march 2005 Published by the American Recorder Society, Vol. XLVI, No. 2 XLVI, Vol. American Recorder Society, by the Published
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NEW LISTING! ____THE GREAT MR. HANDEL Carolina Baroque, ____LUDWIG SENFL Farallon Recorder Quartet Dale Higbee, recorders. Sacred and secular music featuring Letitia Berlin, Frances Blaker, Louise by Handel. Live recording. $15 ARS/$17 Others. ____HANDEL: THE ITALIAN YEARS Elissa Carslake and Hanneke van Proosdij. 23 lieder, ____SOLO, Berardi, recorder & Baroque flute; Philomel motets and instrumental works of the German DOUBLE & Baroque Orchestra. Handel, Nel dolce dell’oblio & Renaissance composer. TRIPLE CONCER- Tra le fiamme, two important pieces for obbligato TOS OF BACH & TELEMANN recorder & soprano; Telemann, Trio in F; Vivaldi, IN STOCK (Partial listing) Carolina Baroque, Dale Higbee, recorders. All’ombra di sospetto. Dorian. $15 ARS/$17 Others. ____ARCHIPELAGO Alison Melville, recorder & 2-CD set, recorded live. $24 ARS/$28 others. traverso. Sonatas & concerti by Hotteterre, Stanley, ____JOURNEY Wood’N’Flutes, Vicki Boeckman, ____SONGS IN THE GROUND Cléa Galhano, Bach, Boismortier and others. $15 ARS/$17 Others. Gertie Johnsson & Pia Brinch Jensen, recorders. recorder, Vivian Montgomery, harpsichord. Songs ____ARLECCHINO: SONATAS AND BALLETTI Works by Dufay, Machaut, Henry VIII, Mogens based on grounds by Pandolfi, Belanzanni, Vitali, OF J. H. SCHMELZER Ensemble Caprice Stuttgart. Pederson, W.W. Van Nieuwkerk & Maute—seven Bach, others. 10,000 Lakes. $15 ARS/$17 Others. Matthias Maute & Sophie Larivière, recorders; centuries. Kadanza Classics. $15 ARS/$17 Others. SUZUKI RECORDER SCHOOL (Four vols.) Michael Spengler, gamba; Maria Grossman, harpsi- ____A JOURNEY AMONG TRAVELLERS Recordings to accompany the Suzuki® Recorder chord. Works by Schmelzer, Muffat, Vitali. Antes (CD SHORT) Peter Bowman & Kathryn Bennetts School method books, with Marion Verbruggen, Edition. $15 ARS/$17Others. perform Donald Bousted’s 26-minute quarter-tonal recorders. $15 ARS/$17 Others, for each single CD, ____ BACH: MUSIC TO CHALLENGE THE piece for two alto recorders, which had its U.S. or $33 ARS/$40 others for any two Suzuki® CDs: INTELLECT AND TOUCH THE HEART Carolina premiere at the 1998 Berkeley Festival. ____Vols. 1 & 2 for Soprano or ____Vols. 1 & 2 for Alto $12 ARS/$14 others. Baroque, Dale Higbee, recorders. Cantata No. 21, (Vols. 1 & 2: folk & children’s songs, Baroque dances) ____LANDSCAPES David Bellugi, recorders; Ali Part One; Cantata No. 182. $15 ARS/$17 Others. ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others ____BLOCKFLOETENENSEMBLE WIEN Tajbakhsh & Chris Hayward, percussion. “Virtual” ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, recorder orchestra created by Bellugi. Three centuries Eva Maria Kaukal & Prisca Loeffler, recorders. of ethnic music by Encina, Brouwer, Ortiz, Bartok. ____SWEET FOLLIA, THE RECORDER ON TWO Ensemble works by Demantius, Monteverdi, Frame. $15 ARS/$17 Others. CONTINENTS Ensemble Caprice. Matthias Maute Morley, Mozart, Schermann, Kaeser, ____LES AMIS DU BAROQUE Paul Nauta, recorder & Sophie Larivière, recorders. Selections by W. W. van Nieuwkerk, Pachelbel, Reichard. & Baroque flute; Koen Dieltiens, recorder. Music by Purcell, Morley, Maute, Couperin, Van Eyck, others. $15 ARS/$17 Others. Bassani, Corelli, Vivaldi, etc. Highlight Intl. Atma Classique. $15 ARS/$17 Others. ____CHARLESTON PRO MUSICA ON TOUR $15 ARS/$17 Others. ____TELEMANN: DUOS POUR FLUTES, Marsha Evans, Lewis Fitch & others, recorders, ____MIDNIGHT SUN Alison Melville & Colin Savage, Ensemble Caprice. Matthias Maute & Sophie gemshorns, guitar and voice. Medieval and recorders; Ensemble Polaris. New arrangements of Larivière, recorders & transverse flute, Alexander Renaissance music with consort and singers. traditional music of Norway, Finland, Estonia, Sweden, Weimann, clavichord. Six Telemann duos & Millennium Music/ Charleston SC. $15 ARS/$17 Others. Scotland. Classic CD Disc of the Month, August 2000. sonatas alternate with five fantasies for clavichord ____CIRCULO MAGICO (MAGIC CIRCLE) Dorian. $15 ARS/$17 Others. by Maute. Atma Classique. $15 ARS/$17 Others. Cléa Galhano, recorder. Brazilian and American con- ____MUSIC FOR A WINTER’S EVE, Bringing Light ____TELEMANN: TRIO SONATAS WITH temporary music for recorder and various instruments. to the Darkness. Eileen Hadidian, recorder & RECORDER Vicki Boeckman, recorder. Trio sonatas $15 ARS/$17 Others. Baroque flute, with voice, violin, viola da gamba & for recorder and violin, recorder and gamba, recorder ____A. CORELLI Ensemble Caprice Stuttgart. Celtic harp. Traditional, Renaissance and Medieval and harpsichord. "Expertly played collection of cham- Matthias Maute & Sophie Larivière, recorders; songs to celebrate midwinter and the changing of ber music..."--Early Music America Magazine. Michael Spengler, viola da gamba; Maria the seasons. Healing Muses. $15 ARS/$17 Others. Qualiton. $15 ARS/$17 Others. Grossman, claviorganum. Works by Corelli & ____MY THING IS MY OWN: BAWDY MUSIC OF ____TRIO ATLANTICA Lisette Kielson, recorders. Kuhnau. Antes Edition. $15 ARS/$17 Others. THOMAS D’URFEY Tina Chancey, Grant Herreid & Works by Bach, Telemann, Montéclair, Leclair. Trio ____DAVID David Young, recorders & guitar; others Scott Reiss, recorders & other early instruments; Atlantica. $15 ARS/$17 Others. on keyboards, vocals, bass, percussion. Original Rosa Lamoreaux, soprano. Improvisations on ____20TH CENTURY MUSIC FOR RECORDER & songs by Young, including "If I Can Live Through tunes of love, sex & seduction in 18th-century PIANO Anita Randolfi, recorders. Music by Jacob, This...I can Live Through Anything," Blue Skies On A England. Koch Int’l. $15 ARS/$17 Others. Bartok, Leigh, others for recorder & piano. Cloudy Day," "You Are My Melody," "Something About ____PRIEST ON THE RUN Piers Adams, recorders. $15 ARS/$17 Others. Her." Universe Music. $15 ARS/$17 Others. Concerti composed by the ensemble’s namesake, ____VON PARIS NACH WIEN Duo Caprice ____DREAMS INSIDE THE AIR TUNNEL flame-haired Vivaldi. Upbeat. $15 ARS/$17 Others. Stuttgart. Matthias Maute, recorder & Michael Zana Clarke, recorder & composer. “Drawing on the ____RECORDER JAZZ Warren Kime, recorder. Spengler, gamba. Works from Paris to Vienna by music of the didjeridu & shakuhachi...beautiful & Original jazz charts with a great groove. Rameau, Satie, Maute, J. Haydn, Chopin, others. hypnotic...”—American Recorder. Orpheus Music. $15 ARS/$17 Others. Antes Edition. $15 ARS/$17 Others. ____ $15 ARS/$17 Others. REFLECTIONS, Music to Soothe and Uplift Please indicate above the CDs you wish to order, ____ENSEMBLE PIACERE 2002 Ensemble the Spirit. Eileen Hadidian, recorder & Baroque and print clearly the following: Piacere, Irmtraut Freiberg, Eva Maria Kaukel, flute, with Celtic harp and ’cello. Celtic, traditional, Name______Renaissance & Medieval melodies. Healing Muses. recorders. Sparkling performances of works from Daytime phone: (_____) ______the Renaissance to the 20th century by $15 ARS/$17 Others. Address: ______Frescobaldi, Ortiz, Telemann, Fux, Keil and many ____RENAISSANCE David Young, recorders. Plays others. Ensemble Piacere. $15 ARS/$17 Others. 11 of his own compositions inspired by a trip to St. City/State/Zip: ______FOR NO GOOD REASON AT ALL Scott Reiss, Peter's in Rome. Also includes "Con Te Partire" (Time Check enclosed for to Say Goodbye), made famous by Andrea Bocelli. Bruce Hutton & Tina Chancey sing and play more than _____ single CDs x $___ = $______Universe Music. $15 ARS/$17 Others. 30 early and traditional instruments. Hesperus's first _____ 2-CD sets x $____ = $______TOTAL $______crossover CD, fusing Medieval and Renaissance SACRED & SECULAR CANTATAS OF J. S. Please charge the above amount to my MasterCard or music with Appalachian, blues, Cajun, vaudeville, BACH. Carolina Baroque. Dale Higbee, recorders. Visa:#______Exp. Date: ______early swing. Recorder heard as jug, blues harmonica, Live performances of three cantatas, BWV 82a, Cardholder’s signature: ______pan pipes (quills)--and, of course, recorder. Golden BWV 202, BWV 209. $15 ARS/$17 Others. Mail to: Apple. $15 ARS/$17 Others. ____SAMMARTINI: SONATAS & CONCERTOS FOR ____THE GREAT EMU WAR Batalla Famossa, a FLUTE Ensemble Caprice & Rebel. Matthias Maute ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 USA.. young ensemble, with first CD of Australian & Sophie Larivière, recorders & traverso. Extended You may fax your credit card order to 314-966-4649. recorder music. Orpheus. $15 ARS/$17 Others. concertos and sonatas by Sammartini & Maute. Atma Classique. $15 ARS/$17 Others.
