May 2009 Published by the American Recorder Society, Vol

May 2009 Published by the American Recorder Society, Vol. L, No. 3 • www.americanrecorder.org

Ayton: Renaissance Henderson/Brown: Life is Revisited Just a Bowl of Cherries SATB Recorders AATB Recorders Item TR00065 NNOOTTEEWWOORRTTHHYY Item 1AP00180 In the grand tradition NOTEWORTHY Published in 1931, the of composing refrains opening lyrics, Life fantasias on popular NNNEEEWWWSSS is like a bowl of cherries, tunes, here are three ffrroomm yyoouurr ffrriieennddss aatt Don't take it serious, lovely fantasias on from your friends at through the closing So live songs that were and laugh at it all, sums smash hits during the Renaissance. MMMaaagggnnnaaammmuuusssiiiccc up the songs sunny message. Here, set in a Fantasias on Tant que Vivray, Adieu mes gentle swing rhythm, Cherries represents a Amours, and Scaramella range in mood genre of popular song which sought to divert from a tender love song to a sad farewell thoughts from the woes of the deepening Great to a sixteenth century satire of military Depression. Good fun, especially for the bass pomp, an Italian Yankee Doodle. player, with great audience recognition. Score, Intermediate. Score & Parts $7.50 parts and Lyrics included. Intermediate $7.50

Also Noteworthy… Also new from Arcadian… Handel: Overture and Sinfonia from 1AP00181A Cole Porter: NSSAAA- $19.95 Solomon Night and Day TTBGbCb For SATB recorders 1AP00182 Tchaikovsky: SATB $7.50 Item AVP0126 Dance of the From the famous Queen of Sheba Flutes movement. Score and parts. 1AP00184A Terada: Hava NSAATT- $19.95 $22.50 Nagila BGbCb Songs and Dances of Scotland, New to Magnamusic Ireland and England We've just started to carry these wonderful For Soprano or Tenor Recorder with editions and they are sure to be a hit. The Lyrics three volume bass recorder method is An exciting collection of songs and particularly popular. It has a CD included with dances all arranged for voice and 2 versions of each exercise piece introduced, recorder, flute, penny whistle or other with and without accompaniment. C instrument. With chord symbols and Bass Recorder Workshop, guitar diagrams, plus full lyrics. For C Volume 1 Volume 2 Volume 3 Instruments. 1UE31970 1UE31971 1UE31972 1AM31410 Songs and Dances of S/T, vo $14.95 $32.95 each Scotland also new to us… 1AM31428 Thomson: Songs and S/T, vo $14.75 1UE16586 Bonsor: Easy Jazzy Duets SS $11.95 Dances of Ireland 1UE17116 Duets for recorders, Vol1 AA $22.95 1AM31402 Songs and Dances of S/T, vo $14.95 1UE18741 Pieces from the Magic Flute SS/AT/TT $14.95 England 1UE19364 Bonsor: Jazzy Recorder 2 S, Pf $19.95 And for the Younger Among Us… 1UE30250 French Christmas Noels SS/AA/TT $19.95

Harris: Cool 'Corders For Soprano Recorder and Piano Nine intermediate arrangements for soprano recorder in styles like swing, blues, rock, march 0DJQDPXVLF'LVWULEXWRUV,QF waltz and Latin for the classroom or performance. A CD contains a great piano accompaniment. ORDER TOLL FREE: (888) 665-2721 Item SP02410R TEL: (860) 364-5431 FAX: (860) 364-5168 $19.95 Email: [email protected] Also new from Sweet Pipes… Stern: Recorders without Shop Online at magnamusic.com Borders, Volume 2 Search or browse our inventory of over 10,000 pieces for For soprano duet and percussion recorder and more, and don't forget our hundreds of 13 beginning to intermediate recorder pieces from recorder models and all the accessories and maintenance around the world using one octave (low D to supplies you need. middle D) and percussion. The included CD contains 4 tracks for each pieces; performance, Don’t forget to mention you’re an ARS member and percussion only, percussion with recorder 1 and percussion with get a surprise! recorder 2. Item SP02411, $19.95 Editor’s Note ______Volume L, Number 3 May 2009 common thread in this issue is reviews Features A—first, David Lasocki’s annual The Recorder in Print: 2007 ...... 8 review of what was written about the David Lasocki compiles his annual look at recorder in 2007 (page 8). Other reviews “What’s been written about the Recorder in other give you “back to basics” ideas for CDs Publications around the World” (page 24) or music (page 29). Part II of Bart Spanhove’s quiz (page 21) may also Departments 4 be used as a shopping list of recorder music essentials. Advertiser Index and Classified ...... 32 The anniversary year—ARS’s 70th birthday and volume 50 of AR—continues. AR@50 ...... 6 The cover for this issue cleverly uses both As Friedrich von Huene turns 80, here’s an excerpt milestone numbers (look closely at the from Susan E. Thompson’s interview with the upper ends of the recorders for “50,” recorder maker when he turned 70 and in the shadow for “70”). 6 It’s also a celebration year for recorder Chapters & Consorts ...... 28 maker Friedrich von Huene, who turned Compact Disc Reviews ...... 24 80 in February! AR@50 travels back a decade, when Susan E. Thompson Education ...... 21 chatted with him for his 70th birthday Bart Spanhove continues his test of our (page 6). Eric Haas also sent in a musical knowledge—this time, music to identify description of the 2009 party (page 6). We wish you many more, Friedrich! Music Reviews ...... 29 Gail Nickless President’s Message ...... 3 8 ARS IS 70! Join us for the Lisette Kielson asks, “Can you hear me now?” and more second ARS Festival & Conference, July 30-August 2, University Q&A ...... 23 of Missouri–St. Louis Carolyn Peskin asks you what you use in place of a thumbrest

Tidings ...... 4 CD by Ensemble Caprice wins Juno Award; Happy 80th birthday, Friedrich von Huene; 21 Flanders Quartet in New York, Loeki Stardust in California

GAIL NICKLESS, EDITOR

CONTRIBUTING EDITORS ON THE COVER: TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER, BEGINNERS & TECHNIQUE Illustration by TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE • CAROLYN PESKIN, Q & A CONSTANCE M. PRIMUS, MUSIC REVIEWS • MARY HALVERSON WALDO, EDUCATION Timothy Wall

ALABAMA GEORGIA Long Island: Alabama Recorder Assoc.: Jennifer Atlanta: Barbara Zotz (631-421-0039) Garthwaite (256-586-9003) Mickey Gillmor (404-872-0166) New York City: Gene Murrow Birmingham: (646-342-8145) Janice Williams (205-870-7443) HAWAII Rochester: Liz Seely (585-473-1463) Hawaii: Irene Sakimoto Rockland: Jacqueline Mirando AMERICAN ARIZONA (808-734-5909) (845-624-2150) Desert Pipes (Phoenix): Big Island: Roger Baldwin Westchester: RECORDER Linda Rising (602-997-6464) (808-935-2306) Erica Babad (914-769-5236) Arizona Central Highlands SOCIETY (Prescott): Georgeanne Hanna ILLINOIS NORTH CAROLINA inc. (928-775-5856) Chicago: Mark Dawson Carolina Mountains: Tucson: (773-334-6376) Carol Markey (828-884-4304) Scott Mason (520-721-0846) Chicago-West Suburban: Triangle: Mary McKinney Honorary President Laura Sanborn–Kuhlman (919-489-2292) ARKANSAS (630-462-5427) Erich Katz (1900-1973) Aeolus Konsort: OHIO Honorary Vice President LOUISIANA Greater Cleveland: Don Wold (501-666-2787) Edith Yerger (440-826-0716) Winifred Jaeger Bella Vista: Barbara McCoy Baton Rouge: (479-855-6477) Cody Sibley (225-505-0633) & Toledo: Marilyn Perlmutter John Waite (225-925-0502) (419-531-6259) Statement of Purpose CALIFORNIA New Orleans: OREGON The mission of the American Recorder Society is Central Coast: Margery Seid Victoria Blanchard (504-861-4289) (805-474-8538) & David Kemp (504-897-6162) Eugene: Lynne Coates to promote the recorder and its music by East Bay: Susan Jaffe (541-345-5235) developing resources and standards to help (510-482-4993) MARYLAND Oregon Coast: Corlu Collier people of all ages and ability levels to play and Inland Riverside: Greg Taber Northern Maryland: (541-265-5910) Richard Spittel (410-242-3395) Portland: Zoë Tokar (971-325-1060) study the recorder, presenting the instrument to (951-683-8744) Monterey Bay: LouAnn Hofman new constituencies, encouraging increased career MASSACHUSETTS PENNSYLVANIA (831-439-0809) Bloomsburg Early Music Ens.: opportunities for professional recorder Boston: Justin Godoy North Coast: Kathleen (781-507-4891) Susan Brook (570-784-8363) performers and teachers, and enabling and Kinkela-Love (707-822-8835) Recorders/Early Music Philadelphia: Orange County: Lois Sheppard Vincent Hurtubise (215-438-6409) supporting recorder playing as a shared social (562-431-0454) & Metro-West Boston: Sheila experience. Besides this journal, ARS publishes Beardslee (978-264-0584) Pittsburgh: Helen Thornton Rayma Zack (949-624-3448) Worcester Hills: Doug Bittner (412-781-6321) a newsletter, a personal study program, a Redding: Kay Hettich (508-852-6877) directory, and special musical editions. Society (530-241-8107) RHODE ISLAND Sacramento: Steve Sherman members gather and play together at chapter MICHIGAN Rhode Island: (916-489-2771) & Ann Arbor: David Bojar (401-944-3395) meetings, weekend and summer workshops, and Robert Foster (916-391-7520) Annabel Griffiths (734-213-3172) many ARS-sponsored events throughout San Diego County: Harvey TENNESSEE Kalamazoo: Charles Vreeland Greater Knoxville: the year. In 2009, the Society enters its Winokur (619-334-1993) (269-342-8069) San Francisco: Dana Vinicoff Metropolitan Detroit: Claudia Ann Stierli (865-637-6179) eighth decade of service to its constituents. (415-908-3258) Novitzsky (248-548-5668) Nashville: Sonoma County: Northwinds Recorder Society: Janet Epstein (615-297-2546) Board of Directors Dale Jewell (707-874-9524) Janet Smith (231-347-1056) South Bay: TEXAS Lisette Kielson, President Western Michigan: Jocelyn Shaw Austin: Marianne Weiss Kim Liz Brownell (408-358-0878) ( 231-744-8248) Laura Sanborn–Kuhlman, Southern California: (512-795-9869) Dallas: Jack Waller Jerry Cotts (310-453-6004) & MINNESOTA Vice President; Fundraising Chair (972-669-1209) Marilyn Perlmutter, Secretary; Juanita Davis (310-390-2378) Twin Cities: Barbara Aslakson (952-545-3178) Rio Grande: Sylvia Burke Scholarship Chair COLORADO (575-522-1742) Ann Stickney, Treasurer; Boulder: Mike Emptage MISSOURI (970-667-3929) St. Louis: UTAH Finance Chair; Membership Co-Chair Colorado Springs: Janet Howbert Kathy Sherrick (314-822-2594) Utah Recorder Society Matthew Ross, Assistant Secretary; (719-632-6465) (Salt Lake): Mary Johnson Membership Co-Chair Denver: Dick Munz NEVADA (801-272-9015) Sierra Early Music Society: Bonnie Kelly, Assistant Treasurer; (303-286-7909) VERMONT Fort Collins: Sherry Pomering Kay Judson (775-322-3990) Chapters & Consort Chair; Special Monadnock: (970-484-0305) Kristine Schramel (413-648-9916) Events/Professional Outreach Co-Chair NEW HAMPSHIRE Early Music Society of Monadnock: & Lynn Herzog (802-254-1223) Letitia Berlin, Special Events/ Western CO: Bev Jackson Kristine Schramel (413-648-9916) Professional Outreach Co-Chair (970-257-1692) VIRGINIA & Lynn Herzog (802-254-1223) Northern Virginia: Mark Davenport, Education Co-Chair CONNECTICUT NEW JERSEY Edward Friedler (703-425-1324) Susan Richter, Marie–Louise Smith Connecticut: Elise Jaeger Bergen County: Shenandoah (Charlottesville): (203-792-5606) Gary Porter (434-284-2995) Leslie Timmons, Education Co-Chair Eastern Connecticut: Mary Comins (201-489-5695) Mary Halverson Waldo, Publications Chair Highland Park: Donna Messer Tidewater (Williamsburg): Joyce Goldberg (860-442-8490) (732-828-7421) Vicki H. Hall (757-565-2773) DISTRICT OF COLUMBIA Navesink: Lori Goldschmidt Nancy Weissman, Counsel WASHINGTON Washington: Art Jacobson (732-922-2750) Moss Bay: (301-983-1310) Princeton: Ralph Lusher (425-275-6777) Staff Louise Witonsky (609-924-2752) DELAWARE Seattle: Carolyn Wallace Kathy Sherrick, Administrative Director Brandywine: Roger Matsumoto NEW MEXICO (206-782-6898) Albuquerque: Bryan Bingham 1129 Ruth Drive (302-731-1430) WISCONSIN St. Louis, MO 63122-1019 U.S. (505-299-0052) Milwaukee: Carole Goodfellow FLORIDA Las Vegas (Flat & Baroque in 800-491-9588 toll free Ft. Myers Recorder & Early Las Vegas): Tom Curtis (262-763-8992) Music Ens.: Sue Groskreutz Southern Wisconsin: 314-966-4082 phone (505-454-4232) Marilyn Oberst (608-836-0269) 314-966-4649 fax (239-247-3002) Rio Grande: Sylvia Burke Gainesville: Peter Bushnell [email protected] (575-522-1742) CANADA (352-376-4390) Santa Fe: Montréal: Mary McCutcheon www.AmericanRecorder.org Largo/St. Petersburg: Jane Thomson (505-986-0753) (514-271-6650) Elizabeth Snedeker (727-596-7813) NEW YORK Toronto: In accordance with the Internal Revenue Service Miami: Zulema Garaffo Sharon Geens (416-699-0517) Taxpayer Bill of Rights 2, passed by the United States (305-374-1879) Buffalo: Congress in 1996, the American Recorder Society makes Palm Beach: Gail Hershkowitz Jean Ericson (716-839-3942) Please contact the ARS office (561-732-5985) Hudson Mohawk: freely available through its office financial and Darleen Koreman (518-482-6023) to update chapter listings. incorporation documents complying with that regulation. Sarasota: Margaret Boehm (941-761-1318) 6 May 2009 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

