassi's words, set out some of my observations on music Florentine nobleman and patron of the rather than relying on standard published for the viol, that is, on the practical early madrigal, whom Ganassi claims as translations, which bear only an approxi method of playing music on the viol, in or his former student.) mate relationship to the original text.) The der that the talent given to me by God be We know little about Ganassi's lqter author declares that the aim of the instru passed on to my neighbor, and smooth the life. Francesco Sansovino's Diagolo di tutte mentalist is to learn from and imitate the way for those who take delight in this art." Ie cose notabili che sono in Venetia [Dialog human voice, using the breath, articula Furthermore, "it happens that in the pres on all the notable things in Venice] (1560) tion, and fingering. He then describes the ent day many take delight in the instru singles out "Sylvestro dal Fontego" as one means we can use to achieve fine playing: mental music of viols, so I have decided to of the musicians "of excellence" in the city. good breath control, alternative finger make my work bear fruit in the love toward He is presumably the "Sylvestro dal Cor ings, a variety of articulations (three basic my neighbor, and I know that it has been netto" (of the cornett) who rented a volta kinds of syllable, teche, tere, and lere), and useful to me to learn at the right time and (storeroom or warehouse) in Venice in extensive use of trills and divisions. Un place, the same being also true for our 1566 for an annual rent of 1 7 ducati. The fortunately, he gives no examples of musi neighbor. " On the title page of Lettione sec date of his death is unknown. cal contexts in which these techniques onda, he wrote that the treatise was "a use Ganassi's treatises reveal a few more were used, and we cannot hear the "capa ful work for those who take delight in personal details about him. In Lettione sec ble and expert" (suficiente & perito) 16th learning how to play" (opera utilissima a onda he wrote to his readers, touchingly: century singer he holds up as a model. chi se diletta de imparare sonare). A manu "even though the shape of my body is script appendix to Fontegara, consisting of abundant in flesh, it does not mean that From all this evidence, 175 diminutions on a single cadence, was because of this abundance I will be forced prepared by Ganassi for "a Florentine gen to keep my eyes closed throughout my dis it is clear that Ganassi tleman" and copied for a nobleman called cussion." On the title page he describes only Domenico. himself as "desirous in [presumably a stu had amateur musicians From all this evidence, it is clear that dent ofj the visual arts." He engraved and Ganassi had amateur musicians in mind printed all his treatises himself. in mind for all for all three treatises. Professionals We do know something about Ganas learned through apprenticeship with a si's relatives. A family of wind musicians three treatises. master, in one-on-one instruction, pre who belonged to the Concerto Palatino in sumably using whatever teaching materi Bologna were Ganassis. The first, Zaccaria According to Ganassi, playing "with als the master could provide. If Ganassi da Venezia, trombonist (who served artifice"-or, in other words, artistically had been targeting professional wind play 1513-28), may have been Sylvestro's has three essential interdependent ele ers for Fontegara, he would doubtless have brother. (If this is true, then their father is ments. The first is imitatione (imitation, written about the cornett or the shawm, likely to have been a wind musician, too.) specifically of the voice), achieved by the bread-and-butter instruments of wind There is an explicit connection be means of dynamics in service of the piece's bands, rather than the recorder. tween Zaccaria and the Bassano family: mood. The second is while he temporarily served the Pope in pronteza (readiness), 1519-21, he was replaced by Alvise Bas achieved by varying the sano, the eldest son of Jeronimo, the pa breath pressure. The third triarch of the family (himself a member of is galanteria (elegance or the pifferi del Doge and therefore surely grace), achieved by the acquainted with Sylvestro). Zaccaria had use of ornaments, two sons: Giovannino de Zaccaria (served "derived fundamentally 1544-52) and Vincentio da Zaccaria from the trilling of the fin (served 1531-81), who was the perma gers on the holes of the nent replacement for his father and is ex recorder. " He mentions plicitly called "Vincentij Ganassi" in one trills varying in interval record. Vincentio's son, Alphonso (served from the "lively and 1561-1610), was generally known as expansive" (vivace e augu Ganassi. A further Ganassi, Alessandro, mentata) expression of the probably a member of the next generation, third down to the "sweet served 1622-48. or soothing" (suave over March 2004 19 The Bassano of the people and the lord priors" at all the and the sentence was even increased be - - - -" -_.