Editor's Note

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EDITOR’S NOTE ______Volume XLII, Number 2 March 2001

For years, an array of little ocarinas has FEATURES graced our mantelpiece. While I’ve always The Clay Pot That Sings...... 9 admired them as artifacts, I confess I never The sweet potato meets the sweet flute in this exploration thought much about them as musical in- of the history and physics of the ocarina, struments. One is a shaped like a dough- by Ray and Lee Dessy nut and blown with a flute embouchure, another is a little one-hole dove, a third is 9 The Virtuoso Recorder Sonatas of the a two-hole Aladdin’s Lamp, and the last, Mysterious ‘Signore’ Schultzen...... 15 stamped “Whistle Works,” is a smiling, The editor of a modern edition of these little-known sonatas spotted dog much like our late-Great Pyre- makes a case for their historical and musical importance, nees mix. You blow through the tail, and by Patricio Portell we won’t say where the sound comes out! Now, after reading “The Clay Pot That Recorder Workshop Summer-Ease ...... 19 Sings” by Ray and Lee Dessy (page 9), I’ll The annual summaries of summer workshops regard them more seriously, maybe even where you can expand your early music horizons 15 attempting to master the non-intuitive fin- DEPARTMENTS gering system ocarinas employ. This might be a good project for the Advertiser Index ...... 48 summer months, but there are so many Book Reviews ...... 37 opportunities in the summer for recorder Chapters & Consorts ...... 46 players, it would be hard to choose just one. The annual summaries of summer Classified ...... 48 workshops (page 19) are designed to help Music Reviews...... 24 19 you decide upon the location, cost, course On the Cutting Edge...... 45 offerings, creature comforts, and recre- Opening Measures ...... 43 ational facilities that will be ideal for you. ON THE COVER: President’s Message ...... 3 Another exciting opportunity may be Illustration playing a set of sonatas, newly published in by RecordersonDisc...... 33 modern edition, by the almost-unknown Carine Lai Tidings...... 4 A.H. Schultzen (page 15). The sonatas © 2001 seems more technically substantial than Recorder Orchestra Debut you would expect from the period of their Recorder Panel at Berkeley Festival composition, even as their composer seems almost totally insubstantial. BENJAMIN S. DUNHAM, Editor *** Contributing Editors Three AR covers from the past year will ap- FRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews pear in the prestigious pages of American CAROLYN PESKIN,Q&A;CONSTANCE M. PRIMUS, Music Reviews Illustration 19 (Alison Seiffer’s January EUGENE REICHENTHAL, Education; PETE ROSE, 20th-Century Performance 2000 “new millennium” cover) and The GILLIAN KAHN, Design Consultant Society of Illustrators’ 43rd Annual of Amer- ican Illustration (Adam McCauley’s March Advisory Board 2000 “snake charmer” and Adam Nikle- Martha Bixler • Valerie Horst • David Lasocki wicz’s September 2000 “recorder player in Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy Kenneth Wollitz a hammock.” Illustrations appearing in these volumes are chosen on a competitive Copyright © 2001 American Recorder Society, Inc. Printed in U.S.A. basis to represent the best work in the American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and field. Congratulations to our wonderful November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Word artists and our design consultant Gillian for Windows, or RTF preferred) or as an attachment to an e-mail message. They should be for the exclusive consideration of AR, unless otherwise noted. Kahn! Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF format, with fonts embedded. Editorial office: Benjamin S. Dunham, Editor, American Recorder, 472 Point Rd., Marion, MA 02738; 508-748-1750 (business hours), 508-748-1928 (fax); Benjamin Dunham [email protected]. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Scott Paterson, 77 Queensbury Ave., Scarborough, ON M1N 2X8, Canada. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings for review: Editorial office. Cutting Edge: Pete Rose, 13 Rutgers St., Maplewood, NJ 07040; [email protected]. Chapter newsletters and other reports: Editorial office. Advertising: Editorial office. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. ARS Chapters

ALABAMA ILLINOIS Ithaca/Finger Lakes: Birmingham: Martin K. Payne Chicago: Patrick O’Malley Mary Jaffe (607/273-1897) (205/979-6430) (773/293-3138) New York City: Michael Zumoff West Suburban: Eric Stern (212/662-2946) AMERICAN ARIZONA (708/594-9243) Long Island: Margaret H. Brown Phoenix: Donald Harrington (516/765-1867) (602/956-1344) INDIANA RECORDER Indianapolis: Alberta Richmond Rochester: Marilyn Plain Tucson: Scott Mason (520/721-0846) (317/873-2930) (716/475-1453) SOCIETY ARKANSAS Rockland: Lorraine Schiller KANSAS (914/429-8340) INC Aeolus Konsort: Louisa Rollefson L&L Early Music Ensemble: Liz Low . Westchester: Carol B. Leibman (501/225-4846) (913/727-3554) Honorary President Bella Vista: Charles D. 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Please contact the ARS office Big Island: Diane Mallory (808/966-4442) (518/377-1532) to update chapter listings. PRESIDENT’S MESSAGE ______

On Bach’s St. John Passion

LOVE TO SING and I dearly love the sound been a favorite of mine and I had never had the blame for the I of a good chorus. In fact, some of my a chance to get to know the St. John before events of the passion most memorable musical moments have this performance. I was, to say the least, on “the Jews.” Yet, a come from listening to or being in a cho- most impressed by the overall effect. The study of the particular rus. Church, opera, Savoyard, college, chorus was excellent, Alan Bennett (the emphases that Bach makes in the non-Bib- symphony—I’ve done them all. And along Evangelist) was superb, and the remaining lical portions of the text shows clearly that the way, it has been my privilege to sing soloists were uniformly excellent. My one he is putting the blame right where it be- under some masters: David Foltz and Earl serious objection was that the strings in longs—not on first-century Judaism but Jenkins (affectionately known as “Pete” by the orchestra, because of limited num- on the Christians of every generation. his many singers) at the University of Ne- bers, were often covered by the chorus, This article didn’t start life as a sermon, braska; Daniel Moe at the University of and there were some minor ensemble and I hope it won’t be taken as such. There Iowa; and finally the late, great Robert problems with the orchestral soloists. As a are too many problems in this world and Shaw, here in Atlanta. side note, after the concert, I heard one battles between different faiths and ethnic Singing under Shaw was quite an expe- person comment negatively about the groups are not likely to go away any time rience. He was a tough taskmaster; he “raucous” sound of the oboe da caccia. soon. But when controversy, prejudice, or could be temperamental; he had a temper I noted earlier that this performance just plain ill will forces people to think that flared up at a moment’s notice. You was given as part of Emory’s Year of Rec- twice before presenting a work as musical- could always tell when the chorus had onciliation. Prior to the performance there ly compelling as the St. John Passion, one done something he didn’t like in perfor- was a seminar devoted to the “problems” wonders what has become of civility, com- mance. His head would go into the score of Luther, Bach, “the Jews,” and the St. mon sense, and a willingness to be open to and stay there, and when that happened, John Passion. I have recently read Michael others, no matter how different they may you knew you were in for a tongue-lashing Marrisen’s book on these topics and have be from us. We are, after all, commanded at the next rehearsal. For all that, I count come to the conclusion that much of the to love our neighbors; we don’t necessari- as one of the highlights of my choral career controversy comes—as is far too often the ly have to like them. Wouldn’t it be won- the weekend in New York when the At- case—from ignorance and an unwilling- derful if this new millennium could truly lanta Symphony Orchestra and Chorus ness to really study the problem. As a begin with a “year of reconciliation” and if performed the Requiems of Berlioz, Lutheran myself, I am aware that the these controversies could be put to rest Brahms, and Verdi on three successive founder of my church said many really rot- once and for all. nights in Carnegie Hall. What a way to be ten things about Jews and Judaism (since To all of you, my best wishes for a introduced to this wonderful performance officially repudiated). It is also true that splendid new year. venue. the Gospel of John appears to put most of John Nelson So, you might be asking at this point, what does all this have to do with the recorder? And the answer is—nothing, real- When controversy, prejudice, or just plain ill will ly. It does serve, however, as an introduction to some thoughts I’d like to share forces people to think twice before presenting a work with you about a performance of Johann Sebastian Bach’s St. John Passion Iwas as musically compelling as the St. John Passion, privileged to attend last fall. The work was one wonders what has become of civility, common performed by the Concert Choir of Emory University in Atlanta, accompanied by the sense, and a willingness to be open to others, Atlanta Baroque Orchestra, and was billed as the opening event in “Emory’s Year of no matter how different they may be from us. Reconciliation.” Bach’s St. Matthew Passion has never

March 2001 3 ______TIDINGS ______After a performance of Rose’s This and That by ______Janoschka, Reihn-Zeitung called it “an extremely virtuosic and interesting piece of music corresponding well to the performer’s musical capabilities of expression.” Recorder Orchestra Gives Debut Concert Bits & Pieces

In early March, Pete Rose participated in the Internationales Stuttgarter Block- flöten-Symposion, presenting a concert of his published works, a lecture on jazz interpretation, and two master classes. In addition, two of Rose’s compositions will be published by Carus-Verlag in March: Nice Folks (recorder & guitar) and This and That. The latter piece, a solo work, was commissioned by Gunter Janoschka, a student in the Amherst Virtuoso Recorder Program in 1998. Janoschka returned to Amherst in 2000 to give This and That its American premiere. After a performance of the work by Janoschka in Germany, Reihn- Zeitung called it “an extremely virtuosic Richard Geisler (back row, right) and the American Recorder Orchestra and interesting piece of music correspond- of the West at their debut concert in November. ing well to the performer’s musical capabilities of expression.” The American Recorder Orchestra of Carl Lyngholm and TeriBalser, with Sacra- The Highland Park Recorder Society the West (AROW), founded by Richard mento Recorder Society vice-president and Chamber Orchestra has been Geisler of the Village & Early Music Society Kathryn Canan. After the intermission, an- awarded nearly $3,500 from the Middle- of Grass Valley, California, presented its other outstanding performance was added sex County (NJ) Cultural and Heritage first concert this past November to a large to the mix—Francesco Barsanti’s (c. 1690- Commission to continue its innovative and enthusiastic audience that filled the 1775) sonata for recorder and harpsichord program of public concerts and outreach hall at St. Alban’s Church in Albany. in D minor, Op. 1, No. 1, played in virtu- activities under the leadership of music di- In a program of music spanning ten oso style by Kathryn Canan, recorder, and rector Robert W. Butts and Chapter centuries and six octaves, the fledgling re- Marta Belén, harpsichord. founder Donna Messer. corder orchestra began its program with AROW’s members come from all over ARS teacher Gwyn Roberts conducted the March from a Suite of Early English Northern California, from Chico to a master class for students of ARS teacher Keyboard Music by Jeremiah Clarke, Modesto. Recorder players are invited to Carole Rogentine at the Levine School of arranged by Denis Bloodworth. Geisler attend and try out for membership in the Music, Washington, D.C., on February 21. then led the orchestra, consisting of renew organization. Richard Geisler can be ARS provided financial support through corders, harp, gamba, and percussion, reached via e-mail at [email protected]. the Margaret S. DeMarsh Fund. Six of Ro- through ancient Sephardic tunes, Broad- Glen Shannon gentine’s students played movements way show tunes, a vocal work with sopra- from Handel, Parcham, and Telemann no voice by Monteverdi, sacred music by sonatas, and the Allemande from the Bach Palestrina (done in low-choir featuring the Partita, BWV 1013. Levine School harpsi- big basses), and a movement from Lyndon chordist Lois Narvey accompanied the stu- Hilling’s Midsummer Meadow Suite,com- dents. In a lively, playful, and informative posed in 1988 specifically for recorder or- way, Roberts worked with the students on chestra. Several of the works were arrange- breathing and articulation and discussed ments by Geisler himself. the background of the music. Members of In addition to the orchestral music, the the Northern Virginia and Washington Re- audience was treated to a world premiere corder Society attended the master class. performance of East Bay (CA) Chapter president Glen Shannon’s four-movement Carol Rogentine, first row at left, poses neo-Baroque Quartet No 1 in G Minor, with her students after master class played by Shannon and East Bay members with Gwyn Roberts, first row center.

4 American Recorder Berkeley Panel: Recorder Professionals and Their Amazing Careers in Music

T LAST YEAR’S BERKELEY FESTIVAL,the watching school kids connect with the sioned for ourselves! I first considered A American Recorder Society invited pleasures of playing. The opportunites for playing recorder seriously when I met five prominent recorder professionals to performance are not as great as one would LaNoue Davenport at an early music work- join a panel moderated by Martha Bixler to hope, and the small financial rewards often shop. He bowled me over on a personal discuss their careers in music: make me ask why I am I doing this. But the and musical level. I chucked being an un- answer is that it’s fun just to get out and dergraduate flute player at UCLA and MARTHA BIXLER: Can you make a living as a play the music. I like to play both early and moved to New York to study with LaNoue recorder player? Well, in the 1960s, I really contemporary music, although lately I’ve at Sarah Lawrence. did make my living as a recorder player. It gone back to my first love—Renaissance After graduating, I was a professional seems rather amazing. I belonged to sever- consort music. When I’ve really become cook in the Philadelphia area for some al performing groups, gave concerts, did frustrated with my life as a recorder player, years. I’ve always loved cooking and recordings (with Joan Baez and Judy I’ve played the clarinet. I’ve been lucky to worked my way through school as a cook. Collins, among others), and made money. have a lot of options. My clarinet teacher But I found that I really missed music— When “they” discovered that recorders used to say to me, “Isn’t it wonderful that back to Sarah Lawrence for further studies. sounded wonderful in television commer- we get to be musicians.” And I think that’s I also apprenticed for a while in the re- cials, the doublers had not yet learned how still the bottom line. corder-making shop of Phil Levin. Then I to play recorder. They sat around and went to Indiana to study with Thomas watched while we took work from them FRANCES FELDON: Isn’t it true that we end Binkley in the hope of becoming a univer- (then they took lessons from us, and we up doing a lot of things that we never envi- sity professor and collegium director. I al- weren’t hired as often!). It was a wonderful time to be a professional recorder player in New York. There Introducing the Panelists was a lot of money from the New YorkState Council on the Arts for things like Young Judith Linsenberg, “...a former Board member of ARS...the quintessential Stan- Audiences concerts in the schools—and ford graduate (DMA) who plays with Seattle Baroque, Portland Baroque, Musica An- rents were lower! In the 1970s, though, I gelica orchestras...founder of Musica Pacifica...received one of the early recording got tired of gigging as a musician. For one grants from ARS for professionals.” thing, I was no longer the only (and there- Cléa Galhano, “...a native of Brazil based in Twin Cities (MN) area...a recording fore the best!) woman recorder player in and performing artist with Belladonna and the Galhano/Montgomery Duo...current- New York—not even on my block. There ly special events chair on the ARS Board.” was so much more competition. It was Matthias Maute, “...playing at the Festival with Rebel...grew up near Stuttgart, much harder to make a living from playing, Germany, and studied in Utrecht...a composer published by Ascolta, Amadeus, and and I decided to devote myself more to Moeck...working on a book on improvisation...now living in Montreal.” teaching. Later, after I married a college Frances Feldon, “...Eva Legêne student with a DA in collegium directing from In- professor, I never really knew if I was mak- diana University...BFA and MFA from Sarah Lawrence...director of the SFEMS ing my living as a musician, because our fi- Colegium Evenings...member Flauti Diversi and Danza!...member ARS Board.” nances became hopelessly entangled. David Barnett, “...a clarinetist and recorder player...member Tonal Havoc and Flauti Diversi...has commissioned works from contemporary composers...studied DAVID BARNETT: The way I came to the re- with Lyle Nordstrom at Stanford as a high school student.” corder, pain and pleasure were going to be inevitably intertwined. In the sixth grade I was labeled as “a student with attitude,” and my punishment was to learn the recorder and play for the principal once a week. It was more fun than punishment, and it led me into the study of early music and music in general. When I graduated from university, I figured it was nice that I could also play the clarinet, because I could make a living as a clarinetist. But as it turned out, I’ve actually made a living playing recorder. I continue to be amazed at this. Life as a recorder player is not much different from being a musician in general. It Left to right, front row: Martha Bixler, David Barnett; back row, is a hard road. I wish there were more sup- Judith Linsenberg, Cléa Galhano, Frances Feldon, Matthias Maute. port. I do a lot of teaching, but I enjoy

March 2001 5 (cont.) I was. Now I’m supporting myself as a sin- Recorder Professionals Panel at Berkeley gle, woman recorder player. I live in a little, one-bedroom apartment. (I’d like to marry so studied there with Eva Legêne. I’m still composing, editing, teaching, whatever— a lawyer—in case you know of any!) I make learning from Binkley in the sense that the variety turns out to be very attractive to a living pretty evenly divided between every now and then a lightbulb will go off me. No one segment of this activity is very teaching and performing. A lot of the per- in my mind, and I’ll say, “Ah!So that’s what important by itself, but altogether, it’s fine. forming is with my group, Musica Pacifica, he meant.” Subsequently, I realized that I and I also play with different Baroque or- wasn’t all that happy in an academic CLÉA GALHANO: I perform and teach, and I chestras. I’d like to do more, but it is nice environment. love both, dearly. One of the first things to be able to be a musician. So here I am in California, performing that I tell my students is, “You are the in- and teaching. Traveling around as a free- strument, not what you are playing.” You BIXLER: Like Frances, when I met LaNoue lance musician is not really for me; I’m choose an instrument to be your voice. To Davenport, I, too, chucked everything to more of a homebody, and I’m lucky to have me, recorder is a passion. I couldn’t live study with him. At that point, I had given a wonderful partner, a recorder-playing without it. Where I grew up, about three up a career in music of any kind, but mu- lawyer, whom I live with along with the hours from São Paulo, piano was what was sic just drags you back. Youcannot escape, best cat in the world. I do a lot of teaching available. I even went to college as a piano if that’s what you’re going to be. and especially enjoy teaching adult ama- major. But then I played in a recorder I’m delighted to hear that, in one way or teurs. I’ve also found that I have an ability group and got “the bug.” another, everyone is making a living for administration, which I’ve done for the Because of the influence of Riccardo through the recorder, and I want to echo San Francisco Early Music Society and just Kanji, who went from Brazil to study with Cléa when she said how lucky we are to be recently with the Hausmusik concert se- Brüggen, the recorder has an important in music. When people would ask Arnold ries. So while I’m not doing some of the role in Brazil. I studied with Kanji, and Grayson, a wonderful recorder teacher, things I thought I would be doing, the pot- now I myself have sent five students from when his vacation was, he would say that pourri I’ve put together is satisfying. Brazil to study in Holland. There are free his whole life was a vacation. conservatories in each state where you can MATTHIAS MAUTE: Where I grew up, it was study recorder. There is a tradition, and it QUESTION: How did members of the panel “exotic” for a boy of 11 or 12 to play the re- is easy to envision playing recorder as a form the ensembles they play in? corder. As a girl you can do that, but not as profession. Also, as a woman, it is easier to Galhano: Belladonna was formed a boy. On the way home from a boring les- make this decision when I met Barbara Weiss, the harpsi- son, I threw my recorder in the shrubbery. I do make a living from the recorder. chordist, and she suggested that we get to- But my best friend saw it and knew it was But my husband is a saxophone player gether with two other players for an up- mine because I was the only boy he knew with a steady job. With this support, I can coming concert. We didn’t have any inten- that would play the instrument. He re- plan two years ahead as a performer and tion of forming an ensemble, but we kept turned it to me,...and so I had to go on. not go crazy just trying to survive. As mu- playing and people loved us and wanted to Later in my teens, I stopped playing for sicians, we are very lucky having this love know our name. We only became Bel- about a year. It just wasn’t interesting to me of music that we can share with people. ladonna after that. A jazz teacher of mine at then. There was nobody who could show the New England Conservatory said, me what I could do with the instrument. JUDITH LINSENBERG: I started playing the “Once you find the right people to perform Later, I did start studying recorder serious- recorder when I was five. It was a choice with, you’ll never leave them, because this ly, because the instrument just works well between that and ice-skating lessons. is so difficult... to find the right people.” with me. But even then, I wasn’t certain When I got to college, I was encouraged to Feldon: My first group got started be- this was what I was supposed to do in life; study music...there would be time later to cause we had all studied at Sarah Law- I was supposed to enter into the family do something else to make a living. And af- rence. But then we went off to different business. Even when I won the competi- ter college, I did try other jobs. I was a places. I assembled Odhecaton around the tion in Bruges, there was no clear direc- writer-editor for the Red Cross Blood Ser- idea of playing more Franco-Flemish 16th- tion, no reaction from the outside world, vices (but I couldn’t stand blood!). And I century repertoire, which I love. not even from music organizers. But in my was an admissions counselor at a college. Linsenberg: I met a number of Musica inner mind, at least, it was by then clear. It But when I had a chance to play a concert Pacifica players through playing in Philhar- was recorder, and let’s get on with it. with a friend of mine, I came alive and I monia Baroque. Ours is a group that ar- When it was time for me to start my said, “This is what I have to do.” gues about all things musical. We fight like professional life, it was not the way it had Like Frances, I went back to graduate crazy, but when we get on stage, I think we been earlier, when Brüggen and those play- school at one point with the idea of teach- make really good music. ers were travelling around playing in huge ing in a university, but that was a mistake. halls. So, in order to enrich my profession- The only jobs were teaching history and QUESTION: What is it like to work with am- al and financial life, I had to create new op- theory, and that wasn’t what I was interest- ateur musicians who don’t have the same portunities for myself. I started composed in doing. I also tried other instruments. ability and knowledge as yourselves? ing, accepting commissions for new works I tried Baroque oboe, but couldn’t handle Maute: As a teacher, I always prefer a and arranging editions. This added a lot to the reed-making. situation in which there is a lot to say. So it my musical career, although it was not People ask, “Why did you choose mu- is harder sometimes to teach a very good what I had thought I would do when I was sic as a career?” But there was no choice. It player. Also, I always try to learn some- first studying recorder. Traverso playing, chose me. It was just so much a part of who Continued on page 34