EDITOR’S ______NOTE ______Volume XLVI, Number 2 March 2005
n his column for this issue (page 3), ARS FEATURES IPresident Alan Karass gives a book The Recorder Music of John Weldon (1676-1736) ...... 11 report of sorts on What the Best College British music just after the death of Henry Purcell Teachers Do by Ken Bain. Karass relates the by David W. Music book’s ideas to recorder teaching, and mentions,“The final conclusion presented How to Rate Yourself as a Recorder Player ...... 20 in the book states that outstanding teach- 5 An article and chart to help you determine your playing level ers systematically evaluate their own by Frances Blaker and Letitia Berlin efforts and make changes accordingly.” Carrying this idea one step further, it could also be applied to the best recorder Promise of Summer ...... 26 students. In a chart with accompanying American Recorder’s annual look at summer workshops explanation (page 20), Frances Blaker and Letitia Berlin give you ideas for how DEPARTMENTS to find your current playing level before 8 starting along the road to improvement. Advertiser Index ...... 44 If your summer travel may take you on CD Review...... 34 the road to a workshop, the summer’s offerings look promising. Browse through Chapters & Consorts ...... 42 the possibilities in the annual workshop Classified ...... 44 roundup (page 26) and start making your Music Reviews...... 36 travel plans now. You never know whose path you might On the Cutting Edge...... 35 26 cross when you attend a workshop. A President’s Message ...... 3 privileged few have been able to start the Tidings ...... 4 workshop experience at a very young age, ON THE COVER: largely due to the efforts of Marie-Louise “In the Music Room” Marie-Louise Smith and Carolyn Peskin to receive 2005 “Weezie” Smith. Others among us have by Sara Frances. Presidential Special Honor Award; reports on the ICRO; played music by a composer/arranger of Instruments and recorder music, Carolyn Peskin—music music room of happy anniversary to the von Huenes; tenor recorder with keys that she has shared with us at the work- Constance Primus shops and chapter meetings she fre- ©2005 quents, as well as through AR and the Members’ Library. These two deserving individuals are the honorees for this year’s GAIL NICKLESS, Editor Presidential Special Honor Award Contributing Editors (page 4). FRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews It’s common knowledge that, during THOMAS CIRTIN, Compact Disc Reviews; JODY L. MILLER, Education almost any period of musical history, there CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A were many composers whose music was TIMOTHY BROEGE, 20th-Century Performance LISA SCHMIDT, Design Consultant widely played when they were alive, but which didn’t make it into the repertoire of Advisory Board music common after their death. Some Martha Bixler • Valerie Horst • David Lasocki of that music is languishing in archives, Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy unpublished and awaiting discovery by Kenneth Wollitz scholars such as David W. Music. Surely Copyright © 2005 American Recorder Society, Inc. a person with such a fitting name was Visit AR On-Line at
6 American Recorder PRESIDENT’S MESSAGE ______What the best recorder teachers do
recently stumbled across a book whose book states that outstanding teachers sys- seed money that has Ititle caught my attention, What the Best tematically evaluate their own efforts and already been College Teachers Do, by Ken Bain. After a make changes accordingly. For some, this generously provided 15-year study, the author presents findings can be the most difficult thing to do. It is by the Oregon Coast that suggest that what really matters is easy to be overly critical of one’s own Recorder Society, a what teachers understand, not what they teaching, or to simply ignore the whole small ARS chapter do. Although the book is focused on idea of self-evaluation. that started the Sitka college-level teaching, I think that his con- Recorder Residency clusions are very relevant to what makes a program. good recorder teacher or ensemble coach, I think the most And as we move out of winter and go so I’d like to share them with you. important of Bain’s about planting our spring seeds, I invite Bain has six principal conclusions. His you to observe and think about Bain’s six first conclusion is that outstanding teach- conclusions is conclusions whenever you have a lesson ers know their subjects very well. We’ve all or a coached ensemble session with an had coaches who astonish us with their the fifth one: outstanding teacher. I’m willing to bet knowledge of the piece we’re playing. good teachers that you find that he is right. They know about the life of the composer, Wishing you a musical spring, the special characteristics of the piece and trust students, Alan Karass, ARS President the genre, and they know how to perform
March 2005 7 Marie-Louise Smith TIDINGS ______International Congress on the Recorder Orchestra, ______competitions announced, 50th anniversary wishes Marie-Louise Smith and Carolyn Peskin to receive Presidential Special Honor Awards At the February ARS Board meeting, of recorder instruction by an outstanding pleting chapters for a forthcoming ARS Marie-Louise “Weezie” Smith and faculty as well as age-appropriate fun consort handbook. Serving as Q&A editor Carolyn Peskin were selected as the activities. Weezie has also taught courses of AR since 1993, she has also written 2005 recipients of the Presidential in recorder pedagogy in the IU School articles and music reviews for the maga- Special Honor Award. This award was of Music. She has touched the lives of zine. The ARS has published several of her established in 2003 and is granted at the many young musicians—inspiring them, compositions and arrangements in discretion of the ARS President, with full encouraging them, and sharing with them AR and as Members’ Library editions. Board approval, to recognize and honor her passion for early music. Carolyn’s individuals who have made special contri- Weezie is a graduate of Carleton Col- dedication butions to the recorder world. David lege, and was the third person to be award- to ARS, its Goldstein was the first recipient in 2003. ed the ARS Level III Teacher’s Certificate. projects and Weezie is well-known for her work as She has been teaching private lessons for its mission creator and director of the Pre-College over 30 years. Weezie also has served as a are exhibit- Program (1989-2003) and the Recorder music reviewer for AR and has recorded ed by her Academy (1993-2003), at the Indiana and annotated 13 15-minute programs of support of University (IU) School of Music Early folk music for National Public Radio that ARS scholar- Music Institute. The Pre-College Program were made available to 200 member sta- ships, edu- included some 30 young recorderists, tions nationwide. cation initia- harpsichordists and gambists, ranging in Carolyn has been a tireless supporter of tives, and age from 7 to 18. Participants had weekly the ARS and the Greater Cleveland (OH) new music private and group lessons, plus several Chapter for more than 30 years. In addi- for the performance opportunities each semester. tion to being a past member of the ARS recorder. Two recorder graduate students were Board, its vice president, co-chair of its Carolyn funded by the program and worked close- Education committee, and chair of its first fell in ly with Weezie and the students. Scholarship committee, Carolyn is cur- love with the Carolyn Peskin The Recorder Academy brought young rently coordinator of level exams for the recorder and people ages 12–18 to IU from the U.S. and ARS Education Committee. As a member early music about 30 years ago, after hear- abroad for an intensive two-week program of the Publications committee, she is com- ing a student consort perform at her daughter’s elementary school. Self-taught The web site of the Boston Early Music Festival (BEMF) continues to add information about at first, she later took private lessons and 2005 events, with several involving recorder. A plot synopsis and libretto for Johann Mattheson’s played in the Cleveland State University 1710 opera Boris Goudenow is posted, plus background on Mattheson. The opera score, recon- Collegium Musicum as well as in ensem- structed from manuscripts that were lost during World War II, includes a continuo orchestra with bles at the Cleveland Music School Settle- Washington McClain, Geoffrey Burgess and Kathryn Montoya doubling on oboes and ment. Carolyn passed the ARS Level III recorders. Opera performances are: June 14, 16 and 18 (evening), and June 19 (matinee) at the playing exam in 1990. Cutler Majestic Theatre in Boston, MA. A former high-school chemistry Camerata Trajectina, with recorderist Saskia Coolen, is set to play its program, “The Perfect teacher, she took early retirement in order and Well-Equipped Ship: Dutch Sea Shanties from the time of Czar Peter the Great,” on June 13 at to pursue a master’s degree at Cleveland 8 p.m. at New England Conservatory’s Jordan Hall. Later that week, recorderist Matthias Maute State in music history and theory, which is one of three soloists performing with the BEMF “Boris” Orchestra on June 17 at 8 p.m. at Jordan gave her more tools and background to Hall. The program, “Five Concerti and a Magnificat” comprises concerti by Telemann, Vivaldi, Tar- compose and arrange recorder music. tini and Hertel, plus the world premiere of a magnificat for double choir, trumpets and strings by Both awards will be presented this Mattheson. Maute will also lead a master class on June 18 at 4 p.m. at First Lutheran Church. summer. Carolyn will receive her award For more BEMF 2005 information or tickets, visit
8 American Recorder Bits & Pieces An addendum to Shopping for a Tenor? In the November issue of AR, article author L’Ensemble Portique has created a new Letitia Berlin men- Advisory Board. Members David Drexler, tioned some modifica- David Grindrod, Carolyn Sweers, Sara tions that can be made van Winkle and Richard Walters bring to tenors for people with backgrounds in music, education, advoca- small hands or other ob- cy and business. The Board met with artis- stacles to playing larger tic director Lisette Kielson and held a recorders without keys. strategic planning workshop that focused In this photo, Susan on a three-year vision for the ensemble. Jaffe, an Oakland, CA, Early musicians Sarah Cantor and recorder player, shows Angus Lansing welcomed daughter Maika Sofiya Lansing into the world on February 6. The web site of Early Music America,
March 2005 9 Congress is in Session— for Recorder Orchestras n October 2004, I was privileged to who builds recorders after historical by the award-winning Quartet New Gen- Iattend the very first International examples and teaches at the Utrecht eration, an ensemble of four talented and Congress on the Recorder Orchestra Conservatory, gave a fascinating lecture on attractive young women specializing in (ICRO), which took place at a spacious the subject of how one can influence the contemporary recorder music. conference center located deep in the sound produced by a recorder when Arguably the most unusual event of woods surrounding the town of Zeist, near playing it. Leenhouts led a lively playing ICRO, and the last performance of the Utrecht in The Netherlands. session of English music from the late Re- Congress, was the Dutch Recorder ICRO is the brainchild of Norbert naissance. Andresen conducted an inter- Orchestra Praetorius’s concert entitled Kunst, the conductor of the Dutch esting mix of repertoire for recorder or- March & Swing, conducted by Kunst. The Recorder Orchestra Praetorius, which chestras. Feldon conducted swinging “big venue was a tiny and pleasantly was founded by his father Piet Kunst over band” music from the Roaring Twenties. ramshackle theatre, also nestled in the 40 years ago. Anyone familiar with woods and close to the conference center. Norbert is likely to agree that he has When the approximately 200 ICRO par- exactly the kind of vision needed to con- Lest anyone fail to ticipants arrived for the concert, many had ceive a meeting specifically designed for notice his arrival, Kunst to find places in the standing-room-only recorder orchestras and their conductors. space at the back of the theater, alongside This was a truly international affair, swaggered onto the stage the stage technicians with their lighting well organized by members of Praetorius, via the catwalk, sporting paraphernalia. The younger people sat on with participants from many different the floor, surrounding a catwalk that led to countries who enjoyed some spectacular a fake moustache and the stage and that proved to be an integral concerts, lectures and playing sessions. wearing a black fedora and vital part of the scenery. Taking all this Faculty were recruited from the U.S. in, I couldn’t resist wondering how a U.S. (Ken Andresen, Stan Davis and Frances and a trenchcoat. Fire Marshall would have reacted. Feldon) and the U.K. (Christopher The music, which included rousing Burgess and Colin Touchin). There were In the daytime, there were impressive arrangements of Sousa marches like El also several recorder luminaries from The concerts given by three of the participating Capitan and Washington Post plus Ameri- Netherlands who are well-known in the recorder orchestras: Touchin’s National can favorites such as Irving Berlin’s Putting English-speaking world (Paul Leenhouts Youth Recorder Orchestra from Eng- on the Ritz and Gershwin’s Summertime, and Reine-Marie Verhagen), and others land, the Dortmund Recorder Consort was expertly presented by Praetorius who are better known in Europe. led by Dietrich Schnabel, and the members, who were dressed in assorted The playing sessions and workshops Recorder Orchestra Coro Monte costumes and who “froze” in theatrical covered a wide range of topics, of which I Zavelli conducted by Hildegard style, after playing each set of three pieces. can detail only a few. Heiko ter Schegget, Zavelberg, whose program included a During these interludes, the Dutch spirited performance of actor Marcel Looman recited, in English, Bach’s Brandenburg Concer- the story of Porgy and Bess, while a dancer to No. 2 arranged for performed on the catwalk. Lest anyone fail recorder orchestra. to notice his arrival, Kunst swaggered On two evenings, there onto the stage via the catwalk, sporting a were concerts performed by fake moustache and wearing a black professionals in a beautiful, fedora and a trenchcoat. Amid much historic church near the welcoming applause, he reached in his magnificent castle in Zeist. pocket and pulled out a fake revolver, In the first, entitled A Noble which he wielded for a few seconds before Noyse of Musicke— conducting the first piece: Lennon & Instrumental Masterworks of McCartney’s Yesterday. the English Renaissance, Again, no one who knows of Kunst is Leenhouts conducted his likely to be surprised at this description of 12-person ensemble, The a Praetorius concert, and I hope that some Royal Wind Music. The of our American recorder orchestras and ensemble played from mem- players will be able to witness more of ory and faultlessly, on won- these unique events for themselves in the Norbert Kunst, conductor of Dutch Recorder Orchestra derful matched instruments future. Praetorius and founder of ICRO, speaks with a member of made by Adriana Breukink. The next ICRO will be held in 2006, on Praetorius. In the background is the exhibition of recorder The next evening there dates to be announced. makers and sheet music vendors. was a stunning performance Amanda Pond, Milford, CT
10 American Recorder ICRO: Another person’s experience ast October I was also fortunate to be able to attend the first LInternational Congress on Recorder Orchestra in Utrecht. The congress was in a beautiful conference center, which was like a three- or four-star hotel. The rooms were very comfortable, and the food was excellent, with mouth-watering desserts. The grounds surrounding the center offered nice walking trails. The conference was held from Friday night to Sunday night. We had wonderful concerts in the evening and 45-minute workshops throughout the day. The offerings of the conference covered a wide range of topics, including Repertoire for Recorder Orchestras, Attitude and Paul Leenhouts leads a session during the 2004 ICRO Movement, Live-electronics, Popular Music, Japanese Music, and Improvisation and Graphical Music. I particularly enjoyed two workshops. One was led by Balderick Deerenberg, Improvisation and Graphical Music. Deerenberg studied with Frans Brüggen and is now recorder teacher at the conservatories in Groningen, Amsterdam, Utrecht and Antwerp. His way of teaching is inspired by the Alexander technique and Zen philosophy. During this workshop, we discussed a piece of music that looked like a piece of modern art—all circles, lines and dots. We talked about ideas for how we would interpret it musically. After a lively discussion, we played it. It was one of the most interesting musical experiences that I have had. The other workshop I enjoyed very much was with Reine-Marie Verhagen, who focused on how shakuhachi techniques could be imitated on the recorder. We also improvised a lot on the pentatonic scale. The ICRO included an exhibition of many instruments and music. There I became acquainted with friendly, delightful people, and also found sources for music that isn’t generally available in the U.S. Helga Wilking, San Rafael, CA Von Huenes celebrate for recorders and strings by Friedrich; and All in all, it was a grand occasion, the chorus “Wenn es meines Gottes topped by a gala reception for 300 in the 50th wedding anniversary Wille” (If it is my God’s will) and chorale church’s parlor afterwards. Recorder “Komm, du süsse Todesstunde” (Come, Susan E. Thompson maker thou sweet death’s hour) from Cantata Friedrich 161; the aria “Bist du bei mir” (Be thou and with me) from the Anna Magdalena Noten- Ingeborg büchlein, BWV 508; and the chorale “Sei von Lob und Preis mit Ehren” (Now laud and Huene of praise with honor) from Cantata 151, Brookline, Jachzet Gott in allen Landen (Praise God in MA, every land). celebrated Participating in the performance of their 50th these works were the All Saints Parish wedding Adult Choir under the direction of Donald anniver- Teeters, organist and choirmaster, and the sary on All Saints Schola, a young people’s choir December led by assistant organist and choirmaster 30, 2004, Keith Glavash. Other musicians included having Jessica Cooper, soprano; Sarah Cantor, been Majbritt Christensen, Mahrya married in Dakubu, Eric Haas, Roy Samson and St. Paul’s James Young, ensemble of recorders; and Episcopal string ensemble members Lena Wong and Church, Jane Starkman, violin, Laura Jeppesen, Brunswick, ME (photo above from 1954). viola, and Sarah Freiberg, violoncello. Family, friends and members of the The von Huenes’ children and grand- congregation of All Saints Parish in children were all in attendance: son Brookline commemorated the occasion Andreas, his wife Katherine, and son on January 9 in a Sunday morning service Balthasar; son Patrick, wife Ming, and enhanced by the music of J.S. Bach. daughter Mina; son Nikolaus, wife Susan, The music for the service included the and son Markus; daughter Elisabeth; son sinfonia from Bach’s cantata, BWV 29, Thomas, wife Monica, and daughters Ella, Wir danken dir, Gott, wir danken dir (We Carina and Genevieve. thank you, Lord, we thank you), arranged
March 2005 11 Recorders and and the Music of Redemption As part of the Boston Early Music Festival’s ongoing concert series, Ensemble Caprice presented a program titled “From Heaven and Hell” on January 15 at the First Church in Cambridge, Congregational, in Cambridge, MA. Near-arctic temperatures did not discourage concert-goers. The ensemble played to a full audience. This was the second of three performances of this program, and the first U.S. performance. Ensemble Caprice consists of Matthias Maute and Sophie Larivière, recorders (shown at left in a photo taken by William Stickney in 2002); Susie Napper, violoncello and viola da gamba; and Alexander Weimann, harp- sichord and organ. “From Heaven and Hell” draws from 16th- and 17th-century repertoire from Germany, Italy and Spain, musically portraying the contemporary beliefs con- cerning Heaven and Hell. The battles with sin, mortality and the Devil came alive with the help of Maute’s comments, program notes and accompanying text. The concert opened with four pieces by Andrea Falconiero and Francesco Turini. These strongly emotional pieces, reminiscent of 17th-century Italian madrigals, were the introduction to the drama that followed. The second set, mainly consisting of music by Falconiero, brought the listener face to face in battle with the Devil. The title of the first piece of the set, Rinen, y pelean entre Berzebillo con Satanasillo, y Caruf, y Pantul (Beelzebub and Satan bicker and fight, as well as Caruf and Pantul), aptly describes the music— a continuous stream of agitated melodic statements exchanged between the per- formers. Ensemble Caprice masterfully delivered the musical battles throughout the set, including the concluding piece, an anonymous Ciaconna di Paradiso, e dell’inferno. According to the program notes, “both paradise and the inferno are depicted in a drastic naturalism that was designed to keep the flock of believers on the right path.” Following this set, the audience was treated to a masterful performance of Gesualdo’s Canzon francese del Principe and Gagliarda by Weimann on the harpsichord. Weimann’s interpretation highlighted the chromaticism and melodic subtlety that makes Gesualdo’s works popular among early music audiences. There were many other diabolical treasures exhibited before the audience heard the two final works, including varied pieces by Falconiero, Schmelzer, Uccellini and Ortiz. The penultimate work, Sonata quarta by Schmelzer, was a heavenly treat. The combination of Maute’s technical prowess and expressive genius was matched by Weimann’s inspired continuo playing. The program ended with Schmeltzer’s Serenata con altre arie. During the sixth and final movement of the work, the harpsichord plays a single repeated note. According to the program notes, “After the joys of the carnival and the wild dances of Arlecchino (the second movement), the death bell tolls...the carnival must end because it is Ash Wednesday and the beginning of Lent. The struggle between good and evil will linger for ever....” It was a very provocative and somber, yet fitting, end to an ingenious program. The enthusiastic audience response to the program prompted an encore, a rendition of La Folia. Both Ensemble Caprice’s performance and its program were wonderful. Many concept-based programs can be interesting intellectually, but then fall short musically. “From Heaven and Hell” has real musical substance and invites the listener into a world of Renaissance musical and philosophical ideas. Its flawless execution by four marvelous musicians was a heavenly delight. Alan Karass The Richmond Consort played at the Stratford (CT) Yulefest/Take Joy! on January 8. Shown in the photo (l to r) are Rebecca Arkenberg, Gordon Arkenberg, Mark Eisenberg, Sheldon Campbell and Jean Hopkins. Not shown in this photo is consort member Bruce Larkin.