~- Family: required times and on all the occasions de cause he refused to turn himself in. ~"_,/, :,t'· From Venice cided upon by those ruling bodies. Clear In 1565, Nodi was said to be using a to London ly, recorders were important to the city au room in the Palace for a "school." By 1574, ¥ In the London thorities, because they are mentioned first he was living in a house where he had "his branch of the Bas and in any case alongside the primary in own studio or school where he usually sanos we find an struments of wind bands. The case of teaches his pupils." One of his pupils was apparently unique recorders is still mentioned in the records Domenico Fei, son of Maestro Bartolomeo instance of players at this time, once being said to be "in the Fei, a Sienese barber. Bartolomeo left Nodi being allowed to hands of maestro Niccolo, pif{aro." the sum of 50 scudi in 1576, "in recogni specialize in the The man in question had the long full tion of the many kindnesses shown to recorder. In 1531, name Niccolo di Maestro Cristoforo Pif Domenico" when Nodi "taught him musi Henry VIII attract fero. Having served since 1510, he was ex cal theory and to play instruments." ed four Venetian wind players to his "sack cused from playing at night and permitted (Domenico had begun serving in the pif{eri but" ensemble: Alvise, Anthony, Jasper, to have another musician substitute for as a supernumerary the previous year, was andJohn "deJeronimo." These were none him. The palace inventory of 1573 now hired on half salary in 1578, and resigned other than four of the sons of Jeronimo gives the specific number of recorders: "a in 1591 when his request for a salary in Bassano, whom we have already encoun case of six jlauti dritti" (the first use of this crease was denied.) Nodi's successor's tered in Venice. They stayed in England term for the instrument that I have en successor as leader of the pif{eri, Alberto di only a few years, then returned home. countered in any Italian records). Francesco Gregori, was ordered to open a In 1539-40, the king-who played the school in 1603, "above all because of the recorder himself-attracted them back to great necessity of renewing and maintain England permanently, along with their The wind band ofSiena ing a school of music in the Palace, as was younger brother Baptista, this time not as is first recorded the custom in the past, and of promoting shawm and trombone players but as a as having recorders young players from it. " consort of recorder players. This consort, Nodi retired on fully salary in 1601 and expanded to six members in 1550, lasted in 1547. died the following year. His heirs returned intact until the amalgamation of the three to the palace "two cases of recorders, one Court wind consorts into one group in For our purposes, the most important black and the other yellowish; a case of 1630-no less than 90 years. Its later member of the Sienna pif{eri was Simone flutes; (and) another case of six sordini members included second- and third di Domenico Nodi-that is, Simone Nodi, (sorduns?)," all of which had been issued generation Bassanos (Arthur, Anthony II, son of Domenico-who was appointed in to him for the use of the pif{eri. Augustine, Edward, Henry, Jeronimo II, 1546, only one year before the first official Lodovico), other foreigners (William mention of recorders in the records. He The Gans Family Daman and two members of the Lanier had apparently already been serving as a The Ganses present a fascinating case of family, Alphonso and Clement), and from supernumerary, as five months earlier his wind players involved with the recorder at 1593 onwards some native wind players meal allowance had been increased. As several levels. Wolff Gans joined the (Robert Baker I and II, John Hussey, with many of the pif{eri, the trials and Stadtpfeifer (city band) of Augsburg in William Noake). tribulations of his life are recorded in some 1526 and stayed there for eight years. At The musicians were on call daily in one detail. In 1564, he was hauled before the that point he took some kind of leave of of the five "standing houses" of the city authorities to explain why he had dis absence, perhaps engineered through the monarch on the River Thames-Westmin obeyed orders to play the cornett alone imperial household, to