s I write this President’s site to meet your needs and perhaps A Message, I’m ever conscious The point is not inspire previously unimagined of the timespan between my writing possibilities. and your reading. What will have just “Can you In Austin, the Board will have transpired in the months between? hear me now?” but explored different means of communi- A Board meeting will have taken cating information. The exciting and place in Austin, TX, and the spring “Are you listening?” and challenging conclusion, I feel, is that appeal letter will have been sent out. “Do you understand?” this important issue is on-going, never Both of these important occur- really “done”—for the way in which rences make me think of communica- members Laura Kuhlman and we reach out, send, and retrieve tion as it relates to disseminating Matthew Ross, there is marked information constantly changes. The information and drawing connections. improvement on what was a much point is not just “Can you hear me The fundraising letter represents a needed line of connection between the now?” but “Are you listening?” and traditional approach to communica- central organization and ARS “Do you understand?” So, no matter tion—a formal letter (embellished chapters. how you communicate—whether you with personal messages when pos- We have made changes in Twitter; use MySpace, Facebook or sible!), a direct plea sent through American Recorder’s design, changing YouTube; ’blog or text; e-mail or snail- the post. the font and creating more white space mail; use cell or land line; or meet in The Board meeting involves the to improve readability. We are person (have I forgotten anything?)— membership more indirectly—you as evaluating the ARS wiki to see if it keep the connections strong! a whole are constantly in our thoughts provides an inviting venue, attracting throughout the weekend. (Attending your online correspondence. And we The a meeting of the host chapter, a are continually working on the web Recorder Magazine meaningful part of the Board meeting site, updating educational materials we invite you to visit the site process, does provide a wonderful and resources. Our goal is to bring it www.recordermail.demon.co.uk means of direct communication and into the 21st century, improving the connection.) Like the written letter, the Board meeting is also a bit “old fashioned,” in the sense that we meet in person, talk and listen to each other (trying not to interrupt!). Interestingly, we are currently evaluating the need to implement more use of Skype and video conferencing, if attendance is not possible or becomes too expensive. The Board, with the help of non-Board member volunteers among you, has focused upon and worked diligently on the issue of communication. Constant Contact is now used to reach out by e-mail to chapter and consort leaders. Thanks to new Board

www.AmericanRecorder.org May 2009 7 Tidings ______Ensemble Caprice wins Juno Award, ______Friedrich von Huene turns 80 ENSEMBLE CAPRICE WINS JUNO AWARD Recording company ANALEKTA has announced that two of its recordings have won 2009 Juno Awards. In the category “Classical Album of the Year: Vocal or Choral Performance,” the winner was Ensemble Caprice, under musical direction of Matthias Maute, for Gloria! Vivaldi’s Angels, a new reading of Vivaldi’s famous choral works. For “Classical Album of the Year: Large Ensemble or Solo- ist(s) with Large Ensemble Accom- paniment,” Orchestre Symphonique Caprice’s recorderists Matthias Maute and Sophie Larivière de Montréal and its music director Kent Nagano won for Beethoven: Ideals of the French Revolution. Canada’s equivalent of the Gram- my Awards in the U.S., Juno Awards are presented annually to nominees in a broad range of musical categories. Striving for quality and diversity in its recordings, ANALEKTA features the finest Canadian musicians and holds a unique status on the Canadian classical music scene. Founded in 1988 by Mario Labbé, ANALEKTA has become the largest independent classical record company in Canada. It has been the recipient of many distinguished prizes, notably for the quality of its recordings and the musicianship of its artists. For more information, visit www.analekta.com.

8 May 2009 American Recorder Quartets perform on both coasts LOEKI STARDUST VISITS THE BAY AREA Flanders Quartet and Others ... well-thought-out by Anne–Marie Wiggers, San Jose, CA By Anita Randolfi, New York City, NY and often extremely beautiful. March 10 was a true feast for the ears On February 22, the Flanders of all recorder aficionados present at Recorder Quartet (FRQ) played a tation was well-thought-out and often St. Luke’s Episcopal Church in Los program of late Medieval and Renais- extremely beautiful. I especially liked Gatos, CA. An “overflowing-the- sance music at The Cloisters. The the set of pieces drawn from the sanctuary” crowd was enraptured by a Cloisters were brought from Europe, Petrucci publications of 1501-03, and luscious-sounding concert presented stone by stone, and installed in upper the set of three canzonas by Tarquinio by the world-famous Amsterdam Manhattan in New York to house Merula that closed the program. Loeki Stardust Quartet (ALSQ), the Metropolitan Museum of Art’s A February 23 program titled on tour from The Netherlands. extensive collection of Medieval art. “Princes and Paupers” was presented They chose works ranging from The concert was played in the Fuenti- by Big Apple Baroque at the Chapel the 1500s through the 1900s—i.e., duena Chapel, a handsome space that of St. George’s on Stuyvesant Square. Sweelinck, Bach, Merula, Palestrina, provides a fine acoustic for recorders. This all-J.S. Bach program was Tallis and Vivaldi; and their own The program of music from 1400 played to aid the parish homeless more recent works, like Leenhouts’s to 1600 was titled “A Paradise of projects; it attracted a full house. When Shall My Sorrowful Sunshine Sweet Sounds.” This paradise is not Recorderists Deborah Booth Slack, based on a Stevie Wonder song. the spiritual one, but refers to Venice, and Daphna Mor were prominent This composition won first in the the earthly city of mystery, contrast, art participants. Besides playing obbli- 1981 Musica Antigua Competition. and beauty. Venecie mundi splendor has gatos for arias from cantatas BWV In the words of ALSQ: ”We attracted musicians from the Middle 161, 81 and 39, they were soloists in have a passion for early music, being Ages to modern times. the Brandenburg Concerto No. 4 in G, the foundation of a consort repertoire, The quartet’s hour-long program BWV1049. The recorders were also but we feel that the contemporary was arranged in four sets of polyphon- kept busy in the encore: the F major recorder field is missing great works ic music drawn from the Odhecaton version of the fourth Brandenburg, of composers ... of their time. We and other period sources. It featured where Bach allocates the solo to the consider one of our missions [is] to music by Isaac, Ciconia, Ghizeghem, harpsichord instead of the violin. The make use of our performing style as Agricola, Merula and others. The recorder parts are the same, but a step a way of demonstrating sounds and polyphonic sets were separated by lower. Booth and Mor were a pleasure structures to modern composers as three sets of monophonic anonymous to hear in both versions. a basis for contemporary works.” monophonic pieces, which provided The group’s sophistication in FRQ with a chance to improvise on ensemble playing and virtuosity mes- the melodic materials, and to add merized the audience with a superb drones, countermelodies and percus- flow of sounds, at times “smooth as sion to the notated tunes. The presen- chocolate mousse.” At other times, SWEETHEART the music—like Matthias Maute’s FLUTE CO. Rush, winner of a composition contest co-sponsored by ARS and ALSQ — Baroque Flutes: our own took a real effort to appreciate, with “Sweetheart” model Fifes, Flageolettes explosive whistles and blurps “Irish” Flutes & Whistles. alternating with lyrical melody. Send for brochure and/or antique flute list. This attitude of exploring the recorder as an instrument on its own 32 South Maple Street Enfield, CT 06082 has confirmed the quartet’s reputation (860) 749-4494 [email protected] as one of the world’s most innovative www.sweetheartflute.com and exciting recorder consorts.

www.AmericanRecorder.org May 2009 9 Bits & Pieces AR@50: Excerpt from “Friedrich von Huene celebrates 70” An interview with Susan E. Thompson, from the January 1999 AR, Vol. XXXX:1 (Friedrich von Huene learned all aspects Dolmetsch, Herwig and Stieber. They of making instruments at Powell Flutes, were all at 440, but they were different Professional recorderist Susanna where he also learned “the importance of in length, had different bore profiles Borsch and recorder maker Adrian neat workmanship.” In Germany as a and different tonehole locations. I Brown have added a son to their youth, he had played both recorder and could only afford to make myself one “consort”: Rufus Brown, born flute. The sound of them played together in reamer, so I had to make a compro- February 20. Telemann’s concerto for flute and recorder mise. I sold my first recorders for $50 “I have been greatly challenged inspired him to make recorders.) each to compete with Dolmetsch’s, and inspired by teaching,” writes The first recorder I made was which cost $60, and Fehr’s, which Nik von Huene of the Von Huene of course experimental. It was not a cost $55, maybe even $65.... Workshop. He is near completion of good instrument. I made some mis- When did you actually go into a master’s degree in elementary takes.... Number 3 was better. It went business for yourself? education, but will still occasionally to Bernard Krainis and that brought 1960. I had a little room upstairs work in the store, especially during me orders. over Frank Hubbard’s [harpsichord] the busy summer months. The design for your first recorder shop in an 18th century barn on the Yamaha and Carnegie Hall in was a composite, wasn’t it? Lyman Estate in Waltham. We would New York have teamed up to create a Yes, Alfred Mann had a share ideas. ... plastic student recorder, the first co- Goble, and I had access to altos by branded and licensed product from Carnegie Hall. Proceeds of its sales On February 21, friends and family gathered will help fund music education to celebrate Friedrich von Huene’s 80th outreach programs of The Weill birthday. The von Huenes’ spacious old Music Institute at Carnegie Hall. brownstone in Brookline, MA, was filled to overflowing with Boston-area recorder players, friends, and the extended von Huene clan (sons Andreas, Patrick, Nikolaus and Thomas, daughter Elisabeth, their spouses and 8 grandchildren). Patrick (a master chef, as well as master recorder maker!) provided a lavish Lost in Time Press spread of finger foods. Musical entertainment included solos New works and by recorder virtuoso Aldo Abreu, finish- arrangements ing with a set of Happy Birthday variations for recorder ensemble improvised in the style of Van Eyck, and American folksongs sung by Elisabeth, Compositions by accompanied on guitar by husband Chris Lanham. Bonnie Kelly delivered a floral Frances Blaker arrangement on behalf of the ARS Board. Paul Ashford Hendrik de Regt Ingeborg von Huene had written and others A Short Overview of a Long Career— a booklet filled with fascinating details Inquiries: of their lives as German refugees; the Corlu Collier founding of the Von Huene Workshop (in its earliest days, a lathe in the front hall PMB 309 of their apartment); Friedrich’s association with Frans Brüggen, the New York 2226 N Coast Hwy Pro Musica, and other giants of the early music revival; his design work for Newport, Oregon 97365 Moeck, Zen-On and now Mollenhauer; and more. The party culminated with www.lostintimepress.com not one, but two, birthday cakes—one with 80 candles (which Friedrich extin- [email protected] guished in one breath) and another decorated with the von Huene family crest. Photos and report by Eric Haas 10 May 2009 American Recorder Early Music Upsurge in New York City · In fall 2009, the Juilliard School of Music will offer a Early Music America has heralded a “renaissance” of early master’s degree program in historical performance, music in New York City, NY. Lincoln Center recently directed by Baroque violinist Monica Huggett. celebrated the reopening of newly renovated Alice Tully · Bargemusic, the Brooklyn-based chamber music series, Hall with a series of concerts. Prominently featured in this launched a new early music series in January called “Opening Nights Festival” were early music concerts: a “There and Then” (to complement their new music February 22 opening night Sephardic program by Jordi series, “Here and Now”). Savall and Hesperion XXI; and a later performance by · Carnegie Hall offers two early music series each year: Philippe Herreweghe and the Collegium Vocale Gent Early Music in Weill Recital Hall and Baroque of J. S. Bach’s Mass in B minor. Unlimited (larger Baroque groups, in Zankel Hall). Music critic Allan Kozinn of The New York Times com- · Founded in 2007 by former ARS president Gene mented, “When the original Alice Tully Hall was planned Murrow, Gotham Early Music Scene promotes and in the late 1960s, its acousticians were concerned mainly provides services for dozens of early music concerts in with how chamber music, recitals and lieder concerts would New York City each year. sound in the space. Early music played on period instru- · A production of “The Play of Daniel,” a 12th-century ments was probably far down the list of priorities, if it was music drama, for Concerts at the Cloisters (part of the there at all....The prominence given early music in the Metropolitan Museum of Art) in December sold out reopening festivities at Alice Tully Hall is a sign of how four performances; Times critic Anthony Tommasini much has changed in 40 years. Now period performance is stated that the show “could have run for a month and a growth industry, and the first music heard in the attracted eager audiences.” revamped hall on Sunday afternoon was a set of Sephardic (Anita Randolfi also wrote in the March AR about the pieces performed by Jordi Savall and Hesperion XXI, one December concerts of Matthias Maute and the prestigious of the most renowned period-instrument groups.” Chamber Music Society of Lincoln Center. “Baroque There are other signs of early music’s increased Collection: the Beautiful and the Bizarre” was offered in the visibility and importance in New York: large Rose Theater at the Lincoln Center Jazz Center.) The Von Huene Workshop, Inc. is pleased to announce agreements with 7KH7 Coolsma Zamra to serve as their authorised service agents in the U.S.