6 American Recorder

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2 5# % 5 2 $7$ # 89:: 1 2% 8 ; < =>?$ : $ .#< =>?$ : $;; 5 < @$ !< ((($$ ! " #$%% &' $ % $ "()& The clay pot... Among the oldest of musical HAT SOUNDS LIKE A RECORDER, time. The ease with which clay could be instruments, ocarinas seem like looks like an egg, a goose or fly- rolled, pinched, pierced, and cut allowed ingW saucer, is made of raku-fired clay or these cultures to advance musically at a near cousins of the recorder, wood, makes music like some cicadas or time when Europe was playing with sim- until you understand the very crickets, and is at the heart of Nintendo’s ple flutes. Samuel Marti, a Mexican an- different physics at play most famous computer game? It’s the thropologist, said, “There can be no ocarina. This article examines its history, doubt that pre-Columbian music fabrication, playing characteristics, and reached a level of development compara- by Ray and Lee Dessy use in recorder consorts. We’ll see how ble, perhaps superior, to the contempo- ocarinas differ from recorders and ex- rary cultures of Europe.” One early plore their different shapes. Mayan ocarina, dating from 500-600 BCE, was advanced enough to play the An early hitchiker’s guide first five notes of a diatonic scale. Studies Ocarina-type musical instruments on Colombian instruments show that probably date back to 10,000 BCE. If you many had similar tuning systems, allow- put your thumbs together, cup your ing them to play in harmony. Dale Olsen hands, and blow, it is easy to guess where of Florida State University said, “The care the idea came from. Spherical Chinese that went into making these instruments Xun instruments appeared as early as suggests that they were more than diver- 7,000 years ago, and examples of ancient sions or toys.” Egyptian globular flutes exist. Small whistle-based terra-cotta figures of birds and Best of times, worst of times other animals were known in India 6,000 Ocarinas were brought to Europe in years ago. The earliest pre-Columbian 1527 after the Spanish conquest. When clay instruments are found on the coast of Cortez sent a group of Aztec dancers and present-day Ecuador and date from musicians to perform for the court of Em-

ANITA FENG 2,000 BCE. Aztec and Mayan zoomor- peror Charles V at Valladolid, the alto- phic hollow flute figures of armadillos, plano bird dancers moved in synchronic- birds, and reptiles are known. ity with fippled pottery ocarinas. Typically single chambered, these lat- One story tells of a Roman baker who ter instruments were often tuned to a used his oven to make low-fire copies as non-Western scale and used in solo and toys and novelty items. The ovoid body ensemble playing for both ritual and pleasure. Some played only a few notes, but one archaeological marvel could play an impressive 17 notes (x-rays show that it has three chambers). A 1988 Science Section article in The New YorkTimes quoted a number of acad- emics on the significance of ocarinas (Source 1). “People often think of these objects as playthings,” said UCLA’s Sue De-Vale. “That’s wrong.” Sometimes “they’ve been written off as another small that artifact,” said Rutgers’ Norman Ham- mond. But discoveries at Pacbitun (Be- lize), Guatemala, Honduras, Columbia, and Peru included double, triple, and even quadruple instruments, which could produce more than one note at a sings March 2001 9 and short stubby fipple neck led to the Figure 1: Ocarinas may be thought of as Helmholtz Resonators. word “ocarina,” meaning “little goose” in the Emilian Italian dialect. The ocarina was slowly “modern- ized,” and in the mid-1800s Italian crafts- men produced instruments that played a Neck-Depth complete scale. This was an era when the Vessel Volume demand for inexpensive musical instru- Neck-Area ments increased dramatically. It was the time for ocarinas and harmonicas. People were happy and prosperous. In the 1860s the economic growth rate in the North “German” area was 8 to10 percent annu- Helmholtz Resonator ally,thanks to free trade, new rail systems, the industrial revolution, and Bismark’s f = (sound _ speed / 2 pi) (neck _ area) /(neck _ depth *vessel _ volume) luck. The Kingdom of Italy was formed in 1861. In the 1860s, Giuseppe Donati set up his first ocarina workshop in Budrio, then Bologne, and finally Milan. In 1870, Figure 2: The plane of the fipple’s window is made tangential to the two ex-apprentices, Ercole and Alberto body of the ocarina. Mezzetti, set up shop in Paris and Lon- don, respectively. In 1878, Cesare Vicinelli began making ocarinas near Bu- drio, and in 1920 he left his workshop to his assistant Guido Chiesa. Arrigo Mignani finally bought the workshop with its tools in 1964. Ocarina di Budrio is now a prominent firm complete with web site (Source 2). Soldiers in World War I and II (re- member the film Stalag 17?) kept up morale with molded plaster and Bakelite ocarinas, respectively, because they were compact and easy to play. All of these had the traditional goose or sweet-potato ILLUSTRATION: DWIGHT BARTHOLOMEW shape. The 1930s heard a new Broadway sound in Girl Crazy and Anything Goes from the “Sweet Potato Tooters.” The Figure 3: The air in the vessel of the ocarina acts like a spring, moving the “Italian Connection” of the ocarina made it air in the tone-holes in and out as if they were pistons in a car engine. natural to feature ocarinas in Ennio Morri- cone’s film The Good, The Bad, and the Ug- ly. In Japan, Sohjiro’s ocarina concerts and Note Hole recordings generated a cult status, as we’ll Virtual Neck see when we look at the “Nintendo Con- nection” later. The reshaping of the ocarina began Air Piston with John Taylor of London, who made the first four-hole ocarinas in 1963. Imag- ine the four different-size holes as binary bits. How many combinations are there?—16. And here, we must pause to Spring outline the difference between recorders Fipple and ocarinas.

Ocarinas from Venus, recorders from Mars Recorders (flûte à neuf trous—with nine holes) play a fifteenth or more. They rely on the ability of opened holes to shorten the effective length of the bore. Four regis- ters are passed through as the wavelength of the standing acoustic wave is shortened

10 American Recorder and the acoustic frequency corresponding- If you could add energy periodically to the ly increased (wavelength equals speed-of- system, it would oscillate forever. If you The fascinating part is sound divided by frequency) (Source 3). keep blowing into the ocarina, it keeps that, for a given volume The complex airflow moving from the sounding its note (Figure 3). windway over the labium develops a reso- It may be difficult to imagine a tone- of air, the frequency of nance condition with the standing wave in hole as a piston, but an open round hole an ocarina is nearly the bore, stabilizing the struck note. (Res- in a thin-wall vessel acts as if it had a onance describes things like pushing a flange, _||_, on the inside and outside of independent of the shape swing to greater excursions by timing the the vessel, each with a height equal to the push with the swing’s motion.) hole radius, making the “depth” of the of the vessel. Rather, Ocarinas, on the other hand, may be tone-hole about equal to the hole diame- it is nearly proportional thought of as Helmholtz Resonators. ter. As the mass of the piston air-plug Named after Hermann von Helmholtz pushes in, the air-spring in the vessel to the square-root of (1821-1894), a German physiologist and compresses and pushes it outward. As philosopher, Helmholtz Resonators were the air-piston pulls out, the air-spring the sum of the diameters hollow spherical containers with a small stretches and pulls it back in. The bigger of the open holes. open neck at one end. They were used to the vessel (a weaker spring), the lower the analyze complex musical tones. When the frequency of the sound. The bigger the partial of a tone had the correct frequency, tone-hole-area (a bigger, heavier piston), it would couple with the air in the sphere the higher the frequency. Try it with some so that only this amplified partial could be old springs and weights. The fascinating heard by the listener (through an ear canal part is that, for a given volume of air, the tube). Until electronic instruments be- frequency is nearly independent of the came available, it was the only way the par- shape of the vessel. Rather, it is nearly pro- tials of musical tones could be analyzed. portional to the square-root of the sum of the The frequency that the Resonator re- diameters of the open holes (see Figure 4 sponds to is easily calculated (Figure 1). and Source 4). What does this have to do with ocarinas? An ocarina is a hollow vessel like a Continued overleaf Helmholtz Resonator, but with a built-in fipple assembly like a recorder. The plane Figure 4: Pitch is a function of the summed sizes of all the open holes. of the fipple’s window must be tangential to the body of the ocarina (Figure 2). When you blow into the fipple assembly with all holes closed, it creates an in/out air motion. This couples with the Helm- holtz Resonator by pushing the air in the window into the vessel, which then re- sponds by pushing the air back out. An alternating air pressure is created in the vessel’s volume. This oscillation radiates the “do” note through the window of the ocarina. The labium/window square-hole is very difficult to analyze, so let’s play the = + + ocarina with just one tone-hole open. The f (c / 2 pi) ((D1 D2 D3...) /V ) alternating pressure change, which is uniform throughout the vessel, affects the air Dn = diameter _ hole#n in the open tone-hole (and window), moving it in and out, just like the piston in a Figure 5: Producing a chromatic octave with a four-hole ocarina. car. The plug of air in the open hole has mass, which for a round hole is calculated simply as air-density times hole-area times hole-depth. The open hole (and the window) have become the new neck of a Helmholtz Resonator. The air in the vessel of the ocarina acts like a spring that is cou- pled with the air-piston in the virtual neck. Hang a weight on the end of a spring and pull it down, and then let go. The SANDI AND RICHARD SCHMIDT spring/weight oscillates, and internal fric- tion losses will eventually slow the motion.

March 2001 11 The good and the bad mensions in the square-root term, so that Theoretically, a clever pottery mak- bass instruments don’t need to be quite as er could pierce the walls of a big, in comparison. hollow, fipple equipped ves- Two questions become important at the sel with four different-size extreme limits: 1) Is the instrument too holes and make an in- small to accommodate big fingers, and will strument that pro- it produce enough sound? or 2) Is it too big duces sixteen differ- for convenience, and will your finger pads ent rather pure cover the biggest holes? Between these ex- tones that are chro- tremes is a vast world for creativity. I have a matically related. five-hole clay ocarina in ~C5 that is 2.5 The holes can be inches in diameter, about 1.5 inches thick, almost anywhere shaped like a flying saucer and decorated that makes play- with a Kokopelli figure (see illustration). ing easy (Source The windway entrance is on the rim (at the 5).Their total open bottom of the illustration; the window and area is the impor- blade are on the backside together with the tant factor. John fifth hole), and it has four unequal diame- Taylor did just this, ter tone-holes on the top. It can be worn laying out a road that with a thong around the neck like a many have followed. pendant. D A R R Unfortunately, physics is Y N SO always exact but often un- Ten years that shook the world N G B kind. Using a little geometry When folk music was rediscovered in IR D and algebra, you can show that the ’60s, an ocarina rebirth took place. Re- some of the finger combinations are cently, artisans have produced a phantas- going to sound a bit “off”; a chromatic oc- magoria of shapes and kiln colors, plus sin- tave is a more reasonable goal (Figure 5). If gle, double, and triple ocarinas. Some of you add another hole, the good combina- these are delights, while others may repre- tions will allow a ninth. Some think that a sent only “The Ugly” toys. We’ll look at sixth hole makes accepted fingering pat- some of the best. Many web sites listed in terns sound better. Other makers suggest the Sources offer sound bytes, so you can shading the window will let you add one hear the bird sing. note at the bottom. Some makers add a Darryn Songbird (Source 6) makes a so- small hole near the fipple entrance, and prano alto-tenor-baritone-bass set in raku- your lip is used to open and close it. fired unglazed clay. Clayz and Clay-Wood- The beauty of the ocarina is that the Winds (Sources 5, 7) offer a glazed so- The beauty of the ocarina is sound frequency is not determined by the pranino, soprano, alto, and tenor series. that the sound frequency length of a bore, as in a recorder. Recorder Often, the naming of the instruments is in- basses are big, since the scaling is linear! If consistent with recorder practice, so it is is not determined by the you want to halve the frequency, you must best to ask. Clay has a tendency to shrink length of a bore, as in a double the length. In ocarinas, the fre- in the firing process, so it is also common quency is determined by the ratio of di- to find instruments that are in tune with recorder. Recorder basses Figure 6: Making an ocarina from clay. are big, since the scaling is linear! If you want to halve the frequency, you must double the length. In ocarinas, the frequency is determined by the ratio of dimensions in the square-root term, so that bass instruments don’t need to be quite

as big, in comparison. ILLUSTRATION: DWIGHT BARTHOLOMEW

12 American Recorder themselves, and fully chromatic, but which are not tuned to a common scale. Some different shapes and sizes Alone, in the woods, on the street, or in of ocarinas. Clockwise from your home, that doesn’t matter. If you play with other instruments, it will, so it is best upper right: small ceramic to request a concert pitch. Egg, arrowhead, four-hole model by Robin ellipsoid and flying saucers shapes are Hodgkinson; an ocarina by San- available from a group associated with di and Richard Schmidt; classic John Taylor(Source 8). The Budrio (Source model ocarinas by Kenji Ogawa. 2) site displays the world of the “classical

ocarina” from six-hole to ten-hole, cover- PHOTO: COULTER ing four octaves in a presentation set of five instruments, or individual units. Hind (Source 9) offers American wal- nut ocarinas with four, six, or eight holes, soprano, alto, tenor and bass, and double ocarinas pitched a fifth apart. Avant-garde ceramic artisans such as Susan Rawcliffe and Anita Feng craft an eclectic, exotic collection (Sources 10, 11). Ocarinas come with four to ten holes, diatonic or chromatic, covering from an octave to an KENJI OGAWA eleventh+. The shapes challenge anyone’s SANDI AND RICHARD SCHMIDT imagination. More complicated instruments are available. Some have more than one chamber in the instrument. Play a duet with Sources for Further Study yourself. Tune the two chambers a little apart, and get a harmony similar to dual reeded harmonicas. Janie Rezner (Source 1. The New York Times: Science Section March 29, 1988, p 12) makes a triple ocarina whose two front C-1; www.statnekov.com/peruwhistles/ nytimes.html chambers play a full scale, while the back chamber plays a two-note drone. The 2. www.ocarina.it/ chambers come together at the top into a 3. “Principles of Recorder Design Explained,” AR, June single divided mouthpiece, so the two front chambers can be played with or with- 1992, pp. 7-14 out the drone background. 4. www.phy.duke.edu/ ~dtl/36h4_sho.html DIY: Do it yourself 5. www.clayz.com Making ceramic ocarinas is an art. There are two basic approaches. One us- 6. www.songbirdocarina.com es a mold like a tennis ball to form the two 7. www.clay-wood-winds.com halves of the shell from moist clay (see Figure 6 and Source 13). The two halves 8. www.ocarina.demon.co.uk are joined by slip clay, and pinched to- 9. http://germanmarketplace.com/ hind.htm gether. The windway and vent are put in place using wooden tools, and then the 10. http://artawakening.com/ soundworks/ holes created with plunge sticks. The slightly dried instruments are tuned, and 11. www.scn.org/~bg599/ ocarinas.html then fired. Post-firing tuning is necessary 12. Ceramics Monthly, May 1999, p. 64 because of shrinkage. The other technique uses a solid body of clay, in the ap- 13. www.geocities.com/RainForest/ Canopy/2525/ proximate final shape (Source 14). It is whistles/ whistle.html; Clay Whistles...the Voice of Clay, cut apart by a string-cutter, and the inte- riors scooped out. The parts are reassem- J. Moniot (Whistle Press, 1990). bled, and then treated as described above. Some artisans use polychrome lus- 14. http://village.infoweb.ne.jp/ ~flute/egeioseisaku.htm ter, white crackle glazes, seaweed, or oth- 15. Journal of Experimental Biology, 173: 123-163 (1992); er interesting things for decorative purposes during firing. In the best-playing in- International Journal of Insect Morphology 22: 185-205 struments, the windway is tapered, the (1993) exit and the blade are positioned slightly

March 2001 13 differently from that of a recorder, and the (Canticle 3 for ocarina, guitar and percus- million copies), as well as recognition for window has an aspect ratio a little squar- sion); Budaschkin, (Domra Concerto for artisans like Anita Feng. Perhaps ocarinas er than the recorder. accordion, ocarina, and mandolin); have another card. Biological studies on Ichiyanagi (Concerto for four recorders, the sound-producing and sound-detect- Cricket, cicadas, and Nintendo two ocarinas); even moments in works by ing organs in certain cicadas and crickets v With any musical instrument that has Janácek and Respighi. involve Helmholtz Resonators. In some mass appeal, is easy to learn, and is not in But the ocarina has at least one trump Australian species, the male abdomen the modern orchestral ensemble, there is card to play that recorders don’t have. forms such a structure, using a large air always the caustic comment, “It isn’t a se- Nintendo’s best-selling video game, Leg- sac as the cavity vessel, and the tympana rious instrument.” For such ocarina crit- end of Zelda™: Ocarina of Time, has gener- as the neck of the resonator. In some an- ics there are serious works by Harrison, ated money for Nintendo (more than 250 tipodal crickets, a similar mechanism is involved. Within the same species, the maximum sensitivity of the female’s ear, Sidelights: Thinking, Sounding, Playing also a Helmholtz Resonator-tuned device, coincides with the carrier frequency of the male’s call (Source 15). If it didn’t, Thinking: The basic dissonance between the methods of scientist, artisan, and there’d be no little cicadas or crickets. player is shown by an Internet exchange between David Peterson and Barry Jen- nings (John Taylor’s associate) posted at www.ocarina.demon.co.uk/FAQacad.html. Making recorders sweeter PETERSON: I am a mathematician. I have a partially verified formula (for the We urge you to experiment. The musi- four hole ocarina). The primary vagaries are the fipple impedance and equivalent cal instruments are not expensive and well- tuned ocarinas can be purchased from depth of holes. Do you or John Taylor have any comment? around $25 to $75. They combine well JENNINGS: (I am an instrument maker.) Your terms... are quite different— with recorders, since the purity of their though we may refer to the same specifics. For instance you say “mass” whereas own sound complements the reediness of we think “volume.” Can you [relate] the [volume] of an ocarina to pitch? many recorders. For old movie buffs, watch Frank Capra’s Meet John Doe. Sounding: At low sound levels, a Helmholtz Resonator can have a high reso- The recorder player will have little trou- nance “quality” factor, Q. Think of Q as reflecting the range of frequencies ble adapting to the pendant five-hole oca- that might easily excite resonance; HiQ = narrow range, LoQ = broad range. rina, and the tonguing techniques used are Q also reflects the ratio of the blowing-energy stored to the blowing-energy identical. Although the resonance condi- lost in the resonant system. This loss may be due to 1) wall-loss (think of air tion for a given note is a bit broader than a good recorder, and overblowing or under- striking a wall and cooling off), 2) viscous-loss (think of syrup dripping, its blowing will shift the frequency more than layers shearing from the spout), 3) turbulence-loss (think of rushing white wa- might be expected, the instrument returns ter), or 4) radiation-loss (think of what you hear). Typical modern flutes have in multiple kindnesses (see Sidelights). It Qs of 35-40. John Coltman, the flute acoustic expert, has made Helmholtz does not “break” with too little or too Resonators from plastic toilet float balls, milling various size holes in them. much pressure and uses almost a constant Wall loss is dependent on area/volume ratios, and may be ~10-15%. Small breath pressure from one end of the scale to the other. Air movement in and out of holes (~G3) at low sound levels have high viscous-losses (Q=26). At high the tone holes seems a bit more sensitive to sound levels, turbulence-losses become important (Q=11). With larger holes the proximity of lazy fingers. It is therefore (~G4) at low sound levels, radiation-losses becomes appreciable (Q=45). At easier to do slides, and you can use the fifth high sound levels, Q drops. Coltman has taken an irregular ocarina-like vessel hole to do a glissando fifth! It is a wonder- flute in his collection, made by Martin Breton of Quebec, measuring ful instrument for the blues and jazz. And ~2.5''x2.5''x2''. With one open hole (~B4), the measured Q=16. [Q >5 is if improvisation is new to you, the ocarina provides a wonderful companion that good] won’t compromise your fingers’ muscle Playing: Lower, broader Q values correlate with the ocarina’s ability to strike memory for stricter, more rigid music. Per- haps these lines from Charlotte Smith’s a note with ease and shift frequencies with a change in breath pressure with- Beachy Head (1807) sum up the ocarina: out “breaking” or losing resonance lock. “Bending” a note is simple, but get- ting out-of-tune is also made easier. Recorders tend to “break” if the shading, Come, visitant, attach to my reed your nest of clay, sliding, or rolling hole coverage is not smooth, and some holes are very sensi- And let my ear your music catch. tive. Ocarinas are more tolerant, and their frequencies shift up or down as the number or size of holes is changed by various shading, sliding, rolling, wiping, Ray Dessy ([email protected]) is professor of chemistry at Virginia Tech in Blacksburg. or multi-finger warble techniques. Smooth glissandos are possible. With high- With his wife Lee, he has written articles for er notes, especially in elongated shapes, non-uniform pressures and inhar- AR on recorder acoustics, the blues, psychoa- monicities result, and excessive losses develop. You can’t fight physics and the coustics, and recorder woods. The authors ap- scale ends. The recorder just “keeps on ticking.” preciate the experiments, comments, and col- legiality of John Coltman and Jim Coulter.