12 American Recorder
COMPETITIONS First Montréal International A jury of professionals with established EMA Medieval/Renaissance Recorder Competition international careers will evaluate the can- Performance Competition The first Montréal International didates at the semi-final and final levels, With the generous support of a private Recorder Competition will be held in con- and will decide on the awarding of prizes. donor, Early Music America (EMA) will junction with the fourth Montréal Interna- Attention will be paid to artistically inter- sponsor its second Medieval/Renaissance tional Recorder Festival, September 15- esting programming and to presentation Performance Competition. The winner of 18. It is meant to serve as a springboard for utilizing creative elements such as im- the competition will receive the $5,000 players who wish to develop a profession- provisation, arrangement or composition. Unicorn Prize and a concert performance al career and is an opportunity for them to The jury reserves the right not to award as a concurrent event at the Berkeley Early prove themselves as soloists. all available prizes, which are: first prize of Music Festival in June 2006. The competition consists of three CAD$2000 (donated by Moeck); second The purpose of this competition is to stages: pre-selection, semi-final and final. prize, CAD$1000 (donated by Küng); encourage the development of emerging The first step for pre-selection is for and third prize, CAD$500 (donated by the artists in the performance of Medieval and each candidate to submit the required Montréal Recorder Society and the Renaissance music. Applicants must be information below. Recordings will be Board of the American Recorder ensembles with a minimum of two evaluated by the competition jury, who Society). ATMA Classique and performers using voice(s) and/or period will select the semi-finalists. Jean-Luc Boudreau have also donated a instruments, performing music of the Those candidates who advance to the promotional CD for each prize winner. period between c.800-1550 AD. semi-final stage will present a 30-minute To apply, a candidate should not be All applicants must reside in the U.S. program at a public concert on September older than 32 on January 1, 2005. Candi- or Canada and be EMA members (either as 15 at the concert hall of the Jeunesses dates of all nationalities may apply. individuals or as an organization). They musicales du Canada, 305 rue Mont All candidates must submit the completed must also meet the definition of “emerg- Royal East, Montreal, PQ,
14 American Recorder The Recorder Music of John Weldon (1676-1736) he years between the death of Henry organist at two London churches— by David W. Music TPurcell in 1695 and the settlement of St. Bride’s (beginning 1702) and St. George Frederick Handel in England in Martin-in-the-Fields (1714 and follow- 1712 are often thought to have been fal- ing). Weldon apparently suffered a long low ones for British music, since no com- illness during the late 1720s and early poser of the stature of these two giants was 1730s, and was unable to receive promo- at work in the country during that period. tions in the Chapel Royal and perform While it is certainly true that the late 17th some of his duties at St. Martin-in-the- and early 18th centuries did not produce Fields. He died in London in 1736. an English composer equal to Purcell or Weldon’s music was written principal- Handel, the period was not devoid of ly for the church—over 35 anthems plus worthwhile music. A number of talented service music—and the theater. His most British composers were active in writing spectacular success in dramatic music for church, theater, and concert venues— came when his masque, The Judgment of among those William Croft (1678-1727), Paris (1701), to a libretto by William John Eccles (c.1668-1735), Daniel Purcell Congreve, won a contest to determine (Henry’s younger brother, d.1717), and who was the best contemporary theatrical the subject of this article, John Weldon composer in England. At least three other (1676-1736). composers—John Eccles, Daniel Purcell and the Moravian Gottfried Finger— While it is certainly true entered the competition, all setting Congreve’s text as was required by the that the late 17th and rules of the contest. The libretto itself early 18th centuries seems to have been a symbol of the com- petition, for it centered on a beauty con- did not produce an test among the goddesses Juno, Pallas and Venus as judged by the human Paris. English composer Eccles, Purcell and Finger were all old- equal to Purcell or er and more experienced than Weldon, and the younger man’s winning of the first Handel, the period prize occasioned a suspicion in some was not devoid of quarters that the contest had been rigged. While Weldon’s score does show some worthwhile music. significant weaknesses, it may be noted that these suspicions came mainly from John Weldon was born in Chichester, the other contestants (or their supporters) England, and received his early education and must be treated with caution. at Eton College, where he studied with Weldon’s abilities were also demon- college organist John Walter. Beginning in strated in a setting of The Tempest. Once the spring of 1693, he studied for about a attributed to his teacher, Henry Purcell, year with Henry Purcell, though it is not modern scholars now generally credit the known for sure whether these were com- score at least partly to Weldon. position or performance lessons or both. Weldon also composed about 60 songs At the age of 18, Weldon became for various theatrical and concert venues, organist at New College, Oxford, a posi- as well as several chamber works for David W. Music is tion he apparently retained until about the instruments. an amateur recorder player turn of the 18th century. In 1701, he was A number of Weldon’s compositions and is also Director of Graduate Studies sworn in as a “Gentleman Extraordinary” incorporated the recorder. Like most com- and Professor of Church Music in the of the British Chapel Royal, subsequently posers of his era, Weldon used the label School of Music at Baylor University, being appointed as organist (1708), an “flute” for his recorder parts. His music for Waco, TX. His recorder editions “additional composer” (1709), and recorder included accompaniments for and arrangements have been second composer (1715). vocal pieces as well as independent published by Loux Music In the meantime, he also served as instrumental compositions. Publishing Company.
March 2005 15 WELDON’S VOCAL PIECES recorders with love was a standard device The two recorders alternate phrases with EMPLOYING RECORDER in the Baroque period. the voice throughout the section. An un- Weldon’s music for recorders as an “Hither turn thee, gentle swain” is usual feature of this part is a six-measure accompaniment to vocal pieces includes in two large sections, each setting two passage for the two recorders alone, after four items from The Judgment of Paris and lines of text. The recorders and continuo which they are joined by the continuo for open the piece in C minor with an the conclusion of the section. two independent songs. There are a number of common features in these eight-measure introduction, the second The second part of the solo opens in E , pieces. All of them use alto recorders in half of which repeats the first half with the and the meter changes from the cut time of pairs, often playing in parallel thirds or in recorder parts exchanged plus a few minor the opening section to 3/2 as the mood of alternation. The composer was fond of alterations in the continuo. The voice the text turns from earnest entreaty (“Stay, repeated bass patterns (ground basses and picks up the recorders’ thematic material lovely youth, delay thy choice”) to sooth- continuo ostinatos), and sometimes used for the first line of text (“Hither turn thee, ing caresses (“Far from thee be anxious modified rounded forms—in which the gentle swain”), breaking the melody up care, and racking thoughts that vex the third section of a piece reused some of the into distinct phrases separated by great”). At least one manuscript source for material from the first, but without com- recorder passages based on the same the solo contains only this second part, pletely following a true ABA (da capo) material; this is then repeated wholesale. treated as though it were a separate piece form. The second line of text (“Let not Venus and omitting the recorder parts. As with sue in vain”) calls forth a new vocal theme, the opening section of the solo, the The Judgment of Paris sung in alternation with the recorders in recorders play in alternation with the The four movements in Weldon’s much the same fashion as the previous voice, with the first recorder often repeat- Judgment of Paris that employ recorders section. A recorder/continuo conclusion ing the soprano’s melodic material and turns the music to the relative major key the second recorder acting as a harmonic are the opening “Pastoral Symphony by Paris and other shepherds on Ida’s top, (E ). filler between the first recorder and the while Mercury descends,” the chorus continuo. “Happy thou of human race,” and Venus’s Both “Hither turn thee, gentle swain” solos “Hither turn thee, gentle swain” and What is notable about and “Stay, lovely youth, delay thy choice” “Stay, lovely youth, delay thy choice.” the “Pastoral Symphony” are attractive pieces that are well worth The Pastoral Symphony, for two separate performance. The voice parts of recorders, two oboes, drum, and contin- is that it uses both the two pieces are not particularly difficult uo, is labeled “A Canon. 4 in 1,” but this is recorders and oboes, for but require a soprano who can sustain a not as impressive as it sounds, for the high tessitura. The recorder parts present canon turns out to be merely a 17-meas- in 18-century England only moderate challenges, though in both pieces the second recorder must negotiate ure series of arpeggios on the C major the same performers chord. several occurrences of low F and F , and generally played both. both instruments are called upon to play What is notable about the “Pastoral Symphony” is that it uses both recorders low A . and oboes, for in 18th-century England The second section of the solo begins the same performers generally played with the voice singing the last two lines of “Peace, Peace, Babbling Muse” both. This supports other evidence that the text (“Venus rules the gods One of Weldon’s most remarkable vocal the orchestra for the original performanc- above,/Love rules them, and she rules pieces to include recorders was his song es of The Judgment of Paris was a relatively Love”) in melodic sequences accompa- “Peace, peace, bab[b]ling Muse.” It was large one for the time. The recorders and nied by continuo only. The two recorders written to a text, by the 17th-century Eng- oboes are employed symbolically to and continuo repeat the soprano’s theme, lish poet Edmund Waller, that was printed suggest the pipes being played by Paris with the recorders playing the sequences in London in the 1645 Poems, &c. Written and the other shepherds. in alternation. The music works its way by Mr. Ed. Waller . . . set by Mr. Henry Lawes. The two recorder parts in “Happy thou back to C minor. At the end of the move- Apparently, this publication was issued of human race” are of little interest, since ment, the recorders return to some of their without Waller’s direct involvement. they are doubled by the violins and oboes. opening material, creating a hint of da capo Although William Turner published a In fact, all of these instruments merely form. setting of “Peace, peace, babbling Muse” duplicate the choral soprano and tenor or Like “Hither turn thee, gentle swain,” in 1699, no composition of that text is alto lines. “Stay, lovely youth, delay thy choice” is in known to exist by Henry Lawes (the most Much greater significance attaches to C minor and comprises two large sections. prolific song composer in England at that the two solos by Venus. Weldon character- However, there are few other resem- time and collaborator on some masques ized each of the three goddesses (all sung blances between the two movements. with elder brother William, now known by soprano voices) in the masque by The opening section of “Stay, lovely for his viol suites). accompanying them with different instru- youth” is based primarily on a three-meas- Weldon’s music for Waller’s text was ments: Pallas (goddess of war) with trum- ure continuo ostinato that modulates sev- set in D minor for tenor soloist, two pet and drum; Juno (queen of the gods eral times before returning to the home recorders and continuo. This was pub- and goddess of marriage) with strings or key of C minor. It is preceded by a lished in A Collection of New Songs with a with continuo only; and Venus (goddess “Symph[ony] for Venus” for oboes, curtal, through bass to each song for the harpsichord of love) with recorders. The association of strings and continuo, after which the voice compos’d by Mr. Iohn Welldon perform’d att begins immediately with the continuo. his Consort in York Bildings (a collection