work for Queen ster, Greenwich, Richmond, Hampton while his colleagues were absent on one Mary of Hungary, who did not in fact live Court, and Windsor-apparently to play occasion; he must have had a good excuse, in Hungary but was the regent of The for dances and dinners. Doubtless the because he was absolved of the charge. In Netherlands and based in Brussels. In consort used instruments made by the 1555, he was ordered to share the gifts and 1535, Gans was one of three "shawm play Bassanos, who were among the prominent gratuities that he had received from ers" paid "for having come from Germany woodwind makers of the age. (For details, visitors on behalf of the ensemble, and to the service of the Queen." see my book on the Bassano family, or my apparently some extra income for He also received a payment "for sever August 1984 article for American Recorder freelance work outside the Palace. al instruments of music made in Augsburg on the Court recorder consort.) Ten years later in 1565, Nodi and a col and delivered to the Queen; among oth league, Adriano Mangoni, were among the ers, three recorders, including one the Simone Nodi five pif{eri who were successfully sued by a height of a man, for the contrabass part; The wind band of Siena is first recorded as Palace trumpeter and his son for not shar one for the tenor; and one for the superius; having recorders in 1547: "a case of black ing gratuities. In 1570, Nodi in turn sued another large and one medium recorder; recorders, in the hands of the pif{eri." the leader of the pif{eri, Ascanio Marri, for also eight flutes .... " Clearly, Gans was Revised statutes for the pif{eri drawn up in the same reason. Nodi himself was elected helping to build up the collection of 1556 state that they would now number leader in 1575. In 1580, he was ordered to woodwinds at the disposal of Queen five musicians who, with their "recorders, be imprisoned for violating the city's regu Mary's band, which then consisted of two trombones, and cornetts" were to be "in lations on taking outside employment, cornettists, three shawm players, and a constant readiness to play for the captain trombonist. 20 American Recorder We do not know of any woodwind nett, but must accept and be responsible teamed up with Melchior Neusidler makers in Augsburg in the 16th century, for another part. " (1521-90), the celebrated composer and so Gans is much more likely to have What the Ganses did not know was lutenist, who had moved to Augsburg a bought the instruments in or around that that the city had already made a deal with few years earlier. Under Neusidler's lead city. There are surviving great bass Prenner, who had been playing in the tow ership formed a group to play stille recorders from this period made by Hans er of St. Stephen's Cathedral in Vienna for Muska-apparently chamber music Rauch in Schrattenbach and probably Sig five years, to swap places with Perger. In involving lute with some soft instruments, mund Schnitzer I in Nuremberg; both December that year, Wolfgang wrote a such as strings, flutes, or recorders cities are reasonably close to Augsburg. complaint that the city magistrate had de for prominent citizens. (Sigmund was praised, in a book pub- nied his request for a salary for the autumn The city'S response to the dispute, in in Nuremberg in 1547, especially quarter, noting that on his return from January 1556, was to summon all the for his large sizes of woodwind instru Italy he had served for five months without Stadtpfeifer, admonish them to keep the ments, including recorders.) In 1536, salary and he had now used up the money peace, and make them take an oath to "not Gans was described not only as shawmist that his father gave him during his Italian do anything offensive to each other or bu t also "archer of the Queen's corps. " stay. Since Wolfgang in fact never appears against the law." Incidentally, one of Pren In 1538, Gans returned to the on the payroll, he must not have been ner's complaints, that the Ganses some Augsburg Stadtpfeifer and stayed there for hired permanently. times showed up "without the rest of his life, the last payment being Wolfgang therefore had no post, and demonstrates that it was now consid made to him in 1557. An inventory of the the Gans family were put in a difficult fi ered standard for wind musicians to band's instruments in 1540 included a nancial situation. The solution they from music, whereas in the 15th cen case of five recorders (two discant, two adopted emerges from an infamous dis tury had almost always played from tenor, one bass) and a case of four flutes pute between Wolff and his colleagues in (three