14 American Recorder Title page of the Schultzen recorder sonatas (with the permission of the Bibliothèque Nationale, Paris).

THE VIRTUOSO RECORDER SONATAS OF THE MYSTERIOUS ‘SIGNORE’ SCHULTZEN

Newly available in a modern ERHAPS THE REASON why Schultzen’s et les violons,” Schultzen’s sonatas for re- six sonatas have never attracted our corder and thorough bass are advertised edition, the six recorder Pattention before is that almost everything for the first time, together with six sonatas sonatas of A.H. Schultzen that can be known about them is sur- for violin or oboe and thorough bass also may be the first sonatas rounded with mystery. by him. Each item cost two florins, which from the middle Baroque They are numbered 228 in the 1737 appears to have been the usual price for music catalogue of the prolific editor, Esti- collections of six sonatas (see Illustration written with the recorder enne Roger of Amsterdam (see François 1). Since they do not seem to appear in ear- professional in mind Lesure, Bibliographie des éditions musicales lier catalogues, the date of Burchett’s Mem- publiées par Estienne Roger et Michel- ories would indicate that the sonatas in Charles le Cène [Amsterdam, 1696-1743], question saw the light of day in (or just be- Paris: Société française de musicologíe, fore) 1704. by Patricio Portell 1969, p. 80). But the first trace of these These two collections of sonatas are the sonatas is found much earlier, in 1704, in a only known published works of Schultzen. French translation of Josiah Burchett’s Mé- No other compositions by this mysterious moires de tout ce qui s’est passé de plus con- composer have so far been found, even in sidérable sur mer, which was published by manuscript, and nothing at all is known Roger. At the end of the book, as was the about his nationality or where he lived and current practice of the time, there is a com- worked. Apart from the initials “A. H.,” plete catalogue listing all the musical pub- nothing is known of his Christian names. lications of the editorial house and also the There also seems to be some confusion re- foreign editions sold in the shops of Ams- garding the spelling of his family name, terdam and London (where, as we learn which appears in Roger’s music catalogues from another section of the Burchett Mé- published in 1716and 1737as “Schultsen” moires, “François & Paul Vaillant, Libraires or “Schultzen.” The New Grove (1980) had dans le Strand,” Roger had stationed rep- no entry for Schultzen, while the early dic- resentatives). The music catalogue is divid- tionaries, such as Walther’s Musikalisches ed into different sections: according to in- Lexicon from 1732, give only the titles of strument, according to ensemble (instru- the two mentioned sets of sonatas, pre- ments or voices), and finally, according to sumably copied from Roger’s catalogue, country or to style (French, Italian, or Eng- but no details whatsoever of the compos- lish). In the section, “Pièces à la Angloise et er’s life. Unfortunately, the collection of à la Italienne pour les flûtes, les Hautbois sonatas for violin or oboe does not seem to

March 2001 15 have survived, and apparently, the only tfried Keller, Gottfried Finger, Andreas Par- THE MYSTERIOUS copy of the collection of sonatas for re- cham, James Paisible, Nicholas Demoivre, corder is preserved in the Bibliothéque Na- William Croft, Henry Eccles, Johann ‘SIGNORE’ tionale de France. Christoph Pepusch and Gasparo Visconti SCHULTZEN The title of the edition is in Italian, poured from the printing presses. The first (cont.) which gives it a cosmopolitan character recorder adaptations of Arcangelo Corelli’s and implies the style of the sonatas. It is violin sonatas and trio sonatas also ap- difficult to believe that Schultzen was ad- peared around this same time. Notably, dressed as “Signore”—more likely it many of these composers lived and worked should have been “Herr.” When the re- early in the golden period of the recorder in corder sonatas are studied carefully, it be- London. Quite a few of the composers comes evident that the composer was in- were, in addition, the favorites of the flour- deed inspired by the Italian style; however, ishing publication industry led by Roger in it is also possible to detect a personal Amsterdam, Walsh and Hare in London, Transalpineinfluence, which—in addition and Boivan and Ballard in Paris. to the name of the composer, obviously— If Schultzen’s compositions are com- lends support to the conjecture that Schul- pared with other sonatas for the recorder tzen was of German or perhaps north Eu- published in this period, it is possible to ropean origin. observe a great difference both in the level Illustration 1: Between 1700 and 1705, when Schul- of invention and in the required technical The Schultzen sonatas tzen’s sonatas appeared in print, the re- skills. The usual repertoire consisted main- were first listed in 1704 in the corder was at its height in popularity ly of duos without a bass, sonatas for one Roger catalogue appended to among the music connoisseurs. Works for recorder or two recorders with continuo, Josiah Burchett’s Mémoires de tout... recorder and continuo as well as for two re- and suites generally written as trios (that is, (shown with the permission of the corders and continuo by composers such two recorders and continuo). Among Royal Library, Copenhagen). as Servaas de Konink, Daniel Purcell, Got- these, it is possible to find sonatas of ex-

16 American Recorder ceptional interest and of such high quality Illustration 2: Original recorder part of the second movement, Un poco presto, that they certainly deserve attention. (One Sonata V (with the permission of the Bibliothèque Nationale, Paris). example is a Sonata II in D minor for recorder and basso continuo composed in a canzona-like style by William Croft, or possibly “An Italian Mr.” It concludes with a beautiful adagio in the form of a ground bass or chaconne.) But most of this repertoire can be characterized as simple and sometimes naive. It was not until around five years later (that is, after the publication of Schultzen’s sonatas) that music for the recorder of the same virtuosic level and complexity in composition went through the presses. In William Topham’s Op. I sonatas, published in 1701, one can find some elements that are similar to Schultzen. The role of the continuo part, for instance, mediates actively with the soloist as in a dialogue—though in Topham this detail oc- curs in a much simpler way. Schultzen’s largos of the first two sonatas are built on a ground bass, suggesting a chaconne or passacaglia, as one often finds in English compositions. There can be no doubt that Schultzen was modern for his time—in many aspects even more advanced than his contemporaries. Schultzen’s bass parts are not just a harmonic foundation or accompaniment. In addition, his choices of harmony, use of virtuosic elements, and modes of expression belong to the practice of a later period; they are more typical of the music of Francesco Mancini, Georg Philip Telemann, and Johann Sebastian Bach (see Illustration 2). Schultzen’s sonatas follow the classical structure of the sonata da chiesa with the typical movements slow-fast-slow-fast. Apart from sonata IV, the first movements are all in duple metre with many suspen- sions. The third movements are usually more homophonic and written in triple metre. While the fourth movements have a dance-like quality often reminiscent of a gigue, the standard dance forms encoun- tered in the so-called sonata da camera are not found. Besides revealing an able etic, choleric, melancholic, dramatic, or easy to play at the first sight-reading—sev- knowledge of the Italian style of the sonata, sometimes pessimistic. At other times, we eral readings are necessary in order to be the collection also reveals a profound un- find a ground bass very much like a cha- able to interpret it (see Illustration 3). derstanding of the Corellian style. This is, conne, as in the third movement of Sonata When playing and studying the for instance, evident in the composition of I, or a marvellous passacaglia of emotional sonatas, it becomes clear that they are id- basses and some of the “typical” themes, simplicity, as in the second movement of iomatically written for the recorder, thus especially in Sonata IV.Yet the basses often Sonata II. The fast movements are lively indicating that the composer had an inti- differ from Corelli’s in having a more and often call for virtuosic agility—not on- mate knowledge of the instrument. Schul- melodic structure and having a cantabile ly from the recorder player but also from tzen’s choice of tonalities and his use of character; it is noticeable that the thor- the bass player or players. tessitura emphasize this detail: D minor, G ough basses are not merely accompani- The writing of the sonatas demon- minor, G major, and B major. The virtu- ment, but at times very elaborate and al- strates maturity and solidity. It is not diffi- osic passages are adapted perfectly to the ways rich in invention. The themes are cult to find chromaticism or complex har- potential of the instrument, even if in some very personal: the slow movements are po- monies and dissonances. The music is not cases a solid technique is required in order

March 2001 17 Illustration 3: from the second movement, Presto, Illustration 4: from the second movement, Allegro, Sonata III (Editions Papillon, Genève). Sonata V (Editions Papillon, Genève).

Is it possible to interpret to play them. On this basis, it is tempting the violin. In Schultzen’s sonatas, not only to suggest that Schultzen must have played the recorder and the bassoon parts require Schultzen’s compositions as the recorder himself and maybe also the able players; the complexity of the thor- oboe—perhaps he wrote the sonatas for a ough bass also demands an experienced being among the first virtuoso recorder player whom he knew. harpsichordist (see Illustration 4). sonatas for the professional A very interesting and curious detail is It is hoped that this article will provoke seen on the title page—that is, the men- curiosity and interest among recorder play- recorder player of the tion of the bassoon, and not the viola da ers wishing to extend their repertoire and gamba or the violoncello, to play the bass encourage them to work towards a wider middle Baroque period? part (o Vero Fagotto). The bassoon was con- appreciation of the music composed by the Keeping in mind the sidered the best instrument to accompany unknown genius, A. H. Schultzen. wind instruments in the current practice of date of publication, and the time. The writing of the bass is id- Patricio Portell prepared the new modern iomatic and adapted perfectly to the tessi- edition of the Schultzen sonatas discussed in comparing these sonatas tura of the instrument, but at the same this article: A. H. Schultzen: Six Sonates with other works for this time it also requires good technical skills. pour flûte à bec... et clavicin ou basson, Is it possible to interpret Schultzen’s Editions Papillon (www.editionspapillon.ch; instrument printed around compositions as being among the first [email protected]): Drize 1998. He the same time, the sonatas for the professional recorder play- studied recorder with Koko Taylor at the er of the middle Baroque period? Keeping Centre de Musique Ancienne de Genève, answer seems to be yes. in mind the date of publication, and com- Switzerland, and is presently editor of Le Rat paring these sonatas with other works for de Bibliothèque (“The Library Rat”), the Pa- this instrument printed around the same pillon series in which the Schultzen sonatas time, the answer seems to be yes. The only appeared. Future editions will include re- compositions published before 1704 recorder sonatas by Geminiani and Castrucci, quiring advanced technical skills appear to and opera airs by Handel. The original text be Corelli’s Op. V.These, however, are not for this article was translated from Spanish originally written for the recorder, but for by Peter Hauge.

18 American Recorder Summer Study Opportunities Recorder Workshop Summer-Ease WHITEWATER EARLY MUSIC OBERLIN BAROQUE FESTIVAL(ARS) PERFORMANCE INSTITUTE Whitewater University, Whitewater, WI Oberlin College Conservatory of Music, June 1-3 Oberlin, OH Director: Louise Austin June 18-July 2 Enjoy an exciting weekend with a great faculty, Director: Kenneth Slowik and music for instruments, voice, and strings. This year marks the 30th Institute at Oberlin, Classes for all levels of recorder and gamba play- America’s premiere summer workshop for ers. Opportunity for wind band, Baroque ensem- Baroque instruments and voice. The internation- ble and much more. Faculty will include: Cléa ally renowned faculty, headed by the members of Galhano, Lisette Kielson, David Echelard, Patrick the Oberlin Baroque Ensemble (Michael Lynn, O'Malley, Karen Snowberg, Louise Austin, and Marilyn McDonald, and Catharina Meints; Lisa others. Goode Crawford on sabbatical in 2001), will Contact: Louise Austin, 706 N. Main St., again lead daily masterclasses and ensemble Relax! Get away from it all! Lake Mills, WI 53551-1115; 920-648-8010; coachings. Faculty and student concerts promise [email protected], or Carol Stanger, to offer memorable listening and music-making Studies show that you are [email protected]. experiences; lectures and informal open discus- happiest when you are learning sions stimulate the intellect; and the ever-popular Baroque dance classes provide excellent physical new skills in a productive TEXAS TOOT, SUMMER EDITION (ARS) exercise as well as a kinetic appreciation for the rhythms that underlie so much music of the and collegial setting. Concordia University, Austin, TX Baroque era. That’s exactly the experience June 3-9 Contact: Anna Hoffmann, BPI, Conservatory of described in the following Director: David Barton Music, 77 West College St., Oberlin, OH 44074- The Texas Toot is 25 years old this year and in its 1588; 440-775-8044; 440-775-6840 (fax); summaries of workshops where third year as a summer workshop. The setting for [email protected]; you can study recorder and the Summer Toot is Concordia University, a small www.oberlin.edu/con/summer. campus in the heart of Austin, Texas. Buildings, other early music instruments. including dorms, are air-conditioned and provide LONG ISLAND RECORDER FESTIVAL an intimate setting for a workshop. All workshop SUMMER WORKSHOP (ARS) participants will have the opportunity to work NY Institute Of Technology, Central Islip, NY with the members of the world-famous Flanders June 24-30 Recorder Quartet in an “up-close-and-personal” Director: Stan Davis seting. Ann Marie Morgan and Susan Barton will serve as viola da gamba faculty. Other faculty will Daily sessions include: recorder technique and include Sara Funkhouser (shawms and master classes, ensembles at all levels, and re- krummhorns), Bruce Brogdon (lute), Becky Bax- corder orchestra. Additional offerings: Bass Re- ter (harp and Spanish music), Danny Johnson corder Ensemble, Swing Band, English Country (vocal and Medieval music), and a special appear- Dancing, student and faculty concerts, special in- ance by Lyle Nordstrom. Jan Jackson and Frank terest classes and ensembles. The Von Huene Shirley will be workshop assistants. Workshop, Inc. (the Early Music Shop of New England) will be in residence with a wide selec- The Texas Toot is proud to host the American Re- tion of music, instruments, and accessories. corder Teachers’ Association annual meeting this year and welcomes them as participants. Special Contact: Stan Davis, 116 Scudder Place, facilities will be provided for their activities. Northport, NY 11768-3025; 631-261-8242; [email protected]. The Texas Toot is known for its friendly participants, helpful management, and outstanding fac- SFEMS BAROQUE MUSIC & DANCE ulty. The highlight of the workshop will be a con- WORKSHOP (ARS) cert by the FRQ, who serve as artistic directors this year. Dominican University, San Rafael, CA Workshops carrying ARS designation have Contact: David Barton, PO Box 571061, June 24-30 Director: Anna Carol Dudley joined the ARS as workshop members. Dallas TX 75357-1061; 214-536-8740 (day); Readers are reminded that the ARS has not 214-826-8721(eve); 214-324-4089 (fax); Designed for aspiring professionals and dedicated [email protected]; www.toot.org. amateurs; offers master classes, lectures, coached sponsored or endorsed workshops since 1992.

March 2001 19 The prestigious faculty includes Eva Legêne, Summer Study Opportunities Clara Legêne, Patrick O’Malley, and Catherine Hawkes. Contact: Lara Lay, 3222 Kingsley Dr. N., Bloom- ington, IN 47404; 812-331-8498;509-351-0558 ensembles, and student and faculty recitals with bles, a faculty concert, a musical instrument (fax); [email protected]. a focus this year on music of the countries of the demonstration, and English Country Dancing on Mediterranean. both Friday and Saturday evenings, with the Von PORT TOWNSEND EARLY MUSIC Faculty: Angene Feves and Sandra Hammond, Huene Workshop “in residence.” The workshop WORKSHOP (ARS) dance; Marion Verbruggen and Frances Blaker, re- will once again be held at The College of the Holy corder; Arthur Haas and Phebe Craig, harpsi- Cross in Worcester, MA, a beautiful setting Port Townsend, WA chord; Judith Nelson and Anna Carol Dudley, spread over 174 acres, with swimming and tennis July 8 - July 14 voice; Michael Sand, violin and orchestra; Mary available. Classes will be held in the air-condi- Director: Peter Seibert Springfels, viol; Tanya Tomkins, cello; Kathleen tioned Brooks Center for Music, and the comfort- A friendly workshop for experienced recorder and Kraft, traverso and flute; Sand Dalton, oboe; able dormitory rooms are also air conditioned. viol players produced by the Seattle Recorder So- Michael McCraw, bassoon. All facilities are handicapped accessible. Spous- ciety. Tidewater setting adjacent to the 7,500' es/friends who are younger than 50 may attend Contact: Anna Carol Dudley, SFEMS, PO Box Olympic Mountains. Refurbished Victorian resi- the workshop at the regular registration rate, and dences. Cost saving options available: camping, 10151, Berkeley, CA 94709; 510-527-3748; Guest Rates are available for non-playing spous- cooking-in, hostel. Hospitality and transportation 510-848-5442 (fax); [email protected]; es/ friends. Please register early, as space is limit- between Seattle and Port Townsend available for www.sfems.org. ed to 50 registrants. Registration deadline is May some out-of-town participants. 20, 2001. Scholarships are available on a limited SUZUKI METHOD RECORDER Faculty of internationally known performers cho- WORKSHOPS (ARS) basis. Contact: Jennifer Barron Southcott, 963 Liberty sen for teaching ability. Morning technique and State University of New York, Plattsburgh, NY Square Rd., Boxborough, MA 01719; 978-263- period style classes. Two afternoon sessions with Student Institute: July 20-23; July 25-28 5875; [email protected]. over thirty class options daily. Evenings include Unit 1A and 2: June17-23 catered beach picnic, faculty, and student recitals, Unit 1B and 3: July 25-31 MOUNTAIN COLLEGIUM and a costume gala. Everyone participates daily Co-directors: Nancy Kennard, Katherine White as a singer or player in two settings of “Rejoice in Young Harris College, Young Harris, GA the Lord Alway.” Wednesday afternoon open for The Suzuki Method Recorder Institutes are de- July 1-7 informal activities on campus, in town, on the signed for children and adult students using the Directors: Robert Castellano, Lorraine beach, or in the mountains. materials recorded by Marion Verbruggen, Arthur Hammond, Wayne Hankin Contact: Ellen Seibert, Administrator, Haas, and Mary Springfels. Opportunities in- Mountain Collegium is a week long Early Music clude masterclasses, note reading, music theory, 1815 Federal Avenue E., Seattle, WA 98102-4236; and Folk Music Workshop. Study of early and tra- 206-329-2774; 206-329-7656 (fax); group ensembles; movement, and jazz improvisa- ditional folk music as well as informal playing in tion TBA; public performances; and parent, stu- [email protected]; various groups. Classes in Recorder, Viola da www.halcyon.com/emg/SRS/srs.html. dent, and teacher meetings. Recreation opportu- Gamba, Lute, Folk Harp, Dulcimer, Capped nities include indoor pool, full gym, tennis, ath- Reeds, Shawms, Pennywhistle, Irish Flute, Hur- MADISON EARLY MUSIC FESTIVAL letic fields, beaches, boating, mini-putt golf, and dy-Gurdy and Pipe & Tabor—offered at all levels. Lake Champlain ferries to Vermont. International Specialty classes: Sephardic & Medieval Music, Madison, WI registration is for 1-8 days, by June 9. Teacher Music of the Odhecaton, Music of Bach, Trio July 8-21 Training Sessions include 15 hours of pedagogy Sonata Repertory, and 20th C. Recorder Ensem- Artistic Directors: Cheryl and Paul Rowe and 8 hours of master class observations for each ble Music. Highlights: Lecture-demonstrations, Program Directors: Chelcy Bowles and teacher training Unit. Often, Unit 1A and 1B are faculty and student concerts, English country Julia Chybowski done in adjacent schedules. Teachers will send dancing. Facilities: Air-conditioned rooms, cafete- The University of Wisconsin-Madison announces audition videotapes with $30US/$40CAN and ria, classrooms, rehearsal and performance halls. form to SAA (Suzuki Association of the Americ- its second annual Madison Early Music Festival, Young Harris is 100 miles north of Atlanta near featuring music of Elizabethan England and its as), 1900 Folsom #101, Boulder, CO 80302, the North Carolina/Georgia border. Faculty: Aldo USA. Postmark by May 21. The teacher videotape Italian influences. MEMF consists of two one- Abreu, Martha Bishop, Bob Castellano, Jack week workshop sessions, a Festival Concert Se- application form is at: www.suzukiassociation.org. Kitts-Turner, Lisle Kulbach, Gerald Moore, Mar- Scholarships are available on a limited basis. ries, and a Historical Music and Instrument Fair. garet Pash, Patricia Petersen, Lorraine Hammond, Guest Artists-in-Residence The Newberry Con- Contact: Katherine White, PO Box 233, Fairfax, Wayne Hankin, Roy Sansom, and John Trexler. sort (Session I) and Marion Verbruggen (Session CA 94930; 415-897-6500; 415-339-8163 (voice Contact: Robert Castellano, 32 Farrar Rd., II) join other distinguished artist-teachers. Come mail); [email protected]; or Nancy Shutesbury, MA 01072; 413-376-0318, box 33; to learn and practice instrumental and vocal Kennard, 216-561-2505; [email protected]. [email protected]. skills, learn about historical performance practice Housing/Food Service secure on-line through ensemble participation and lectures, and Registration: www.plattsburgh.edu/cas/suzuki; HOOSIER HOOT RECORDER WORKSHOP enjoy concerts by exciting guest artists and facul- or 518/564-4092 (fax). New Harmony, IN ty. The concert series consists of ten concerts in- RECORDER & VIOL WORKSHOP July 5-8 cluding full performances by guest artists, mixed FOR SENIORS faculty concerts, student performances, and the The program of the Eighth Annual Hoosier Hoot culminating All-Festival Concerts featuring work- Recorder Workshop (a Hoosier's variation on the shop participants and faculty performing togeth- College of the Holy Cross, Worcester, MA Texas Toot) will focus on the themes “colors” and er. The All-Festival Concerts will feature music June 22 -24 “relationships through time.” Included in the from the Masque of Oberon and selections by Directors: Jennifer Barron Southcott, Alan Karass workshop will be large ensembles, small ensem- William Byrd (July 14) and the Triumphs of Orian- Worcester Hills Recorder Society and Joy of Mu- bles, private lessons, a lecture, a faculty concert, sic Program present “Music of the Spheres,” A and a student concert. The large ensemble will na published by Thomas Morley, Musica Weekend Recorder & Viol Workshop for Seniors explore both of this year’s themes and will in- Transalpinia, and Spem in Allium by Thomas Tallis (50+). The faculty includes Marshall Barron, clude the popular New Harmony Pops Orchestra. (July 21). University credit is available. Grace Feldman, Alan Karass, Gene Murrow, Lau- Technique Class will broaden your palette of Contact: Julia Chybowski, 718 Lowell Center, rie Rabut, Jennifer Barron Southcott, Peggy Ver- sound colors by introducing techniques such as 610 Langdon St., Madison, WI 53703-1195; milya, and others TBA. The workshop will offer alternate fingerings. Please bring some music for 608-263-2790; 608 263-1743 (fax); recorder and viol consorts at several different your private lesson. Small ensemble repertoire [email protected]; playing levels, mixed consorts, Big Band ensem- may also include music brought by participants. www.dcs.wisc.edu/lsa/memf.