16 American Recorder published in London in 1702 by John Since it was also the last piece in the book, Walsh). The “Consort in York Bildings” it is possible that this work was inserted at The “Consort at York was the most important concert series in the last moment to fill out the volume. London at that time. This particular event This—plus the problem of the concert Bildings” was the most is probably one that took place on July 2, advertisements, mentioning only female 1702, as advertised in the June 27 Post singers while “Peace, peace” was obvious- important concert series Boy. Weldon’s Collection of New Songs was ly designed for a male—raises the possi- advertised in the July 2-4 issue of the Post bility that the song was not performed at in London at that time. Man (a different newspaper from the Post the “Consort in York Bildings” at all. Boy). The release of the song collection si- The distinctly sectional nature, variety multaneously with the concert was un- of compositional procedures and musical doubtedly an effective marketing strategy. themes, and length (229 measures) of Two points should be noted about the “Peace, peace” approach the form and relationship between the “Consort in York dimensions of a cantata. The first 100 Bildings” and the publication of “Peace, measures of the work are based on a five- peace” in the Collection of New Songs. The measure continuo ostinato that is repeat- advertisement for the concert mentioned ed six and one-half times, then subjected only female singers, while the text of to variation, modulation and further repe- “Peace, peace” seems to call for a male tition. Two statements of the continuo os- singer. It is possible that the “consort” in- tinato precede the first entry of the voice; cluded male singers who were not named over the second statement, the recorders in the advertisement. introduce the principal theme that will be However, in several respects, “Peace, taken up by the voice (see ex. 1). peace” does not fit with the other pieces in The voice sings the first phrase of text, Weldon’s Collection of New Songs. The first repeats it using a slight variation of the page of each piece in the collection same music, and presents two new (including “Peace, peace”) contained the text phrases in contrasting music, each title and composer’s name, suggesting textual phrase being separated by several possibilities: they had all been pre- recorder/continuo interludes. viously printed separately; the publisher The whole process is then repeated, planned to issue them individually at a though using somewhat different music. later time; or they were to appear at the Melismatic runs and expressive sighing same time in both separate and collected figures feature prominently in the voice form. Indeed, separate issues (or reprints part. Of the nine instrumental sections in in other collections) of all the pieces are the opening part, five are based on the known in the identical format used in the principal theme of the movement and two Collection of New Songs. others use different music but are nearly But “Peace, peace” was the sole work identical to one another. in the volume that employed obbligato The 3/4 meter and D minor key of the instruments; all the others used continuo first section give way to cut time and F only. Furthermore, it was the only one that major for an 18-measure arioso for voice was paginated (beginning with “1”). and continuo. The text of this second Example 1. “Peace, peace, babbling Muse,” mm. 6-11 ¡ ¡ ¡ Ì ¡ ¡ ¡ ¡ Recorder 1 ¡ ¡ ¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ D ¡ ¡ ¡ Ì
¡ ¡ Recorder 2 D ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ,¡ Ì
Ì Vo ice D
Peace, ¡ ¡ 0¡ " ¡ ¡ ¡ ¡¡O¡ ¡ ¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡¡ Continuo D ¡ ¡ ¡ ¡ ¡ ¡ ¡¡¡ ¡
March 2005 17 Example 2. “Peace, peace, babbling Muse,” mm. 105-107 ¡ ¡ ¡ D & ¶ ¡ ¡ ¡¡¡¡ ¡¡¡¡ ¡ ¡¡ ¡¡¡¡¡¡¡ ¡¡ O¡ ¡ ¡ ¡ Vo ice ¡ ¡ ¡ , ¶ , threat-ens to hurl it on the ground, and " & ¡ ¡ ¡ Continuo D ¡ ¡ ¡¡ ¡ ¡ ¡ Ì 6 Ì Ì O6
portion is ready-made for word painting or printer. For example, several sets of (e.g., “she strikes my lute,” “hurl it on the parallel fifths (two voices moving in paral- ground,” “some fierce lion does lel motion, staying five notes apart) occur embrace his breathless corpse”), an between voice and continuo (see ex. 3). attribute of which Weldon took full Some passages contain a string of consec- advantage (see ex. 2). utive dissonances that seem to serve no The recorders return for the beginning larger purpose (see ex. 4). There is also of the third part, which also marks the perhaps too much exact, or only slightly return of the original time signature, key varied, repetition of the music. The text of this second and continuo ostinato. However, these shortcomings (if that is The recorder and continuo parts of this what they are) are more than offset by the portion is ready-made final section are derived mainly from the expressive nature of much of the music. opening of the piece, but the voice part An example is Weldon’s setting of the for word painting..., presents both new text and new music. words “then [than] the poor wretch This creates an interesting shape for the that feigns him dead”—which features an attribute of which piece, in which the instrumentation and an unexpected harmonic shift from instrumental parts suggest an ABA form, F major to F minor, complete with a Weldon took full but the voice presents entirely new double-diminished chord (B-D-F-A , advantage. material in the second A section. The shown in ex. 5, second measure, second repetition of the opening instrumental note). themes helps give unity to a rather long “Peace, peace, babbling Muse” piece, but the new vocal theme provides a requires a tenor singer with an expressive, necessary element of variety. flexible voice. The recorder parts are not Like a number of Weldon’s other difficult, are effectively written, and lie pieces, “Peace, peace” includes several mainly in the middle to lower range of the features that were either intentional repu- instrument. Unfortunately, “Peace, peace, diations of conventional contemporary babbling Muse” does not yet appear in a composition practice or that demonstrate modern edition. carelessness on the part of the composer Example 3. “Peace, peace, babblingO Muse,” mm. 69-70 ¡ ¡ ¡ ¡ ¡ ¡ ¡ Vo ice D ¡ ¡ ¡ ¡ O¡ ¡ ¡
[bab]------bling ¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Continuo D ¡ ¡ 6 Example 4. “Peace, peace, babbling Muse,” mm. 80-81 * * * ¡ ¡ Vo ice D ¡ ¡ ¡ ¡ Ì you ¡ in - - - dite. " ¡ ¡ ¡ ¡ ¡ Continuo D ¡ ,
18 American Recorder Example 5. “Peace, peace, babbling Muse,” mm. 109-112 D Vo ice D & ¡ ¡¡¡ ¡ ¡ ¡ D¡ ¡ ¡ ¡ ¡ ¡ ¡ D¡¡ ¡ ¡ ¡ ¡ O¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ Ì an - ger dread, than the poor wretch, than the poor, poor wretch that feigns him dead. " & Continuo D Ì Ì ¡ O¡ Ì Ì Ì Ì Ì 76 D 7 7 D
“In vain we say” panying material, and together they play Another Weldon song with recorder a 43-measure instrumental section (see accompaniment is “In vain we say,” set to ex. 7 on the next page; this may be an anonymous text. This was published in performed separately). The performers are several different formats during the early then instructed to “end with the first part” 18th century, including that of a solo song (i.e., the opening section without with continuo accompaniment only. recorders). However, the 1703 printing, in Lon- As with Weldon’s other vocal accom- don by John Walsh, of this song in Mr. Wel- paniments, the recorder parts of “In vain don’s Third Book of Songs beginning with we say” are of only moderate difficulty and single songs perform’d at the consorts in concentrate on the lower and middle ranges of the instrument. The players York Buildings and at ye Theatre as also symphony songs for violins and flutes never must be able to negotiate low A . The vocal before publish’d included parts for two solo part is not extreme in range, but does recorders, as well as the notation that it require a singer with a light, flexible voice was “Sung by Mrs. Linsey.” Listed in other who can execute the melismas. No mod- publications as “Mrs. Lindsey,” presum- ern edition of “In vain we say” is currently ably she was the soprano soloist for which available. the vocal part calls. “In vain we say” Example 6. “In vain we say,” mm. 51-59 opens with a section in F major for voice and ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Recorder 1 D continuo only. After a full D DD stop, the key changes to F minor and the time sig- ¡ nature from cut time to D D ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ “3,” and a typical Weldon Recorder 2 D D continuo ostinato is in- troduced. As with “Peace, peace, babbling Muse,” D D Vo ice D D ¡ ¡ ¡ ¡ ¡ the recorders principally ¡ play in alternation with pi - ty man - kind. ¡ ¡ ¡ ¡ the voice (see ex. 6). " D D ¡ ¡ ¡ ¡ ¡ ¡ ¡ Both the vocal and Continuo D D ¡ ¡ recorder parts use expres- 6 sive sighing figures and ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Ì sequential melismas. The DD D O¡ continuo briefly leaves D the ostinato pattern, ulti- mately returning to it in ¡ ¡ ¡ ¡ D ¡ O¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ the relative major (A ). D DD After two statements in major, it reverts to its 5 original F minor form. D D ¡ ¡ ¡ At the final cadence of D D the voice part, the ostina- Pi - ty, to is taken over by the " D ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ recorders, the continuo D DD O¡ O¡ O¡ ¡ ¡ ¡ introduces new accom- 6 D 7 6 O
March 2005 19 Example 7. “In vain we say,” freestanding instrumental section ¡ Ground¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Recorder 1 D D ¡ ¡ ¡ O¡ ¡ O¡ ¡ ¡ ¡ O¡ D D O¡ ¡
D D Recorder 2 D D Ì
¡ ¡ ¡ ¡ ¡ ¡ " D Ì ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ O¡ ¡ Continuo D DD ¡ ¡ ¡ 6 6 6
8 D D Ì D D
¡ ¡ ¡ ¡ ¡ D D ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ O¡ ¡ ¡ O¡ ¡¡ ¡ ¡ ¡ ¡ O¡ D D O¡ ¡
¡ ¡ ¡ ¡ " Ì ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ DDDD O¡ ¡ ¡ ¡ 6 6 6 6 6
15 ¡ ¡ ¡ ¡ ¡ ¡ ¡ D D ¡ ¡ ¡ ¡ ¡O¡¡ ¡ ¡ O¡¡¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡O¡ ¡ ¡ ¡ ¡ ¡O¡ D D ¡
D D Ì ¡¡ * ¡ ¡ ¡ ¡ D D ¡ ¡¡¡ ¡¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡¡¡ ¡ ¡ ¡
¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡¡ ¡ ¡ ¡ ¡ ¡ DDDD O¡ O¡ O¡ ¡ ¡ ¡ 6 6 6 6 6 6 6 b3
22 D D Ì ¡¡ ¡ ¡ ¡ D D ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
¡ ¡ ¡ ¡ ¡ ¡ D D ¡ ¡ ¡ ¡ ¡ ¡ ¡ O¡ ¡ ¡ ¡ O¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡O¡ ¡ D D ¡
¡ ¡ ¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ DDDD O¡ O¡ ¡ ¡ 6 6 6 6 7
20 American Recorder 28 ¡ ¡ ¡ ¡ D D ¡ D D ¡ ¡ ¡ ¡ ¡ ¡ ¡ D ¡ ¡ ¡ ¡O¡ ¡ ¡ ¡ ¡ D DD
¡ ¡ ¡ ¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ DDDD ¡ ¡ O¡ O¡
34 ¡ ¡ D D ¡ ¡ ¡ O¡ ¡ D D
¡ ¡ D D ¡ ¡ ¡ ¡ ¡ ¡ ¡ D D
¡ ¡ ¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ DDDD O¡ ¡ ¡ ¡ ¡ ¡
38 ¡ ¡ ¡ "end with the first part" D D ¡ ¡ ¡ ¡ ¡ ¡ Ì D D & À
¡ ¡ D D ¡ ¡ ¡ ¡ O¡ Ì D D & À
¡ ¡ ¡ ¡ ¡ ¡ ¡ K " D D ¡ ¡ ¡O¡ ¡ ¡ ¡ ¡ ¡O¡ ¡ O¡ ¡¡ ¡ ¡ ¡ & ¶ ¡ ¡¡ D D ¡ ¡ ¡ ¡ ¡ ¡ ¡
EXAMPLE 7. "In vain we say," mm. 118-160 (voice part in m. 118 omitted). If performing separately ignore "end with the first part" marking and end continuo on first bass note
*2 eighth notes in original.