tenor, one bass), both "lost" from the Stadtpfeifer three years later, in 1555 of Wolff's sons did eventually the city's dance house, presumably stolen. in which, among other things, Wolff move on from Augsburg to the same We may be suspicious that Gans had sold claimed that Prenner tried to hit Wolfgang place, the Court of Baden-Wiirttemberg the instruments to Queen Mary, but the on the head with a large shawm (and in Stuttgart. Sebastian was hired first, in numbers and sizes of instruments do not Prenner counterclaimed that he merely 1566, and the Court immediately bought match. The members of the band are gestured with the instrument). him a trombone "of an especially good named in the inventory as Gans (who had Amid all the angry posturing on both kind and thoroughly useful for the music a treble shawm, a bass shawm with one sides, several interesting facts emerge. of the Court ensemble." He sur key, and a case of six crumhorns), Jorg Wolff claims he "not only taught the oth vived a long illness in 1570. Prenner (a tenor shawm), and Hanns Trex ers [his colleagues] ... but also established Wolfgang followed him to el (five schreyerpfeiJfen), along with Le the music under the Stadtpfeifer." the Court in 1573. By 1575, _ E upolt Turmer (who is said to have had a word music here may refer to some special they had achieved such a .. 17 1 trombone at St. Peter's Tower, the city's configuration of instruments or parts, as reputation that a local poet, watchtower; perhaps he also used the in the band had been established since the Nicodemus Frischlin, in a poem about the strument to play with his colleagues when 14th century.) first marriage of Duke Ludwig, devoted a he was not needed at the tower). Once stanza to them: again, we can see the range of wind instru Wolff Gansen ich hie nennen mufl ments a city could provide for its band. We Wolff claimed that Weil er 1st so ein Musicus may suppose that the musicians owned Mit sein Bruder zu dieser ftist recorders and flutes, since the city had not Prenner tried to hit Fast der berhiimbst Instrumentist replaced the lost ones. AuJfPfeiJfen, Zincken so gerad Wolff Gans wrote of his sons, Sebastian Wolfgang on the head Den weitesten beruJfjetz hat and Wolfgang, that they "were educated in Und sunst auJfmanchem Instrument music from their early youth, and learned with a large shawm ... Wie der weist, der Wolff Gansen kent. diligently, and moreover they have been in [I must name Wolfgang Gans here / be other countries with [music] masters; Because of some previous quarreling, cause he is such a fine musician./With his much was spent on them, so they-thank the city lords had ordered in 1554 that all brother at this time / almost the most God ... have learned and understood the Stadtpfeifer "live together peacefully famous instrumentalist. / On pipes and more than other Stadtpfeifer." Around and like good colleagues." For several straight cornetts / he has a widespread one of them, apparently Wolfgang, years, the band had been rehearsing to reputation / as well as on many another in had been sent "to Ferrara for two whole gether three times a week. Wolff decided strument./ That's what everybody knows years at my own expense." When Wolf to stop playing with the Stadtpfeifer and who knows Wolfgang Gans.] gang returned in February Wolff ap sent a substitute: he says, an outside trom Ironically, Neusidler applled unsuc plied for him to have the place in the band bone player; Prenner says, "only his ap cessfully for a post in Stuttgart the follow just vacated by Wolff Perger. Noting in prentice and inexperienced in playing," so ing year. The Gans brothers were highly passing that Wolfgang was also an organist they had to hire someone better. paid (especially Wolfgang, who also re and composer, Wolff asked the city to hire Then Wolff formed his own band with ceived a large clothing allowance). him "because my colleagues and I well his sons to do freelance work. Not to be were consulted about hiring decisions need a good cornettist, as in my sickness I outdone, his colleagues Prenner, Hans allowed to select instrumentalists without am no longer capable of olavim! the cor rrexel, and his son of the same name, asking the Kapellmeister. March 2004 21 In 1572, Sebastian took two "singing Stuttgart, which had the largest instru adept in and able to play stringed instru boys" from the court chapel as appren ment collection of any European court or ments, flutes and other woodwind instru "he should teach and instruct city, one of the players still had so many in ments nowadays common, also shawms, on instruments." Over the next 14 years, struments of his