20 American Recorder INDIANA RECORDER ACADEMY (ARS) CANTO ANTIGUO ELDERHOSTEL dral, and Newport Beach. This invitingly land- RECORDER WORKSHOP (ARS) scaped, peaceful campus with garden paths is a Indiana University, Bloomington, IN mixture of historic and modern architecture. The July 15-29 Chapman University, Orange, CA acoustically designed studios, dining hall, and Director: Marie-Louise Smith July 15-20 residences are fully air-conditioned The Indiana University Recorder Academy, Co-directors: Thomas Axworthy, Ron Glass, Faculty will include Thomas Axworthy, Ronald founded in 1993, offers serious young recorder Shirley Robbins Glass, and Shirley Robbins.. players an intensive and varied program under This Elderhostel program is designed to bring the Contact: Ron Glass, 4283 Moore St., #2, the direction of an outstanding faculty at one of experience of music-making to those 55 years Los Angeles, CA 90066; 800-358-6567; the world’s finest schools of music. The faculty and older. This workshop features hands-on in- 310-574-6719 (fax); [email protected]; includes: Bryan Burkett, Lyn Ellen Burkett, Keith struction in recorder playing for beginners and www.suba.com/~drdesoto/. Collins, Catherine Hawkes, Clara Legêne, Eva ensemble classes for those more experienced. Legêne, Matthias Maute, Ken Pierce, Marie- Evening concert/demonstrations by the faculty SFEMS MEDIEVAL & RENAISSANCE Louise Smith, and Barbara Weiss. will explore the history of flutes and recorders, WORKSHOP (ARS) Contact: Marie-Louise Smith, Office of Special brass, reeds, and the music of the Renaissance Programs, Indiana University School of Music, and Baroque. The workshop will take place at Dominican University, San Rafael, CA Bloomington, IN 47405; 812-855-6025; Chapman University. Located in Orange, CA, this July 1-7 812-855-9847 (fax); [email protected]; beautiful campus is only minutes away from Dis- Directors: Frances Blaker and Phebe Craig www.music.indiana.edu/som/special_programs. neyland, Knots Berry Farm, the Crystal Cathe- The Medieval and Renaissance Workshop offers an exciting week of in-depth study of repertoire, technique, and style for musicians of all levels Participants at the Recorder and Viol Workshop for Seniors at and abilities. Class offerings include ensemble Holy Cross concentrate on a musical phrase. playing, improvisation, transcription, and theory. An effort is made to create an enjoyable and in- spiring atmosphere for both participants and faculty. Existing ensembles may request special classes for themselves. Faculty: Frances Blaker, recorder; Phebe Craig, keyboard; Julie Jeffrey, viol; Shira Kammen, vielle, harp and voice; Edward Martin, lute; Robert Mealy, vielle and violin; Herb Myers, Renaissance winds and strings; Dan Stillman, reeds; Suzanne Elder Wallace, voice and collegium. Contact: Frances Blaker, SFEMS, PO Box 10151, Berkeley, CA 94709; 510-763-7439; 510-848- 5442 (fax); [email protected]; www.sfems.org. INDIANA BAROQUE WOODWIND AND DANCE SEMINAR (ARS) Indiana University, Bloomington, Indiana July 15-22 Director: Eva Legêne The Indiana University School of Music Baroque Woodwind and Dance Seminar will include the following faculty: Sandra Hammond, dance; Janet See, traverso; Corey Jamason, harpsichord; Washington McClain, oboe; Michael McCraw, bassoon; and David Lasocki, lecturer. Contact: Eva Legêne, IUSchool of Music, Bloom- ington, IN 47405; 812-855-6025; 812-855-9847 (fax); [email protected]. EARLY MUSIC WEEK AT PINEWOODS CAMP (ARS) Pinewoods Camp, Plymouth, MA July 14-21 Director: Chris Rua One of America’s oldest and best-loved early music workshops, the Pinewoods Camp offers a faculty recognized for their high quality of teaching working with students of all levels to improve their playing and their enjoyment of music. With ten recorder teachers, classes range from consorts to Baroque ensembles, master classes to an intro- ductory course for beginners. With this year’s theme, “2001: A Musical Odyssey,” students will experience early music odysseys of all kinds: to a 16th-century Italian villa, to a Spanish abbey, to the English countryside, or to more exotic lo- cales. Recorder players from relative beginners to highly experienced will find Pinewoods to be an

March 2001 21 Summer Study Opportunities AMHERST EARLY MUSIC WORKSHOP (ARS) University of Connecticut, Storrs, CT enriching and rewarding experience. English SFEMS RECORDER WORKSHOP (ARS) July 29-August 5 and August 5-12 country and court dancing, in daily classes and Director: Marilyn Boenau nightly dances, provides a musical and social core Dominican University, San Rafael, CA to the week, while the rustic setting in a pine for- July 22-28 Amherst Early Music Festival looks forward to its est nestled between two ponds promotes a feel- Director: Hanneke van Proosdij second year at Storrs, CT. The University of Con- necticut has a peaceful country setting, a beauti- ing of community among the students and staff. Explore the full range of recorder music from the ful 450-seat concert hall, easy access to class- Middle Ages to the 20th century through tech- Contact: Steve Howe, Country Dance and Song rooms from dorm rooms, a wide range of accom- Society, PO Box 338, Haydenville, MA 01039- nique classes, master classes, ensemble work, modations, and a friendly and helpful campus 0338; 413-268-7426 x 3; 413-268-7471(fax); and recorder orchestra. Ensembles are one on a [email protected]; www.cdss.org/programs. part, and classes are small, with a faculty/student staff. We offer van service from the Hartford air- ratio of one to five. Highlights include a daily re- port and train station. There is a direct bus from MIDEAST WORKSHOP (ARS) corder orchestra program, student and faculty New York to Storrs. LaRoche College, Pittsburgh, PA concerts, and informal faculty-led playing. Workshop Central Program, both weeks, July 29- July 15-21 Faculty: Hanneke van Proosdij, Letitia Berlin, August 5, and August 5-12: International faculty Director: Marilyn Carlson Louise Carslake, Saskia Coolen, Gene Murrow, of 70 performers and teachers. Students choose Fred Palmer, Kim Pineda. from a wide range of classes in recorder, flute, The workshop week offers classes for recorder (all viol, harp, voice, harpsichord, shawm, curtal, levels), flute, viol, harp, capped reeds. Ensem- Contact: Hanneke van Proosdij; SFEMS, PO Box Baroque oboe and bassoon, cornetto, sackbut, bles: Renaissance Band, Medieval Collegium, 10151, Berkeley, CA 94709; 510-256-9808; historical dance, early notation, Medieval music. Coached Consorts, All-Workshop Ensemble, 510-848-5442 (fax); [email protected]; Madrigal Group. Other classes include: Orches- www.sfems.org. All-workshop Collegium led by David Tayler, tration, Bass Recorder, 16th C. Divisions/Improvi- week 1, Andrew Kirkman, week 2. Applicants sation, Irish Whistle, Viol for the Novice, Mini- SFEMS MUSIC DISCOVERY WORKSHOP may register for either or both weeks. Series topics: Society in the 16th Century, Recent (ARS) Special Programs, week 1: Virtuoso Recorder, Releases and Publications for Early Music, Com- Virtuoso Viol, Renaissance and Baroque Flute, puter Notation Programs, and Early Music Fo- Thousand Oaks Baptist Church, Berkeley, CA July 16-20 Medieval, Historic Brass, Harp, Historical Dance rum. Other activities: Playing with Harpsichord, for Teachers Master Classes (solo or your existing consort), Director: Dick Bagwell English Country Dance, Faculty and Student A Renaissance day camp offering an interdiscipli- Special Programs, week 2: Amherst Baroque Concerts. Early Music Shop in residence. Located nary program for ages 8-13 with a parallel pro- Academy, Baroque Reeds, Lute Society of Ameri- on a small college campus with convenient access gram for parents, grandparents, and teachers. ca, French Connection, Theater Project. from airport/major highways. Classrooms, dormi- Adults are offered a “mini-course in the Renais- Contact: Marilyn Boenau, PO Box 1322, Shirley, tory, dining hall are a short distance apart. All fa- sance.” Teachers can earn continuing education MA 01464; 978-425-4400; 978-425-6644 (fax); cilities air-conditioned. credits. All are immersed in the Renaissance for a [email protected]; Faculty: Martha Bixler, Marilyn Carlson, Stewart week, surrounded by images of Renaissance art, www.amherstearlymusic.org. Carter, Judith Davidoff, Eric Haas, Mary Johnson, while singing, dancing, and playing together the Chris Ramsey, Kenneth Wollitz, others TBA. music of 16th-century England and Italy. The HESPERUS EAR-TRADE WORKSHOP Contact: Marilyn Carlson, 1008 Afton Road, week culminates with a performance/drama, fol- Hilltop House, Harpers Ferry, WV lowed by a Renaissance feast. Columbus, OH 43221-1680; 614-457-1403 (ph August 19-25 and fax); [email protected]; Faculty: Dick Bagwell, Drina Brooke, Rachel Director: Scott Reiss www.mideastearlymusic.addr.com. Streeter, Katherine Heater. A workshop in early and traditional music. Contact: Dick Bagwell, SFEMS, PO Box 10151, CANTO ANTIGUO EARLY MUSIC Have you ever wondered how folk musicians (or AND RECORDER WORKSHOP (ARS) Berkeley, CA 94709; 510-548-1206; 510-848-5442 (fax); [email protected]; instrumentalists in the Middle Ages) played tunes without looking at written music? In this work- Chapman University, Orange, CA www.sfems.org. shop you will learn how to play Medieval, Ap- July 22-28 palachian, Irish, and other tunes by ear with Hes- Co-directors: Thomas Axworthy, Ron Glass, INTERNATIONAL BAROQUE INSTITUTE Shirley Robbins AT LONGY perus members Scott Reiss (recorder and Irish whistle), Tina Chancey (viol and fiddle), and This one-week workshop is designed to broaden Longy School of Music, Cambridge, MA Bruce Hutton (guitar, banjo, and mandolin). In the performance skills of experienced students, July 20-29 mixed ensemble classes, you will learn how to and introduce Renaissance and Baroque instru- Directors: Phoebe Carrai and Paul Leenhouts arrange the tunes: what sort of accompaniment ments and musical experiences to beginning and “Das Neu-eröffnete Orchestre”: The North Ger- to use, how to vary the melody, how to play intro- intermediate players. Students at all levels will man-Scandinavian Connection, Music from the ductions, bridges, and countermelodies. You will participate in instrumental, vocal, and dance in- Hanseatic cities of Hamburg, Lübeck, Copen- also learn how to combine styles in Hesperus’s struction and performance. The workshop will hagen, and Stockholm (G.F.Handel, C.P.E. Bach, own unique way. take place at Chapman University. This invitingly A. Düben, J.H. Roman, W.Brade, J. Schop, J. landscaped, peaceful campus with garden paths Elective classes include beginning Irish whistle is a mixture of historic and modern architecture. Mattheson, C. Graupner, D. Buxtehude, et al.). and beginning lap dulcimer. The workshop studios, dining hall, and resi- A program for professional and pre-professional No experience in playing by ear necessary! You dences are air-conditioned. The theme of this musicians including master classes, concerts, or- just need a basic playing ability on your instru- year’s workshop will be “The Music of the Italian chestra, lectures, dance, and theater. Faculty: ment. Renaissance.” Italian dances, madrigals, masses, James Weaver, voice, Phoebe Carrai, cello, Arthur and canzoni will resonate as we explore the mu- Haas, harpsichord, Manfred Kraemer, violin, Jed Workshop at Hilltop House with breathtaking sic of Palestrina, Monteverdi, Gabrieli, et.al. Fac- Wentz, traverso, John Thiessen, trumpet, Gonza- views overlooking the scenic and historic town of ulty will include Tom Axworthy, Janet Beazley, lo Ruiz, oboe, Paul Leenhouts, recorder, Ken Harpers Ferry at the confluence of the Potomac Ross Duffin, Ron Glass, Carol Hansuld, Jim May- Pierce, dance. and Shenandoah Rivers. Hiking, swimming, ca- nard, Shirley Robbins, and Beverly Simmons. Contact: Sarah Oehmcke, Longy Summer noeing, antiquing, and visits to historic Civil War Contact: Ron Glass, 4283 Moore St., #2, Programs Coordinator, One Follen Street, sites are among the extracurricular activities. Los Angeles, CA 90066; 800-358-6567; Cambridge, MA 02138; 617-876-0956 x 523 Contact: Scott Reiss, 3706 N. 17th St., Arlington, 310-574-6719 (fax); [email protected]; (day); 617-492-6723 (fax); VA 22207; 703-525-7550; 703-908-9207 (fax); www.suba.com/~drdesoto/. [email protected]; www.longy.edu. [email protected]; www.hesperus.org.

22 American Recorder O-EODRCASS =hrl =te id,Ppruso,Kkyor,Vvos Spukdsrns =ac,Tter,Iisrmn buil I=instrument T=theory, D=dance, PS=plucked strings, V=viols, K=keyboard, P=percussion, winds, W=other C=choral, NON-RECORDER CLASSES: music, century 20=20th advanced MB=mixed Baroque ensemble, MR=mixed Renaissance ensembles, V=very consorts, A=advanced, C=one-on-a-part intermediate, CLASSES: possible HI=high SPECIAL days intermediate, LI=low *=fewer B=beginner, departure days LEVELS: and CLASS arrival Includes DAYS: Of number NO. that years within overlast recorder faculty two Average and # STUDENTS: faculty of fees. Number other FACULTY: plus # FACULTY/RECORDER meals, otherwise noted), unless occupancy (single room tuition, Includes COST: LEGEND HANDICAP ACCESS FOOD BATHS ROOMS TERMINALS TRANSPORTATION DIRECT WELCOME OTHERS RECREATION ACTIVITIES MUSICAL CLASSES NON-RECORDER CLASSES SPECIAL LEVELS CLASS RECORDER #STUDENTS FAC. RECORDER FAC./ OF NO. DISCOUNTARS DAYS OF NO. COST =siae,Ttiinol,Ddul cuac,Woeweek W=one occupancy, D=double only, T=tuition E=estimated, Neryntto,Mmse ls,R=eodroceta =rvt esn vial,Ttcnqe Prcre eaoy O=other pedagogy, RP=recorder T=technique, available, lessons P=private orchestra, RO=recorder class, M=master EN=early notation, 01SME EODRWORKSHOPS RECORDER SUMMER 2001 , , ACVCCCFVFCVCVCVCVCVCVCVC C,V S C,V S,SP S,C C,V S,D S,SP,P S,SP,P C,V S,D S H,C,D SP,P C,V H,C,D SD S,C H,C,D S S,D S,C H,C,D H,C,D S,D C,V S S,D C,V S,C S S,C F C S S,D S,C F,V S,SP S,D S,C C S S,D S C H,C,D S C S SP C S,D 150 H,C,D C,V S S,D P H,C,D 60 NA S,C S,D H,C,D S H,C,D 30 G S,D S S H,C NO 24 C,V S,C S SP,P H,D YES 50 S,D H,C,D $10 14/12 S 40 H,C,D $10 12/8 D H,C,D C 30 YES H,C,D 4/2 D,W,G * F 55 $10 4/2 S S,B,C,PU D,S A,B,C NO 60 7/6 C SP,P D,S B,C,O D,T $10 115 7/7 SP C C,L,P S,D F,S,O H,C,D $10 100 S,C 5/2 S,B,C,L SP C,V S,D 125 YES 10/1 S,SP,P S,B S 11/1 S,D NO 65 S,P 18/11 S F T30 C,PU,P NO 21/9 B1 65 A35 S,F,O S,C,L 22/2 S NO S,C,L,P 50 S,B,L,PU F,S 12/7 NO S,C 60 D,S 9/6 D,G,S,T NO 21/2 50 P NO F,S,L,SP 9/1 17 10/8 NO PS,D,O NA C,W,K,V 10/6 NO O 20 7/4 RO,P,T NO EN,M MB,20 4/4 25 C,MR NO 3/1 20 A,V YES LI,HI, 3/3 50 YES 175/wk 8/5 YES 70/24 YES 7/1476748157107/14777/1487775738*8/1573/w $695D AMHERST ,,, ,SDOWTOVDTWKVC,W,P W,K,V T10 B10 V,D,T A10 F,S,L,SP W,T,O F,S,L D,O F,S F,S,L V,PS F,S C C,W,V,D T EN,RO,P MR,MB A,V B,LI,HI $1430 $600E $300D $700D $495ED $710 CANTO ANTIGUO T10 B10 A10 C,RO O LI,HI RO HI,A,V HI,A,V B,LI,HI,A LI,HI,A,V B,LI,HI,A CANTO ANTIGUO ELDERHOSTEL T1 B15 A30 HESPERUS 4 A55,B2 A40 P,T HOOSIER HOOT T55 RO,P,T EN,M MB,20 C,MR P INDIANA BAROQUE WINDS SEMINAR T55 A55,B2 P,T M,RO C,MB,20 P F,S,L,SP $775T INDIANA RECORDER ACADEMY T1 A10,B5 ROP,T 20,M MR,MB ,. F,S,L,SP F,S.P $305ET $140E $295 $710D A,V $220T $710D $725D $750E $638D $540/W $585 $625D $498/W $500T $700 LONG ISLAND T1 A10,B1 T EN,M,P C,MB P B,LI,HI A,V ig O=other ding, LONGY BAROQUE 5B A25 A5,B1 T,O M,RO,P C,MR,EN P,O F,S,L,SP A,V D,T,O K,V,PS O MADISON ADCPACS:Hhuig =lsros D=dining C=classrooms, H=housing, V=vegetarian ACCESS: G=gourmet, HANDICAP style, F=family style, C=college FOOD: P=private SP=semi-private, orlocal hotels/motels S=shared, dorms terminal) BATHS: *Graduate to C=cabins workshop D=doubles, from O=other S=singles, miles P=free parking, ROOMS: (number indicates up, T=train PU=pick B=bus, L=limo, A=air, C=cab, TERMINALS: B=bus, airport, from S=shuttle DIRECT TRANSPORTATION: C=children O=other O=other spouses/friends, W=waterfront/beach, playing, WELCOME: S=non-playing T=tennis, informal OTHERS S=swimming, P=organized G=gym, production, F=field trip, SP=special D=dancing, L=lecture, RECREATION: concert, S=student concert, F=faculty MUSICAL ACTIVITIES: M,P,T,O MR,MB T10 B10 ,,,, ,, ,, F,S,L F,S,L F,S,L F,S,L,P,O A,V B,LI,HI O V,PS,D C,W,K P ,,, ,,, ,, ,, ,,, ,,, ,,, ,, F,G,S,T D,S,T D,F,S,W D D,F,S,W D,F,S,W S,T,W D,S,W D,G,S,T D,B,S,T D MIDEAST T MB,20 MR, T50 B50 A100 A B,LI,HI V,PS,D C,W ,USSCSBP, , , ,,, , ,,, S,B,C S,B,C,P C,O S,B,C,O C,O C,O S,B,PU,P S,C S L,PU MOUNTAIN COLLEGIUM P MB,M T8 B8 A30 A,V LI,HI V,D C,W,K OBERLIN BPI RO,T MB,20 C,MR T12 B12 A60 A,V B,LI,HI P V,PS,D C,W,K PINEWOODS T,O M,RO MB,20 C,MR, T50 B50 A60 A,V LI,HI ,,PPFSLPFSLPSS, ,,, , ,, ,, F,S,L, S,P,O S,P,O F,O F,S,L,P S,SP,P F,S,L,P F,S,L,P F,S,SP,P ,,, C,W,K,V C,P,V,T PORT TOWNSEND P,T MB,M T15 B15 A26 IH,, IH,, ,IH, IH,, LI,HI LI,HI,A,V B,LI,HI,A LI,HI,A,V LI,HI,A,V D,T,O SFEMS BAROQUE P,T C,MR,M T15 B15 A26 T,O V,PS,D C,W,K SFEMS MEDIEVAL & RENAISSANCE P,T C,MR,RO T5 A30,B5 ,, W,V,T C,K,D SFEMS MUSIC DISCOVERY O RO,P,T EN,M, MB,20 C,MR T15 B15 A26 O SFEMS RECORDER RO,T MR,MB B3,T3 A5 A,V , , W,P,V O T,O D,V YWRSO DIRECTORS WORKSHOP BY SUPPLIED INFORMATION SENIORS RECOREER &VIOL T,RP,O MR,M,P C,MB T5 B5 A50 ,IH IAVB,LI,HI HI,A,V B,LI,HI L,O W,O SUZUKI METHOD STUDENTS RP,O MB,T C,MR T5 B5 A5O /W L,O S,B,C W,O F,G,S,T SUZUKI METHOD TEACHERS P,T M,RO MB,20 C,MR B3 A15 ,V A, PS,I SP,P 60 $150ED $630E PU,P S,C,L TEXAS TOOT/ SUMMER RO,T MR,M MB,20 C,MR A60 A,V B,LI,HI D V,PS C,W,K S,P T WHITEWATER EMF MUSIC