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www.AmericanRecorder.org May 2009 11 THE RECORDER IN PRINT: 2007 WHAT’S BEEN WRITTEN ABOUT THE RECORDER IN OTHER PUBLICATIONS AROUND THE WORLD by David Lasocki Fred Morgan “Old Recorders: Our Design Last week my family and I were in Heritage” (1985), “A Player’s Guide Fresno, CA, visiting my friend and to the Recorder” (1987); and an The author, music reference librarian former student Thomas Loewenheim. interview with him by a young at Indiana University, writes about He took us to an Italian restaurant Geoffrey Burgess (1988-89). woodwind instruments, their history, called Parma, owned by a warm “... probably the most significant, repertory, and performance practices. woman who indeed came from Parma, outstanding and skilled recorder He is preparing a history of the recorder described on the sign outside as una maker ever,” proclaims Walter van for Yale University Press. città da amare (a city to love). When I Hauwe on the first page of text. And For his complete list of publications, see pressed the first morsel of food into my who of us would argue with that, at http://mypage.iu.edu/~lasocki/. mouth, my body relaxed in a trice and least among modern makers? Fred was my face dissolved into a broad smile. I great: in his recorder-making, in his This report, the 19th in a series, sat back in my seat and rubbed my physical stature, and in his life. covers books and articles published in stomach for several minutes. Definitely His secret? Evelyn Nallen sums 2007 that advance our knowledge of the food to love: manna from heaven! it up: “This lovely man, who quietly recorder, its makers and players, its Thomas looked over at me, made great recorders, had all the performance practice and technique, its amazed: “Why, I’ve never seen you essential talents of a supreme crafts- repertory, and its depiction in works of art look so happy before.” I was speech- man: a player, draughtsman, perfec- in the past or present. less. All I could manage in reply, tionist, a creative exploring mind, through my smile, was “Ahhmmm....” scientist, practical technician, and, To save space, articles that appeared Today the new book paying tribute with all of this, ... a feeling for the in American Recorder are omitted. to the Australian recorder maker Fred instruments of the past, what T. S. A few previously unreported items are Morgan (1940-99) has had exactly the Eliot called ... ‘a perception, not also included. The author asks if readers same effect on me. “ Ahhmmm....” It only of the pastness of the past, could let him know (c/o AR) about has the appearance of a coffee-table but of its presence.’” significant items he may have overlooked. book, sumptuously designed and My favorite photograph in the Readers can obtain most items through illustrated; but the text is not the usual book—among all those of the man, libraries (either in person at a large incidental accompaniment. Yes, it’s his friends and colleagues, his homes music library or from their local library manna all over again. “Ahhmmm....” and workshops, his instruments and via interlibrary loan). Gisela Rothe, assisted by Fred’s those he “copied”—is a four-fold shot widow Ann, among others, has put of his open filing-cabinet drawers: Acknowledgments: For sending together an inspired and inspiring meticulously labeled with the names of sources and providing other support during collection of essays about him by lead- his multitudinous correspondents in a the preparation of this review ing members of the recorder commu- friendly artistic hand, graphically the author would like to thank János Bali, nity around the world as well as by reminding us of just how many Adrian Brown, Sabine Haase–Moeck some Australians who worked for him. people’s lives he touched. There are and Moeck Musikinstrumente + Verlag, In a master-stroke, Fred’s own brilliant also copious facsimiles of extracts Nikolaj Tarasov and Conrad published articles are interspersed from letters that Fred pounded out Mollenhauer GmbH, Thiemo Wind, throughout the book: “Making on his ancient manual typewriter. and his colleagues in the William and Recorders Based on Historical At the epicenter of the book, I was Gayle Cook Music Library at Models” (1982), “A Recorder for the astonished to find an original contribu- Indiana University, especially Music of J. J. van Eyck” (1984), “Old tion to research by Bruce Haynes, Keith Cochran and Philip Ponella. Recorders and New Ones” (1984), entitled “The Accommodating

12 May 2009 American Recorder instruments designed on the History and General assumption that tuning adjustments In the second half of the 20th century, were a part of a player’s technique.... three authors published significant The instrumental ideal in Baroque books on the recorder that included times resembled a sports car with a extensive historical material: sensitive gear box: by comparison, the Hildemarie Peter (1953, transl. 1958), Romantic woodwinds used in 21st- Edgar Hunt (1962, rev. 1977, repr. century orchestras are like limousines 2002), and Hans–Martin Linde with automatic transmission.” Profes- (1962, transl. 1974; 2nd ed., 1984, sional recorder players, but probably transl. 1991). The Cambridge Companion not what Haynes calls “casual players,” to the Recorder (1995) contained essays knew how to use leaking and shading on the history of the instrument by of the toneholes to good effect. eminent researchers that represented a Recorders Based on Historical Models: considerable advance in scholarship. Recorder” (pp. 119-27). Its subject is Fred Morgan—Writings and Memories; My own 8,000-word entry on the actually recorder tuning. After showing compiled by Gisela Rothe; graphic recorder in The New Grove Dictionary with the aid of contemporaneous quo- design and typesetting by Markus of Music and Musicians, 2nd ed. (2001) tations that the “decisive and unambig- Berdux (Fulda: Mollenhauer, 2007). attempted to look at recorder history uous” nature of recorder tuning was Also German version, Blockflöten nach from first principles and take into viewed both positively and negatively historischen Vorbildern: Fred Morgan— account fruits of the latest researches. in the 18th century, Haynes gets to the Texte und Erinnerungen. See also an Now János Bali—a Hungarian heart of the matter when he points out interview with Rothe about the book in conductor, recorder and traverso that correction “by a sensitive ear” Windkanal 2007-2, 22-25; and an player, singer and teacher—is the (Sauveur, 1707) “was not optional account of its presentation to Ann author of the longest and most on Baroque woodwinds. These were Morgan, Windkanal 2007-3, 32. comprehensive book ever published on

www.AmericanRecorder.org May 2009 13 the entire history of the recorder. After London dealer. In September 1712 he an introductory overview, it looks at Although it is bought William Corbett’s Op. 4, the instrument by period: Middle commonplace that “being 6 Sonatas of 3 Parts for Violins Ages, Renaissance, Baroque, After the the recorder was & for Flutes,” directly from the Baroque (Classical, Romantic, Mod- composer. In June 1713, Morris ern), followed by a concluding chapter a popular amateur acquired a copy which he then “gave to on the recorder as an acoustic object. instrument, we know Colonel Berkeley” of “Bomporti’s The historical chapters cover Sonatas transpos’d for the Flute.” instruments, makers, performance little of how it was used These were presumably Corbett’s practice, and repertoire. The book is by individual amateurs. arrangements of Francesco Antonio relevantly illustrated, including a Bomporti’s trio sonatas: 6 sonatas à 2 gorgeous section of color plates. In an article on early amateur flutes & bc, composées par Mr. Bomporti The author is well up on current recorder players, published in AR & transposées sur la flûte par Mr. Corbet research: for example, there are photo- 10 years ago, I described the activities (mentioned in a Roger catalog, 1708; graphs of the 14th-century Tartu of Claver Morris (1659-1727), a doc- not extant). Lasocki, “Amateur recorder (discovered in 2006) and the tor who lived in Wells in the west of Recorder Players in Renaissance and Leipzig double recorder of the type England and played a dominant role Baroque England.” American Recorder Bach may have scored for as fiauti in the local music society. Although he 40, no. 1 (January 1999): 15-19; d’echi in his fourth Brandenburg Con- took his work as a doctor seriously, Johnstone, “Instruments, Strings, certo. But from our point of view the music was clearly his passion in life. Wire and Other Musical Miscellanea book has one big drawback: it is writ- He danced, sang, played the harpsi- in the Account Books of Claver ten in Hungarian.... Bali, A furulya chord, organ and violin, and had Morris (1659-1727),” Galpin Society (Budapest: Editio Musica, 2007); some facility on the bassoon, oboe Journal 60 (2007): 29-35; “Claver Peter, Die Blockflöte und ihre Spielweise and recorder. My writing was based Morris, an Early Eighteenth-Century in Vergangenheit und Gegenwart on published extracts from his English Physician and Amateur (Berlin-Lichterfelde: Robert Lienau, diaries and accounts. Musician Extraordinaire,” Journal of 1953), transl. Stanley Godman as The H. Diack Johnstone has now the Royal Musical Association 133, no. 1 Recorder: Its Traditions and Its Tasks examined Morris’s surviving account (2008): 93-127. (Berlin-Lichterfelde: Robert Lienau; books and diaries, and written two Jillian Galbraith comments on a New York: C.F. Peters, 1958); Hunt, long and fascinating articles about pen and ink drawing that the eminent The Recorder and Its Music (London: what he found therein. Such material Scottish artist David Allan Junior Herbert Jenkins, 1962; rev. and enl. is important because, although it is (1744-1796) made of his father, David ed., London: Eulenburg Books, commonplace that the recorder was a Allan Senior, in 1760. Allan Senior 1977; reprinted, Mytholmroyd, popular amateur instrument, we know was employed as the Shoremaster at Hebden Bridge, West Yorkshire: little of how it was used by individual Alloa Harbour in central Scotland. In Peacock Press, 2002); Linde, amateurs. the drawing, in which he is holding an Handbuch des Blockflötenspiels (Mainz: The new information about alto recorder as if pausing while Schott, 1962), transl. James C. Haden Morris’s involvement with the playing, he looks about 50 years old. as The Recorder Player’s Handbook recorder turns out to be modest but The recorder that used to accompany (London; New York: Schott, 1974); still good to have. On a visit to the drawing was lost to woodworm, 2., brw. Ausg. (Mainz: Schott, London in March 1688, he had apparently in the 19th century. 1984), transl. Richard Deveson as bought “a Flute” (or in other words, Galbraith spends the bulk of her The Recorder Player’s Handbook, 2nd an alto recorder) for 13s, roughly a article speculating about what kind of ed., rev. and enl. (London: Schott, quarter of the cost of the bassoon or music he would have played on his 1991); The Cambridge Companion to curtal he bought at the same time. recorder—perhaps a mixture of art the Recorder, ed. John Mansfield In December 1709 he purchased music and folk music. “The Musical Thomson and Anthony Rowland– “Valentine’s Sonatas,” perhaps Robert Shoremaster: David Allan 1760,” Jones (Cambridge: Cambridge Valentine’s 12 recorder sonatas, Op. 2 The Recorder Magazine 27, no. 3 University Press, 1995); Grove Music (Rome, 1708; Amsterdam: Estienne (autumn 2007): 88-90. Online, s.v., “Recorder,” by Lasocki. Roger, c.1709), acquired through a

14 May 2009 American Recorder Gentle reader: I love good food, first three decades of the 1800s. Sure, MacMillan’s work could have good books (and good articles), as you it often had several keys and was been strengthened by looking through will have observed from my opening sometimes made in the shape of a catalogs of instrument makers and comments in this review. I do not like walking stick. But we know of some dealers, as well as researching players. to complain, cavil, criticize, condemn, walking-stick recorders in the 18th “The Recorder 1800-1905” (Ph.D. denounce, castigate, or malign the century, so I think he is missing an diss., University of Surrey, 2006); work of my fellow recorder researchers essential part of the continuation of the “The Recorder 1800-1905,” Recorder around the world. But I have taken recorder in the 19th. Magazine, 27, no. 4 (winter 2007): upon myself, in these reviews, the Moreover, around 1800 the 126-31; “An Organological Overview professional duty of pointing out English flute (recorder) was renamed of the Recorder 1800-1905,” Galpin where I believe researchers are the English flageolet, and then under- Society Journal 60 (2007): 191-202. stretching or ignoring the evidence, went considerable development. Alexandra Williams has published and where they have not informed Given what I have written in recent two articles that give us a long taste of themselves of significant sources, years about Nikolaj Tarasov’s work on her wonderful dissertation on the historical or modern, on their subject. the flageolet (English and French), revival of the recorder in England. In I also feel that, by writing these readers may also understand that it the first, about Arnold Dolmetsch’s reviews for the past 22 years and being was this instrument that became the early the co-author of a comprehensive main representative of the duct flute involvement annotated bibliography of writings family in the 19th century, and that with the on the recorder, I have played my part there was some cross-influence among recorder, she in informing researchers and would-be the types of duct flute. shows from researchers of the nature and quality of Incidentally, I was delighted to programs those sources. Please bear this in mind find Fred Morgan writing to Michala that he as you read the following paragraphs Petri, on his manual typewriter, in the began per- (and some further on).... last letter quoted in his memorial book forming on Douglas MacMillan has written (January 1, 1999): “With your interest the recorder Arnold a doctoral dissertation on the recorder in Romantic music for the recorder I in 1900, five Dolmetsch, 1916 in the 19th century, from which two think it is very important that we gain years ahead recent articles are extracted. He some real knowledge of the csakan— of his purchase of the celebrated begins the first with the statement: especially for volume and across-the- Bressan instrument in 1905. Clearly, “It is widely believed that the recorder instrument balance of its sound....” he must have borrowed an instrument, declined into oblivion from the In his second article MacMillan, but from whom? She suggests perhaps middle of the eighteenth century, only reporting the results of studying 122 Joseph Cox Bridge or Canon Francis to reappear at the hands of Arnold recorders “made during the period Galpin, who had both lectured on the Dolmetsch and others at the beginning 1800-1905,” does mention the csakan recorder, and Galpin even made some of the twentieth century.” But readers and flageolet, but insists that “these crude reproductions. of my reviews will surely not hold this must be distinguished from the Williams clears up the con- belief; nor will they find anything new recorder.” His main conclusion is fusion among scholars about when in MacMillan’s evidence. that most of the recorders are fifth Dolmetsch lost the Bressan (April And they will hardly be surprised flutes and sixth flutes (especially in 1919) and whether he lost another at his conclusion, “that the recorder, Bavaria and north Austria) or altos recorder at the same time (he didn’t). far from becoming extinct by the year (elsewhere). “There are relatively few The story of the instrument’s 1800, maintained a shadowy existence tenors and very few bassets or basses.” return is told in Williams’s disserta- throughout the century....” They may The dates in his dissertation and tion: Geoffrey Rendall, a librarian at be surprised, even dismayed, that articles seem arbitrary, because some the British Museum Library and later MacMillan does not take into account of his makers were active in the late the author of a book on the clarinet, the csakan, a duct flute with seven 18th century—and as he himself found the instrument in a junk shop in fingerholes and a thumbhole that points out, the recorder revival was 1924 and wrote to Dolmetsch: “Can I achieved wide popularity in the underway 40 years before Dolmetsch come and see you? I’ve got one or two Austro-Hungarian Empire in the bought his first recorder in 1905. things I’d like you to see.” He came,