Copyright © 2005 David W. Music. All rights reserved. A MIDI playback of this piece is available on Recorder On-Line at
March 2005 21 Example 8. “Allegro” from A Collection of Aires, mm. 51-59 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Recorder 1 ¡¡ ¡ ¡ ¡ ¡ O¡ ¡ ¡ ¡ ¡ ¡ INDEPENDENT & À ¶, ¡ ¶, INSTRUMENTAL PIECES ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ A Collection Recorder 2 & ¡¡ ¡ ¡ ¶ ¡ ¡ ¡ ¡ ¡ ¡¡ ¶, of Aires ¡ , Two sets of pieces by Weldon were written ¡ ¡ ¡ specifically as inde- " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ pendent instrumental Continuo & ¡ ¡ ¡ works for recorders. The most substantial of these was a set of Example 9. “Aire” from A Collection of Aires, mm. 1-4 “ayres,” published in ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ London in1703 by Recorder 1 & ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ John Walsh as A Col- , lection of Aires for two flutes and a bass com- ¡ pos’d by Mr. J. Weldon, Recorder 2 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Mr. Henr. Simons and & ¡ ¡ ¡ ¡ others. (The title page uses the spelling ¡ “aires”; inside the col- " ¡ D¡ ¡ ¡ ¡ ¡ ¡ lection they are la- Continuo & ¡ ¡ ¡ ¡ ¡ Ì beled “ayres.”) Wel- ¡ don and Simons were the only composers mentioned, both on a single four-movement work. In fact, the The second movement is marked the title page and in the body of the publi- pieces have been published in this man- “Brisk” and uses two-part form. The cation; the “others” remain anonymous. ner in a modern edition (see Suite in C in recorders mainly play in parallel thirds; a the list of resources at the end of this arti- few “Scotch snaps” (reversed dotted cle). rhythms) appear in the first recorder part. ...all of the Weldon pieces The first piece is divided into two The third movement, “Aire,” is also in sections by the tempo markings “Adagio” two sections and likewise makes consider- in the collection are in the and “Allegro.” This suggests the form of able use of writing in parallel thirds, but the French overture, but none of the other moves mainly in quarter notes and same key (C major) and characteristics of this form appear (dotted emphasizes the off beats (see ex. 9). rhythms in the slow section, imitation in The final movement is a minuet, again make a satisfying unit; the fast section). in two sections, with the principal The Adagio section is quite short (14 melody in the first recorder part while the the composer may have measures), and makes use of alternation second recorder primarily provides viewed them as a single between the recorders, brief sequences, accompaniment (see ex. 10). and writing in thirds. The recorder parts of this set of pieces four-movement work. The Allegro features exchange of parts are not difficult and lie well beneath the between the recorders, suggesting a con- fingers. The second recorder is called versation between the two instruments upon to play a low F several times in the Four Weldon pieces open the collec- (see ex. 8). There are also several sequen- Allegro of the first movement. tion. The title of the volume in which they tial runs, and two brief passages for the were published suggests that this was a recorders without continuo. miscellaneous group of Example 10. “Minuett” from A Collection of Aires, mm. 1-4 pieces from which indi- ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ vidual movements could Recorder 1 ¡ , ¡ ¡ ¡ be selected for separate performance. Without disputing the possibility of such use, ¡ ¡ ¡ Ì however, it may be noted Recorder 2 ¡ ¡ Ì ¡ Ì that all of the Weldon pieces in the collection are in the same key (C ¡ major) and make a satis- " ¡ ¡ ¡ ¡ ¡ fying unit; the composer Continuo ¡ ¡ ¡ Ì may have viewed them as
22 American Recorder Duos Anglois cut time to “3,” and the “air” just the One of the challenges for recorder Another 18th-century publication that opposite. lovers of the 21st century will be to included recorder music by Weldon was The “symphonie” also employs cross- recover, and make available to a broader Pierre Mortier’s Duos Anglois des différent ing of the recorder parts, writing in thirds, public, music by composers such as maítres à 2 flûtes ou violons, published and passages in which imitation between Weldon. the two instruments is implied, but not in about 1709 in Amsterdam (although a modern edition erroneously gives the pub- fact carried out. The “air” calls for a low F RESOURCES FOR lication date as 1738). This was perhaps a in the first recorder part (measure 30) and PERFORMANCE reprint of a volume advertised by the uses a wide variety of rhythmic patterns— This annotated list catalogs modern English publisher John Walsh in 1703 as two 16th notes followed by an eighth note, editions of recorder pieces by Weldon A Collection of Aires for two flutes by eight an eighth note followed by two 16ths, discussed in the article. eminent masters, no copy of which is dotted-eighth/16th-note pairs, even known to be extant. eighth notes, and 16th-note runs. The Judgment of Paris Duos Anglois contains pieces for two As with most of Weldon’s music in- John Weldon, The Judgment of Paris, ed. alto recorders without continuo; the volving two recorders, the upper part con- David W. Music, no. 94 of Recent named composers include Weldon, tains the principal melodic material, but Researches in the Music of the Baroque Eccles, Finger, Gasparini, King, Paisible, the second recorder includes much that is Era (Madison, WI: A-R Editions, 1999). H. Purcell, “Purcell” (Daniel?), Tenoe and interesting both to play and to hear. See pp. 3, 25, 36, 66. “E.D.” The entire collection has been John Weldon was neither a prolific printed in a modern edition (see composer of recorder music, nor necessar- Suite in C “Resources for Performance” at right). ily a better writer in this medium than his John Weldon, Suite in C, ed. Robert Duos Anglois includes two works by British colleagues of the time. However, Salkeld (London: Schott & Co., 1955), Weldon, a “simphonie” and an “air.” Since his music for recorders is interesting, RMS 764. Contains all of the Weldon the two pieces are in different keys (F and accessible to players of moderate ability, pieces from A Collection of Aires. G), and are separated by music by other and well worth exploration. He may also composers, they do not form a unit and be taken as representative of a number of Duos Anglois are intended for separate performance. lesser-known composers of 18th-century F. J. Giesbert, ed., English Duets for Flutes Both works follow a similar format, being England whose music, though worth- (Recorders) or Violins (Kassel: Edition in two sections distinguished by different while, remains largely unexplored and Nagel 507, 1966; first pub. 1934). Con- meters—the “symphonie” moving from unavailable to modern performers. tains all the pieces from Duos Anglois, including the two works by Weldon.
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March 2005 23 How to Rate Yourself as a Recorder Player by Frances Blaker and Letitia Berlin s workshop season approaches, it will Instructions for using the chart: Asoon be time to choose classes for one The Self-Rating Chart attempts to or more of the many workshops being of- objectify a naturally subjective task—that fered this summer. If you’ve been to a of rating one’s technical and musical workshop before, you have an idea of your skills. Technical and musical abilities are playing level as compared to others divided into 15 areas. attending—but, if this is your first time, Descriptions of ability level are placed filling out the self-rating part of the regis- at the top of the chart (novice level), in the tration can be confusing. You need a way middle of the chart (middle-intermediate) to accurately identify your playing level. and at the bottom of the chart (pinnacle). We hope this article and chart will This helps provide a smaller range within be helpful to novices and repeat work- which to rate each skill. The descriptions shoppers alike, as well as to workshop provided at 1, between 6 and 7, and at 12 organizers—as a way for a player to are intended to make it easier to assign a identify not only general playing level, number for each category. In fact, you are but also strengths and weaknesses rating each category on a scale of 1 (worst) including specific areas for improvement. to 12 (best). A useful feature in this rating scheme is The most effective way to fill out this the distinction between a player who is chart is with the help of a teacher or a advanced in certain respects, but recorder playing friend. Think about each intermediate or even beginner in others. skill, each column, separately. Ask your- This new rating system is a work in self where you fit in among the three progress and will need fine-tuning. As descriptions. Go through the chart players (and your teachers) use this sys- column by column, making an “x” in the tem, we hope you will send us feedback, box where you think your ability lies. Try so that we may refine this system. to evaluate each category on its own with- One can also use this system to track out thinking about other skills. increasing ability in these areas. We have Rate yourself in each column. As an hopes that it will turn out to be a flexible example, if you (or your teacher or friend) tool, not only for workshop class think you are at a low level for number of placements, but also for daily guidance in recorders played (soprano only, for playing our beloved instrument to the best instance), give yourself a 2 in Recorder of our abilities. (See sidebar for more ideas Sizes. Or if you play soprano well, but for self-improvement.) have only just begun alto, you might give The accompanying chart shows cate- yourself a 3 or 4. gories of recorder technique and musical In the Fingers column, if your fingering skills, and a scoring system for different skills are better than the novice level levels. It is a good idea to go through the description, but not quite as good as the chart with your teacher or another player, middle-intermediate description, you can so that another person can help you make rate yourself between 1 and 6—perhaps objective judgments. 5. On the other hand, if your finger Though this chart presents what we skills are certainly better than the middle- consider to be the ideal self-rating param- intermediate level, rate yourself between eters, some criteria may be too 7 and 12–perhaps 8. detailed for workshops. It is our hope that So, while the judgments are still sub- a version of this article and chart, with jective, there are some guideposts along input from our colleagues, will eventually the way between novice and pinnacle. be used by workshops around the conti- Note that we have chosen to call the nent. Our ultimate goal is to improve the top level pinnacle rather than profession- quality and standard of recorder playing, al, because it’s possible to be a profes- to make it easier for organizers to sort sional recorder player and still have some workshop classes, and to demystify the skills that are not at pinnacle level. Keep in self-rating process for recorder players. mind that pinnacle is the very highest
24 American Recorder achievement of skill in each level. There seconds. Her piano tone is not yet steady, rhythms well, including Renaissance are only a few people in the world who but she is working on it. Score: 6 rhythms. Does not have to tap her feet to could rate themselves a 12 in every Fingers: Knows that her hands and keep a steady beat; internalized a sense of category. fingers are tight on the recorder, but has pulse. Score: 12 Once you have made an “x” some- not been able to relax the “grip.” So many Phrasing: Hears phrasing well, but where in each column, add up the other things claim her attention during shallow breathing often causes her to be numbers. For example, if you have an “x” playing that she generally forgets to think unsuccessful at playing the phrasing she in row 4 for Recorder Sizes and an “x” in about relaxing the hands until a teacher hears. Score: 6 row 10 for Fingers, add the two numbers mentions it or her wrist starts to hurt. Keeping Place: Very good at keeping to come up with 14, and so on for all Score: 3 her place; but if others around her are columns. Tongue: Aware that there are many losing theirs, has difficulty maintaining Find your total number for the scoring different tonguing syllables, but has only hers. When playing with other good chart—this is your overall recorder practiced with “tu” and “du.” Fast players, she is very good at getting back in, playing level. You can look at the whole passages are choppy because she hasn’t if she does lose her place. Score: 7 chart, with your entries of each “x” creat- practiced the combination of these two Repertoire: Playing knowledge of ing a graph, to get a picture of your single tonguings. Practices scales with the repertoire limited to Renaissance ensem- recorder playing abilities. In this way, a two different tonguings separately. ble pieces played with her quartet at player can see on the score chart not only Score: 5 home, and to pieces played at workshops. an overall score, but also a particular Enjoys Baroque music, but has no one weakness or a strength in a certain area. A useful feature in this with whom to play it; doesn’t practice it, Logically, one might prefer the chart to and has not taken Baroque music classes. be reversed, with novice at the bottom and rating scheme is the Knows no modern repertoire and not pinnacle at the top. However, people read much Medieval repertoire. Score: 6 charts from the top down, so beginning distinction between Knowledge of Musical Styles: Famil- skills are at the top of the chart. a player who is advanced iarity with musical styles is greater than You can cut your chart out of the her repertoire because of singing and magazine and rearrange it as you please. in certain respects, but other instrumental experience, and from Laminate it, and mark your ratings with a intermediate or even listening to concerts and recordings. dry erase marker so that you can change Ability to play different national styles in your ratings as you progress. Hang the beginner in others. different historical periods is limited or laminated chart on your practice room non-existent. Score: 5 wall, along with your musical trophies. Breathing: Unaware that her breath- Expression: A very expressive player, We will take you through two sample ing is often shallow when she plays. to the extent she is able to be. Technical ratings. Here are the total scores that Instead of using abdominal muscles and shortcomings hamper her ability to be as describe various ability levels. rib cage muscles to inhale, she uses the expressive as she would like to be. Does upper chest only, except for the initial not realize that a more focused regime of Scoring breath. When playing, can’t get through technique work would increase her ability 15 topics, 12 levels. whole phrases and often feels out of to express what she is hearing in her head. 15 x 12 = 180 (maximum points). breath. When practicing breathing Score: 6 Six levels: 180 divided by 6 = exercises, can use the abdominal and rib Total score: 92 = the low end of 30 points per level. cage muscles; when playing music, she upper intermediate forgets. Score: 6 0 - 30 = novice Recorder Sizes: Plays soprano, alto 31 - 60 = lower intermediate and tenor recorders. Doesn’t read bass clef 61 - 90 = intermediate yet, so doesn’t play bass recorder. 91 - 120 = upper intermediate Score: 8 121 - 150 = advanced Intonation and Listening Skills: 151 - 180 = pinnacle Very keen sense of pitch, honed during years of choral singing. Can hear when she Case #1: A good musician with is out of tune, but can’t always make the Honeysuckle Music no recorder teacher proper adjustment to correct intonation. Our first imaginary student has played the Score: 8 Recorders & accessories recorder for 10 years. She can’t take Sight Reading: Sight reads well on ... lessons because there are no teachers in pieces of easy to medium difficulty, at her area, but she has been attending work- moderate tempi. In more difficult music, Music for recorders & viols shops for the last five years, working to can keep her place and get back in easily. improve her technique and playing level. Score: 10 Jean Allison Olson Tone: Aware that her tone needs Clefs: Reads only treble clef and mod- 1604 Portland Ave. improving, but is not quite sure in what ern notation. Score: 3 St. Paul, MN 55104 way it needs improving. Practices blowing Rhythm: Excellent sense of pulse, 651.644.8545 and breathing exercises, and can hold a again from the choral experience and from [email protected] steady mezzo forte tone for about six piano lessons as a child. Reads all kinds of
March 2005 25 Case #2: Professional who could and sixth flutes, great bass and contra still improve bass. Score: 12 HOW CAN I This person is a professional recorder Intonation and Listening Skills: player and teacher who happens to have Very good ear, notices other players and IMPROVE? one large flaw in her playing. (Notice that responds to them. Good sense of intona- There are many paths to better recorder even a seasoned professional player may tion, especially regarding other players playing. If you have a professional in have specific areas in which he or she (her own intonation suffers somewhat due your area, take regular lessons. If you live wishes to improve.) to lack of breath control). Score: 9 in an area with more than one teacher, By going through the rating categories, Sight Reading: very good sight reader. take trial lessons until you find the best this player can get a better overview—and Can play anything you put in front of her. fit for you. perhaps realize that her lack of tone pro- Score: 12 duction skills is also adversely affecting Clefs: Reads all clefs, including mov- If you have no teacher in your area, or specific other areas. This may inspire her able C-clefs, though with most facility in if your teacher would like supplementary to improve the core skill, thus improving F- and G-clefs and alto C-clef. Score: 11 material for your lessons, the ARS has overall playing and enabling greater musi- Rhythm: Good pulse and subdivision published a Personal Study Program cal expression. sense, can figure out all sorts of rhythms (PSP) for guided practice. The 13 Stages, Tone: poor tone, lack of dynamic con- without trouble. Score: 12 a checklist that is part of the PSP, was trol, inflexible sound with an edge (all due Phrasing: Very good sense of phras- mailed to all ARS members when it was to lack of knowledge or control of ing, but somewhat hampered by poor issued and to new members as they have muscles). Knows that her sound is rough breath control. Score: 10 joined since then. (There is a cost of $3 and that she can’t get the sounds she Keeping Place: Keeps place very well, would like. Score: 4 rarely gets lost, and almost always able to for each member replacement copy or for Fingers: Good co-ordination, knows get back in quickly. Score: 10 each non-member copy.) all the fingerings, relatively fast fingers. Repertoire: Knows a great many The Guidebook and Music Lists for the Score: 11 pieces of music from all periods of western PSP are also available for an extra charge. Tongue: Quite fast tonguing, clean. music history, with main emphasis on See the publications page in this issue of Knows “t,” “d,” “r” combinations; can Renaissance and Baroque periods. American Recorder, or call the ARS office, do compound tonguing “dg” and Score: 11 to order your copy. “did’ll.” Does not know “l” articulations. Knowledge of Musical Styles: Ver y To use the ARS Personal Study Pro- Score: 10 familiar with different playing styles with- gram in 13 Stages to improve your play- Breathing: Does not have a lot of air in Baroque and Renaissance music; also (connected with flaws in tone due to lack very knowledgeable about American folk ing level, determine your current level of muscle control), but is very aware of music style. Score: 11 using the chart here. If you score below 7 phrasing and own abilities and limits—so Expression: Very expressive, except in in any category, work on Stages 1-6 in the chooses breathing spots well and is able to dynamics (again because of lack of breath 13 Stages. If you score below 12 but work around problems of most long control). Score: 10 above 7, use Stages 7-13. phrases; meticulous about figuring out Total Score: 142 Use the 13 Stages and this rating chart where to breathe. Score: 9 This falls in the professional level, but to improve your playing, to see what your Recorder Sizes: Plays all sizes of points out an area for improvement that goals are, and to see how far you have recorder, including less common ones affects several of the scoring areas, lower- come. such as voice flute, recorders in g, fourth ing the overall score by a fair amount. Two resources to improve the basic areas of breathing, blowing, tonguing and fingering are The Recorder Player’s Companion by Frances Blaker, and The Modern Recorder Player, volumes I and II, by Walter van Hauwe. The ARS Personal Study Program pro- vides specific exercises such as scales, exercises to improve sight-reading and ear-training, and suggestions for improv- ing knowledge of musical styles in the Guidebook, as well as repertoire sugges- tions in the Music Lists. Written scales are readily available in published method books or on the Inter- net. As you advance, reward yourself with a new piece of music, a workshop, a new instrument!