______REVIEWS ______Works by masters of the Renaissance and Baroque and modern works written for children to play and to hear

DEZILDE AL CAVALLERO (1556), BY particularly prominent in the Kyrie, appears in the first volume of Senfl’s NICOLAS GOMBERT, ED.MARK DAVEN- where the lower three parts intone it in complete works (Sieben Messen, ed. PORT. Landmark Press (415 E. Fir Ct., imitation while the remaining two voices Löhrer and Ursprung, Wolfenbüttel, Louisville, CO 80027; 303-543-8695; weave beautiful counterpoint above it. 1962). It lacks a Credo, and so the four [email protected]), Arts of The music is vintage Senfl—absolutely movements are Kyrie, Gloria, Sanctus/ the Netherlands Series LP ANS-3, 1999. gorgeous and well worth the effort of Benedictus, and Angus Dei, respectively. Voices (S/aATTB), recorders (AATT/bB), learning it. (A tiny quibble here: the se- My reservations concerning the Senfl viols (TrTrTTB), or other early instru- ries is called “Art of the Netherlands,” edition have done nothing to dampen ments, sc 5 pp, pts 1 p each. $12.00. but Senfl, while he followed the “Flem- my enthusiasm for Landmark’s work as a MISSA PASCHALIS, BY LUDWIG SENFL, ish” style of his mentor Heinrich Isaac, whole. Once again they have chosen ED.LANOUE DAVENPORT. Art of the apparently never set foot in the Nether- wonderful music and prepared it ad- Netherlands Series LP ANS-2, 1999. Re- lands. He was born in Switzerland, most mirably for recorders and other early corders (SSATB), viols (TrTrTTB), or likely, and worked in Germany.) instruments. mixed ensemble, sc 21 pp, pts 8 pp each. LaNoue Davenport provides no bar- Stewart Carter $26.00. lines in this edition, though he has sup- Landmark Press continues to pro- plied staff numbers that will be quite use- BAROQUE TRIOS ARRANGED FOR duce excellent editions of early music. ful in rehearsal. From my point of view, it RECORDERS: HANDEL FUGUE AND The two offerings reviewed here have would have been better to supply bar- CORELLI LARGO & ALLEGRO (1734 been intelligently edited by a father-and- lines between the staves—as did the edi- AND 1714), ARR.CHARLES NAGEL. son team (the father now sadly deceased) tors of the only other edition of this piece Cheap Trills (Magnamusic), 2000. ATB, with many decades of experience in per- known to me, in Senfl’s complete works sc 6 pp, pts 2 pp each. $4.50. forming and editing early music. (see below). I think some ensembles will This edition contains recorder ar- Gombert’s villancico Dezilde al Cav- find the lack of barlines intimidating. rangements of movements from two con- allero is the only work with Spanish text It is disappointing that no text is sup- certi grossi: a fugue (movement 2) from by this Flemish master. A beautiful, fine- plied here. When performing Renais- Handel’s Op. 3, No. 5, and a Largo and ly crafted piece with plenty of imitation, sance vocal music instrumentally, I find Allegro (movements 3 and 5) from Corel- it will require musicians who can count, it most useful to have the text before me, li’s Op 6, No. 6 (called Op. Post. No. 3 by though the parts are not technically de- even if it will not be sung, as it assists the arranger, Charles Nagel). Although manding. Since Mark Davenport has un- with phrasing and accentuation—and no discussion of sources or editorial pro- derlaid the text, the piece can be sung as most early musicians have at least a pass- cedures is included, a look at the orches- well as played. The uppermost part is ing familiarity with the structure of the tral scores shows what Nagel has done. playable on a soprano recorder, except Latin mass. Also disappointing is the ab- The Handel fugue was originally writ- for one B near the end. The editor pro- sence of titles for the movements. Since ten in three-part texture, the two melody vides thematic incipits, range finders, a there are only four movements, their parts being scored for violins, with oboe translation of the text, performance sug- identification cannot be a matter of sim- doubling, and the bass part for low gestions, and notes on the edition. This ple intuition. As it turns out, this mass strings (viola, cello, and violone) and publication is a model of sensible editing harpsichord. The harpsichordist was ex- for recorder ensemble. Senfl’s is pected to fill in the harmonies indicated Senfl’s Missa Paschalis will prove Missa Paschalis by the figured bass line. Corelli’s Op. 6 somewhat more challenging. Again the thoroughly contrapuntal concerti grossi were originally scored for parts are not particularly difficult, but a solo group (concertino) consisting of the piece is thoroughly contrapuntal and and there is quite a bit of two violins and a cello, with harpsichord there is quite a bit of syncopation—a typ- realization of the figured bass expected, ical feature of early 16th-century music syncopation. The music is and a full orchestra (ripieno), including in the “Flemish” style. Each of the four first and second violin, viola, and cello movements is based on a different Gre- vintage Senfl—absolutely parts. Since the violin and cello parts of gorian cantus firmus (Kyrie and Gloria gorgeous and well worth the ripieno double those of the concerti- from Gregorian Mass I, Sanctus and Ag- no, Corelli mentioned on the title page nus Dei from Mass XVIII), a fact not men- the effort of learning it. that these concerti could be performed tioned by the editor. The cantus firmus is alternatively as trio sonatas by omitting

24 American Recorder Jack Ashworth, viol, violin Peggy Monroe, recorder, percussion Letitia Berlin, recorder Rosamund Morley, viol Frances Blaker, recorder Ann Marie Morgan, viol Eva Legene, recorder Gene Murrow, recorder Charles Coldwell, recorder Kim Pineda, recorder, traverso August Denhard, lute, ornamentation Ellen Seibert, beginning viol Frances Feldon, recorder, traverso Peter Seibert, recorder, choir Clea Galhano, recorder Margriet Tindemans, viol, medieval music Sally Mitchell, recorder Brent Wissick, viol Play early music in the spectacular Pacific Northwest. Study recorder or viol. Sing in the workshop choir. Take up a new instrument. Enjoy the faculty concert. Take part in a student recital. Hike in the mountains. Picnic on the beach. Dress for the costume gala. Swim in Puget Sound. Tuition: $340 ARS member tuition: $325 Housing: Several options available from elegant rooms to campsites. Meal plan: Optional. Brochure: Ellen Seibert, Administrator 1815 Federal Avenue E. / Seattle, WA 98102-4236 Phone: (206) 328-6312 Fax: (206) 329-7656 E-mail: [email protected] July 8 - 14, 2001 Port Townsend Early Music Workshop Peter Seibert, Director Presented by the Seattle Recorder Society MUSIC REVIEWS (cont.) struments were available. The editor suggests using soft instruments such as recorders, viols, lute, and harp. For pieces in duet style, she recommends using like the ripieno. That suggestion is followed bass line in measures 24 and 44, and instruments on the superius and tenor in Nagel’s recorder arrangement. misplaced accidentals in the chromati- lines and a contrasting timbre on the In these arrangements, Nagel substi- cally descending tenor line in measure contratenor line. Some of the parts are tutes alto and tenor recorders for the 52). See the orchestral score for correc- notated in both treble and alto clef, and original melody instruments and bass re- tions. ranges are included to help in choosing corder for the original bass instruments, suitable instruments. Our ensemble and he also eliminates the harpsichord, 15TH CENTURY ANONYMOUS found most of these chansons well suit- thereby reducing the sonority and tim- CHANSONS, VOL. II, ED.MARY A. BEN- ed to recorders, the best combination of bral variety and somewhat impoverish- TON. Dovehouse (Division of Loux Music recorders varying from piece to piece. ing the harmonies. Publishing Co.) Italian Renaissance Con- Included on the score are incipits Most problematic is his use of the sort Series No. 20 (Magnamusic), 1999. showing the original clefs, key signature, bass recorder, which sounds an octave Various instruments, sc 22 pp, 3 pts (su- and time signature of each piece, as well higher than the originally intended in- perius 8 pp, tenor 12 pp, contratenor 9 as the opening notes of each part in orig- struments and can cause unwanted pp). $11.50. inal notation. As is commonly done in chord inversions if the bass recorder This attractively printed edition con- modern transcriptions of early Renais- notes cross a melody line. For the most tains 17 of the 131 compositions found sance polyphony, the semibreve (whole part, however, Nagel avoids that problem in Codex Q16, a late 15th-century manu- note) in duple meter is transcribed as a through octave transpositions, and in the script in the Civico Museo Bibliograph- quarter note. This eliminates the “white few places where such inversions do oc- ico Musicale, Bologna, Italy. The selected look” of the original manuscript but in- cur, they are not readily noticeable. pieces are all three-part chansons, most troduces many eighth and sixteenth While these arrangements depart of them in rondeau (ABAAABAB) form. notes, which are beamed together in considerably from Baroque sound ideals, All are anonymous, and their surviving groups. The main challenge in perform- they are actually quite charming, and our texts are limited to a few opening words, ing such transcriptions musically lies in ensemble found all parts musically inter- used in this edition as titles. avoiding unwanted syncopations and esting and comfortable to play. These The editor includes a page of helpful other false accents produced by the pieces should prove enjoyable to inter- notes describing the pieces she has cho- added bar lines and modern note group- mediate players as well as to more expe- sen. Many of them are in the Franco-Bur- ings. Figuring out where to breathe is al- rienced players. For variety, we suggest gundian “duet” style, characterized by a so difficult, since texts were not provided obtaining the orchestral score of the free-flowing melodic line in the top in the original manuscript and phrases Corelli Allegro (Op. 6, No. 6, movement voice, an independent tenor line, and a frequently overlap. While these chan- 5) and copying the tutti and soli mark- less-melodic contratenor, which acts as a sons would make good exercises for fa- ings onto the recorder score and parts. supporting voice filling out the sonority. miliarizing intermediate-level players The orchestral score can be found in Vol. Chansons in that style typically begin with complex Renaissance rhythms, we 4ofLes oeuvres de Arcangelo Corelli,ed.J. with imitation of a simple motive in rela- recommend at least a high-intermediate Joachim and F.Chrysander (London: Au- tively long notes that gradually give way level for performance. gener, ca. 1890).The movement can then to more complex, irregular rhythms. There are no bad page turns in this be performed in concerto-like fashion by Other selected pieces, showing Italian edition, and the print is large and easy to a recorder grand consort: one-on-a-part and Spanish influence, are more homo- read. in the soli sections, everyone playing in phonic in texture. DER HUND the tutti sections. Like most 15th-century sources, Q16 , BY HEINRICH ISAAC, ED. This edition has large, easily readable gives no information about instrumenta- MARTIN NITZ. Moeck Zfs 713/714 (Mag- print and no bad page turns. There are a tion, but historical, artistic, and literary namusic), 1998. ATB, sc 7 pp. $8.00. few mistakes in the Corelli arrangement, evidence indicates that chansons were Heinrich Isaac (c1450-1517) was one though (wrong notes in the bass line in played as well as sung and were probably of the greatest composers of the Josquin measure 11, missing accidentals in the performed with whatever appropriate in- era. Flemish by birth, he transported the compositional techniques of the Nether- lands School to Italy, where he worked in The monophonic song that inspired Isaac’s fantasia the Florentine court of Lorenzo di describes a noisy dog that gets on its owner’s nerves. Medici, and later to Germany, where he was employed by Emperor Maximilian I. Although Isaac does not quote the tune literally, Although best known for his Mass settings, motets, and secular vocal polypho- suggestions of it appear throughout his fantasia. A ny, Isaac also wrote some instrumental pieces, one of which, Der Hund,isabi- humorous attempt at word painting is seen in several partite fantasia based upon an anonymous popular song of the same name. short repeated motives that sound like a dog barking. The manuscript source for the present edition is included in a 16th-century

26 American Recorder Liederbuch now housed in the church li- DER KLEINE VOGEL FREDDY (FREDDY, THE LITTLE BIRD) brary of St. Gall, Switzerland. The editor, , BY Canto Antiguo a professor in the Hamburg Musik- HANS-EBERHARD MEYER. Moeck Nr. 2207 hochschule, transposed the piece up a (Magnamusic), 1996. S’oSATB, pf, perc, West Coast Early fifth, shortened the note values, and narrator. Sc 32 pp, narrator pt 8 pp, 2 Music and Dance added ficta and phrasing marks. To min- rec/perc pts 19 pp ea. $22.00. imize the interference of barlines with DAS VERRÜCKTE SCHAF MA- the melodic flow, he placed them be- THILDE (MATHILDE, THE CRAZY Early Music tween rather than through the staves. SHEEP), BY CHRISTIANE MARTINI. Moeck The monophonic song that inspired Nr. 2208 (Magnamusic), 1996. A or S, Workshop Isaac’s fantasia is also included in this narrator, sc 14 pp. $18.50. edition. Its humorous text describes a ACHT EINZIGE STÜCKE (EIGHT ONE-PAGE PIECES) noisy dog that gets on its owner’s nerves. , BY FRANZ July 22-28, 2001 Although Isaac does not quote the tune MÜLLER-BUSCH. Moeck ZFS 656/657 literally, suggestions of it appear (Magnamusic), 1993. SS, sc 10 pp. throughout his fantasia. His opening $8.00. Chapman University three notes, for example, which form an Three delightful publications have Orange, CA ascending major triad, are taken from the come our way from Moeck. Der kleine Vo- first three pitches of the song, but Isaac gel Freddy was composed for presenta- lengthens the notes and presents them as tion at a children’s concert. The story of Classes in part of a two-voice canon, with an orna- Freddy the little bird is told by a narrator Baroque Music mented version in the third voice. His accompanied by piano, percussion, and compulsive use of scales and melodic se- a quintet of recorders. Clearly for very Recorder Ensembles quences seems to be a spoof on the final young children, the narrative concerns Vocal Ensemble phrase of the song, which is based upon the adventures of an old tree (bass re- a descending major scale. Imitative corder), a pair of nesting birds (tenor and Renaissance Brass counterpoint and cantus-firmus-like tex- alto recorders) who choose the tree for &Reeds tures—typical of the Netherlands their home, their baby bird Freddy (so- Viols School—abound, and a humorous at- pranino recorder), a grown-up Freddy tempt at word painting is seen in several departing at the end of the summer (so- Collegium short repeated motives that sound like a prano recorder), and the little boy who dog barking. watches them through a skylight in the Featured Faculty My ensemble found this lively piece attic. Although the story is for children Thomas Axworthy fun to play. The three voices are equally the music is not for young players. The interesting, and the melodic lines, fea- twitterings of the baby bird, the exuber- Janet Beazley turing mainly stepwise motion, a quite ance of Freddy’s first flight, and his re- Ross Duffin narrow range, and few accidentals, pre- joicing (in the form of a modified sent no technical problems. Because of blues!)—after an escape (not very nar- Ronald Glass its rhythmic complexity, this work might row) from the talons of a buzzard—are Carol Hansuld prove difficult for many intermediate for adults to play. There are a few special Jim Maynard players but is well suited to higher inter- effects, notably the use of woodblocks to mediates. indicate the tapping and cracking of the Shirley Robbins My only negative comment concerns egg shells as the baby birds emerge. Beverly Simmons the format in which this edition is pub- Much of the music is syncopated, with lished. One seven-page score is provided jazzy North and South American Beautiful Surroundings and no separate parts. Since the score rhythms. The piece is well written for re- Fully air-conditioned has three very bad page turns, the only corders, except that I question the first way an ensemble can perform the piece entrance of the tenor recorder on a high without using illegal photocopies is for C. Piano accompaniments are appropri- 800-358-6567 each player to purchase a copy and re- ate, the percussion parts imaginative. www.suba.com/~drdesoto/ cruit a page turner. By not publishing This charming musical story would be separate parts, Moeck Verlag is, I believe, unavailable to American players and au- limiting the market for its sheet music. diences if the publishers had not Carolyn Peskin thoughtfully provided an English trans- Canto Antiguo lation of the narrator’s part. They proba- Elderhostel Recorder KEY: rec=recorder; S’o=sopranino; S=soprano; bly would not object, however, to a tiny A=alto; T=tenor; B=bass; gB=great bass; cB= contra bit of re-writing to suit the American id- Workshop bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- iom in a performance of this piece! word; opt=optional; perc=percussion; pp= pages; sc=score; pt(s)=part(s); kbd=keyboard; bc=basso Das verrückte Schaf Mathilde is anoth- July 15-20, 2001 continuo; hc=harpsichord; P/H=postage and han- er musical story with a narrator and a dling. Multiple reviews by one reviewer are followed by (somewhat more skillful) English trans- 800-358-6567 that reviewer’s name. lation, but here the recorders (soprano or