www.AmericanRecorder.org May 2009 15 publications, in particular, the Australia 29 (2007): 69-92; “The Dolmetsch saw the recorder’s music—much of it from Dodo was Really a Phoenix: The mouthpiece and said, the so-called ‘golden age’ of English Renaissance and Revival of the composition of the sixteenth and Recorder in England 1879-1941” “That’s mine! seventeenth centuries—resonated (Ph.D. diss., University of strongly with musical authorities’ Melbourne, 2005); MacMillan, Where did you get it?” encouragement of music that exhibited “Arnold Dolmetsch and the Recorder England’s particular cultural values.” Revival,” The Consort 63 (summer opened his bag, took out some clarinets In her dissertation, Williams also 2007): 90-104. and other instruments, and Dolmetsch discusses how the recorder was turned A postscript: in her article for Fred gave his opinion of them. into a “movement” for amateurs and in Morgan’s memorial volume, Williams Rendall started to take out another schools. As well as published sources, describes how he employed her. “You instrument. Dolmetsch saw the she made extensive use of interviews needed a blower, you said, to play your mouthpiece and said, “That’s mine! with Hunt and the Dolmetsch family, recorders as you were making them. Where did you get it?” Rendall felt plus documents in their possession. I would play five different recorders obliged to present the Bressan recorder Williams loves puns, by the way: each day, after which you would adjust to Dolmetsch, who rewarded him by “Bonnie Sweet Recorder” is a play on the measurements and the voicing giving him his first reproduction of it. “Bonnie Sweet Robin,” performed in of each. You wanted your recorders In her article, Williams also Dolmetsch’s first concert to involve the to begin life as complete singing performs a useful service by demon- recorder; and “The Instrument instruments: ready to play for an hour strating that Dolmetsch was not, as has without Music” is a take-off of the at a time; ready for practice, rehearsal been claimed, an “odd man out” in the famous accusatory book title by Oskar or performance from the first breath. musical world, but an integral part of A. H. Schmitz (1904): that England None of this ‘ten minutes a day for the the rejuvenation of English art music was “Das Land ohne Musik” (the land first week, then fifteen minutes for of the time, which included an appre- without music). Williams, “‘Bonnie another week, and so on.’ Your ciation for early music and its instru- Sweet Recorder’: Some Issues Arising instruments were ready to serve ments. In comparison with Williams’s from Arnold Dolmetsch’s Early music from the moment that work, an article by MacMillan on English Recorder Performances,” they left your workshop....” Dolmetsch seems cursory indeed. Early Music 35, no. 1 (February 2007): In her second article, Williams 67-80; “The Instrument without Repertoire describes how Dolmetsch, his son Music: The Reconstruction of Thiemo Wind’s dissertation on Jacob Carl, and Edgar Hunt gradually Recorder Repertoire in England van Eyck and his musical circle is rediscovered the recorder’s early (c.1900-1939),” Musicology Australia: expected to be published this year in repertoire. “Through Hunt’s music Journal of the Musicological Society of English translation. Meanwhile, our indefatigable author has published several further excerpts from it as articles, as well as the latest Van Eyck news. To begin with, he deduces that the sets of three variations on the theme “Doen Daphne” in Der Fluyten Early Music America Magazine is the quarterly Lust-hof were originally four, garbled publication for the Early Music Community in by the transcriber or publisher. Then North America: Professionals, Students, and Audience members. he demonstrates that the variation set “Den Nachtegael” (The Nightingale) Articles on performance practice, trends in the is a “filed down” version of the earlier field, recording reviews, and a new book reviews variation set “Engels Nachtegaeltje” department. (Little English Nightingale). Real news about Van Eyck besides Call 888-722-5288 or email [email protected] for a FREE sample issue. the book? It’s true. First, Wind and the

16 May 2009 American Recorder Photo by Thiemo Wind chair, as though (i.e., recorders), accompanied by an within a bell; on undesignated, figured continuo line the other side, he is in the C3 clef with a range from f to playing his recorder d2, which may be for basset recorder” “for burghers out (except that, as I am credited with for an evening saying in a footnote, the f would not stroll in the Jans- have been an easy note on an F-basset kerkhof.” Wind, —perhaps something the composer “Eine formale had not taken into account). The Rekonstruktion von authors conclude that Clarke’s odes Jacob van Eycks “are uneven in quality, but when he is Variationsfolgen at his strongest, as in ‘Come, Come über Doen along,’ his music can sit comfortably Daphne,” Tibia 32, alongside the court odes of Purcell no. 1 (2007): 344- and Blow.” “Jeremiah Clarke 51; “Jacob van (c.1674-1707): A Tercentenary carillonneur of the Utrecht Dom, Arie Eyck’s Zwei Nachtigallen,” Wind- Tribute,” Early Music Performer, Abbenes, petitioned the city to place a kanal 2007-1, 18-22; “Jacob van Eyck no. 21 (November 2007): 25-36. memorial stone to Van Eyck on the Gets a Memorial Stone,” Jacob van I found Zöe Franklin’s article on Domplein (Dom Square), not far from Eyck Quarterly 2007, no. 1 (January); William Babell’s recorder concertos the tower. The stone depicts a recorder “Jacob van Eyck in Literature: The puzzling—perhaps because it was cut and a bell, and features two lines from Island of the Day Before by Umberto down too drastically from her master’s a contemporaneous poem about the Eco,” 2007, no. 2 (April); “A Van Eyck thesis on the same subject, or else the musician: “In mond en vingeren, Discovery in Antwerp, Belgium,” thesis was lightly supervised. First, she en scherpheydt van gehoor: In Fluyt, 2007, no. 3 (July); “Jacob van Eyck gives few details of his life, and does en Klokken–spel een aller eeuwen Gets a Medal,” 2007, no. 4 (October); not seem to be familiar with the entries wonder” (In mouth and fingers, and www.jacobvaneyck.info/main.htm. on him and his father, Charles, in A acuity of hearing: in recorder and 2007 was also the 300th anniver- Biographical Dictionary of English Court carillon playing, a wonder of the ages; sary of the death of Jeremiah Clarke Musicians 1485-1714, compiled by my translation). But, no: although the (born c.1674), whom Bryan White and Andrew Ashbee and myself (1998). stone may give that impression, Andrew Woolley call “one of the most It is clear—as I also said in my Van Eyck is not buried under it. significant figures in the generation doctoral dissertation, 1983, not cited Second, Wind discusses the following Purcell.” They take him by Franklin—that by 1718 he was allusions to Van Eyck in the novel The as a good example of those “minor associated with the Lincoln’s Inn Island of the Day Before (1994) by the composers that need to be picked out Fields Theatre, where the recorder Italian author Umberto Eco, a keen from the shadows from time to time, player John Baston regularly played amateur recorder player. Third, Wind both to see what they themselves have concertos in the intermissions of reports his discovery in the library of to offer, as well as to throw a bit more plays. If Franklin had realized this, she the royal conservatory in Antwerp of a light on the context of the more would not have had to struggle to find third printing, c.1656, of Van Eyck’s important figures of the same milieu.” reasons why he composed his recorder Der Fluyten Lust-hof I bound with the Five of his odes contain pairs concertos—or, at least, the later ones. second printing, same date, of the of recorder parts: “Song on the (Richard Maunder has already noticed anthology ‘t Uitnemend Kabinet II. Assumption” (1694?), “Come, the resemblance of nos. 5 and 6 to the Finally, the arrival of the year Come along for a Dance and a Song” ensemble concerti, Op. 8, by Babell’s 2007, the 350th anniversary of Van (1695?), “Barbadoes Song” (1703), composition teacher, Johann Christoph Eyck’s death, inspired the Dutch “Let Nature Smile” (1703-07), Pepusch, published c.1717-18 but sculptor Theo van de Vathorst to and “O Harmony, Where’s now probably written around 1710.) design a commemorative medal for thy Power?” (1706). The “Song” Second, in discussing no. 1, him. On one side, which is slightly “includes a passage for two treble Franklin notes that “the whole con- concave, the blind master is sitting in a instruments, clearly designated ‘Flutes’ certo shows an almost symmetrical