26 American Recorder
SCHOLARSHIPS
for recorder players to attend recorder/ early music
SUMMER WORKSHOPS
applications must be postmarked by April 15;
for recorder players to attend recorder/ early music
WEEKEND WORKSHOPS
throughout the year, apply two months before funding is needed.
Workshop scholarships are made possible by memorial funds established to honor Andrew Acs, Jennifer Wedgwood Lehmann and Margaret DeMarsh.
AMERICAN RECORDER SOCIETY 1129 Ruth Dr. St. Louis, MO 63122 U.S.A. 800-491-9588 314-966-4649 (fax) recorder@ americanrecorder.org
28 American Recorder Friedrich von Huene, the well-known recorder maker, was awarded the 2003 Curt-Sachs-Award of the American Musical Instruments Society (AMIS)
ROTTENBURGH REACHING THE LEVEL OF MASTERCLASS
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Instruments from left to right: sopranino: ebony, soprano: palisander, alto: pearwood stained, tenor: castello-boxwood, bass: natural maple. Also available in olive and rosewood.
For more information on our recorders please order our catalogues RECORDERS RECORDERS
FOR CHILDREN, BEGINNERS, STUDENTS FOR ADVANCED, AND ADVANCED MOECK MUSIKINSTRUMENTE + VERLAG AND PROFESSIONAL RECORDERS PLAYERS PLAYERS Postfach 3131 • D-29231 Celle Lückenweg 4 • D-29227 Celle Tel.: +49-5141-8853-0 • Fax: +49-5141-8853-42 E-Mail: [email protected] www.moeck-music.de violin; Mary Springfels, viol; Steve Vacchi, TEXAS TOOT, SUMMER EDITION (ARS) bassoon; Marc Vanscheeuwijk, ’cello. Here is the ghost Concordia University, Austin, TX May 29-June 4 Contact: Phebe Craig, SFEMS, Director: Daniel Johnson PO Box 10151, Berkeley, CA 94709; 510-684-5177;
30 American Recorder OBERLIN BAROQUE CANTO ANTIGUO EARLY MUSIC PERFORMANCE INSTITUTE AND RECORDER WORKSHOP Amherst Early Conservatory of Music, Oberlin College, Chapman University, Orange, CA Oberlin, OH July 10-16 Music Festival June 19-July 3 Directors: Shirley Robbins, at Bennington College, VT Director: Kenneth Slowik Thomas Axworthy, Ron Glass July 10-17 and 17-24, 2005 The French Connection: Gallic This one-week workshop is designed to Musical Influences Throughout Europe. broaden the performance skills of experi- Music of the British Isles Contact: Anna Hoffmann, Conservatory enced students, and introduce Renaissance of Music, 77 West College St., Oberlin, and Baroque instruments and musical expe- Recorder faculty riences to beginning and intermediate play- OH 44074; 440-775-8044; 440-775-6840 ers. Students at all levels will participate in Saskia Coolen, Dan Laurin, (fax);
PASSIONS OF THE SOUL A performance seminar on rhetoric and aesthetics in Baroque music. The International Baroque Institute at Longy offers a comprehensive program for professional and pre-professional baroque musicians taught by an unparalleled international faculty. The seminar features eight full days of master classes, chamber and orchestral music, continuo coaching, concerts, lectures, and opportunities for public performance. FACULTY Richard Campbell, gamba Phoebe Carrai, cello & co-director Kate Clark, flute Maxine Eilander, harp Jeffrey Gall, voice Arthur Haas, keyboard Matthew Jennejohn, oboe Paul Leenhouts, recorder & director Riccardo Manasi, violin Ken Pierce, dance Stephen Stubbs, lute Stephen Schultz, traverso and others! INFORMATION For more information please contact: Sarah Hornbeck Director of Continuing Studies & Summer Programs Longy School of Music One Follen Street Cambridge, MA 02138 617+ 876–0956 x611 [email protected] www.longy.edu
32 American Recorder AMHERST EARLY MUSIC FESTIVAL (ARS) EARLY MUSIC WEEK AT Bennington College, Bennington, VT PINEWOODS CAMP July 10-17 and 17-24 Pinewoods Camp, Plymouth, MA Director: Marilyn Boenau July 16-23 Theme: Music of the British Isles. Two weeks Director: Gene Murrow of classes in most early instruments, voice, There's always much to celebrate at dance and notation. Early Music Week at Pinewoods, and Classes at all levels include Medieval, many beloved traditions have evolved Renaissance, Baroque and contemporary over the years to express the joy both music; no audition required. Intensive Pro- newcomers and veterans always feel grams (audition only): Baroque Academy and at our unique program. Our theme Virtuoso Recorder. Special projects: Henry this year, Ceremonies and Celebrations, Purcell's Dido and Aeneas directed by Andrew will capture the extraordinary spirit of Lawrence-King, performance July 15; Ben Early Music Week in music and Jonson's masque Oberon directed by Grant dance. The marking of significant Herreid, performance July 22. events in human life has inspired composers and choreographers Concurrent events: Historic Brass Festival, throughout the ages to their highest Historical Harp Society Conference, Lute level of accomplishment, and we'll Society of America Seminar, Music & Instru- partake in the banquet they've ment Exhibition. Evening activities include provided us. English country dance, madrigals, barbecue, INDIANA UNIVERSITY and informal playing sessions. You need not be an accomplished musician to RECORDER ACADEMY attend Early Music Week. If you've never Indiana University, Bloomington, IN Bennington College in southwestern played a musical instrument, but wish you Vermont offers spacious accommodations July 16-30 could; or if you studied music years ago and Director: Eva Legêne and stunning views with hiking, swimming, have forgotten everything; or if music is just a covered bridges and antique shops nearby. small part of your life and virtuosity is not on The Indiana University Recorder Scholarships and workstudy aid available. the horizon—we welcome you nonetheless! Academy, founded in 1993, offers young recorder players (ages 12-18) an intensive Contact: Marilyn Boenau, 47 Prentiss St., Advanced and intermediate players of histori- Watertown, MA 02472; 617-744-1324 and varied program at one of the world's cal winds, strings (including viols, violin, harp finest schools of music. (day); 617-744-1327 (fax); and other plucked instruments) and keyboard
March 2005 33 time sessions focus on rhythmic challenges, Contact: Kathy Vanderhoof, The Clearing, SAN FRANCISCO EARLY MUSIC SOCIETY recorder technique and ensemble blend. RECORDER WORKSHOP (ARS) PO Box 65, Ellison Bay, WI 54210-0065; Evening sessions feature pieces provided by 877-854-3225 (toll-free); 920-854-4088 Dominican University, San Rafael, CA participants. This “lighter fare” ranges from (day); 920-854-9751 (fax); July 17-23 Renaissance to jazz—bring pieces from your own libraries and multiple copies of at least
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34 American Recorder HIDDEN VALLEY INSTITUTE HESPERUS: SOUND CATCHER (ARS) THE ELDERHOSTEL OF THE ARTS EARLY MUSIC SEMINAR Hilltop House Hotel, Harpers Ferry, WV AND August 14-20 EXPERIENCE RECORDER ACADEMY FOR YOUTH AT Directors: Scott Reiss, Tina Chancey The sixth annual Elderhostel Recorder Early HIDDEN VALLEY INSTITUTE (ARS) SoundCatcher—Play early & traditional music Music Workshop will be held November 6-12 Carmel Valley, CA by ear. Throw away your music stands! We'll and 13-19 at the Hidden Valley Arts Institute in August 13-19 teach you to play Medieval, Renaissance, Carmel Valley, CA. According to Institute Director: Letitia Berlin Appalachian & Irish tunes by ear. With founder and general director Peter Meckel, the For advanced adult players: master classes HESPERUS: Scott Reiss (recorder, Irish whis- tle), Tina Chancey (viol, fiddle) & Bruce relationship with Elderhostel has become a ma- for recorder, viola da gamba and harpsi- jor part of the Institute’s mission. chord. Renaissance recorder consort, viol Hutton (guitar, banjo), you'll learn to hear consort, continuo class for harpsichordists, modes, meter & forms; pick out important Established in 1962 to provide a school for Baroque ensembles for all. Limited enroll- pitches, intervals & repeated melodic frag- the development of talented young musicians, ment. Some scholarship assistance avail- ments. Working with three different coaches helps you find the approach that suits you the Institute broadened its offerings over the able. Faculty/performers: recorder, Geert years to include theatre, dance and opera. Re- Van Gele, Letitia Berlin; viola da gamba, best in a warm and supportive learning envi- David Morris. harpsichord, Webb Wiggins. ronment. cently, it has held master classes for young pro- fessionals with members of the New York Phil- For recorder students ages 12-18: a week- To play by ear, you just need a basic facility long workshop with master classes, ensem- on your instrument: know your note names harmonic and Cleveland orchestras, a series of bles, theory/musicianship, improvisation. and fingerings. In mixed ensembles you will flute programs for high school students, and an Student & faculty recitals, recreational arrange tunes: adding accompaniments, variations, improvisation, ornaments & opera season for American singers. opportunities. Harpsichordists may take Its events have included many in the tradi- Webb Wiggins's master class in concurrent countermelodies. Crossover medleys of early workshop. Faculty/performers: Letitia & traditional tunes are HESPERUS's special- tional Elderhostel vein—on topics like the nat- Berlin, director/recorder; Cléa Galhano, ty. Electives: beginning Irish whistle, early ural history of the Monterey Peninsula and on recorder; James Brown, theory, strings & lap dulcimer. No experience John Steinbeck, a major figure in local history. necessary! improvisation, sightsinging. The first invitation to recorder players was The setting is beautiful & restful at Hilltop Contact: Peter Meckel, PO Box 116, House in historic Harpers Ferry, WV, with extended in 1999, when nine recorders joined Carmel Valley, CA 93924; 831-659-3115 breathtaking views of the Potomac & Shen- the orchestra week, playing in small recorder (day); 831-659-7442 (fax); andoah Rivers. Enjoy hiking, swimming, ca- consorts and Baroque chamber ensembles with
BAROQUE Music and Dance: June 19-25, 2005. Featuring recorder faculty Frances Blaker and Marion Verbruggen. Music of the Italian Baroque. Masterclasses, concerto evening, coached ensembles, baroque dance, faculty and student concerts. Info: Phebe Craig 510-684-5177 ; [email protected]
MEDIEVAL RENAISSANCE: June 26-July 2, 2005. Featuring faculty Annette Bauer, Shira Kammen, Peter Maund, David Morris, Patricia Petersen, Hanneke van Proosdij, Mack Ramsey. Collegium, consort classes, and more. Info: Hanneke van Proosdij 510-236-9808; [email protected]
MUSIC DISCOVERY: August 1–5, 2005 Early music and Renaissance social history for youth ages 7-15. Instruction includes recorder, harpsichord, strings, chamber music, singing, music theory, crafts, games and more. End the week with a performance for families and a Renaissance-themed celebration. Beginners to advanced welcome. Faculty: Letitia Berlin, Amy Brodo, Katherine Heater. Info: Katherine Heater 408-279-1694; [email protected] or Letitia Berlin 510-559-4670; [email protected]
For more information, visit our website: www.sfems.org
March 2005 35 Baroque ensembles, technique classes and orchestra. Each year since, 45-50 participants have joined three to four recorder instructors—including Berlin, Frances Blaker, Louise Carslake, Hanneke van Proosdij and Maria Diez- Canedo—at Hidden Valley. Early string instruments specialist Shira Kammen has taught classes for both strings and recorders, and Van Proosdij has offered harpsichord instruc- tion. Activities include faculty and student concerts, an after- noon for sightseeing or relaxing, an early morning exercise program, and time to play together in ad hoc groups. Enthusiasm for the workshop has brought a number of participants back each year. The atmosphere is relaxed and friendly, yet focused on improving skills and enjoying the opportunity to playing together. Classes are offered for intermediate and advanced players. For information, contact Letitia Berlin, 806 Washington Ave., Albany, CA 94706 ,
36 American Recorder 2005 SUMMER RECORDER WORKSHOPS
KEY COST: Includes tuition, room (single occupancy unless otherwise noted), meals, plus other fees. E=estimated, T=tuition only, D=double occupancy, W=one week NO. of DAYS: Includes arrival and departure days ARS DISCOUNT: Discount offered for ARS members # FACULTY/RECORDER FACULTY: Number of faculty/recorder faculty within that number # STUDENTS: Average over last two years RECORDER CLASS LEVELS: B=beginners, LI=low intermediate, HI=high intermediate, A=advanced, V=very advanced SPECIAL CLASSES USING RECORDERS: RP=recorder pedagogy, C=one-on-a-part consorts, MR=mixed Renaissance ensembles, MB=mixed Baroque ensembles, II/III=ARS Level II or III exam preparation, 20=contemporary music, EN=early notation, M=master class, RO=recorder orchestra, P=private lessons available, T=technique, O=other NON-RECORDER CLASSES: C=choral, W=other winds, P=percussion, K=keyboard, V=viols, PS=plucked strings, D=dance, T=theory, I=instrument building, O=other MUSICAL ACTIVITIES: F=faculty concert, S=student concert, L=lecture, SP=special production, P=organized informal playing, O=other RECREATION: D=dancing, F=field trip, G=gym, B=biking, S=swimming, T=tennis, W=waterfront/beach, O=other OTHERS WELCOME: S=non-playing spouses/friends, C=children (day care not generally available) DIRECT TRANSPORTATION TO WORKSHOP: S=shuttle from airport, B=bus, C=cab, L=limo, PU=will pick up, P=free parking, O=other TERMINALS: A=air, B=bus, T=train (number indicates miles from workshop to nearest terminal) ROOMS: S=singles, D=doubles, C=cabins, O=other *Graduate dorms BATH FACILITIES: S=shared, SP=semi-private, P=private FOOD: C=college style, F=family style, G=gourmet, V=vegetarian INFORMATION SUPPLIED HANDICAP ACCESS: H=housing, C=classrooms, D=dining BY WORKSHOP DIRECTORS March 2005 37 COMPACT DISC REVIEWS ______Matthew Locke distilled