March 2001 27 MUSIC REVIEWS (cont.) waves; foot-stamping; glissandi; flutter- tonguing; humming while playing (in “The Bee”); fast fingerwork with a lazy tongue; fast fingerwork with a fast alto) are intended to be played by chil- try to figure them out on their own or get tongue for chirping; acceleration, “like a dren looking at the score. The score is in a German-speaking friend to translate. ball that has fallen to the floor, playing as some ways a child’s picture book, with But I love this book. Although the sto- fast as possible, but not faster.” There are wonderful watercolor illustrations de- ry is really silly, I can’t help being utterly amusing allusions as well to songs that picting the adventures of Mathilde, the charmed by both it and the illustrations. both children and adults will know, like crazy sheep, and even more wonderful The author has invented many imagina- “Greensleeves, “My Bonnie Lies Over the notations of the purely avant-garde an- tive ways to notate special effects on the Ocean,” and “Sur le pont d’Avignon.” tics of the recorders imitating animal recorder and has used them in this book. Sophisticated children and imaginative sounds à la Peter and the Wolf. Mathilde is Moeck has been extraordinarily gener- adults will enjoy these pieces! a red-pigtailed sheep who is vain and a ous to the American Recorder Society in Martha Bixler little silly. Her adventures consist mainly allowing us to use two pages from the of taking a wobbly walk bobbing her book in Volume III, No. 3, the avant- TEMPI PASSATI, BY GERHARD BRAUN. head to left and right (players bob their garde issue, of the Activity Sheets for Heinrichshofen N2473 (C. F. Peters), heads while letting their fingers roam members of Junior Recorder Society 2000. One player, or more (S’o, S/A, T, B), freely over the recorder, flutter-tonguing clubs, as examples of avant-garde writing sc 7 pp. $8.95. all at the same time), greeting other ani- for the recorder. LA LUNA, BY CHRISTIANE MARTINI. mals with a certain air of pride-going-be- Franz Müller-Busch’s Acht einseitige Mieroprint EM 1056 (49-25-123-2986; fore-a-fall, then slipping on a banana Stücke is just what it says it is—eight orig- [email protected]), 1996. Sc 5 pp. skin and having that fall, then learning to inal one-page pieces for two soprano re- DM 21 (ca. $10.00), plus P/H. laugh at herself after the other animals corders. They were composed for Müller- Here are two fine solo works by com- laugh at her. The movements of a slow- Busch’s students, “as an attempt to ac- posers who are at opposite points in their worm are suggested by languorous quaint beginners who have completed a careers. Gerhard Braun’s Tempi Passati is movements of the fingers inside the recorder course with the notation of con- subtitled 8 lätze Stücke (“8 last pieces”). I windway of the recorder, indicated on temporary music.” Again, the verbal in- suppose every individual has the right to the page by wavy lines on a staff. structions (and bits of dialogue on the say “enough is enough” and stop doing Mathilde’s loud “Good morning!” to the page) are in German, but they are very something, but Braun, who retired from slow-worm is indicated by jagged lines easy to figure out, and the avant-garde teaching at the Musik Hochschule in with the direction to open and close the notational symbols, less pictorial but Karlsruhe a few years ago, is an especially windway sharply with a flattened palm. more specific than those in “Mathilde,” important person who has contributed a The slow-worm’s shocked hiccups are are translated into both English and lot in many directions. As a composer, he shown with a series of chaotic loops; French. The pieces are mostly very easy has stuck to his post-Webern guns while written instructions tell the player to and could be played by first-year stu- at the same time absorbing many con- make very small circles with a hand over dents, either children or adults. Once trary ideas. There is always something the windway. And so on. The spitting of again, the ARS has received Moeck’s kind new (or at least some kind of surprise) in a llama is indicated by crosses on the staff permission to reproduce a page from this his music. In this piece, one of the perfor- to show approximate pitches and the let- book in Volume III, No. 3, of the Activi- mance options is to have the composition ter ”t” over each to indicate a sputato ties Sheets for members of the Junior Re- rendered by four players placing them- tonguing. The flapping wings of the corder Society. We are very grateful. selves in four corners of a concert hall. goose family are a series of vertical lines Müller-Busch’s special effects are With the exception of one player who of varying length on the staff, again to in- amusing and not too difficult: wave-like must double on sopranino/soprano, each dicate approximate pitches, along with movements of the hand over the wind- player would be designated one instru- the verbal direction to “play briskly along way followed by very slow trills to imitate ment only (A, T, or B). When the pieces the whole recorder” with extreme dy- are performed in order, each of the four namics created by the breath. Although the story of players will then perform two of the After Mathilde slips and falls (and ru- pieces. This adds an interesting extra di- ins her beautiful hairdo) the animals all Mathilde, the Crazy Sheep, mension to this collection of beautifully appear and start to laugh, their charac- is really silly, I can’t crafted little gems. teristic sounds intensified. The slow- help being utterly Though she is a conservatory-trained worm hurries to the scene; the llama’s recorderist, Cristiane Martini is just start- spitting speeds up; a bird family trills ex- charmed by both it and ing out as a composer. In La Luna (The citedly on random pitches. When the illustrations. The Moon) she has created one of the finest Mathilde recovers enough to be able to works in the Mieroprint catalogue. The laugh at herself, she resumes her wobbly author has invented composer’s Foreword states that this walk, bobbing her head and flutter- many imaginative ways composition evolved from improvisation. tonguing. Although an English transla- to notate special It does indeed have a freely improvised tion of the story is provided, there is, un- quality even though it is completely writ- fortunately, none for the German in- effects on the recorder. ten out. The rhythmic notation, however, structions. Users of this book will have to merely suggests what is to be played.

28 American Recorder March 2001 29 MUSIC REVIEWS (cont.)

When performed by a good and sensitive players remove the foot-joints of their re- musician, La Luna is a beautiful and di- corders (the written score in these move- rectly emotional piece influenced by the ments is actually an indication of finger- aesthetic of impressionism and the gen- ings, not of pitch). In Movement Five, the eral idiom of the Middle Eastern nay tra- players use only the head-joints of their dition. It is intended for a high pitch instruments along with their voices. Pitch Ganassi alto in g' but the composer states in this movement is indeterminate except that it can also be played on a standard al- for relative highness or lowness. to recorder. It sounds fine on either in- Melody is virtually nonexistent in Ni- strument. ets/Iets (“Nothing/Something”), unless Both editions are excellent and have one insists that a note here followed by a well-written performance instructions in note there constitutes a melody. Maute English and German and, in the case of has written melodies in some of the Tempi Passati, French as well. There are movements of Farben (“Colors”), but no bad page turns in Tempi Passati; La Lu- they are rather oblique. Even in the ninth na is in file form. movement, which clearly has a melody given to the alto recorder almost through- NIETS/IETS, BY WINFRIED MICHEL. out, the tune (if one can call it that) is Mieroprint EM 1070 (49-25-123-2986; not particularly tuneful and it acquires [email protected]), 1998. AAAA, 2 sc most of its musical meaning from its 11 pp each. DM 21 (ca. $10.00), plus P/H. context. FARBEN, BY MATTHIAS MAUTE. Moeck Niets/Iets is more thorough in its ap- 1587 (Magnamusic), 2000. SATB, 4 sc 18 plication of the arch-form principle. pp each. $25.00. Michel starts with nothing, or what he These solid recorder quartets make for calls “conscious breathing,” which is alan interesting comparison because their most nothing. From there, we go to a sin- details express some of the same con- gle unison note, micro intervals, whole cepts. Both compositions have been in- steps, thirds, and then suddenly an erup- Herbert fluenced by minimal music, utilizing—at tion of the highest possible altissimo least at times—a small degree of content notes followed by the lowest closed-bell Paetzold and large degree of repetition. Both also subtones. The piece works its way back to Square Bass employ episodes of microtonality. In his almost nothing via the same principles own way, each composer eschews mel- but with totally different material. Recorders ody in favor of sonority and texture. In ad- Maute’s arch form in Farben is more dition to these details, the two pieces on the surface. The first three and last Modeled after an organ pipe, four sizes are now available: bass have a conceptual commonality in that three of its nine movements use the re- in F, great bass in C, contrabass they both have arch forms. corder in an essentially traditional man- in FF, and sub-contrabass in CC. What is different is the way the com- ner. The key to his arch form is in the These relatively inexpensive posers have utilized these concepts. For three middle movements: the fourth and instruments have a unique design one thing, Michel’s piece is a true mini- sixth being played without foot-joints and an impressively strong, rich malist composition. That cannot be said and the fifth being played on the head- tone, even on the lowest bottom of Maute’s piece, though certainly the notes, with a quick and light joints only. This version of the arch form articulation over an easy third movement, which begins with a col- is based solely on degree of pitch deter- two-octave response. lage of ostinato figures (each of which is minacy. gradually reduced to a bare-bones sug- Both editions are beautifully printed I’m now a Mollenhauer gestion of itself, as if being progressively and have excellent instructions in Eng- Dealer. Contact me for erased) would certainly qualify. So would lish, German, and in the case of Farben, lowest US prices. the perpetuum mobile seventh movement French. There are two bad page turns in and perhaps even the ninth, with its one- Bill Lazar, Exclusive Niets/Iets. N. American Distributor chord ostinato. These pieces join a long list of avant- 1377 Bluebird Ct. Michel uses quarter-tones and even garde recorder quartets published in Eu- Sunnyvale, CA 94087 eighth-tones in repeated figures that rope. Though they were written with pro- (408) 737-8228 (phone & FAX) range within a narrow compass. These are fessional performers and/or conservatory E-mail: [email protected] produced by special fingerings given in students in mind, both works would be http://members.aol.com/ the instructions. Maute produces micro- challenging but not overwhelming mate- jblazar/paetzold.html tonality in both the fourth and sixth rial for good advanced amateur groups. movements of his piece by having the Pete Rose

30 American Recorder 2 SONATAS (1624), BY TARQUINIO notes, filling in the thirds provided by the MERULA, ED.MARTIN NITZ. Schott OFB basso per l’organo. During other sections, 187 (European American Music), 1998. S the two bass parts are quite different—- bc and obbligato B, sc 15 pp, pts 4 pp. quarter notes in the basso per l’organo are $17.95. enriched by various patterns of eighth Martin Nitz provides the following in- notes, sometimes in contrary motion. formation about Tarquinio Merula (ca. Definitely the most curious musical el- 1594-1665): He was maestro di cappella ement found in these sonatas is that they at churches in Bergamo and Cremona both end on half cadences. As the per- and also held the post of organist at the former walks off the stage, they might Polish Court in Warsaw. Merula wrote leave the modern listener wondering what he called canzonas, pieces that a lat- what was supposed to come next. These er composer might have called sonatas. are early Baroque sonatas, however, and These canzonas were put together like because they are still under the influence patchwork; they were through-composed of the modes, they don’t play entirely by with several sections of varying length, the rules of tonal thinking. Although it is each with a new series of musical ideas. possible to do a Roman numeral analysis The two sonatas in this new edition al- of these sonatas, this will not shed much so fall under this “patchwork” descrip- light on the musical essence of their hori- tion. According to Mr. Nitz’s preface, zontally conceived melodic material. In both were written for the violin or the cor- fact, these sonatas wander from key to key nett, but they also work very well on so- so often and so freely that inexperienced prano recorder. The original manuscript, listeners might not even notice the final which can be found in the library of the half cadences. Listeners during Merula’s Liceo Musicale in Bologna (shelf-mark: time would be more likely to hear these AA 297/1-5), is incomplete. The basso cadences as final because of the continu- part, an extra obbligato bass part, was lost ing influence of the church modes on and has been reconstructed by Martin composition. Clearly, the conventional Lubenow. The sonatas may be performed rules of tonality do not apply. Readers without the obbligato bass part, but I who want more information about the much prefer them with the added bass evolution of modal thinking into tonal line because in many instances, this thinking might be interested in reading added line provides extra melodic and Joel Lester’s Between Modes and Keys rhythmic interest. The original figured (Pendragon Press, 1989). I would also re- bass line, labeled “basso per l’organo,” was fer readers to an article by Gregory Bar- found intact and not altered in this edi- nett, “Modal Theory, Church Keys, and tion. In both sonatas, irregular bar lines the Sonata at the End of the Seventeenth found in the original have been changed Century,” published in the Journal of the to regular bar lines. American Musicological Society, 51:2, The sonatas run from one set of musi- Summer 1998. [And see the review of An- cal ideas to the next ”patchwork.” Yet alyzing Bach Cantatas in this month’s these many musical ideas hold together Book Reviews department.–ED.] and form a satisfying whole as well. The It is also significant that composers two bass parts run parallel throughout much later than Merula occasionally do much of both sonatas, but occasionally, not end sonatas on authentic cadences. the obbligato bass part drops out. Some- Barnett shows the phenomenon being times, the obligato bass part is in eighth used by Corelli’s contemporaries as well as by Corelli himself. Corelli’s Sonata à Definitely the most tre, Op. 1 (1681), follows a perfect au- curious musical element thentic cadence with a half cadence, much in the manner of these two Merula found in these sonatas is sonatas. that they both end on All of this being said, the sonatas half cadences. As the themselves are quite nice, present no in- surmountable technical problems, and performer walks off the could be learned by an upper intermedi- stage, they might leave ate player. I really enjoy some of the mu- the modern listener sical effects created by the reconstructed bass line. I especially recommend these wondering what was sonatas to those who are interested in supposed to come next. studying early Baroque style. Susan Groskreutz

March 2001 31 Order your recorder discs through the ARS CD Club! The ARS CD Club makes hard-to-find or lim- ____MUSICK FYNE PLAYS MUSIC OF THE ITALIAN BAROQUE ited release CDs by ARS members available Alison Melville and Colin Savage, re- to ARS members at the special price listed corders; with other members of Musick Fyne (voice, (non-members slightly higher), postage and harpsichord, lute/theorbo) and W. M. Gay, cello. handling included. An updated listing of 17th- and 18th-century duos, trio sonatas, arias, diminutions. Upbeat Classics. $17 ARS/$20 others. available CDs may be found at the ARS web NEO-MEDIEVAL OCEANS site: . age. Dorian Discovery. $17 ARS/$20 others. David Young, ____A. SCARLATTI: CONCERTI DI CAMERA recorders. $17 ARS/$20 others. NEW ADDITIONS ORCHESTRA DEL CHIANTI LES AMIS DU BAROQUE Judith Linsenberg, recorders; with other members ____ with David Bellugi, ____ Paul Nauta, of Musica Pacifica. Seven sonatas for various recorder. $17 ARS/$20 others. recorder/Baroque flute; Koen Dieltiens, recorder; instrumentations.. $17 ARS/$20 others. ____PERGOLESI: LA SERVA PADRONA with Elissa Jan de Winne, Baroque flute; Christina Mahler, ____SHINE AND SHADE Piers Adams, recorder; Berardi, recorder. $17 ARS/$20 others. cello; Shalev Ad-El, harpsichord/organ. Ensemble in Julian Rhodes, harpsichord. Works of Norman ____PRIEST ON THE RUN with Piers Adams, CD title plays music by Bassani, Corelli, Vivaldi, etc. Fulton, Edmund Rubbra, York Bowen, Lennox recorders. $17 ARS/$20 others. Highlight Intl. $17 ARS/$20 others. RECORDER BRAVURA POPULAR MUSIC OF THE RENAISSANCE Berkeley, Edward Gregson, Stephen Dodgson, ____ with Piers Adams, ____ , Anne Donald Swann. $17 ARS/$20 others. recorders. $17 ARS/$20 others. & Rob Burns (A Reasonable Facsimile) play re- _____SONGS IN THE GROUND Cléa Galhano, ____RENAISSANCE David Young, recorders. corders, shawm, cittern, Renaissance guitar, straw recorder, and Vivian Montgomery, harpsichord. Universe Music. $17 ARS/$20 others. fiddle, and a variety of drums, whistles, and pipes. Works by Pandolfi, Belanzanni, Vitali, Bach and con- ____A. SCARLATTI: ISHMAEL (2-CD SET) Elissa Street and popular music of the Renaissance (and a temporaries Thomas, Morrison and Setti, featuring Berardi, recorder; plus five singers and the Brewer little later), plus Elizabethan popular music for Lads songs based on grounds. Ten Thousand Lakes. $17 Baroque Orchestra. $33 ARS/$40 others. and Lasses (the duo joined by a children’s chorus). ARS/$20 others. ____SOMETHING OLD, SOMETHING NEW John “This album is funny; it has moments of sublime mu- Renaissance Magazine Tyson, recorders, plays Baroque and contemporary sical expression....” . Second ALSO IN STOCK: music. $17 ARS/$20 others. BAROQUE RECORDER CONCERTI From the Bottom. $17 ARS/$20 others. ____ Scott Reiss ____SPAIN IN THE NEW WORLD Rosa Lamoreaux, and Hesperus. Golden Apple. $17 ARS/$20 others. soprano, with Scott Reiss, Tina Chancey, Mark RECENT LISTINGS: BEYOND...CELESTIAL WINDS THE AGE OF JOSQUIN: THE GRAND TOUR ____ with David Cudek, Robert Eisenstein, and Peter Marshall. $17 ____ Young, recorder, and others. $17 ARS/$20 others. ARS/$20 others. BLISS ® Highland Park Recorder Society & Chamber ____ with David Young, recorders. $17 SUZUKI RECORDER SCHOOL (FOUR VOLUMES) Orchestra, Robert W. Butts, conductor. Music of ARS/$20 others. Recordings to accompany the Suzuki® Recorder BLOCKFLÖTENENSEMBLE WIEN Josquin’s era plus popular music of five centuries. ____ $17 ARS/$20 School method books, with Marion Verbruggen, RWB Productions. $17 ARS/$20 others. others. recorders. $17 ARS/$20 others, for each single CD, ÁGUA E VINHO CELESTIAL WINDS I ____ Rodney Waterman, recorder, ____ with David Young, or $33 ARS/$40 others for any two Suzuki® CDs: Doug DeVries, guitar. Brazilian jazz/folk music. recorders. $17 ARS/$20 others. ____Vols.1&2forSoprano: folk and children’s Orpheus Music. $17 ARS/$20 others. CIRCULO MAGICO CELTIC ROOTS ____ with Cléa Galhano, songs, Baroque dances ____ Scott Reiss, recorders, whistle, recorder. $17 ARS/$20 others. ____Vols.3&4forSoprano: Handel, de la Guerre, A CURIOUS COLLECTION FOR THE COM- hammered dulcimer; and Hesperus, with Bonnie ____ others MON FLUTE Rideout, Scottish fiddle; Philippe Varlet, Irish fiddle; Alison Melville and Colin Savage, ____Vols.1&2forAlto: folk and children’s songs, Bill Taylor, harps; Grant Herreid, lutes, guitars, recorders; with other members of Musick Fyne. Baroque dances recorder; Tina Chancey, viol, Irish fiddle, recorder. $17 ARS/$20 others. ____Vols.3&4forAlto: Handel, J.S. Bach, Purcell, DANCE!: RENAISSONICS 17th- and 18th-century Scottish, Irish, English and ____ with John Tyson, others American traditional and parlor music. Maggie’s recorder, pipe & tabor. $17 ARS/$20 others. ____TELEMANN: CONCERTO FOR RECORDER Music. $17 ARS/$20 others. DREAMS INSIDE THE AIR TUNNEL AND BASSOON, VIOLA CONCERTO IN G MAJOR, DISTRIBUTION OF FLOWERS ____ Zana ____ Cléa Galhano, Clarke, recorder and composer. $17 ARS/$20 others. SUITE IN A MINOR Philomel Baroque Orchestra EARLY AMERICAN ROOTS recorder; Tony Hauser, guitar. Latin CD featuring ____ Scott Reiss, with Elissa Berardi, recorder. $17 ARS/$20 others. works by Argentinian accordion virtuoso Astor recorders, hammered dulcimer, flageolet; Tina Piazzolla. Ten Thousand Lakes. $17 ARS/$20 others. FOLIAS FESTIVAS Chancey, viol, Baroque violin; Mark Cudek, cittern, ____ 17th- and 18th-century folias Baroque guitar. $17 ARS/$20 others. Please indicate above the CDs you wish to order, from Spain, Italy, and France. Belladonna Baroque FLEMISH CONTEMPORARY RECORDER ____ and print clearly the following: Quartet: Cléa Galhano, recorder; Margaret MUSIC, VOL. II Geert Van Gele, recorder. $17 Humphrey, Baroque violin; Rebecca Humphrey, ARS/$20 others. Name ______Baroque cello; Barbara Weiss, harpsichord. Ten ____FOR NO GOOD REASON AT ALL Scott Reiss, Daytime phone: (_____) ______Thousand Lakes. $17 ARS/$20 others. Bruce Hutton, and Tina Chancey. Golden Apple. FRUIT OF A DIFFERENT VINE Address: ______Alison Melville, $17 ARS/$20 others. THE GREAT EMU WAR Natalie Michaud, and Colin Savage, recorders; ____ Batalla Famossa, a City/State/Zip: ______A. Hall, piano. Works by Berkeley, Genzmer, young Australian ensemble. $17 ARS/$20 others. Hindemith, Leigh, Staeps, and others. Supported by ____HANDEL: THE ITALIAN YEARS with Elissa Check enclosed for the 1994 ARS Professional Recording Grant. S.R.I. Berardi, recorder & Baroque flute. $17 ARS/$20 _____ single CDs x $____ = $______$17 ARS/$20 others. others. _____ 2-CD sets x $____ = $______I LOVE LUCETTE Scott Reiss, Tina Chancey, IMAGINE ____ David Young, recorders. TOTAL = $______and Jane Hershey, recorders and other early instru- Contemporary interpretations of classic songs by ments; Rosa Lamoreaux, soprano; Howard Bass, John Lennon, Cat Stevens, James Taylor, George Please charge the above amount to my MasterCard lute. Charming, bawdy, and sentimental music from Harrison, Elton John and more. Universe Music. or Visa: the French Renaissance theatrical tradition. Koch $17 ARS/$20 others. International. $17 ARS/$20 others. ____LANDSCAPES with David Bellugi, recorders. #______Exp. Date: ______A JOURNEY AMONG TRAVELLERS (CD $17 ARS/$20 others. Cardholder’s signature: ______SHORT) Peter Bowman and Kathryn Bennetts per- ____LUMINOUS SPIRIT: CHANTS OF HILDEGARD form Donald Bousted’s 26-minute quarter-tonal VON BINGEN Scott Reiss and Tina Chancey, piece for two alto recorders. $12 ARS/$14 others. MINSTREL, MINNESINGER, MUSIKER recorders and other early instruments, plus Rosa ____ Lamoreaux, soprano. Koch International. $17 Highland Park Recorder Society & Chamber ARS/$20 others. Mail to: AMERICAN RECORDER SOCIETY,Box 631, Orchestra, Robert W. Butts, conductor. German ____MUSICK FYNE Alison Melville and Colin Littleton, CO 80160-0631, U.S.A. You may fax music of the Renaissance and Baroque, in live con- Savage, recorders, and members of Musick Fyne. (with handset down) or call in your credit card cert. EO Music Publishing. $17 ARS/$20 others. $17 ARS/$20 others. order to 303-347-1181. RECORDERS ON DISC ______A variety of discs of early music and the ______debut of two groups with connections to Dan Laurin