own. trombones, crumhorns." he took five more apprentices for periods Wolfgang Gans was also paid for pro The leader of a company of musicians, set between two and six years. These peri viding a number of instruments for the Giovanni Pietro Rizeffo, in seeking em ods are short in comparison with those Court between 1574 and 1589: a case of ployment from the duke of Parma in 1546, elsewhere (e.g., in London, a minimum of flutes and dulcians, a virginals, a cornett, a claimed that all six musicians in his com seven years), and that may have led to trombone, and a case of six flutes. As pany could play the trumpet, trombone, trouble. Christoph Frey, who had been ap a composer, he received payments for pro shawm, cornett, cornemuse, recorder, prenticed to Sebastian for six years but re viding a number of pieces for the Court flute, and violin; were all excellent at im leased after only 2-1/4 years, became a a four-part mass, unspecified composi provising from a vocal part; and could sing Court Heerpauker (timpani player). One of tions, two songs (one four-part, one eight excellently too, having quite good voices. own apprentices, Ulrich Beck, then part), and another song-as well as An interesting case is Jonas Depensee to petition the Court to be allowed to psalms for the local monastery. from Stralsund in Estonia, who wrote to learn" other instruments such as cornetts, In 1578, he was sent to Augsburg to see the town of Reval in 1587 that he was able trombones, and the like," presumably be "whether the Fugger instruments were for to play "trombones, cometts, dulcians, cause was not competent to teach sale." This was presumably the famous crumhorns, flutes, recorders, him. collection of Raimund which was tenor, and bass shawms, and violins, in In 1574, Sebastian was sent to pur in fact taken over by Fugger's brother correct musical style, [for pieces] in four or chase instruments for the Stuttgart Court Ulrich the following year. five parts." In a 1607 letter, Depensee in Munich, Augsburg, and Ulm, and the Only two apprentices of Wolfgang's are claimed that his son Andreas, who had ap following year he brought violin strings mentioned in the records, one of them his prenticed with him, was "first, a good from Ulm. In 1576, he was paid for having own son, also named Wolfgang (1579), trumpeter, second, a good cornett player, a case "containing 31 flutes and whom he was "to teach and intimately in plays a good discant part on the vio pipes of all kinds" and for getting "several struct on instruments" for five years; after lin, blows a good flute, dulcian, quart, al part-books" bound. being freed, this son asked for permission to, and tenor trombones: in sum, wellnigh Six years later, he went with the Court to move to Rome but instead was hired as perfect on all kinds of instruments." De woodwind maker Samuel Baisch to Court organist. By 1589, Wolfgang was pensee also lists "the instruments that I Wiesensteig, so that they could learn "the described as "old and not capable much finishing of Kolonen and the cutting of longer, therefore to be released and other their mouthpieces (reeds?)" from the possibilities to be thought of" for the Recorders were pfeiffenmacher Christof (not to be Court band. The following year he was confused with Gans's apprentice). The paid for no fewer than eight settings of the standard equipment sources relating to these Kolonen or Kolon Magnificat, perhaps his own, which he nen in Stuttgart do not make absolutely had"engrossed" (or written fair copies of), for the 16th-century clear whether the instruments were sor so he did have some capability left. He duns, a type of double-reed instrument in died on August 28, 1598. column form (as suggested by their high The wind players at the Stuttgart Court town musician. and the word "mouthpieces"), or were expected to be proficient on a wide columnar recorders. In 1584, Sebastian variety of instruments. A record for Hans can now make over to him and, praise had a goldsmith coat three cornetts with Eckhardt's apprenticeship to Georg Straal, God, he can all use: trombones and cor tin, then gild them and fit them with boss "trumpeter and instrumentalist" at the netts, among them a good quart trom es; the cost of this little operation brought Court (1592), mentions that he was bone; second, a consort of dulcians; third, him a sharp order not to do anything in fu "members of the violin family, a consort of large and small shawms; ture without permission. cornetts, recorders, flutes, viols, trom fourth, a consort oflarge [?] cornetts; Sebastian died in December 1586. His bones, crumhorns, small bagpipes, and a consort of crumhorns; sixth, a consort