MATTHEW LOCKE: CONSORT OF I must confess that on first listening to heights and FOWER PARTS. FLANDERS RECORDER the latest CD from FRQ I was rather be- swoop to the QUARTET. Aeolus AE 10106, 2004, 1 CD, mused. If you have listened to the quar- depths of 59:32, abt. $25. tet’s recent recordings Magic and Bach their instru- The latest recording by the Flanders (see the review of the latter in the Novem- ments’ range. Recorder Quartet (FRQ) of consort music ber 2003 AR), or had the good fortune to Just to hear by Matthew Locke does not immediately hear the ensemble in concert, you will the rich grab you by the ears. Rather it is a slow, have come to expect a sense of welcome quality and subtle, yet steady seduction, all the more and generosity in their performances, an evenness of ravishing with each repeated visit. The enticing quality in both their sound and tone through every register on every size more you listen, the more you hear—and their interpretation. of instrument, together with exquisite the more you hear, the more you want to In contrast, this CD is surprisingly intonation within the ensemble, is hear even more. Yes, this CD is curiously aloof and restrained—at first contact. reason enough to listen. and surprisingly addictive! Maybe the CD should come with a label But this recording is not simply for The English composer Matthew Locke warning: “Do not be put off by first recorder lovers; sophisticated music (c.1622-1677) wrote a substantial impressions!” lovers of all persuasions will appreciate the amount of consort music, and the six depth and quality of these world-class mu- suites that make up the Consort of Fower sicians who seem to instinctively bring out Parts (i.e., four parts) comprise fantasies, Like a fine wine, it takes the best in each other. The degree of courantes, ayres and sarabands. Locke some time to fully individual expressivity within the context was one of the generation of composers of the recorder consort is one of the rea- bridging the gap between the English appreciate its complexity, sons FRQ continues to beguile listeners. Renaissance and Henry Purcell; indeed, and indeed, like wine, it is I would like to single out a few person- Purcell himself mourned Locke’s passing al highlights from this recording, although by asking, “what hope for us remains now slowly intoxicating too! I can guarantee that, by the time you see he is gone?” These consorts are mysterious this in print, I will have new and different music, not yielding up their treasures It is rare to find oneself more and more ones—that is one of the delicious features easily—but treasures, to be sure, are there intrigued, the more one listens to a record- of this CD! The sublime sophistication within. ing—especially if one’s first impression is and restraint of Han Tol’s ornamentation, not especially enthusiastic—but I found Joris Van Goethem’s exquisitely nimble myself increasingly captivated. FRQ’s yet supportive bass lines, the extraordi- approach to such issues as tempo, orna- nary sweetness and depth of Bart mentation, articulation and rubato is both Spanhove’s tone on the soprano, and Paul extraordinarily understated and virtuosic, Van Loey’s delightfully intuitive and while also being unostentatious. passionate tenor playing, and above all, Contemporary diarist Samuel Pepys the warmth of sound and the divine described the effect of hearing a recorder intonation, will keep this CD on my play consort as making him feel love-sick. And list for some time to come. just as the more time that lovers spend Rachel Begley together, the more involved they become, Each CD review contains a header with some or all of the so I find I become more and more involved following information, as available: disc title; composer with Locke’s music and with FRQ’s inter- (multiple composers indicated in review text); name(s) pretation of it. Like a fine wine, it takes of ensemble, conductor, performer(s); label and catalog number (distributor may be indicated in order to help some time to fully appreciate its complex- your local record store place a special order; some discs ity, and indeed, like wine, it is slowly in- available through the ARS CD Club are so designated); toxicating too! year of issue; total timing; suggested retail price. Many CDs are available through such online sellers as FRQ uses Baroque recorders on this
38 American Recorder ON THE CUTTING EDGE ______Searching for recorder-friendly spaces
’ve been thinking about acoustics and recorder program highly effective. Jordan Upstairs in Carnegie Hall is the highly Irecorders. Less powerful than its sister Hall is moderately large, but soft instru- reverberant Weill Recital Hall—a lovely woodwinds, the recorder is very much at ments such as lute, harpsichord and room in which to hear a harpsichord the mercy of the sound environments in recorder easily carry to the last row of the recital, but too small for a concert grand which it is played. Even when amplified, balcony in this beautiful space. piano, which can be deafening. Wood- our favorite wooden (or plastic) Recorderist Saskia Coolen will winds in general are better served by instruments can thrive in some perform with the group Camerata Zankel Hall, I think. performance spaces, and wither in others. Trajectina in Jordan Hall on Monday, Other halls I have encountered as What makes a room complimentary to June 13. Matthias Maute will be featured performer or audience member that I the recorder? In general, a space that with the BEMF “Boris” Orchestra in the treasure are Lutkin Hall on the campus of is comfortable for singers is equally hall on Friday, June 17. Although these are Northwestern University in Evanston, IL, suitable for recorders. Vocalists look for an early music programs, listeners can expect and Caruth Auditorium on the campus acoustical “bloom” that supports and to encounter some “ear-opening” recorder of Southern Methodist University in enhances both solo and choral tone with- virtuosity that is very much a part of Dallas, TX. Lutkin is a small hall, out excessive echo or frequency peaks. modern times. originally a campus chapel, excellent for A reverberation time of one to two chamber ensembles, solo piano and voice seconds, coupled with effective front to In general, a space recitals. Medium-sized, Caruth has back projection, is ideal. Such acoustics warmth and projection that enable instru- are often found in smaller chapels and that is comfortable for ments to “come across” beautifully. churches built of stone with high ceilings I’m sure readers can identify plenty of and walls: fortunate are the singers and singers is equally other excellent performing spaces. In recorderists who have access to such communities outside large cities, recorder nurturing sonic environments. suitable for recorders. players should investigate churches, Contemporary recorder pieces need museums, school auditoriums and acoustical clarity as well. Rapid figuration, The recent opening of Zankel Hall— libraries. Who knows? There may be an elaborate roulades and multiphonics can located in the basement of the venerable ideal acoustical room lurking in your own disappear into the haze of an overly rever- Carnegie Hall in New York City, NY— neighborhood. berant hall. An overly “dry” room, on the represents a contemporary approach to To summarize, good performing spaces other hand, can make contemporary acoustics. While the main hall at for recorders can be found all over the musical language harsh and offensive to Carnegie Hall (now called Isaac Stern place. Here are some suggested sonic general audiences. Auditorium) is ideal for 19th- and criteria: I have found that almost everything 20th-century orchestral music, it is too · Moderate reverberation time sounds good in excellent acoustics; even large for chamber music. Its warm, reso- (one to two seconds) Mozart and Brahms can sound bad in a nant sound tends to blur the details of · Effective sound dispersal poor setting. Clarity and resonance in per- contemporary scores, and the room is (no “dead spots”) fect balance are rarely encountered, but positively at odds with amplified music, · Effective front-to-rear projection halls in which such conditions exist are which tends to bounce around the walls · Warmth coupled with intimacy prized throughout the musical world. creating distracting echoes and distortion. (reverberation and detail in balance) With the 2005 Boston Early Music The new Zankel Hall, however, is a · Absence of ambient noise Festival (BEMF) on the horizon, my flexible space. The seats and floor can be (ventilation systems, street noise, etc.) thoughts turn to some of the fine Boston reconfigured as needed, and other param- Of course, a charismatic player and (MA) performance spaces that are eters of the room can be altered to suit the exciting new music can be effective even in especially flattering to the recorder. requirements of the music at hand. So far, someone’s living room. But spaces that The lovely little Lindsey Chapel in the room has proved highly effective for enhance the recorder can make the Emmanuel Church (on Newbury Street) is chamber music, early music, jazz and con- musical experience unforgettable. high-ceilinged and built of stone, with temporary music. Amplified instruments Tim Broege
March 2005 39 MUSIC REVIEWS ______Folk songs, unknown Baroque music, and pieces for youngsters; ______marionettes, spiders, cats and zoo animals
SECHS MARIONETTE, SIEBEN A marionette motif on the cover makes rhythms, use of the full two-octave range, EPIGRAMME UND ANDERE STÜCKE the packaging delightful. The print is easy octave leaps, allegro tempos, and (SIX MARIONETTES, SEVEN to read and well edited. duple/triple meters all make this music EPIGRAMS AND OTHER PIECES), BY more attainable for intermediate to PETER HEILBUT. Heinrichshofen N2542 FIRST STEPS IN THE LIMELIGHT, BY advanced players. (C.F. Peters), 2002. A (or flute) & kbd. BRIAN CLARK. Prima la Musica Sc 20 pp, pt. 8 pp. $19.50. (
40 American Recorder Leeds as part of the Yorkshire Composers Festival in 2001, it has since been Provincetown Bookshop Editions performed both sides of the Atlantic and has always astounded and delighted audiences.” JUST OFF THE PRESS! Margaret Peterson is a Nationally Andrew Charlton: Suite Moderne, for 3 Recorders (ATB) Certified Teacher of Music (NCTM) by the A neo-Hindemithian Feast. Music Teachers National Association (3 Playing Scores, PBE-44) ...... $9.95 (MTNA). She holds a Bachelor of Arts degree from Wheaton College in Wheaton, IL, and Michael East: “Desperavi”, Fantasia for 5 Viols or Recorders, Master of Music degree in flute performance transcribed by David Goldstein. from Northwestern University, Evanston, IL. (Score & Parts, PBE-46) ...... $7.95 She taught for 15 years at Colorado Academy Bernard Krainis: “Elijahu ha-Navi” (Elijah the Prophet) in Denver, CO, and initiated its flute and Divisions & Tango on a Hebrew Tune, recorder program. She teaches flute and recorder in her private studio in Golden, CO, for Alto Recorder alone (PBE-45) ...... $8.95 and is a member of the Colorado Flute A good source for Recorder & Viol Music of all publishers. Association Board as well as the Colorado Federation of Music Clubs Board. The Provincetown Bookshop, Inc. 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 The SAT recorders do well on their own Beatin’ Path Publications Music That Works! without the guitar, Robert Amchin if none is available. Alto Antics ensembles for beginning alto recorder with percussion accompaniment Recorder Frolics for beginning C-pipes (Play-along CD available) Moods and Modes for intermediate classroom ensembles: includes play-along CD EUROPA UNTERWEGS: EUROPEAN Brent M. Holl and Michael R. Nichols FOLK SONGS, ARR. GERALD The Beatin' Path Consort Collection for beginning and intermediate ensemble SCHWERTBERGER. Doblinger 04 484 Michael R. Nichols (
March 2005 41 “pardessus II,” indicating a possible aim of Dornel to sell his music to the amateur players of the pardessus de viole (a slightly smaller, higher treble viol). The solo parts, written by Dornel in the French violin clef, reinforce this. (They are presented here in treble clef.) This piece is not a sonata in the Classi- cal era’s sense of the term, but rather a collection of stylized dance movements, not unlike the suites or partitas written around the same time by J.S. Bach or G. F. Handel. In recent years, French Baroque music has taken a back seat to the more celebrated music coming from Germany, England and Italy at the same time. This is indeed unfortunate, as much of this music is certainly well-written and contains elements of interest. I was pleasantly surprised by this piece, which is charming and pretty, if not profound. There are contrapuntal intricacies not found in Corelli’s music, presumably due to Dornel’s training as an organist. As noted above, this sonata is scored for alto, tenor and bass recorders, and the pieces work very well in that configura- tion. In their original scoring, the solo parts would have been played by matching instruments, so here the players— guitar parts are, in my opinion, extremely SONATA, OPUS 3 #4 (1713), BY LOUIS- especially the tenor recorder player— well-crafted. They interplay beautifully ANTOINE DORNEL, ED. CHARLES NAGEL. need to play with a great deal of sensitivity with the recorder parts, often providing Cheap Trills TR 41 (Magnamusic), 2003. to avoid swamping each other. momentum and building excitement as ATB opt. bc, Sc 8 pp., pts 3 pp ea. $6. each arrangement takes on a life of its own. Louis-Antoine Dornel (c.1680-after Intermediate recorder players will find 1756; other dates are sometimes listed) Although Nagel has moderate technical challenges and will was a minor Baroque composer and arranged and edited the greatly enjoy the rewards of the ensemble organist in France. The details of his life music for a recorder trio, experience provided by these arrange- are few; it is not known where he was born its true beauty is revealed ments. or where he received his musical training. Gerald Schwertberger has arranged His name first surfaces in the archives by adding a harpsichord numerous pieces for all types of instru- of Ste. Madeline-en-la-Cité, where, in on the continuo part. ments. As I found out when I visited his 1706, he unsuccessfully competed web site,