www.AmericanRecorder.org May 2009 17 tonal plan, assisted by the internal The translator of course knows symmetry of the central Adagio move- I was especially taken Italian well, and in general he has ment. Babel’s avoidance of symmetry by his evidence and achieved his goal of “producing a text [!] can also be seen on a phrase by that reads ... as if it had been written phrase basis throughout the concerti, arguments that Vivaldi from the start in English” (p. xx). as he regularly re-harmonises recapitu- In passing, I did come across one lations of thematic material....” The himself taught the flute. puzzling passage: a reference to the first two examples she cites of rehar- Concerto di flauti by Alessandro monizations have the identical tonal The main preoccupations of the Marcello, which the translation claims plan I/V/IV/V I/ IV, and the third at book were matters of instrumentation, “must have been conceived for the least begins the same, I/V/I IV/V/ii. dating, and the players and occasions enjoyment of a small group of Third, Franklin introduces a for which pieces were written. Perhaps amateurs who, it appears, were still “straw man”: the hypothesis that the the most stimulating section, on playing the obsolescent recorder concertos “may not have been origi- Vivaldi’s use of the flute and ‘consort-style’ in all its sizes from nally designed in concerto form. recorder in vocal music, explored descant to bass well into the eighteenth Instead, they may have started life as virtually uncharted territory. century” (p. 19). Of course, the à 2 or à 3 trio sonatas, which were The translation retains the book’s recorder was not yet obsolescent. then re-orchestrated either by division into two parts, of disparate What the original Italian says is John Walsh [the publisher] or by an length (54 and 134 pp.). In Part I, “l’intera e pur obsolescente famiglia unknown musician.” (By an à 2 trio “The Recorder and Flute in Italy in dei flauti dritti” (p. 8): the complete sonata she means one with two solo Vivaldi’s Time,” Sardelli looks at the albeit obsolescent family of recorders. parts; an à 3 trio sonata, one with social, musical and organological We might take issue with Sardelli’s three solo parts, or in other words, a evidence for the presence of the instru- true claim, because recent research quartet sonata.) After introducing ments, both in the country and in by Andrew Robinson, not cited in some anachronistic and spurious Vivaldi’s life. This skillfully assembled the bibliography, demonstrates the evidence for “a market for composi- mass of evidence supports Sardelli’s continuing existence of the recorder tions reworked as concerti,” she con- novel reversal of the received scholarly family throughout the 18th century. cludes: “I do not, however, find this view that, rather than writing for the The introduction to the trans- hypothesis convincing....” Neither recorder in the first two or three lation mentions that the book has do I. “William Babel’s Concertos in 7 decades of the 18th century, and then benefitted from the six intervening Parts,” The Consort 63 (summer 2007): switching over to the flute, Vivaldi years in being able to include discus- 62-73; master's thesis of the same title already preferred the flute in the sions of “three more works with parts under author's name Zöe Bragg, 1710s and did not start writing for flute, RV 804, RV 805 and 806” Southampton University, 2005. for the recorder until the early 1720s. (p. xvi). Here the translator slipped in An English version has now In Part II, on the music, Sardelli his thankless task of distinguishing appeared of Federico Maria Sardelli’s devotes chapters to sonatas, chamber flauto from the modern English book La musica per flauto di Antonio concertos, flute concertos, recorder “flute,” which refers only to the trans- Vivaldi (2001), translated by one of the concertos, concertos for flautino, verse instrument. A separate chapter most eminent Vivaldi scholars of today, concerto for two flutes, concertos with headed “Postscript: A Late Discov- Michael Talbot, who also contributed multiple soloists and orchestra, and ery” (pp. 283-85) makes clear that some of the additional material. The finally vocal music. I was especially RV806 is a second recorder sonata— original book constituted a consider- taken by his evidence and arguments more technically advanced than RV52, able achievement in woodwind that Vivaldi himself taught the flute and a welcome addition to the instru- scholarship: the first book-length and had an insider’s view of the ment’s repertory (but see the discus- study of Vivaldi’s imaginative music technique of both instruments. sion of an article by Delius below). for flute and recorder (in Italian, both The section showing how Vivaldi When Sardelli gets into the heart kinds of flauto) by someone well- reworked the C minor recorder con- and mind of the composer, the writing versed in the composer’s music in certo from the violin concerto, RV202, comes to life beautifully. Of the F general, as well as in previous research blends musicological and practical major recorder concerto: “It seems on the subject and possessing an considerations in a masterly way. strange that a [solo] concerto, a genre obvious love for the period. whose very raison d’être is to show off 18 May 2009 American Recorder the brilliance and eloquence of the manuscript “originated offering the possibility of being per- chosen instrument, should open on German soil.” formed by the recorder, for example, with a movement so calm and so The second move- the Concerts comiques by Michel totally devoid of virtuosity” ment’s opening Corrette or the sonatas for vielle by (p. 165). Of his (and my) quotes from an Charles Buterne” (my translation). favorite C minor recorder aria in Vivaldi’s For those 18th-century French publi- concerto: “For all the oratorio Juditha cations that fail to specify which kind corrections and simplifi- triumphans, RV644, of flûte they have in mind, Portell has cations that RV 441 of 1716, implying chosen to include those that indicate underwent, it must be that the sonata dates pour les flûtes as well as those pour la emphasized that, during from the same time, flûte, thus wisely erring on the side of the whole of the period and was perhaps possible over-inclusion. Exactly when when the recorder held sway, no written for “one of the Saxon flûte shifted its meaning from recorder more profound, complex or ... court musicians visiting Venice.” to flute in France is difficult to say— technically demanding music was Delius now reports finding a but from skimming Portell’s entries, entrusted to the instrument.... Vivaldi concordance in a Sonata à Solo in I would suggest by the early 1740s. had not until then had access to a D major, presumably for violin and performer so capable that he allowed continuo, in the Sächsische Landes- Exactly when flûte the composer almost to forget about bibliothek/Staats- und Universitäts- shifted its meaning technical limitations and lavish on a bibliothek, Dresden. It forms part from recorder to flute work for recorder the full weight of of the manuscript collection that in France is difficult to invention and formal complexity that belonged to the great German violinist in normal circumstances only his best Johann Georg Pisendel, who worked say.... I would suggest works for violin could bear.” (pp. 173- at Dresden from 1712 and in 1716-17 by the early 1740s. 74) Sardelli, La musica per flauto di visited Italy, where he studied with Antonio Vivaldi (Florence: Leo S. Vivaldi. The recorder version of the Each musical entry features: Olschki, 2001); Vivaldi’s Music for sonata is therefore presumably a composer, title, date, place of publica- Flute and Recorder, transl. Michael transposition. Curiously, Delius tion, publisher, instrumentation (given Talbot (Aldershot, England & Bur- found another concordance—clearly collectively), libraries in which the lington, VT: Ashgate in association spurious—in a violin sonata, Op. 1, edition is found, and the library shelf with Istituto Italiano Antonio Vivaldi, No. 5, by Antonio Pizzolato “Vene- numbers (call numbers). There is Fondazione Giorgio Cini onlus, ziano,” published in London around an index by instrumentation, and a 2007); Robinson, “Families of 1750. “Anmerkungen zu RV 806 and bibliography of sources consulted. The Recorders in the Late Seventeenth and zu RV 759,” Studi vivaldiani 7 (2007): attractively-printed book is bound in a Eighteenth Centuries: The Denner 111-14; “Noch mehr Vivaldi: Ein sturdy paper cover. The author writes Orders and Other Evidence,” The Bericht,” SLUB-Kurier 2007/3, 11-12. in his introduction that he began Recorder Magazine 23, no. 4 (winter The Argentine recorder player compiling the catalog as a student, to 2003): 113-17; 24, no. 1 (spring Patricio Portell has compiled a catalog enlarge his own recorder repertoire, 2004): 5-9; reprinted in one part with of printed music for recorder, flageolet then kept on going. corrections in ARTAFacts 9, no. 4 and galoubet from the period 1670- Portell’s catalog has been consci- (December 2004): 11-21. 1780. It is divided into works for the entiously prepared within its own The “new” Vivaldi sonata in G recorder, works that can also be played stated parameters. I was delighted to major, RV806, for alto recorder and on the recorder, collections, and didac- discover a number of works that I had continuo is the subject of a pair of tic works (tutors and treatises). The not heard of before: mostly ones in articles by Nikolaus Delius. Sardelli author explains about the second sec- which the recorder is not specified had noted that the manuscript, from tion: “Included are both works which on the title page. the Berlin Sing-Akademie, employs do not have a precise indication of There are, however, difficulties the French violin clef (G on the instrumentation, leaving the choice to with two aspects of Portell’s approach. bottom line of the staff), a feature the performer, as in the Pièces en trio by First, he does not indicate whether common in France and Germany but Marin Marais, and works composed he examined a work or not—and, if not Italy; therefore, he suggested the for a specific instrumentation but not, what his source of information www.AmericanRecorder.org May 2009 19 was. Bibliographic information is citations. Needless to say, a database notoriously unreliable: you must check Databases have several can also be constantly kept up to date. it yourself (preferably several times). advantages over printed I should add that for the past Second, he includes arrangements six years I have also been compiling of vocal works that the title page says catalogs.... A database a bibliographic database of the may be performed on the recorder, can also be constantly recorder’s pre-1800 repertoire at but not the large body of vocal works Indiana University, trying to overcome where the recorder is not mentioned kept up to date. what I perceive as two big limitations on the title page but a transposition for of normal library online catalogs. First, alto recorder is provided at the bottom repertoire analogous to that by Bruce it takes into account that the majority of a page. Haynes for the [Baroque] oboe and of recorder works were part of larger Finally, there remains the funda- Frans Vester for the flute.” The blurb works—sets or collections, large vocal mental question of whether such a on the back of the book (perhaps works, large instrumental works, and printed catalog is appropriate any written by the publisher rather than methods—and provides access to longer. Portell says in his introduction the author) claims: “This work makes editions at both large and small levels. that for the recorder “there does not it possible to locate and, therefore, Second, it distinguishes among four exist any detailed catalogue of the learn about a vast musical repertory types of what library researchers now that has been lying dormant on the lump together as “containers” or shelves of libraries, just waiting to be “manifestations”—namely, early Amherst Early discovered.” Both statements may manuscripts, early prints, modern have been true when Portell began editions, and facsimiles. Portell, Music Festival work, but they have not been true for Répertoire de musique imprimée (1670- July 12-19 and 19-26, 2009 several years, because the Stichting 1780) pour la flûte à bec, le flageolet et Blokfluit in The Netherlands sponsors le galoubet (Courlay, France: J. M. Connecticut College, two databases devoted to recorder Fuzeau, 2007); Lasocki, “A Web- New London, CT repertoire: Historical and Modern based Catalogue of Recorder Music (see www.blokfluit.org, and also its before 1800,” Recorder Education description in “On the Cutting Edge” Journal 9 (2003 [2004]): 35-37. in the March 2009 AR). The Cata- Hermann Haug’s bibliography logue of Historical Recorder Reper- and discography of music for recorder toire, the boundaries of which are not or flute and orchestra actually states its Renaissance consorts stated, already contains about 1,900 sources of information. The bibliog- Baroque ensembles titles (as of March 30, 2009); in con- raphy for recorder is only 11 pages Master classes trast, Portell expresses “great satis- long, but still handy to have in one Medieval and Renaissance faction” that his catalog reached 1,000. place. Unfortunately, the discography Notation Academy For such bibliographic work, lumps recorder and flute together. Of International faculty including: databases have several advantages course, the same considerations apply Flanders Recorder Quartet, over printed catalogs, which require a as to Portell’s bibliography: a database Saskia Coolen, Marion Verbruggen main listing of the data, with subsid- is more versatile and revisable. and more! iary listings or indexes to allow multi- Bibliography and Discography on [sic] ple access-points. Once its basic struc- Music for Solo Wind Instruments and July 12-19 Baroque Academy* ture has been figured out, a database Orchestra = Bibliographie und Disk- provides access through linked fields ographie für Soloblasinstrumente und July 19-26 Virtuoso Recorder* plus keyword and Boolean searching. Orchester, Vol. 1: Recorder, Flute = Recorder Seminar* Furthermore, it can provide incipits of Blockflöte, Flöte (Wiesbaden: Breitkopf

*Audition deadline: May 15 all the music far more cheaply than a & Härtel, Musica Rara, 2004). book can, and those incipits can even Michael Schneider complains www.amherstearlymusic.org be played and searched using some about errors in standard modern edi- [email protected] suitable software. It is a bonus that tions of well-known recorder works by (617) 744-1324 bibliographic abbreviations can merely Vivaldi, Telemann, Corelli, Parcham be clicked on for readers to see the full and Williams. These errors stem from: 20 May 2009 American Recorder poor proofreading; not taking into case, Mozart himself revealed that the consideration all the surviving choice of piccolo or small recorder sources; willful, unannounced and depended on the performing ensem- unnecessary alterations of the text; ble: on the autograph manuscript of and ill-considered editorial decisions. his Sechs deutsche Tänze, KV509, first I was chagrined to find myself performed in Prague on February 6, numbered among these errant editors, 1787, he wrote: “As I do not know for an edition of Vivaldi’s C-minor what kind of flauto piccolo is here, I recorder concerto published by have set it in the natural key; it can Musica Rara way back in 1969 (type 1 always be transposed.” Tarasov, error). At the time I did the work, I “Mozart & Blockflöte—Teil 1: was an impecunious undergraduate, Untersuchungen in Sachen Flauto with no access to a microfilm reader, piccolo oder Flautino,” Windkanal so I used a hand-held slide viewer 2007-1, 8-15; “Teil 2: Das Flauto raised up to the light with my left was not played on the Flauto piccolo at piccolo in der Entführung aus dem hand while taking down the musical the first performance, so the range Serail,” 2007-2, 14-20. text with my right hand.... No excuse, shrinks to notated f1–f3, sounding My review for 2004 described I know, but I’m surprised I didn’t c2–c4. As c2 is not playable on a Peter Thalheimer’s suggestion that make more mistakes. piccolo, the part must have been Richard Strauss could have written Perhaps those will actually turn originally planned for a soprano some music for the recorder. Probably up one day, because Schneider omi- recorder player who was used to in 1883, when Strauss when only 19, nously ends his article with the follow- reading alto fingering. he composed an unpublished Fantasy ing invitation: “I am sure that many Mozart also used the recorder as on a Theme by Giovanni Paisiello Tibia readers could expand my list [of an orchestral instrument during the (TrV116), the theme being the aria errors] with a few examples off the period 1771-91 in at least 16 further “Nel cor più non mi sento” from the tops of their heads. Perhaps it would works: Sechs Menuette, KV104 opera La Molinara. In the autograph also not be a bad idea ... to collectively (1771/2); Posthorn Serenade, KV320 score (only a photocopy of which compile an inventory with ‘Addenda (1779); the opera Idomeneo, KV366 survives today), it is scored for Fagotto, and Corrigenda’ to popular editions.” (1781); Sechs deutsche Tänze, KV509 Mundflöte and Guitarre; a note on the “Der Teufel im Detail: Vom langen (1787); Kontretanz Das Donnerwetter, back of the score calls the middle Leben falscher Noten,” Tibia 32, KV534; Kontretanz La Bataille, instrument Kreuzertrompte; the sole no. 3 (2007): 499-504. KV535; Sechs deutsche Tänze, KV536; surviving part calls it Maulflöte. Mozart for the recorder? No, not song “Ich möchte wohl der Kaiser Fagotto and Guitarre are clearly arrangements of Eine kleine Nacht- sein,” KV539; Zwölf deutsche Tänze, bassoon and guitar, but what is a musik and Rondo alla Turca: original KV567; Zwölf Menuette, KV568 Mundflöte or Maulflöte (both mean recorder music. Seems like an impos- (all six 1788); Sechs deutsche Tänze, “mouth flute”)? Thalheimer looked at sible dream—but Nikolaj Tarasov KV571; arrangement of Handel’s various possible duct flutes for the proves otherwise in a brilliant pair of Messiah, KV572; Menuett fragment, answer, arguing for the Viennese articles that analyze Mozart’s flauto KV571a; Zwölf Menuette, KV585; csakan in c2 or the Berchtesgadener piccolo and flautino parts. The opera Zwölf deutsche Tänze, KV586 (all five Fleitlin (a narrow-bore folk recorder) Die Entführung aus dem Serail, KV384 1789); Zwölf Menuette, KV599; in c2 as the most probable. (1782), uses a common transposing Dreizehn deutsche Tänze, KV600; His second hypothesis was that system notated a fourth higher for the Vier Menuette, KV601; Vier deutsche “mouth flute” simply means whistling. “Flauto piccolo” part, but the unusually Tänze, KV602; Zwei Kontretänze, But noting that Strauss wrote a low extended range, notated in the original KV603; Drei deutsche Tänze, KV605; low bo in the individual part then scores as c1–f3, made the part unplay- and the opera Die Zauberflöte altered it to c2 (notated) in the later able on any kind of piccolo or recorder. (all seven 1791). score, Thalheimer concluded that his Tarasov’s study of the original Tarasov notes that the concept, first hypothesis was more likely. parts solves the problem: Movement tonality and compass mostly suggest Now Nikolaj Tarasov has found no. 14 (the only piece requiring a c1) soprano or sopranino recorders. In any an entry in Gustav Schilling’s Ency-