The debut recording of LesAmisdu from D Major] from Musique de table, part talie Cox, harps—is intended to be rest- Baroque (Highlight International III), Salomone Rossi, Tarquinio Merula (a ful, anxiety-reducing, and pain-diffusing, it 71951*) reacquaints U.S.-based recor- beautiful, flowing Ciaccona), and Handel is not at all vacuous or without musical in- derist Paul Nauta (Dan Laurin’s teacher)— (including an instrumental version of terest. The Celtic, Renaissance, and Me- after some years away from the early music “Laschia, ch’io pianga” from Rinaldo that dieval melodies on the disc are treated with scene—with a number of his international borrows Handel’s own ornaments). respect and musical grace. If you buy colleagues, outstanding performers all: Cléa Galhano has released Songs in the copies for friends or family in the hospital Jan De Winne (playing a traverso of his Ground (Ten Thousand Lakes SC-114*), a or facing an ordeal at home, you may trust own manufacture), flute, Koen Dieltiens, documentation of the live concert she gave that you will be giving real comfort to the recorder, Christina Mahler, cello, Frank at the Berkeley Festival with Vivian Mont- recipients. It is available from Hausmusik, Coppieters, double bass, and Shalev Ad-El, gomery, her smoothly assured harpsichord 510-524-5661; [email protected]. organ and harpsichord, along with partner. While no recording can perfectly Readers of their original if arcane news- Michiyo Kondo and Makoto Akatsu, vio- reproduce the sparkling, intense perfor- letter might easily confess to a certain baf- lins. In order to fit the personnel, there’s a mances that Galhano typically gives on- flement about the activities of Anne and certain amount of part-reassignment. In stage, the disc succeeds both musically Rob Burns, a.k.a. A Reasonable Facsimi- three works that call for paired instru- and programmatically because of the way le, but if you aren’t acquainted with their ments—the Pepusch C Major Concerto, it ties together recorder-appropriate histor- danceable rhythms, pleasant singing, gen- Op. 8, No. 5, for two recorders and two tra- ical literature with somewhat far-fetched tle strumming, and roundly enthusiastic versi; the D minor sonata from Schick- but intriguing adaptations (Bach’s C mi- piping, you’re in for a treat. Popular Music hardt’s Op. VI for two German flutes; and nor organ passacaglia, BWV 582, with an of the Renaissance (Second from the Bottom two of the Schickhardt arrangements of alto recorder playing the pedal part and the Records SBR002*) is a “double album,” Corelli’s Op. 6 for two recorders and con- final note of each iteration going up) and presumably a compilation of two cassettes tinuo (as performed on the Nina Stern/ inventive contemporary compositions. recorded in the late 1980s (About as Close Michael Lynn recording [Wildboar The connection is a use of, or reference to, as You Can Get and The Merry Pranks of 9203])—the pairings are replaced by the grounds—even as loose as the ground tra- Robin Goodfellow), and it demonstrates the combination of recorder and flute. Smaller versed by the Galhano/Montgomery engaging stage personalities they employ and partial items by Frescobaldi, Bassani, Duo as they traveled to rehearsals of John in concerts in schools and other venues. Purcell, and Bach are worked in, along with Morrison’s Twisted Little Ground. [News Up until recently, readers of American an arrangement of arias from the Bonon- alert: Folias Festivas, a CD privately re- Recorder have known Sirena as a talented cini opera Il Trionfo di Camilla. The analo- leased by Galhano’s mixed quartet, Bel- group of four women in California; now gous instrumentation and anomalous pro- ladonna (see AR, March 2000, page 35), they’ll have to identify that name with a gramming give the recording a convivial has been licensed by the Dorian label and different recorder ensemble, four women feeling, as if friends were handing around will be re-released in May 2001]. from Denmark (Karina Helene Jensen, the parts after dinner—with playing of While Dolce Musica, a Contemplative Helle Nielsen, Marit Ernst, and Pia Loman) such high quality, who would turn down Journey—a “healing” recording by Eileen who created a quartet under the guidance an invitation to come over and listen? Hadidian, flutes and recorders, and Na- of Dan Laurin at the Carl Nielsen Academy Just hearing Viggo Mangor’s archlute as of Music in Odense, Denmark, in the early it ripples through the arpeggios that open The debut CD by 1990s. Their Sitting Ducks CD (BIS 112) is G.B. Braun’s Sonata in G Major, Op. 11, Les Amis du Baroque an impressive debut, from the opening No. 1, is enough to provide assurance that eponymous work by Chiel Meijering to his you are in good hands with Opus 4. The has a convivial feeling, concluding Een paard met 5 poten. Along the other members of Opus 4, including Vicki as if friends were handing way, the disc investigates modern quartets Boeckman and Dorte Lester Nauta, re- around the parts after by Tore Bjørn Larsen, Bart de Kemp, corders, and Mogens Rasmussen, gamba, Ryokei Hirose, and Daan Manneke. The combine with Mangor to offer a satisfying dinner—with playing American Sirena has graciously changed listening experience on Aires and Duets of such high quality, its name to the Farallon Recorder Quartet. (Primavera Music PVCD 9812; phone 45- who would turn down Benjamin Dunham 4352-1373), a recording that also includes an invitation to music of Telemann (TrioSonata in C Major, NOTE: Items marked with an asterisk are Duetto No. VI in G Major, from the 1752 come over and listen? available through the ARS CD Club. See duets, and Trio in F Major [transposed the listings on the opposite page.

March 2001 33 BERKELEY PANEL (cont.)

thing through my teaching. For instance, the whole world of improvisation opened up to me through thousands of hours playing together with students. For me, teaching has been a very enriching experience. Barnett: I do enjoy 90 percent of my teaching, but there’s one thing I don’t like. It’s when students just want to read a ton of music and don’t want to work on it. I see less of this than I used to, especially at chapter meetings. When I encouraged one student to listen more closely to places where the music could be improved, she said, “But you’re asking me to be critical of my own playing!” Well, yes, that was the idea. If you’re not going to try to learn what is really deep in the music, put the instrument down and do something else. But when I see commitment and passion, no matter what the level of ability, then teaching is fruitful.

QUESTION: What is the difference between performing live and recording? Bixler: A tremendous difference. Yes, you can do multiple takes in a studio recording, but after a few takes, you can get very stiff. From my point of view, it’s much easier to perform live. Linsenberg: You do have to play differently. You can take more risks in a live performance. If you make a little mistake, it goes by and is forgotten. It’s true you can do things over in a recording, but after the fifth take, you’ve got to get down to business. Even the actual placement of the musicians for miking purposes can mean that there is less interaction and communica- tion. And it makes a difference whether or not you make the record before you give the live performances. Often we say after a concert, “Why didn’t we think of that dur- Courtly Music ing the recording?” Galhano: I love recording in a studio, Unlimited but a recording done from a live perfor- 800-2-RICHIE Honeysuckle Music manceissomuchmoretruthful. Barnett: Sometimes I feel that groups (800 274-2443) that do a lot of performing seem flattened Recorders & accessories out in a live concert, as if playing in a stu- www.courtlymusic.com ... dio has affected their style of performance. "Everything for the recorder Music for recorders & viols Maute: To record is indeed pretty bor- enthusiast, or those who ing. You have to do it over and over, and Jean Allison Olson you start to hear yourself with the ear of the would like to be." 1604 Portland Ave. microphone. That leads to a constricted Fine wood and plastic recorders, sheet St. Paul, MN 55104 conception of the music. But the nice part music, method books, play-along CDs, 651.644.8545 is that afterwards, you have something you accessories, workshops. [email protected] can hold in your hand. With a performance, it’s just air.

34 American Recorder

Third Annual Summer Texas TOOT featuring The Flanders Recorder Quartet: Bart Spanhove, Han Tol, Paul Van Loey, Joris Van Goethem

and other outstanding faculty: June 3-9, 2001 Ann Marie Morgan, Becky Baxter, Concordia University • Austin, Texas Susan Barton, Bruce Brogdon, Sara Funkhouser, Jan Jackson, For further information, contact Danny Johnson, Lyle Nordstrom, David Barton, workshop director: Frank Shirley 214/536-8740 • Web site: www.toot.org e-mail: [email protected]

36 American Recorder BOOK REVIEWS ______Books about Bach, Schütz, and Lennox Berkeley, and a new edition of sonatas by Fontana ANALYZING BACH CANTATAS. BY some of his previous work on tonal alle- close analogues in the realm of text ERIC CHAFE. Oxford University Press, gory, illustrating the relationship between setting.” 2000. 304 pp. Hardcover, $55.00. ISBN: tonal centers and how they are shaped by In order to illustrate Bach’s considera- 0-19-512099-X. the text. tion of modality in his chorale settings and The title of this book reveals little about In Chapter 4, Chafe moves to a different their effect on the musical and interpretive the depth and wide-ranging implications theme: Bach’s interaction with modal shape of entire cantatas, Chafe moves to a of Eric Chafe’s work on Bach. Readers who melodies and the influence these melodies specific musical discussion of two chorale are familiar with his 1991 study for the had on the formal design of the cantata as cantatas. He devotes two chapters to Can- University of California Press, Tonal Alle- a whole. (A modal chorale melody is one tata 77 (Du sollst Gott, deinen Herrn, gory in the Vocal Music of J. S. Bach, will re- whose harmonization typically ends on lieben). Building on previous musicologi- call that his observations about tonal orga- what sounds like a dominant rather than a cal work on the numerological qualities of nization had broad implications for under- tonic chord.) Here the background to un- the opening movement of Cantata 77, standing Bach’s music in new ways. The derstanding Bach’s interpretation of Chafe relates these elements to the Old present work overlaps slightly with that modal chorale melodies comes from two Testamentperspective on the Law, demon- work but, for the most part, Chafe maps generations of theorists: Johann Andreas stratrating that the movement’s tonal qual- out a different approach, one in which he Werckmeister representing the generation ities engage aspects of the New Testament demonstrates the relationship between prior to Bach, and Johann Philipp Kirn- and the Gospel. Then he examines one of words and music within the context of the berger representing the generation after Bach’s best-known cantatas, BWV 60 (O scriptural (hermeneutic) interpretation Bach. Werckmeister and other theorists Ewigkeit, du Donnerwort) which ends with that Bach understood. He demonstrates described a disparity between sensus and the famous chorale setting, “Es ist genug.” that the musical forms and tonal settings ratio, which can be said to correspond in This cantata was written shortly after Can- that Bach chose contributed to the listen- musical terms to one’s hearing vs. the way tata 77 within the same Leipzig cycle of er’s faith experience, altering it in a dy- one understands through the rational sense 1723-24. namic way as the musical forms and affec- of the mind. When we hear such chorale Most of the cantatas discussed thus far tions unfolded. To illustrate how this settings as modal, we are relying on the ear have obbligato instruments in addition to works, Chafe examines several cantatas rather than on theoretical suggestion or re- solo voices, but none has parts specifically from Bach’s Weimar period until the 1730s ceived opinion. Each generation of theo- for recorders. Instrumentalists will never- from a variety of points of view. rists, from Werckmeister to Mattheson to theless be interested to find that Chafe re- The first two chapters begin on the out- Kirnberger, took a different view of the in- lates his theory of tonal allegory to works er edge of what seem like concentric circles fluence of the modes on tonal harmonic outside of vocal tradition, drawing exam- that gradually move the reader inward to language. Since Bach stood between ples from keyboard works such as Bach’s the texts and, finally, to Bach’s music. Werckmeister and Kirnberger, Chafe con- Capriccio on the Departure of His Beloved Chafe defines the boundaries of the cludes that he “understood like no one else Brother and “Das alte Jahr vergangen ist” hermeneutic tradition as a context for un- that we know of, the potential of the modes from the Orgelbüchlein. Passing mention is derstanding Bach’s settings and demon- not only to enrich the harmonic content of also made of Cantata 119(Preise, Jerusalem, strates that his scriptural interpretation choral settings but also to deepen the pow- den Herrn) which has two recorders in the was also influenced by the framework of er of music to raise questions that have instrumental complement. Although the church year. He then draws the music into an important relationship with scrip- Chafe demonstrates that the musical forms and tural interpretation through reference to Luther’s view that music was “next to the- tonal settings that Bach chose contributed to the ology” and illustrates how cantata texts can be interpreted according to the same listener’s faith experience, altering it in a dynamic principles by which Luther interpreted the scriptures. Chapter 3 is devoted to a spe- way as the musical forms and affections unfolded. cific study of Cantata 21 (“Ich hatte viel Bekümmernis”), a relatively early work To illustrate how this works, Chafe examines several whose remarkably varied musical treatment appears to be strongly shaped by the cantatas from Bach’s Weimar period until the 1730s. text. Chafe also brings into the discussion

March 2001 37 BOOK REVIEWS (cont.)

Chafe does not suggest how any of the passages he discusses might be played or sung, it seems conceivable that players could find their interpretation of certain passages changed by his analysis. In brief references to Cantata 106 (Actus Tragicus) for voices, two recorders, two gambas, and continuo, Chafe observes that the cantata contains “a complex and highly purpose- ful design that encompasses the core ideas of Lutheran hermeneutics,” with a sym- metrical tonal plan that is representative of ascent and descent (destruction/restora- tion) and historical movement in time from Old and New Testament eras to the present, ending with the hope of the believer today for salvation. His discussion of the soprano solo ending of “Ja, komm, Herr Jesu, komm” gives a particularly welcome interpretation that certainly has implications for performance. Also of interest to recorder players is Chafe’s elucidation of the final chorale of Cantata 46 (Schauet doch und sehet ob ir- gendein Scherz sei), in which two recorder parts can be heard with strings. The recorders have a cadential figure in sixteenth notes while the continuo holds a D major chord after an authentic cadence (A to D). Over the final chord, the recorders play a beguiling descent from E using the notes of a G minor scale, coming to E only on the final beat. This juxtaposition of authentic and plagal elements in the cadence tends to alter our interpretation of the final chord either as dominant or tonic and, as Chafe demonstrates, understanding this cadential figure within the context of the tonal shape of the movement and the scriptural meaning may lead us to hear it differently. Recorder players who are con- vinced about Chafe’s conclusion that this passage represents, according to hermeneutic interpretation, the “hope of the believer for God’s mercy” may very well perform it differently. Although Chafe does not prescribe an interpretation based upon his ideas, he provides an opportunity throughout for players to explore new interpretations by bringing about a better understanding of Bach’s intentions. His book is a remarkable achievement, one that will reward the admirer of Bach’s music with many new insights and paths for further exploration. Mary Cyr

38 American Recorder SONATAS FOR ONE, TWO, AND THREE PARTS WITH BASSO CONTIN- ARS Membership Enrollment and Renewal UO. BY GIOVANNI BATTISTA FONTANA (EDIT- ED BY THOMAS D. DUNN). A-R Editions (Re- Please enroll/renew me as a member of the Society. I’m looking forward to: cent Researches in the Music of the ✰ American Recorder, ARS Newsletter, and the Members’ Directory Baroque Era No. 99), 2000. 152 pp (parts ✰ Members’ Library musical editions 2-48 pp). Softcover, $55.00 score ($50.00 ✰ Eligibility for the ARS Education Program examinations ✰ Discounts to some recorder workshops and on ARS publications set of part books). ISBN: 0-89579-449-7. ✰ Although this is an edition of music— Mailings from suppliers of materials, music, instruments. (ARS list is made available only to purveyors of goods and services for recorder players.) 18 Sonatas by G.B. Fontana, published in ✰ Information on all aspects of playing the recorder 1641—rather than a book, we present it in ❏ ❏ the Book Reviews department. This is in U.S./Canadian membership: one year $40, two years $75 recognition of the fact that A-R Editions Foreign membership: ❏ one year $50, ❏ two years $95 has an enviable record of having published U.S./Canadian Student* membership: ❏ one year $20 ❏ two years $40 dozens of editions that are scholarly in pre- ❏ ❏ sentation as well as practical in layout. Foreign Student* membership: one year $25 two years $50 These editions make available music of Workshop membership: ❏ one year $60 Business membership: ❏ one year $120 high quality that is difficult to find else- ❏ Address and/or phone information has changed in past year. where, often with extensive notes that set ❏ Do not list my name in Directory. the music in context. *Enclose proof of full-time enrollment. Recorder players will probably have All dues paid in U.S. funds by check on U.S. bank, or by international money order. come across Fontana’s First Sonata in Hans-Martin Linde’s revelatory 1972 Family members residing at the same address may share a membership. However, the student rate is not applicable to a shared family membership. For an additional listing in Schott publication, Venetian Music About the ARS Directory under different surnames at the same address, add $5. 1600. Other editions of various sonatas have appeared, including those by Dob- Please check to be included on the ARS list of ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activities linger, Moeck, and Musica Rara. Dunn’s may change, you must indicate on each renewal if you want to continue to be listed.) edition, however, presents all 18 sonatas, ❏ including those for unusual combinations I wish to contribute $______to help sustain the work of the Society. such as two trebles and bass with continuo. Please charge to my VISA/MASTERCARD: Dunn’s Introduction and Critical Re- #______Exp. Date: ______Cardholder’s signature______port together make up a detailed article about the historical record concerning NAME______PHONE (______) ______Fontana and his music (Dunn also wrote ADDRESS ______E-MAIL ______the article on Fontana for The New Grove). CITY______STATE ____ ZIP ______Almost everything that is known about Fontana comes from the original editor’s CHAPTER/CONSORT AFFILIATION, IF ANY: ______preface to the posthumous publication of OPTIONAL INFORMATION: his sonatas in 1641. He was a renowned vi- Chapter officer or committee member? ❏ Yes (officer/committee: ______) olin virtuoso who died from plague in ❏ No ❏ Have served chapter in the past 1630, leaving these works to a church in Age: _____ For how many years have you played the recorder? _____ Brescia with which he was connected. Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional Even though there may have been some Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 editorial intervention by the church’s or- ❏ ❏ ❏ ganist, who saw the manuscript collection $50,000-75,000 $75,000-100,000 Over $100,000 into print, the music shows Fontana to Portion of your income derived from music: ❏ All ❏ Some ❏ None have been on the cutting edge of instru- Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None mental composition in the early 1600s. If all or some, what kind of recorder activities are involved? (Check all that apply.) Not only does his writing feature bursts of ❏ ❏ ❏ virtuosity, but he occasionally reaches be- Teach privately Teach/lead workshops Teach elementary school music ❏ Performance ❏ Recorder maker ❏ Musical director/coach yond the patchwork style familiar from ❏ Other ______Frescobaldi’s Canzonas to repeat sections, What type of recorder music do you play? (Check all that apply.) and even to hint at larger, more integrated ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo structures. Dunn also gives some sugges- ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as tions for instrumentation and perfor- trio sonatas) ❏ Broken consort with other instruments (such as a collegium) mance practice, and even includes recom- ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort mendations of recorded performances of (format used in many chapter meetings, with several recorders playing on each part) the pieces. While the music was originally written AMERICAN RECORDER SOCIETY for violin or cornetto (with bassoon or cel- P. O. Box 631, Littleton, CO 80160-0631, U.S.A. lo on the solo bass part), most of it is di- Fax (with handset down) or call in credit card renewals to 303-347-1181 rectly playable on recorders. There are six