of widow, Susanna, sold to the Court a large trumpets." flutes; seventh, a consort of recorders; collection of instruments that he had pre eighth, a consort of violins; so that he can sumably played: two trumpets, three Jonas Depensee change between eight kinds of instru curved bass cornetts, six straight cornetts, The 16th century produced some other ments and use five and six or eight voices." "a case of seven recorders and a flute, all striking cases of multi-instrumentalism. What all such lists confirm is that made by the Netherlands pfeifenmacher" In 1540, three musicians from Nurem recorders were standard equipment for (the Court woodwind maker Melchior Bil berg-Wolf Hofmann, Hans Thalmann, the 16th-century town musician, and that ligkheim), a case of eight brown and eight and Symon Grebmaier-applied unsuc our instrument was a first-class citizen. It yellow flu tes, a case of four boxwood flutes cessfully to join the town band of Rothen is beginning to look as if the recorder was made in Antwerp (three tenors and a burg ob der Tauber, claiming they could more vital to the musical life of an era in bass), a case of three flutes (a two-part play "trombones, cornetts, flutes, schrey the Renaissance than at any time since-if tenor and two two-part basses), a case of erpfeifen, pipe and tabor, crumhorns, not a Golden Age, at least it was a Silver four brown flutes (the two larger ones shawms, recorders, stringed instruments, one, worthy of further exploration made in two parts), and a case of two bent organ, lutes." In the same year, a success through its players. bass flutes. It is astonishing that in ful applicant described himself as: "being 22 American Recorder Main Sources and notes by Jean-Philippe Navarre. sous le regne de Philippe le Bon (for reference and further reading) Sprimont, Belgium: Mardaga, 2002. (1420-1467). Strasbourg: Heitz, 1939. Ashbee, Andrew, and David Lasocki with Golly-Becker, Die Stuttgarter McGee, Timothy. "Giovanni Peter Holman and Fiona Kisby. A Hojkapelle unter Herzog Ludwig III. PijJero of Florence." Historic Brass Biographical Dictionary ofEnglish Court (1554-1593). Stuttgart &: Weimar: SocietyJournal 12 (2000): 210-25. Musicians 1485-1714, 2 vols. Aldershot VerlagJ. B. Metzler, 1999. Keith. German Instrumental Music &: Brookfield, VI: Ashgate, 1998. Griscom, Richard, and David Lasocki. ofthe Late Middle Ages: Players, Patrons, Cazeaux, Isabelle. French Music in the The Recorder: A Research and Informa and Performance Practice. Cambridge &: Fifteenth and Sixteenth Centuries. tion Guide, 2nd ed. New York: Rout New York: Cambridge University Press, Oxford: Basil Blackw-ell, 1975. ledge, 2003. A comprehensive survey 1992. D'Accone, Frank A. The Civic Muse: Music ofwritings about the recorder ---- "The Recorder and Recorder and Musicians in Siena during the Middle through 2001. Consorts in the Fifteenth Century. " In Ages and the Renaissance. Chicago: Haggh, Barbara Helen. "The Status of the Musique de joie: Proceedings ofthe Inter University of Chicago Press, 1997. This Musician at the Burgundian-Habsburg national Symposium on the Renaissance book has more then 100 pages on the Courts, 1467-1506." M.M. thesis, Flute and Recorder Consort, Utrecht city's wind musicians in the 15th and University of Illinois, 1980. 2003, ed. David Lasocki. Utrecht: 16th centuries. Lasocki, David. "Inventories and Pur STIMU, forthcoming. ,. Kristine E "New Documents on chases of Flutes, Recorders, Flageolets, ____, ed. Tielman Susato and the the Life of Tielman Susato, Sixteenth and Tabor Pipes, 1388-1800." Music ofhis Time: Print Culture, Compo Century Music Printer and Musician." Just as you wouldn't use saxophones to play Medieval music, there arc appropriate percussion instruments to use for added color in early music, especially in music for dancing. Monroe suggests how to choose instruments and provides ideas for playing them, caring for them, and using them creatively on your own. Order this information booklet and others in the series: ARS Information Booklets: Recorder Care, by Scott Paterson American Recorder Music, by Constance Primus Musicfor Mixed Ensembles, byJennifer w. Lehmann Improve Your Consort Skills, by Susan (Prior) Carduelis Playing Musicfor tbe Dance, by Louise Austin The Burgundian Court and Its Music, coordinated byJudith Whaley Adding Percussion to Medieval and Renaissance Music, by Peggy Monroe Members: 1-$10,2-$20,3-$25,4-$30, 6-$40,7-$45 Non-members: 1-$15,2-$30,3-$40,4-$50,5-$60,6-$70,7-$80 Postage and handling: $2 for 1-2 booklets; $5 for 3-4; $6 for 5-7 AMERICAN RECORDER SOCIETY ~'_I~ BOx631,LITTLETON,C080160 • 303-347-1120/., ~.J March 2004 23