www.AmericanRecorder.org May 2009 21 clopädie der gesammten musikalischen gated by asking a violinist and flutist to Wissenschaften oder Universal-Lexikon “At the center stands ornament three melodies in different der Tonkunst (Stuttgart, 1835) that the question of ways to express four emotions: happi- clinches the deal. Under “Flöte à bec, ness, sadness, love and anger. The oder Flute douce, und Flauto dolce,” how the various types performers adapted the type of orna- we read: “a wind instrument now quite ments to the instructed emotion as well gone out of use, made of wood with and playing techniques as the characteristics of the ornaments. seven tone holes on the upper side The flutist specifically varied the dura- and one on the under side.... It has, of the recorder can be tion, timing and complexity of the or- because of its round bevel on the back integrated into a modern namentation, while the violinist varied side, a slight resemblance to the beak of the complexity, density [total number various kinds of bird, and perhaps for chamber ensemble.” of ornaments], and sound level of the that reason is given the name flute performances. The ability of the per- à bec (in German really Schnabel- or to create new works for an ensemble formers to communicate the emotions Mundflöte).” Eduard Bernsdorf ’s she belongs to, Champ d’Action, which was tested in a listening experiment. Neues Universal-Lexikon der Tonkunst employs recorder, piano, electric or Communication was found to be gen- (Dresden, 1856) contains almost the acoustic guitar, percussion, double erally successful, with the exception of identical text. The range of Strauss’s bass, and live electronics. “At the center the communication of happiness. This part implies a soprano recorder. stands the question of how the various success was not due to general consen- Tarasov, “Die ‘Mundflöte’ bei types and playing techniques of the sus about the expression of emotions Richard Strauss,” Windkanal 2007-2, recorder can be integrated into a through ornamentation. Rather, the 26; Thalheimer, “Blockflötenmusik modern chamber ensemble, for which listeners were sensitive to a performer’s von Richard Strauss?” Tibia 29, reason it was important to me for the specific use of ornamentation.” no. 2 (2004): 82-86. project to interest composers of various The last sentences of this not- Anne Kern, presumably a relative, style directions and without special entirely-clear summary mean that the has written about the life of Adolf Kern background knowledge of the performers successfully conveyed three (1906-76), an organist and choirmaster recorder.” of the emotions, but not necessarily by in Ulm, Germany, and later a professor She goes on to describe in detail: means of ornamentation. The abstract of music education in Schwäbisch Jeff Nichols, by the night-wind sent heads an article by Renee Timmers Gmünd. “The majority of his compo- (2006), David Nunezanez, Bringing and Richard Ashley, which reports an sitions originated from practical oppor- back from the Edge (2005), Stefan Prins, experiment that raises several questions tunities for a small circle of friends, for Memory Space #2 (2006), and for me. I should explain that the reason students, and later for his children.... Matthew Shlomowitz, Free Square why I am including it in this review is His compositional style is confined to Jazz (2005). The ensemble has now that the “three melodies” in question the late Romantic, with readily grasp- recorded them on CD, along with were the first movement (mm. 1-5), able forms and a compelling harmonic Michael Finnisy’s Halbnackt. Wessel, third movement, and fourth movement logic. On these grounds his composi- “Integrating the Recorder—Vier (mm. 1-13) of Handel’s Sonata in G tions for recorder—trios, duets, six Uraufführungen für Blockflöte und minor for alto recorder and continuo, sonatas for recorder and piano, as well Ensemble,” Tibia 32, no. 1 (2007): HWV360. Although the “female as two large trios for recorder, cello, 334-42; Integrating the Recorder, flutist” and “male violinist” are said to and piano—are absolute rarities for Champ d’Action Archive Series 06, be “both professional musicians who the instrument.” An accompanying www.champdaction.be. perform regularly on instruments of advertisement by aka–Musikverlag, the Baroque period as well as on mod- Karlsruhe, which publishes most of Performance Practice ern instruments,” neither of them evi- these works, calls them “extraordinarily and Technique dently objected to playing a recorder melodious and effective.” “Adolf “Ornamentation is one aspect of music sonata on what was presumably a Kern: Spätromantische Musik für associated with emotional affect [sic] modern flute, since “A highly skilled Blockflöte,” Windkanal 2007-1, 16-17. in Baroque music. In an empirical pianist ... performed the basso For her doctoral dissertation, the study, the relationship between orna- continuo....” Belgian recorder player Tomma Wessel mentation and emotion was investi- Amazingly, the pianist was record- has been working with four composers ed separately; that recording was then 22 May 2009 American Recorder overdubbed onto recordings of the material, of great interest and impor- flutist and violinist. No word about tance. Darmstädter contributes an why a harpsichord was not employed overview of the provenance of the to play at the same time as the recorders, a 40-page essay on “The soloists: wouldn’t that have inspired Recorder in the Non-musical Sources some emotion?... of the Renaissance” (by “non-musical” The experiment took into consid- she means “theoretical,” or just plain eration that “The [melodic] fragments “writings”), a 30-page essay on the are rather different from each other structural design of the recorders, and and influence the ornamentation that a short illustrated essay on the maker’s can be applied,” and that influence was marks. Some of this material is expand- factored in (as a percentage of existing ed from her article in the proceedings “ornaments” in the music). But the He goes on to describe in detail of the Utrecht 2003 symposium. authors do not seem to have allowed how he restored it. Erik Bosgraaf The third essay overlaps to some for the fact that each “melody” recently used it on three tracks on his extent with a 25-page essay by Brown (along with the continuo part) was CD of selections from Jacob van Eyck. giving “The Recorder Maker’s Per- itself intended to convey a particular You can hear the silky, almost floating spective” on the recorders. All in all, affect. The performers themselves are tone, the delightful “chiff,” and the the book is essential for all those reported as objecting that “it was a bit enormous variety of articulation it can interested in the earlier history of our awkward to impose an emotion that support. “Ahhmmm....” Bouterse, instrument (and who read German). contrasted with the mood [sic] of “Die alte Dame, oder: Spielen auf Die Renaissanceblockflöten der Sammlung the original music.” historischen Blockflöten,” Tibia 32, alter Musikinstrumente des Kunsthistor- The authors conclude that “con- no. 4 (2007): 591-94; Bosgraaf, ischen Museums, Sammlungskataloge des ventions concerning communication of Jacob van Eyck: Der Fluyten Lust-hof = Kunsthistorischen Museums, Bd. 3 emotion through ornamentation are The Flute’s Garden of Delight (Selected (Vienna: Kunsthistorisches Museum, not strong (at least nowadays).... It Works), Brilliant Classics 93391 2006); Darmstädter, “New Light on seems that, although 18th-century [2007]. the Early Recorders in the Sammlung musicians may have had stronger [i.e., alter Musikinstrumente of the strong?] associations between types of Instruments Kunsthistorisches Museum, Vienna, ornaments and their emotional mean- Pride of place goes to the splendid and their Provenance,” in David ings, modern musicians do not clearly catalog of the no fewer than 43 Renais- Lasocki, ed., Musicque de joye: Proceed- possess this.” Such a conclusion is not sance recorders (and four cases) in the ings of the International Symposium on the surprising, because an understanding great collection of musical instruments Renaissance Flute and Recorder Consort, of music, including of its emotional in the Kunsthistorisches Museum, Utrecht 2003 (Utrecht: STIMU associations, is always learned within a Vienna (about one-fifth of such record- Foundation for Historical Perfor- particular cultural context. “Emotional ers surviving worldwide). The catalog mance Practice, 2005), 99-115. Ornamentation in Performances of a has been lovingly prepared by a mem- János Bali—yes, he of the Handel Sonata,” Music Perception 25, ber of the museum’s staff, the musicol- recorder history in Hungarian—has no. 2 (December 2007): 117-34. ogist Beatrix Darmstädter, with contri- also published, this time in German, an The term “old lady” in the title of butions by the recorder maker Adrian article about “four little-known Renais- an article by Jan Bouterse has a twofold Brown, and edited by the museum’s sance recorders” in the Brukenthal reference: a late-Baroque soprano general director, Wilfried Seipel. Museum, Sibiu, in the province of recorder made by Willem Beukers The main body of the catalog Transylvania, Romania. (The city was (either father or son) that has “a certain consists of entries for each instrument, called Hermannstadt by its former mildness in the sound that we seldom containing measurements, colored Saxon colonists.) Three of these hear in modern copies,” and the 96- photographs of the whole instrument recorders bear the maker’s mark year-old widow of the Dutch recorder and some details, bore graphs, and HIER•S•: a basset, a bass, and the pioneer Gerrit Vellekoop, from whom comments. Afterwards, Brown pro- top part of a two-piece great bass, Bouterse borrowed this exceptional vides a table of bore measurements. tuned in fifths. This mark is similar instrument. But the catalog contains much more but not identical to that on the six

www.AmericanRecorder.org May 2009 23 Photos by Adrian Brown The Bassanos: Venetian Musicians and rescaled with shortened bore to create a Instrument Makers in England, 1531- modern copy at 415, this “so funda- 1665 (Aldershot: Scolar Press, 1995). mental a property of an original” is lost. In my review of research from In his next section, Thalheimer HIER S• recorders in Vienna— 2006, I quoted Peter Bowman’s condemns the prevalent practice today which I have suggested stemmed from comment that “to my knowledge no of playing flute music on the voice Jeronimo Bassano I, and perhaps his French, Italian or English music from flute, because the surviving repertoire close descendants. Bali points out that the [Baroque] period contains a high (Loeillet [attrib.] and Dieupart) has this tuning and some crude features of F-sharp. Recorder players, composers, too narrow a range, only an octave and the instruments tend to confirm an and ... makers in one part of Germany a seventh, and surviving instruments earlier date of making than the more may have experimented for a short have poor high notes. Modern makers plentiful !! instru- time, but it is clear that the trend thus have to modify the original meas- ments in modern did not travel further afield.” urements so much that the instrument collections that I In reply, I cited some 18th-century “functions like a large German alto have attributed to pieces and fingering charts that include recorder,” therefore destroying the later members of the note, and observed: “Original original’s “sonorous and round low the Bassano family. recorders from the eighteenth century register.” “Mythen und Fakten— The fourth recorder in Sibiu, a have hardly been explored thoroughly Blockflötentypen in Vergangenheit und basset, has the mark of a W with a by modern makers and researchers; Gegenwart,” Tibia 32, no. 3 (2007): three-branched crown above it. The such instruments, cited by Bowman 505-11; exchange of correspondence same mark is found on an alto and a only from books, play the F-sharp far with Joachim Rohmer, 32, no. 4 tenor shawm in the collection, and is more often than we have believed.” (2007): 627-30. similar to that on three shawms now in Virtually the same points are made in a Christian Ahrens writes about an the Národni Muzeum, Prague, that letter to the editor by Nikolaj Tarasov, inventory of the Court Orchestra in were probably made by master Vilém who adds: “Almost all modern copies Gotha, Germany, taken when Georg or Wilhelm of Rozmberk. do not play high F sharp.... Being Benda became its Konzertmeister in mostly shortened to be pitched at 1750. It reveals that the woodwinds A= 415 etc., their bore has thereby consisted of one flute, two new oboes been altered and thus cut unfavorably and one old one (“useless”), two oboes for this note.... I have come across d’amore, four bassoons, and two originals which play this note: a treble serpents, along with some older instru- [alto] recorder by Aardenberg, a treble ments. Among the latter are “Zweÿ by J. C. Denner, three voice flutes by Flutes à bec, fast unbrauchbar” (two Bressan, a second flute by Cahusac, recorders, nearly useless), “Zweÿ Bali notes that an inventory of the and a fourth flute by an anonymous kleine dergl., eine von Helffenbein, die Hermannstadt town wind band (1631) maker..... Furthermore, a large number andere von Holtz” (two small ditto, lists “one descant recorder with a key, of German recorders from the 1930s one of ivory, the other of wood), two large keyed recorders with crooks and 40s play high F sharp as well as all “Zweÿ alte Bass Fluten” (two old bass ... one large bass recorder with crook ... trebles made by Joachim Paetzold from “flutes,” which may have been record- two larger discant recorders with keys, the 1960s....” Recorder Magazine 27, ers, although Ahrens takes them to be three large recorders with crooks.” He no. 1 (spring 2007): 36. flutes), and “Eine dergl. so etwas speculates that “The three HIER•S• I was intrigued to find the same gröser” (one ditto, somewhat larger). recorders could have been among the comment about shortening of the bore It is no surprise to find two small first group, forming a typical Renais- in Peter Thalheimer’s article entitled recorders in apparently playable condi- sance four-part set, and the slightly “Myths and Facts—Recorder Types in tion, because such instruments repre- larger W-and-crown basset could have the Past and Present,” in the section sented the survival of the instrument been one of the ‘large discants’ of the called “Problems with Pitch-standards among professionals after about 1740, second group.” Bali, “Vier kaum and Bores.” He even points out that on as we have seen with Mozart. “The beachtete Renaissanceblockflöten,” a “long-bore” alto, the fundamental Inventory of the Gotha Court Orches- Tibia 32, no. 2 (2007): 419-25; tone overblows at the double octave to tra in 1750,” Galpin Society Journal 60 Lasocki with Roger Prior, F . When an instrument at 408 Hz is (2007): 37-44. 24 May 2009 American Recorder Education ______Part II of a quiz for recorder players By Bart Spanhove

The author has been principal professor of recorder at the Lemmens-instituut Leuven (Belgium) since 1984. He is also artistic director of the world famous recorder ensemble, the Flanders Recorder Quartet (at left, with Spanhove second from left), which performs next month in concert at the 2009 Boston Early Music Festival. He is often asked to serve as a jury member for international recorder competitions in the U.S., Canada, Germany, The Netherlands and Belgium.

Spanhove is co-author of the successful recorder method Easy Going (Heinrichs- The March American Recorder printed the first part of Bart Spanhove’s quiz, hofen) and wrote the much-used book The conceived as a final event for the Virtuoso Recorder Class of the Amherst Early Finishing Touch of Ensemble Playing Music Festival 2008. In this issue is the second part, in which participants must (Alamire, 2000, and Moeck, 2002, with call on their knowledge of recorder repertoire. translations in Chinese and German). In Once again, the scoring method gives three points when the selected person 2009 The Recorder Music of Frans of a team could find the answer him/herself; two points when the selected person Geysen will come out (Mieroprint). needed the help of other group members; and one point if the group needed Currently, he is researching practice outside help. No points were given if the quizmaster had to supply the answer. technique for the recorder. Daily, Turn the page to answer these musical questions yourself! Answers appear Spanhove thinks about how to make on the following page. people happier by making music and playing the recorder.

The Recorder Goes To School…

Looking for recorder ensembles or soloists to present educational HoneysuckleHoneysuckle Music performances and programs Recorders & accessories at your school? ... Music for recorders & viols Find performers in your area using a new resource JeanJean Allison Allison Olson Olson on the ARS web site at 1604 Portland Ave. St. Paul, MN 55104 http://americanrecorder 651.644.8545 .org/learn/survey.htm. [email protected]

www.AmericanRecorder.org May 2009 25 The Quiz: 1. 1.                               

2.                                     

3. 3.                                         4. 4.                                                               5. 5.                           

6. 6.                                             

7. 7.                                     

8. 8.                        

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Trained Suzuki teachers are in great de- mand throughout the U.S., Canada and around the world. Training is available at summer institutes in more than 60 locations throughout North America for violin, viola, cello, bass, piano, flute, guitar, harp, recorder, organ, voice and early childhood education.