42 American Recorder Charles Nagel is to be applauded for bringing this undeservedly obscure music back into the light. This is a well-laid-out ARS Membership Enrollment and Renewal and easy-to-read edition, designed with Please enroll/renew me as a member of the Society. I’m looking forward to: the player in mind. There are no page ✰ American Recorder, ARS Newsletter, and the ARS Members’ Directory turns in the parts. Rather than printing on ✰ Members’ Library musical editions the back of the parts, Cheap Trills has ✰ Eligibility for the ARS Education Program examinations elected to provide an insert sheet for ✰ Discounts to some recorder workshops and on ARS publications Movement IV. ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made This kind of thinking has been applied available only to purveyors of goods and services for recorder players.) ✰ Information on all aspects of playing the recorder to the keyboard part as well: the movements are printed out of order U.S./Canadian membership: (IV before III) in order to avoid page turns. ❏ one year $40; ❏ one year sustaining $70; ❏ two years $75 Keyboard players will thank Nagel for Foreign membership: ❏ one year $50; ❏ two years $95 such consideration. U.S./Canadian Student* membership: ❏ one year $20; ❏ two years $40 My only criticisms are the lack of tem- Foreign Student* membership: ❏ one year $25; ❏ two years $50 po markings, and the lack of translation *Enclose proof of full-time enrollment. for those players unable to read French. Workshop membership: ❏ one year $60; Business membership: ❏ one year $120 The less experienced player, unfamiliar ❏ Address and/or phone information has changed in past year. with the idiom, tends to take all move- ❏ ments more slowly than intended. Do not list my name in Directory. I believe that most players will benefit All dues paid in U.S. funds by check on U.S. bank, or by international money order. from a perusal of this edition. The music is Family members residing at the same address may share a membership. However, technically within the reach of most play- the student rate is not applicable to a shared family membership. For an additional ers, but requires good musicianship to listing in the ARS Directory under different surnames at the same address, add $5. fully reveal its beauty. Please check to be included on the ARS list of Frank Cone ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activi- ties may change, you must indicate on each renewal if you want to continue to be listed.) SHORT WAVE, BY PAUL LEENHOUTS. Edition Moeck 2825 (Magnamusic), ❏ I wish to contribute $______to help sustain the work of the Society. 2004. AATB. Sc 5 pp, pts 2 pp each. $20. Please charge my dues/donation to my VISA/MASTERCARD: Short Wave is a finely crafted and #______Exp. Date: ______slightly experimental work in the context Cardholder’s signature______of a catchy old-time jazz-influenced style. NAME______PHONE (______)______According to the edition’s preface, ADDRESS ______Leenhouts was inspired to write this ______E-MAIL ______composition by “the image of people CITY______STATE ____ ZIP/POSTAL ______dancing the Charleston, wearing hats with CHAPTER/CONSORT AFFILIATION, IF ANY:______feathers and having smoky discussions OPTIONAL INFORMATION: around dimly lit tables...depicting the social life of the thirties.” Chapter officer or committee member? ❏ Yes (officer/committee: ______) ❏ No ❏ Have served chapter in past Yet, the music (and, incidentally, the imagery) seems to recall more the speak- Age: _____ For how many years have you played the recorder? _____ easy environment of the 1920s. By the Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional 1930s, the two-beat Charleston feel that Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 Leenhouts employs gave way to the four- ❏ $50,000-75,000 ❏ $75,000-100,000 ❏ Over $100,000 beat fox trot. Portion of your income derived from music: ❏ All ❏ Some ❏ None The type of formal structure employed Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None in Short Wave, which is multithematic (like If all or some, what kind of recorder activities are involved? (Check all that apply.) marches, ragtime compositions, and ❏ ❏ ❏ much of the pre-1930s jazz repertory), Teach privately Teach/lead workshops Teach elementary school music ❏ Performance ❏ Recorder maker ❏ Musical director/coach was eschewed in favor of simpler ❏ Other ______monothematic forms such as the 32-bar What type of recorder music do you play? (Check all that apply.) song and 12-bar blues. ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo In two sections of Short Wave, there are ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as jazz solos that are completely written out. trio sonatas) ❏ Broken consort with other instruments (such as a collegium) Their construction, like the solos in ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort middle-to-late 1920s jazz, is largely based (format used in many chapter meetings, with several recorders playing on each part) on arpeggiation, rather than on a more varied melodic swing style. AMERICAN RECORDER SOCIETY However, all of the above may be 1129 Ruth Drive, St. Louis, MO 63122-1019 U.S.A. less anachronistic than it seems. The Fax renewals to 314-966-4649
March 2005 43 Ramblers, Holland’s finest jazz band of ARS PUBLICATIONS the 1930s, played in a two-beat style and Erich Katz Contemporary Music Series Members Non-Members generally sounded like a U.S. band from Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 the ’20s. Perhaps Leenhouts’s choices are Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 more a matter of local reference than of Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 anachronism. Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 The edition is beautifully printed and Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 prepared with instructional notes in Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) German, English and French. There are edited by Alan Drake (3 scores) $8 $14 Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders no page turns in the parts. Short Wave (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 requires a good ensemble group. Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 ...Leenhouts was inspired Musical Editions from the Members’ Library: ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 to write this composition The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. by “the image of people Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Santa Barbara Suite (Erich Katz) Canon for Four Bass Recorders (David P. Ruhl) Sentimental Songs (arr. David Goldstein) dancing the Charleston, Dancers (Richard Eastman) Serie for Two Alto Recorders (Frederic Palmer) Different Quips (Stephan Chandler) Slow Dance with Doubles (Colin Sterne) wearing hats with Elegy for Recorder Quartet (Carolyn Peskin) Sonata da Chiesa (Ann McKinley) Elizabethan Delights Three Bantam Ballads (Ann McKinley) *Gloria in Excelsis (Robert Cowper) Three Cleveland Scenes (Carolyn Peskin) feathers and having Imitations (Laurie G. Alberts) Tracings in the Snow *In Memory of Andrew (David Goldstein) in Central Park (Robert W. Butts) smoky discussions *Jazzy Rondo (Carolyn Peskin) Trios for Recorders (George T. Bachmann) *Little Girl Skipping and Aloutte et al Triptych (Peter A. Ramsey) (Timothy Walsh) Two Bach Trios (arr. William Long) around dimly lit tables.... Los Pastores (arr. Virginia N. Ebinger) Two Brahms Lieder (arr. Thomas E. Van Dahm) New Rounds on Old Rhymes (Erich Katz) *Variations on “Drmeš” (Martha Bishop) Other Quips (Stephan Chandler) Vintage Burgundy Poinciana Rag (Laurie G. Alberts) MUSIC FOR SUNRISE, BY NIGEL BUTTERLEY. Orpheus OMP 115 ARS Information Booklets: ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 (
44 American Recorder The piece begins with the non-pitched FEEDING TIME AT THE ZOO, BY mood. Good slower pieces are the pre- percussion and pitched recorder/flute LANCE ECCLES. Orpheus Music OMP 073 dictably sluggish, but pleasant, “The groups alternating with each other, and (
March 2005 45 CHAPTERS & CONSORTS ______Playing for First Night and making recorder stands; ______recorder orchestras: on both coasts, and in between
Members of the Bella Vista Recorder Sheila Ravin Consort helped to usher in 2005 by par- also left the ticipating in the First Night celebration in chilly city side- downtown Fayetteville, AR. Performing at walks of New the “Classics” venue, they presented their York to join the favorite instrument to an enthusiastic Miami group of audience. The varied program, of music 13 in playing old and new, included works by Hassler, selected pieces Ninot, Van Eyck, Donato, Bach, Mozart, from Will Sweelinck, Staeps and Raksin. Ayton’s work A special feature was an arrangement, Mary Danced. made by consort member Hildegarde Attendance at Erle of the Welsh tune “Ashgrove.” the Saturday Consort members Bill Rees and afternoon ses- Roger Widder also played with the sion was better Arkansas Early Music Players, per- than usual. forming at the same venue. The descrip- Members and friends of the St. Louis tions of disap- (MO) Recorder Society (SLURS) met at pointment and Norm Stoecker’s workshop to build inex- praise that pensive folding recorder stands in Febru- were expressed ary. Participants built 13 stands from pine respectively in lumber and hardwood dowels, each the September tailored to fit a particular set of instru- and November ments. Afterward, the cheerful carpenters issues of American Recorder piqued chap- with each replaying, with an overall feel- relaxed and socialized over a potluck. ter members’ curiosity about Ayton’s ing for this music that was very positive. The ARS Miami (FL) Chapter was work. With Bixler’s keen direction as to As in the AR review, participants liked honored to have Martha Bixler (seated articulation and expression, the Miami “Mary’s Dance,” especially its harmonies at left in photo at right) of New York City, players were soon able to feel pleased and lightness, but were also struck by the NY, conduct a playing session for its with the group’s sound. The group’s en- vocal beauty of the “Magnificat” and December chapter holiday meeting. joyment of Ayton’s compositions grew “Ave Maria,” as sung by a mezzo-soprano who is a member of the chapter.
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46 American Recorder Recorder Orchestras Perform which will be sung by AROW member The Highland Park (NJ) Recorder Ellen R. Fisher. In addition to several Society and the chamber orchestra Gar- other pieces with a “bird” theme, AROW’s den State Sinfonia plan a joint April 3 new assistant conductor Greta Hryciw concert entitled “Fairest Isle, A British will conduct the round A Robyn, Gentil Musical Miscellany” for chorus, recorders, Robyn, in which the audience will be oboes, trumpets, strings and harpsichord. invited to sing along. The concert program will feature The new Los Angeles Recorder music of British composers of the Baroque Orchestra (LARO), turned its rehearsal era and the early 20th century—G. F. space at St. Bede’s Episcopal Church in Handel, Henry Purcell, Jeremiah Clarke west Los Angeles, CA, into a concert hall and James Paisible from the earlier times, for its debut performance on January 23. and 20th-century composers Ralph Conducted by Thomas Axworthy, the Vaughan Williams and Edmund Rubbra. 31-member ensemble has been Princeton-area guest artists on the rehearsing since its founding last summer program include recorderists Stephen by Lia Starer Levin and Axworthy. Berkelhammer and John Burkhalter; LARO is the third recorder orchestra to harpsichordists Gavin Black, Dean be formed in California—the northern Poulsen and Eugene Roan; and ’cellist part of the state boasts two. David Black. January’s program, described as Recorder quartets will perform dance “Renaissance to Rag,” included music music of Purcell and music from his opera ranging from the 16th to the 20th cen- Dioclesian, plus the less-familiar Suite for turies and offered a showcase for the spec- Recorders of Vaughan Williams and trum of recorder voices from sopranino to Notturno of Rubbra. Strings will perform contra bass. works by Paisible. A full house of more than 100 friends, Soloists will be featured in music from relatives and other early-music lovers gave Handel’s Rinaldo and a Handel sonata in the new ensemble a standing ovation. B for oboe and basso continuo. The pro- “We got off to a good start,” said Axwor- gram will close with Purcell’s See Nature thy. LARO’s next concert is scheduled for Rejoicing for chorus, oboes, trumpets, June. strings and harpsichord. Following on its mini-performance On another coast, the American debut last fall for the Early Music Col- Recorder Orchestra of the West orado fall festival in Boulder, CO, the (AROW) has a similar theme for its 2005 Front Range Recorder Orchestra concert series, “Music of the British Isles,” regrouped to rehearse for a full concert with six concerts set to be performed in during Play-the-Recorder Month. The northern California and Nevada during members of the new ensemble come from the months of March-May. the Boulder, Denver, and Fort Collins Large, multi-part works created for ARS chapters to play in Colorado’s first recorder orchestra will be contrasted with recorder orchestra. intimate performances of small, one-on-a- Conducted by Rosi Terada, the March part ensembles. In addition to recorders program, “An Italian Tour,” will focus on ranging from garklein to contra bass, the early music of Italy, with AROW uses ’cello, harpsichord, harp, performances set for Longmont and Fort guitar, percussion and voice to comple- Collins. ment the orchestra’s timbre. Among the large works slated for per- Correction formance by AROW is a suite of six In the January report on the Greater Baroque pieces arranged by Denis Blood- Denver (CO) chapter’s November meet- worth, conductor of the London Recorder ing conducted by Connie Primus, there Orchestra. Another is an original compo- is one mistake that some readers may sition by Paul Clark, former conductor of notice: the group played two arrange- HERO (Heart of England Recorder ments of the Thanksgiving hymn. Orchestra), presenting variations on the The one in Seventeen Old Favorite folk tune “Scarborough Fair.” AROW’s Hymns, published by Sweet Pipes, was conductor, Richard Geisler, has also arranged by William E. Hettrick. The arranged a suite of five well-known David Goldstein arrangement came from Holborne quintets. his Hymn Preludes for Four published Among the small ensemble pieces are a by Provincetown Bookshop. American part song by Francis Pilkington, based on Recorder regrets any confusion caused by the nursery rhyme “Little Boe Peep,” the information.
March 2005 47 CONSIDER ADVERTISING IN ______CLASSIFIED ______Full page ...... $565 2/3 page ...... $420 1/2 page ...... $345 1/3 page ...... $270 1/4 page ...... $210 Where the haves 1/6 page ...... $165 1/8 page ...... $120 and have-nots 1/12 page...... $ 90 of the recorder world 1 column inch ...... $ 55 Prices include web site/e-mail link directly from can find each other your ad in AR On-line,
48 American Recorder