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26 May 2009 American Recorder Answers to Part II of Q & A Bart Spanhove’s Quiz ______1. Alessandro Marcello: ______Andante from Sonata in ______d minor (for alto recorder ______What do you use in place of a thumbrest? and basso continuo) uestion: I have been using thumb- 2. Frans Brüggen: Study No. 3 How do you stabilize (from 5 Studies for Qrests on all sizes of recorders larger than soprano but am not completely happy Finger Control) your recorder? 3. G.F. Handel: Allegro from with them because they restrict my wrist Sonata in F major (for motion somewhat in playing the recorder's alto recorder and We look forward to— lowest notes. Is there any device that can basso continuo) be used in place of a thumbrest to keep the 4. Anonymous: Paul’s Steeple, and appreciate— recorder from slipping out of my hands but a division on a ground from that will not inhibit flexible wrist motion? The Division Flute your ideas on how to How do you stabilize your 5. Arcangelo Corelli: recorder? We look forward to— La follia, Op. 5, No. 12 answer this question. and appreciate—your ideas on how 6. Francesco Barsanti: Allegro to answer this question. Responses from Sonata in C major In this issue, we’re asking for your will be compiled and printed in a (for alto recorder and ideas on how to answer the question future AR issue. Send them to Carolyn basso continuo) below, which summarizes a couple of Peskin at: 3559 Strathavon Road, 7. Anonymous: Estampita questions that Q&A editor Carolyn Shaker Heights, OH 44120; Tre Fontane Peskin recently read or received: [email protected]. 8. Girolamo Frescobaldi: Canzona La Bernardina

Don’t worry if you don’t know all of the pieces in this quiz! A good goal may be to use the music on the list as possibilities to learn gradually—as you improve as a recorder player.

www.AmericanRecorder.org May 2009 27 Compact Disc Reviews ______Back to basics: Corelli, Handel, Bach

CORELLI À LA MODE. STEFAN with a jaunty panache that at once Brad Leissa and David Vickers for this TEMMINGH, RECORDER; OLGA WATTS, stands out, yet does not dominate. online resource. HARPSICHORD. Oehms Classics, 2009, This music demands to be 1CD, 64:15. $14.79. listened to. Hearing the recorder play Reviewed by Tom Bickley such beautiful pieces so wonderfully is enchanting. There is a hypnotic HANDEL: THE [COMPLETE] quality that draws the listener in, and RECORDER SONATAS. ERIC this CD would appeal to a variety of BOSGRAAF, RECORDERS; FRANCESCO listeners, which is a testament to its CORTI, HARPSICHORD. Brilliant accessibility and to the skill in Classics 93792, 2008, 1 CD, 56:44. interpretation and execution. $11.98. www.brilliantclassics.com I am always more drawn to music Eric Bosgraaf, recipient of a 2009 played by just one or two instruments: Borletti-Buitoni Award, provides an there is an appeal surrounding the intensely ornamented recording of the melody and the simple clarity that familiar Handel sonatas for recorder. holds my attention. However, in this The seven works on this disc instance, I feel I am in no way biased include the familiar ones from Opus 1 when I call this CD authentic, (numbers 7, 2, 4, 11) as well as the Reviewed by Rhiannon Schmidt original, joyful and enjoyable. three from the Fitzwilliam manuscript: the F major sonata on sopranino, This is Stefan Temmingh’s debut D minor (here in B minor) on voice This music demands CD. He is a South African native who flute, and B major on alto recorder. studied music in Germany, and he to be listened to. This performance employs has a relationship with Baroque music recorder and harpsichord, without that can come only from a mixture The three recordings below of central a bowed string instrument on the of complete immersion in and total Baroque repertory demonstrate different bass line. In the booklet, Bosgraaf adoration of the repertoire. The result approaches in our maturing understanding is beautiful and addictive. of performance practice. These are not Each CD review contains a header with some or all of the following information, as Temmingh has taken the music the only discs to hear in enjoying this reper- available: disc title; composer (multiple and made it his own through the age- tory, but they are well worth enjoying. composers indicated in review text); old practice of ornamentation, though For any of us seeking to sort out name(s) of ensemble, conductor, performer(s); label and catalog number (dis- it must be stressed that his touch is the works by Handel on these discs, I tributor may be indicated in order to help indeed magic. He has taken ownership recommend the wealth of information your local record store place a special order; some discs available in the ARS CD of these Corelli sonatas, the result available online at gfhandel.org. The Club are so designated); year of issue; total being a languid mix of the fast and Compositional Catalog link brings you to timing; suggested retail price. Many CDs technically difficult compositions, as listings of works with opus numbers and are available through such online sellers as www.towerrecords.com, www.cdnow.com, well as the easy confidence his mastery indexes by genre and instrument. www.cdbaby.com, www.amazon.com, etc. of both the pieces and his instrument HWV? That’s the abbreviation Abbreviations: rec=recorder; dir= director; vln=violin; vc=violoncello; lends him. for Verzeichnis der Werke Georg vdg=viola da gamba; hc=harpsichord; The same can be said of Olga Friedrich Händel—or in English, the pf=piano; perc=percussion. Multiple Watts on the harpsichord. Despite the Catalog of Works by Handel. Kudos to reviews by one reviewer are followed by that reviewer’s name. recorder taking center stage, she plays

28 May 2009 American Recorder comments that the writing expresses Handel’s own keyboard skills, and ARS Membership Enrollment and Renewal that “adding a bowed instrument I am a new member I am or have been a member could easily act as a restraint.” The U.S./Canadian Memberships Foreign Memberships performances are certainly virtuosic $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Foreign Two Years and enjoyable for the speed and $80 Two Years dexterity, but strike me as a bit overly LIFETIME MEMBERSHIP Single Dual athletic, from both players. Regular Lifetime Member $1,000 (2) $1,500 (4) 4 installments of $250 available) While this is a beautiful record- Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4) ing, with thoughtful and helpful com- 4 installments of $200 available (1) For members who have maintained membership for five consecutive years. mentary, and featuring dramatic (2) $750 is Tax Deductible playing, I don’t recommend this as (3) $600 is Tax Deductible (4) the only CD to own of the Handel Installments available sonatas. For that I suggest the 1995 Student Memberships Other Memberships disc by Marion Verbruggen on (Enclose proof of full time enrollment) $65 One Year Workshop Membership $25 U.S./Canadian One Year $125 One Year Business Membership Harmonia Mundi (HMU907151, $45 U.S./Canadian Two Years $19.99—and often found at a lower $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name price) with Ton Koopman, harpsi- Do not list my name on the ARS Online Directory chord, and Jaap ter Linden, ’cello. Do not release my name for recorder related mailings Do not release my email address for any purpose Do not contact me via email. SIX CONCERTOS POUR FLUTE À BEC GEORG–FRIEDRICH My address, telephone and email address have not changed. HAENDEL. HUGO REYNE, ______RECORDERS AND CONDUCTOR, Name Phone Number ______LA SIMPHONIE DU MARAIS. Address/City/State/Postal Code Email Address Musiques à la Chabotterie 605004, 2008, 1 CD, 60:06. $15.99. Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover www.simphonie-du-marais.org CC#:______Expiration Date: ______

Signature of cardholder:______Handel made remarkably economical use of his wonderful Clearly Print Name as it appears on Card:______Renew by Mail, Online, By Phone or by Fax melodic material: a movement from an organ concerto turns up (in the Demographic Information composer’s own hand) as a movement (optional information collected only to enhance ARS services and provide statistics to grant makers): in a recorder sonata, citing just one I am a member of ARS Chapter or Consort______ I am the Chapter Contact instance. Similar to Bosgraaf ’s My age: Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) approach to the sonatas (i.e., using an instrument other than alto), Reyne Please check all that apply: I am a Professional Recorder Performer. visits the Handel repertory of works that can fit the recorder and ensemble I wish to be included in the list of Recorder Teachers in the ARS Directory and website. I Teach: (circle your choices) and, in addition to four concertos Types of Students: Children High School Youth College Students Adults specifically for recorder, he creates Levels: Beginner Intermediate Advanced Pre-Professional Types of Classes: Individuals Children’s Classes Adult Classes Ensembles two additional concerti following Certifications: Suzuki Orff JRS Leader Kodaly Handel’s own practice of adaptation. The disc concludes with three Where I Teach: : (circle your choices) Music Studio Public or private school Community Music School tracks: a marvelous reading inegale College Other : ______(even eighth notes played in a American Recorder Society Phone: 314-966-4082 “swinging” style of the high French Fax: 314-966-4649 Baroque) of Andante Allegro from 1129 Ruth Dr. TollFree: 800-491-9588 St. Louis MO 63122-1019 [email protected] Concerto in B major (HWV294), a www.AmericanRecorder.org

www.AmericanRecorder.org May 2009 29 American Recorder Society Publications Erich Katz Contemporary Music Series Members Non-Members Tamburino from Handel’s opera A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 Alcina, and a minuet from the Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 composer’s Water Music. Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 Reyne’s playing brings out the Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 (SATB) (Level II) (2 scores & 4 recorder parts) elegance of line in these works, with Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 the ornamentation done imaginatively (3 scores) Vaclav Nelhybel (AA/TT) (Level II) Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 and with excellent taste. Hearing (Level II) (2 scores) Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 familiar movements that also appear in Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 the Handel recorder sonatas as con- Musical Editions from the Members’ Library: certos helps us hear them anew. This is 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 well worth adding to your collection. The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” Arioso and Jazzy Rondo (AB) Carolyn Peskin Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. BACH & TELEMANN: SONATAS, Berceuse–Fantaisie (SATB) Jean Boivert New Rounds on Old Rhymes (4 var.) Erich Katz Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler PRELUDES & FANTASIAS. Jennifer W. Lehmann, arr. Poinciana Rag (SATB) Laurie G. Alberts Canon for 4 Basses (BBBB) David P. Ruhl Santa Barbara Suite (SS/AA/T) Erich Katz VOICES OF MUSIC (HANNEKE VAN Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA) Frederic Palmer PROOSDIJ, RECORDER & HARPSICHORD; Elegy for Recorder Quartet (SATB) Carolyn Peskin Slow Dance with Doubles (2 x SATB) Colin Sterne Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley JOANNA BLENDULF, BAROQUE ’CELLO Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Fallen Leaves Fugal Fantasy (SATB) Dominic Bohbot Three Bantam Ballads (TB) Ann McKinley & VIOL; CARLA MOORE, BAROQUE Four Airs from “The Beggar’s Opera” (SATB) Three Cleveland Scenes (SAT) Carolyn Peskin VIOLIN; WILLIAM SKEEN, BAROQUE Kearney Smith, arr. Three in Five (AAB) Karl A. Stetson Gloria in Excelsis (TTTB) Robert Cowper Tracings in the Snow in Central Park (SAT) ’CELLO; DAVID TAYLER, ARCHLUTE; Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) George T. Bachmann HANNEKE VAN PROOSDIJ AND DAVID In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey Lay Your Shadow on the Sundials (TBgB) Two Bach Trios (SAB) William Long, arr. TAYLER, DIRECTORS). Voices of Music Terry Winter Owens Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. LeClercq’s Air (SATB) Richard E. Wood Variations on “Drmeš” (SATB) Martha Bishop DDD24, 2009, 1 CD, 62:11. Avail- Little Girl Skipping and Alouette et al (SATBCb) Vintage Burgundy (S/AS/ATT) Timothy R. Walsh Jennifer W. Lehmann, arr. able from www.magnatune.com as ARS Information Booklets: CD or download, abt. $12.97; also ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 from ARS CD Club. Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis www.voicesofmusic.org. Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann American Recorder Music Constance Primus Playing Music for the Dance Louise Austin In the CDs of music by Handel, Burgundian Court & Its Music Judith Whaley, coord. Recorder Care Scott Paterson we hear musicians revisiting familiar Education Publications repertory and presenting the music in The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. new ways informed by the composi- Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. tional process of the composer. In this ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Members $9; non-members, $15. Voices of Music CD of Bach and Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. Junior Recorder Society Leader’s Resource Notebook. Telemann, we hear familiar repertory ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). $5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+). presented in yet another “innovative” approach. Videos Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. Hanneke van Proosdij, David An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending $5 to the ARS office along with the address to which the tape should be shipped. Tayler and colleagues provide a satis- Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. fying listening experience that breaks out of our convention of performing Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an entire works as stand-alone pieces. ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). One free copy sent to each ARS chapter with 10 members or more. Tayler explains in the succinct notes Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. that evidence of performance of such Discography of the Recorder, Vol. I (1989) . Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994) . Compiled by Scott Paterson. works in the Baroque included the Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40. option of “ungluing” multiple move- American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. ment works. In this way a single move-

Shipping & Handling Fees ment can become a fitting prelude for a Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in whole sonata. U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. Lest you have the impression that ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. this disc replicates the “single move- 800-491-9588 [email protected] ment only” approach of commercial 30 May 2009 American Recorder classical radio, please note that six works are heard in their entirety. The Handel recordings reviewed Order your in this column place that composer’s works in the context of the recorder recorder discs repertory. This recording by Voices of Music places the recorder in the musical context of the Baroque. In this way, through the the works with recorder on this disc (three of Telemann: Trio Sonata in ARS CD Club! D minor, TWV42:10; Fantasia in The ARS CD Club makes hard-to-find or limited release G minor, TWV40:9; Quadro in G CDs by ARS members available to ARS members at the minor, TWV43:4; and Bach, Trio special price listed. All CDs are $15 ARS members/ Sonata in C major, BWV529) emerge $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. as an integrated part of the flow of An updated list of all available CDs may be found at: www.americanrecorder.org. music of that time. Van Proosdij’s playing is polished CAN’T GET ENOUGH TELEMANN (Partial listing) and persuasive. Her ornamentation ____BACH & TELEMANN SONATAS, PRELUDES & FANTASIAS works very well. I find the performance Voices of Music (Hanneke van Proosdij, Joanna Blendulf, Rodney Gehrke, William Skeen, David Tayler). Beautiful chamber music by Bach and Telemann. effective because it is so solidly musical ____TELEMANN ALLA POLACCA —not calling attention to the recorder REBEL– Matthias Maute, recorders & traverso–plays concerti and suites by as a recorder, but employing it in the G.P. Telemann. Dorian. ____HANDEL: THE ITALIAN YEARS service of the music. The clean, present Elissa Berardi, recorder & Baroque flute; Philomel Baroque Orchestra. Nel dolce recording (no doubt engineered by dell'oblio & Tra le fiamme, two important pieces for obbligato recorder & soprano; Tayler) fits that aesthetic as well. Telemann, Trio in F; Vivaldi, All'ombra di sospetto. ____TELEMANN CANONS AND DUOS Lisette Kielson & Patrick O'Malley, recorders; L'Ensemble Portique. Telemann, Canons mélodieux & Sonates sans basse. 2-CD set. LEP Records. ____PARTY OF FIVE: A FEAST OF VIVALDI AND TELEMANN Cléa Galhano, recorder; Blue Baroque Band: Daria Adams, Kathryn Greenbank, Layton James, Charles Ullery. Old sounds of recorder & harpsichord juxtaposed with modern oboe, bassoon & violin. Telemann: Concerto in am, TWV43:a3; Trio Sonata in am, TWV42:a4. Vivaldi: Concerto in DM, RV94; Concerto in gm, RV107; Concerto in gm, RV103. Ten Thousand Lakes, 2006. ____TELEMANN CHAMBER CANTATAS Musica Pacifica. Five cantatas from Harmonischer Gottesdienst, two sonatas from Sonatas Corellisantes. 2003 Chamber Music America/ WQXR Record Award for best chamber music recordings. ____TRIO ATLANTICA Lisette Kielson, recorders. Works by Bach, Telemann, Montéclair, Leclair. ____TELEMANN: MIT FREUDE CANTATES ET MUSIQUE INSTRUMENTALE DE GEORG PHILIPP TELEMANN Ensemble Caprice: Matthias Maute & Marion Verbruggen, recorders; Monika Mauch, soprano. Cantatas and instrumental music of Telemann. ATMA .

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www.AmericanRecorder.org May 2009 31 Chapters & Consorts ______Workshop reports from two chapters Mid-Peninsula Recorder Orchestra (MPRO) hosted another stellar workshop on February 14 in the spacious parish hall of the Unitarian Universalist Church of Palo Alto (CA). Vicki Boeckman came from Seattle (WA) to direct “Heart and Soul—The Next Chapter.” Her energy, talent, knowledge and enthusiasm made this a wonderful day for the 35 participants. She is a firm believer in physical preparation for playing, and led the assembled recorder players in a number of warm-ups—first stretching, and then breathing—and took us through some body awareness exercises. To help us with our approach to music-making, she highly recommends two books for musicians: A Soprano on her Head by Eloise Ristad, and The Perfect Wrong Note by William Westney. We played four pieces, which doesn’t seem like very much for an all-day workshop—but after leading Josquin’s Ave Maria as a delicious warm-up, Vicki delved into more challenging pieces. We really “worked” a Passacaglia by Johann Christoph Pez (1664-1716), and by the time we’d played it all the way through a second time, it almost sounded like a new piece: with her help, we understood the grand gestures implied by the music. She did the same for four movements from a suite of Handel’s Water Music—lots of fun to hear and play on recorders. The final piece she brought for us was MegaRONY by Pete Rose—a romp through four movements of bluesy chromatics and jazz rhythms, punctuated in the final movement by everyone playing percussion. George Greenwood, MPRO

What a great time we had on February 28 at the San Francisco (CA) chapter’s “Tune Into the Recorder Workshop— The Musik Meisters.” It was our fifth workshop, and each one gets better attendance—we hit 40 this time. The workshop is designed so that no one will feel over- or under-extended. The less-experienced group had 15 of us, and the other 25 participants were in the advanced group. Our leaders were Louise Carslake and Frances Feldon. We Bay Area folks are lucky to have so many great recorder teachers available. Louise and Frances each led two sessions, alternating so we could benefit from both of their styles of teaching. The first session was tutti; we got tuned and warmed up, and played a few pieces together. Then we split into separate groups for the rest of the morning CHAPTER NEWS and after lunch. We concluded with a Chapter newsletter editors and publicity officers should send materials for publication to: tutti session, playing a three-choir (high, American Recorder, 7770 South High St., Centennial, CO 80122-3122, middle and low) piece by Hans Leo [email protected]. Also send short articles about specific activities that have Hassler. Imagine 40 recorders working increased chapter membership or recognition, or just the enjoyment your members get out of together—what a tribute to our leaders! being part of your chapter. Digital photos should be at least 3”x4”x300dpi TIF or unedited JPG files. Please send news to the AR address above, and to the following: I’m looking forward to next year. ARS Office, 1129 Ruth Drive, St. Louis, MO 63122-1019, Maybe then I’ll be ready for the [email protected]; advanced group! and to Bonnie Kelly, Chair, Chapters & Consorts Committee, 45 Shawsheen Rd. #16, Bedford MA 01730, [email protected]. Jerry Walker, SFRS Secretary Photo by Jack O’Neill Coming in the September AR: Play-the-Recorder Month 2009

32 May 2009 American Recorder Music Reviews ______La Follia for large recorder ensemble, ______spirituals and Dowland “lite” for trio

“LA FOLLIA” VARIATIONS, BY arrived in France at the court of Louis sections are easy and others quite GLEN SHANNON. Screaming Mary XIV, the chord structure was stand- difficult, but all fit recorders well. Music SMM140 (www.glenshan ardized and the tempo greatly slowed At the Denver chapter meeting, nonmusic.com), 2006. S’o/S, S/A, to a sarabande rhythm. La Follia was where there was more than one player A/T, T/B, B. Sc 9 pp, pts 3 pp ea. $15. known in England by 1685 when on each part, some of the technically When this composition arrived Playford published variations on it by challenging variations were given to for review, I thought it would be good Michel Farinel in The Division Violin. soloists, resulting in interesting as the focus of an ARS chapter Known as “Faronell’s Ground,” dynamic contrasts. We also added a meeting, along with some other pieces these variations were transcribed for sackbut and viols to the bass part. It based on La Follia. So recently both recorder and published by John Walsh was a wonderful sound, played not as the Denver and Boulder (CO) in The Division Flute in 1706. fast or as perfectly as the performance chapters tried out this new piece by The five-part “La Follia” on Shannon’s web site (above), but a Glen Shannon. It was a stretch for Variations by Shannon (b. 1966) was thrilling experience for the chapter some members to sight-read, but still commissioned by Charles Fischer and members! great fun to play, and several are going arranged by the composer from his Connie Primus received the 2006 to buy it for their own consorts. original version for recorder orchestra. ARS Presidential Special Honor Award, Shannon lives in California and is an and is a former President of the ARS. She La Follia is a harmonic active member of the East Bay chapter served on the ARS Board for 14 years. of the ARS. He has composed many She has taught music to adults and bass pattern that was works for recorder ensemble, and children and has performed on recorder used, beginning in the three have won awards from the and flute for many years. Chicago (IL) Chapter Composition late 15th century, Contest. He says, “My music is fun LORD, LORD, LORD: for improvisations because it usually engages all players, FOUR SPIRITUALS FOR THREE and when you write for amateur RECORDERS, BY RONALD J. AUTEN- of songs, dance music players, this is an important feature!” RIETH. Moeck 808 (Magnamusic), and sets of variations. Shannon’s version of La Follia 2006. SAT. 4 pts, 4 pp ea. $7. begins with the traditional chord Ronald J. Autenrieth was born in La Follia is a harmonic bass progression and melody followed by 1959 in Weingarten/Baden, Germany. pattern that was used, beginning in the 14 variations, each with its own He has worked mainly with recorder late 15th century, for improvisations of distinct tempo and mood. These ensembles, and also as a choirmaster songs, dance music and sets of varia- changes of textures, rhythms, and and church musician. His works tions. It began as a “very noisy” clearly marked articulations are very Portuguese folk dance, and soon creative and contrast significantly with KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; became popular in Spain for “wild one another. In order to reduce the gB=great bass; cB= contra bass; Tr= singing and dancing” accompanied forces from a recorder orchestra to a treble; qrt=quartet; pf=piano; fwd= foreword; opt=optional; perc=percussion; by guitar and tambourine. quintet, Shannon requires the players pp=pages; sc=score; pt(s)=part(s); By the early 17th century, it was (except the bass) to change kbd=keyboard; bc=basso continuo; all the rage in Italy for improvised instruments within the piece: soprano hc=harpsichord; P&H=postage and handling. Multiple reviews by one reviewer singing and playing on the Spanish to sopranino, alto to soprano, tenor to are followed by that reviewer’s name. Please guitar. After 1672, when La Follia alto, and second tenor to bass. Some submit music for review to: Sue Groskreutz 1949 West Court St., Kankakee, IL 60901 U.S.

www.AmericanRecorder.org May 2009 33 include recorder music for young JOHN DOWLAND “LITE:” was appointed to fill that vacancy people. AYRES TO THE LUTE failed to mollify Dowland. He quickly These four “Negro Spirituals” ARRANGED FOR 3 PARTS accepted an invitation for employment fall in to the latter category. They (1597-1603), BY JOHN DOWLAND, at Wolfenbüttel, where Michael are: “Lord, Lord, Lord,” “Burden ED. CHARLES NAGEL. Cheap Praetorius was court organist, thereby Down,” “Oh, de Blin’ Man Stood Trills TR 62, (Magnamusic), 2007. joining the list of English expatriate on de Road” and “Cotton Needs STB. Sc 9 pp. $3.95 musicians—which included John a-Pickin’.” John Dowland was born around Bull, William Brade and Thomas These pieces would be wonderful 1563, by his own statement, but details Simpson. for a school group or other beginner of his life remain elusive. Nothing is His stay at Wolfenbüttel was recorder ensemble. There are enough known of his early training, but what is short, though. Dowland accompanied accidentals in them to make them a bit known is that he was one of the very Gregory Huet to the court of Moritz, of a challenge for new players, but they finest lute players of his time. Refer- Landgrave of Hessen. Then his are short, which makes them more ences to Dowland’s quickly-gathering travels took him toward Rome to study accessible to new ensembles. fame are found as early as 1584 in with Luca Marenzio, but he was They would be good for a a poem entitled “To Dowland’s caught up in a plot by English Catho- classroom unit on gospel music or Galliard.” In 1588, Dowland is lics and never reached that destination. music of the slaves. listed among those musicians He retreated to Nuremberg to write Valerie E. Hess, M.M. in worthy of greater honor and fame. numerous letters to try to procure an Church Music/Organ from Valparaiso There are also references to official position at court. University, is Coordinator of Music Dowland either playing at court or Eventually Dowland made his Ministries at Trinity Lutheran Church, having his pieces played at court, and way to the court of Christian IV of Boulder, CO, where she directs the Trinity yet Dowland was not appointed to the Denmark. This seems to have been Consort. She has also published two books Royal Lutes upon the death of John Dowland’s most secure position— on the Spiritual Disciplines. Johnson in 1594. The fact that no one and one where he was the most

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34 May 2009 American Recorder some spots where a C is printed it was jarring to me to play them on These are very fine instead of B , but Nagel includes an recorders. As lute ornaments, of course pieces, well deserving erratum sheet with an amusing they work well, but they seem too to be heard and played note to the reader. assertive on recorders. It took a great There are no parts, but the inex- deal of finesse to make the bass parts by recorder players, but pensive price of this volume brings it and cadences play well in a recorder lute music translates well within reach of any consort inter- trio format. Even so, they never ested in exploring these relatively sounded idiomatic. only with difficulty unknown (to recorder players) pieces. To sum up: these are very fine into a consort format. This music is very high quality, pieces, well deserving to be heard and but the arrangements have their played by recorder players, but lute appreciated, since he was paid much idiosyncrasies. Nagel adhered to the music translates only with difficulty more than the average musician at original source, but what works well into a consort format. A comparison the court and was allowed extended on the lute does not always work as between “Flow, My Tears” and the periods of absence when he returned well on more sustaining instruments. five-part Lachrimae fantasias reveals to England to recruit other musicians His bass lines are a case in point. just how far Dowland himself altered and to buy instruments. Often they behave as ordinary bass his source material in order to make it On one of those excursions in parts in contemporary consort works, fit a consort. 1604, Dowland oversaw the publica- but occasionally they break out and Frank Cone studied the recorder with tion of his famous consort collection, bounce across octaves and fifths, the late Ellen Perrin, the viola da gamba Lachrimae, or Seaven Teares, the music ignoring Renaissance theory in with Carol Herman, and the cornetto for which he is most famous among voice leading. with Larry Johansen. The California recorder players. Another oddity can be found in multi-instrumentalist has been a member Dowland returned to England the final cadences. After having heard of the Orange County Recorder Society in 1610, but his long-coveted court them played on lutes for many years, since 1985. position in England would not occur until a post was especially created for him in 1612. Although his music was Strings & Early Winds quickly considered passé in his own R country, his lute songs, solos, consort Modern/Baroque Strings Viols Vielle pieces, and individual playing had an Küng Moeck Mollenhauer Paetzold Yamaha Ehlert enormous influence on the Continent. E Wenner Baroque flutes He died on February 20, 1626. Wendy Ogle Lu-Mi Ifshin Snow The present edition is a most C Competitive Prices curious one. Charles Nagel at Cheap Sent on Approval Trills has taken lute songs and Personalized Service & Advice arranged them for a recorder trio. O It is tempting to assume that he is aiming this edition at beginning R ensembles, but it is more likely that he is making some of Dowland’s exquisite lute music more available D to the average recorder player. Included in this slim volume are E such pieces as “Flow, My Tears” (the model for the Lachrimae collection) and “Now, O Now I Needs Must R Lazar’s Early Music Part” (better known in the instru- (866) 511-2981 [email protected] mental version The Frog Galliard). The S www.LazarsEarlyMusic.com sixth piece, “Go, Crystal Years,” has 292 Gibraltar Dr., #108, Sunnyvale, CA 94089

www.AmericanRecorder.org May 2009 35 Classified CONSIDER ADVERTISING IN ______Full page ...... $552 2/3 page ...... $439 Where the haves 1/2 page ...... $366 1/3 page ...... $286 and have-nots 1/4 page ...... $223 1/6 page ...... $175 of the recorder world 1/8 page ...... $127 1/12 page...... $ 95 can find each other 1 column inch ...... $ 58 Prices include web site/e-mail link directly from your ad in the online AR at T-SHIRT FOR ENSEMBLE PLAYERS to wear or www.americanrecorder.org. Classified rate for American Recorder: 60¢ share: "Top 10 Reasons Why I Got Lost." Wrong Circulation: Includes the membership of the per word, ten-word minimum. “FOR SALE” fingering, bad lighting, etc., on blue cotton shirt, ARS, libraries, and music organizations. $18. Highlighter tape and other goodies. and “WANTED” may be included in the Published five times per year: copy without counting. Zip code is one Beth & Linda's Boutique, as seen at BEMF. Call January, March, May, September, November. 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36 May 2009 American Recorder