March 2001 39 BOOK REVIEWS ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 sonatas for treble and continuo, four for (score, parts & demo cassette) $23 $43 two trebles and continuo, one for three tre- Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 bles and continuo, two for treble, bass, and Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) edited by Alan Drake (3 scores) $8 $14 continuo, and five for two trebles, bass, Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders and continuo. Small adjustments will take (SATB)(LevelII) (2scores&4recorderparts) $8 $14 care of the few places where the music goes Frederic Palmer, Entrevista (SATB)(LevelII) (2scores&4recorderparts) $8 $14 Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 out of range, although the solo bass part Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 would take a little more arranging if it were Musical Editions from the Members’ Library: to be played on bass recorder. The main ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 challenge to the recorder player is the vir- Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. tuosic writing to be found in many of these Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. sonatas, which frequently surpasses the Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Dancers (Richard Eastman) level of difficulty found in the sonata print- Different Quips (Stephan Chandler) *Elegy for Recorder Quartet (Carolyn Peskin) Elizabethan Delights Los Pastores (arr. Virginia N. Ebinger) ed by Linde. New Rounds on Old Rhymes (Erich Katz) Other Quips (Stephan Chandler) Dunn’s edition, as is usual with A-R, is Poinciana Rag (Laurie G. Alberts) *Santa Barbara Suite (Erich Katz) presented in large, clear type with careful Sentimental Songs (arr. David Goldstein) *Serie for Two Alto Recorders (Frederic Palmer) Slow Dance with Doubles (Colin Sterne) Three Bantam Ballads (Ann McKinley) attention given to page turns. He adds on- Three Cleveland Scenes (Carolyn Peskin) Tracings in the Snow ly the most necessary markings and ex- Trios for Recorders (George T. Bachmann) in Central Park (Robert W. Butts) plains the changes he has made to the orig- *Triptych (Peter A. Ramsey) Two Bach Trios (arr. William Long) Two Brahms Lieder (arr. Thomas E. Van Dahm) Vintage Burgundy inal. He makes suggestions regarding mat- ters such as proportional tempo changes Other Materials from ARS and ornamentation, but he gives enough ARS Information Booklets: information for performers to make their ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 own decisions. Non-members: 1 booklet, $18 2 booklets, $33 3, $44 $4, 55 5, $66 6, $76 7, $86 The original print is sometimes contra- Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) American Recorder Music (Constance Primus) dictory and incorrect, and it is especially The Burgundian Court and Its Music (Judith Whaley, coord.) helpful to have a knowledgeable guide like Improve Your Consort Skills (Susan Carduelis) Dunn. The only area where even more de- Music for Mixed Ensembles (Jennifer W. Lehmann) Playing Music for the Dance (Louise Austin) tailed commentary would have been use- Recorder Care (Scott Paterson) ful is in the matter of slurs, which are to be Education Publications found in the original and which are some- The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). times unclear in their placement there. Per- First copy free to ARS members, replacement copies for members or non-members, $3. haps a set of facsimile reproductions of the Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study original (to supplement the single page ac- Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. ARS Music Lists (1996). Graded list of solos, ensembles, and method books. companying the Introduction) would have Members $8; non-members, $14. been the best way to address this thorny is- Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 sue. Somewhat unusually, the continuo is (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class unrealized (though figures are given), mak- Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for ing the volume less immediately useful as groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. a playing edition. Anyone with even a rudi- Other Publications mentary knowledge of continuo practice, Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming however, should be able to deal with the an 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. music, which is relatively uncomplicated Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. harmonically. Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. Like many other A-R editions, this vol- Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40. ume re-introduces the reader to some fa- American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. miliar repertoire by surrounding it with Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. other works in the same vein and by pre- All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, senting it in a fashion that will satisfy both please add an additional $1 per item; for Canadian or foreign air mail, please add an additional $3 per item. When ordering five or more items to be shipped anywhere at the same time, ARS Members may the scholar and the performer. Recorder deduct an extra $2 on top of the discounted members' price. Please make checks payable to the ARS. players who have enjoyed Fontana’s style VISA/MasterCard also accepted. in other editions may want to invest in this American Recorder Society complete volume (which is, in fact, quite P.O. Box 631, Littleton, CO 80160-0631, U.S.A. cost effective given the number of works 303-347-1120 included). Scott Paterson

40 American Recorder SCHÜTZ. BY BASIL SMALLMAN. Oxford the brass instrument with a slide a sackbut University Press, 2000. 236 pp. Hardcov- Smallman is particularly or a trombone, and although he usually er, $35.00. ISBN: 0-19-816674-5. calls the bass double-reed a bassoon, occa- Considering that he is arguably the good on the ways in sionally it is a dulcian or curtal. Discussing greatest composer between Monteverdi the two “fiffaro” parts in the paired motets and Bach, it is surprising how little most of which Schütz succeeded Anima mea liquefacta es and Adjuro vos, fili- us know about Heinrich Schütz, and how ae Hierusalem (SWV 263-4), with their odd little of his music we hear on a regular ba- in avoiding direct range of a to e '', Smallman suggests that sis. Even his greatest masterpieces, the involvement in the Thirty Schütz may have meant a bass transverse German-language Requiem (Musikalische flute. This is highly unlikely: for one thing Exequien, 1636) and the delightful Christ- Years’ War (1618-1648) the bass flute would be virtually inaudible mas Story (Historia der Geburt Jesu Christi, in the context; also, this would ignore 1664) aren’t done all that often—I’ve or the religious Praetorius’s comment that the flute often played the Christmas Story a couple of sounds an octave higher than it is written, times, and heard the Requiem in perfor- debates that fueled it. which I would take to mean that it is often mance once, but that’s pretty slim for played at 4' pitch in the context of other in- works of this importance. In the well struments playing at 8' pitch. The “fiffaro” known series The Master Musicians, which Musicians of 1980. Although both of these parts in these motets must be intended to has been publishing reliable biographies of are excellent introductions to the compos- sound an octave higher, played most likely composer for about half a century now, er, Smallman’s larger format allows a con- on a pair of tenor flutes in the upper part of Basil Smallman brings us a timely new bi- siderably greater range of detail and a more their range, where they would be quite au- ography of Schütz. Smallman’s credentials leisurely pace. Both volumes close with a dible. are impeccable; Professor of Music at Liv- complete list of works, and it is here that Finally, the index is woefully inade- erpool University until his retirement in The New Grove volume is generally superi- quate. Although it is very complete in its 1985, he has throughout his life been in or. Both are forced to deal with a biblio- references to individual works of Schütz, the forefront of Schütz studies. graphical nightmare: there are three com- the bulk of its other references are to prop- Taking his cue from the aims of the se- plete editions of Schütz’s work, the third of er names, with few citations of ideas, in- ries, Smallman emphasizes that his book is which (begun in 1971) is not yet complete. struments, forms, or styles, and where more a biographical study of Schütz than Smallman tackles this problem by giving a these do occur, they are often unhelpful. an analysis of his works, and he therefore minimal amount of information—a short- As an example, there is an index entry for proceeds chronologically, discussing ex- list of Schütz’s publications and the SWV “oxymoron” with a single citation of a brief amples of Schütz’s music as keys to the de- (Schütz Werke Verzeichnis) numbers con- discussion of the use of oxymora in Italian velopment of his style, but making no tained in them keyed to all three editions, madrigals; there is no entry for “cornetto,” claim to surveying his works in a compre- followed by an alphabetical list of individ- “sackbut,” bassoon,” or even “organ.” hensive manner. This will serve the pur- ual works with their SWV numbers. Thus, These few problems aside, Smallman’s poses very well of those who would like a by cross-referencing the two lists, the mod- book provides a fascinating introduction thorough overview of the man and his ern edition for any individual work can be to a composer very few of us know as well work, though each reader who has more found. The Grove list gives all the works in as we should. than a passing acquaintance with Schütz’s SWV order. Although it is harder to use, it David Klausner music will find a few favorites that are not also gives much fuller information, with discussed. This is, however, a small price details of voicing and instrumentation for LENNOX BERKELEY: A SOURCE to pay for such a clear survey of Schütz’s ca- each work. For the most recent complete BOOK. BY STEWART R. CRAGGS. Ashgate reer and his place in the extraordinarily edition, of course, it only includes the vol- Publishing, 2000. 395 pp. Hardcover, complex society of 17th-century Germany. umes published before 1980. $99.95. ISBN: 0-85967-933-0. Much of Schütz’s career coincided with the There are a few problems with Small- Stewart Craggs is professor of music Thirty Years’ War (1618-1648), the basis of man’s work. He is very inconsistent in the bibliography and former development ser- which was religious but which became in- way titles and texts of individual works are vices librarian at the University of Sunder- creasingly politicized during the course of cited; sometimes the original text is given land. Compiled over a period of 15 years, time. Smallman is particularly good on the (German, Italian, or Latin) with an English this tome on the music of Lennox Berkeley ways in which the composer succeeded in equivalent in parentheses, sometimes the (1903-1989) joins Craggs’s previous works avoiding direct involvement in the conflict reverse. On occasion, the original title is on William Walton, Edward Elgar, and or the religious debates that fueled it, re- given with no translation, and in some cas- Arthur Bliss, and is a feat of bibliographic maining throughout the period a staunch es, works are cited by an English transla- wizardry. It is a reference book of extraor- Lutheran but composing settings of Latin tion of the title only. Quotations from doc- dinary and exhaustive detail, which no texts suitable for use in Catholic services umentary sources (mostly in German) are self-respecting music library or specialist (especially the Cantiones Sacrae of 1625). regularly given in translation in the text on 20th-century English music should be Smallman’s principal competition is and the original provided in a footnote, but without. the extensive chapter on Schütz by Joshua the exact text quoted there is often not the What, one might ask, would a book Rifkin and Colin Timms in the 1985 Nor- same as the passage translated, and either about Berkeley have to do with recorder ton volume, North European Baroque Mas- the beginning or the end of the passage is players? One of the more significant com- ters, which is an expansion of their article sometimes omitted. Smallman has not posers of 20th-century England, he wrote in The New Grove Dictionary of Music and made a consistent decision whether to call numerous works for early instruments,

March 2001 41 BOOK REVIEWS (cont.)

and his output includes several works for speeches and the like. At this point I must recorder: besides the Sonatina for alto re- say I was sorry to see that my own record- corder and piano (Op. 13), there is a Con- ing of the Sonatina, commercially released certo for alto recorder, violin, cello, and in early 1999, is not included among the harpsichord (Op. 49), and a “cantata con- listings for this piece, and found myself certante” for soprano voice, soprano re- wondering what else has been missed, due corder, viola da gamba, and harpsichord to inefficient promotion and distribu- (Op. 98). Many composers of his century tion...but I digress, and this is not any fault wrote recorder music, but Berkeley’s is of Stewart Craggs. some of the best and well worth enjoying. The book concludes with a select bibli- The book is well-planned and easy to ography, three appendices, and a general use. It begins with an alphabetical list of index. The bibliography includes writings compositions, meticulously cross-refer- by Berkeley, general writings about him, enced to the various other parts of the and references to specific works. Appendix book. Following this is a chronology of 1 is a classified index of main works; Ap- Berkeley’s life, beginning with the genealo- pendix 2 is a list of lost or missing manu- gy of his grandparents and parents, and scripts; and Appendix 3 is a list of “per- continues on through a list of events both sonalia,” a sort of “who’s who” of Berke- personal and professional. It is striking ley’s professional colleagues. how much traveling this composer did, It has surely taken the patience of Job to how many colleagues with whom he compile all the information included in shared, and how much time was required this book, and many might wonder how or for various works to materialize. More en- why Mr. Craggs could stick with so tertaining, perhaps, are the several men- painstaking a task. But he has provided an tions of lunching with the Queen at Buck- enormously useful service for anyone do- ingham Palace and other such data. ing research on Lennox Berkeley, his mu- The third section is a “Catalogue Rais- sic, or the musical epoch in which he onné,” in which pieces are listed chrono- worked. Stewart Craggs is to be congratu- logically and then by opus number, and a lated for his dedication to his task and the huge amount of information is to be found excellent quality of the book that is its re- here. To use the Sonatina as an example: sult. apart from the basic data on title, opus Alison Melville number, date, number and name of movements, duration, etc., I learned here that NOTE: Alison Melville’s CD “Fruit of a Differ- the first performance was a private one ent Vine,” available through the ARS CD Club, held at the Contemporary Music Centre in is a collection of 20th-century recorder clas- London, with Carl Dolmetsch playing the sics, including Lennox Berkeley’s Sonatina. recorder part. Sadly, the other details of this performance are lacking, and I am sure that, were they traceable, Craggs would Mr. Craggs has provided have found them. The first public perfor- an enormously useful mance, by Dolmetsch and harpsichordist Christopher Wood, took place at Wigmore service for anyone doing Hall on November 18, 1939. Also men- research on Lennox tioned is another version of this wonderful piece arranged for flute and strings. Every Berkeley, his music, other available piece of Berkeley’s output is or the musical epoch given equally detailed treatment. The next section on “Manuscripts and in which he worked. First Editions,” prepared by Joan Redding, Many composers of his is also meticulously detailed—right down to descriptions of the coffee and tea stains century wrote recorder on the paper. The “Discography” is divid- music, but Berkeley’s is ed into two sections: a list of 78s, LPs, CDs some of the best and and cassettes of Berkeley’s music, and a list of recordings of the composer as speaker in well worth enjoying. radio programs, interviews, tribute

42 American Recorder OPENING ALTERNATE FEET You can increase the strength of your MEASURES inner pulse by beating half-notes with ______alternate feet—not just beating one ______foot, which is a nasty habit that will ______bring you dirty looks from the con- ______ductor and annoy your fellow players. How to count in half notes Beating alternate feet helps you develop an inner sense of pulse, while A lot of the music I choose when leading bank. It need not take long, so you have no tending not to become a habit. You workshops or ARS chapter meetings is reason not to do it. If done regularly, the have to think about it to do it, so it is from the Renaissance period and needs to exercise will give you a strong sense of how harder to do automatically. Further- be counted in half-notes rather than in the smaller note values should feel when more, it is my personal theory that quater-notes. This gives many players counting half-notes. When you become beating alternate feet uses both sides quite a lot of trouble. Some can’t get the more accomplished and confident you can of your brain and therefore gives you a hang of it at all, having little or no experi- add sixteenth notes to the exercise. more wholistic and complete sense of ence with counting half-notes. Others have Ex. 3a - 3c are to be played on a re- pulse, more likely to stick with you. It tried to do it often, and can do it, but the corder. They will help you continue to is like walking, and will give you the concentration required means they tend to strengthen your ability to play different natural inner beat you need. make other mistakes, lose their place, miss rhythms while counting half-notes. Use a Once you become good at a given entrances. metronome clicking at 60 to the half-note, exercise, cease to beat time, keeping Why must we count those stupid half- and beat this pulse with alternate feet (see just your inner half-note pulse feeling. notes when we can just as well count the sidebar about alternating feet). quarter-notes? After all, it is a public secret Continued overleaf that a lot of players are sneakily tapping quarter-notes inside their shoes while the Ex.1 Note Values: each measure is equal in total value. director beats half-notes. It all comes out 2 w ˙ ˙ œ œ œ œœœ œ œ œ œ œ œ right, so why not do it? &2 Because the pulse of the music is very important in giving notes greater or lesser 1 and 1/2 beats + 1/2 beat equals 1 beat j + 1 beat importance. The pulse of the music creates & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ œ . œ ˙ the Swing. This is true of music from all pe- riods. The pulse helps bring out the larger Ex.2 Clap a continuous half-note pulse while saying the text musical lines. 2 Youmustbeabletoplayusingahalf- &2 ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ note pulse (without tapping that hidden toe in quarter-notes). But learning this Half Half Quar - ter Quar - ter Eighth-note Eighth-note Eighth-note Eighth-note skill is really not so difficult. Take heart and œ œ œ œ ˙ ˙ give it an honest try! Think how accom- & plished you can then feel at the next workshop or ARS meeting when the director Quar - ter Quar - ter Half Half says, “We’ll be counting this in half-notes.” Ex. 3a Glogauer Liederbuch:˙ J'ay pris˙ amours I, Tenor,w b. 1 You might even be able to give the player 2 w w Ó ˙ next to you a helping hand. &2 Before we begin, review your note values as shown in Ex. 1. Counting half-notes ˙ ˙ ˙ œ ˙ is simply a matter of learning to subdivide & œ ˙ them accurately. If you can keep a pulse for quarter-notes you can keep a pulse for half- Ex. 3b Josquin: Mille Regretz, superius, b. 17 notes. The difficulty lies in subdividing the 2 ˙ ˙ half-notes without becoming confused. &2 w ˙ ˙ Practice Ex. 2 as often as you can during the next week,and continue to do it ˙ . once in awhile. It is very simple and can be & œ œ œ #˙ w done while waiting to get off hold on the phone, while walking (and there you have Ex. 3c FB - composite from Josquin a built in pulse in your steps!), on the exer- 2 œ œ œ œ œ ˙ œ œ œ œ œ w cise machine, while waiting at that long &2 œ ˙ œ œ and irritating stop light, while in line at the

March 2001 43 OPENING MEASURES pulse feeling, you will easily be able to di- vide the beat to begin the syncopation at (cont.) the right moment. Then hold that note until the second half of the second beat, when Dotted Quarter Notes the final quarter-note is played. Another stumbling block in your path Play this exercise with a metronome is figuring out how long dotted quarter- beating half-notes at 60. (Once again, beat- notes should be. You know that when ing the pulse with alternate feet will make counting quarter-notes, the dotted quarter this exercise even more effective.) gets one and a half beats. Well, when Ties over the bar line are very like syn- counting half-notes, the dotted quarter copations and sometimes are, indeed, syn- note plus its following eighth-note get one copations. Practice Ex. 5b - 5d until you full beat together. can play them with confidence. Do you no- First play an octave scale, using the tice that in 5b we have a quicker syncopa- note values with a metronome beat- tion in bar 1 and a slow one in bar 2? ing half-notes at 60, one beat for each In Ex. 5d the dotted quarter-note and unit. Then practice Ex. 4a and 4b. eighths group is just the same rhythm as the one that crosses the bar line in Ex 5c. Other Rhythms This is a very common pattern in 16th-cen- The same type of problem is caused by tury music, so learn it well. syncopations of various speeds, and by ties Finally, try Ex. 6: it tosses everything at over the barline. you! A syncopation is a note that lies across Once you have mastered all these ex- the end of one beat and the beginning of amples you can begin to trust your ability the next. In Ex. 5a, the syncopation ap- to count half-notes. Congratulations, and pears in bar 2, beginning on the second good for you! You’ve made it! half of the first beat. If you have a strong Frances Blaker

Ex. 4a Josquin: Mille Regretz, Superius, b. 1 2 ˙ ˙ ˙ . j ŒÓ &2 w œ œ œ . œ ˙ œ

Ex. 4b FB - composite from Susato 2 œ œ bœ œ œ j Ó &2 œ œ œ œ œ œ œ . œ œ œ œ ˙

Ex. 5a Glogauer Liederbuch: J'y pris amours V, Bassus, b. 6 2 &2 ˙ ˙ œ ˙ œ œ œ ˙ w

Ex. 5b J'ay pris amours I, Tenor, b. 27 ˙ this note equals four half-notes 4 ˙ œ œ ˙ ˙ w W &2 #˙

Ex. 5c J'ay pris amours III, Altus, b. 24 4 œ œ œ œ œ ˙ &2 ˙ œ ˙ œ œ ∑

Ex. 5d J'ay pris amours II, Tenor, b. 12 4 œ œ œ œ œ . œ &2 œ œ ˙ ˙ Ó ∑

Ex. 6 J'ay pris amours II, Altus, b. 7 4 œ œ ˙ ˙ œ œ œ œ ˙ œ . œ &2 Œ œ œ œ ˙ ˙ ˙ Ó

44 American Recorder ON THE CUTTING EDGE ______View from the edge

Looking Back to See Ahead (or at least my perception of them after positions that have little in common in re- Is it possible to predict where modern careful thought) are as follows: gard to language and style. What they recorder music is going from looking at the 1) Globalization - Though not a compo- share is the direct expression of heartfelt music of a past decade? The correct answer sitional trend per se, the dissemination and emotion. is “sometimes.” therefore greater awareness of non-Euro- 6) The New Dynamism - Somewhat Certainly the eclecticism and lack of a pean works has had a significant impact more homogeneous than the above group, central mainstream that characterized the and following. It has been due to the efforts these works express rhythmic energy and recorder music of the 1990s were largely in of publishers, distributors, record compa- movement rather than emotion. Most have place by the end of the 1980s. One could nies, and performing artists as much as a direct aesthetic connection with the mu- even make a case that this eclecticism be- composers. In 1989, only a handful of sic of Stravinsky (early period) and Bartók. gan in the 1970s, when minimal music be- Japanese works, most published by Zen- Many are informed by minimalism. gan to challenge the primacy of the post- on, represented to most recorder players 7) Electro-Acoustic Music - Except for Webern school. Stretching the point fur- the essential body of important recorder the use of live electronics, this category is ther, a weak but plausible case could be music outside Europe. By the early 1990s, completely diverse. Electro-acoustic music made that the origin of this eclecticism was interesting new works from Latin America, has become very popular in Europe. found in the late 1960s when chance ele- Australia, and the U.S.A. began to be pub- 8) Conservative Modern -Thiskindof ments began finding their way into post- lished and/or recorded. Some of these music is still being composed and pub- Webern-style compositions. compositions were highly acclaimed and lished. Some of the more recent composi- By contrast, no real precedent for the well received by both performers and audi- tions in this genre have borrowed an effect avant-garde works of the 1960s can be ences. By the end of the decade, a number or two from the avant-garde. found any time before that. One could of new Japanese works appeared in print, 9) New Age Music - Soft, simple, de- point to Benjamin Britten’s use of flutter thereby making it impossible to point to signed for unfocused listening, this genre tonguing perhaps, but that’s a bit narrow the familiar works published by Zen-on as has some notable practitioners and has ac- and in and of itself does not represent a representative of non-European recorder quired an audience. trend. One could also point to some of Tui music or even of the Japanese literature. 10) Microtonal Music - Quarter-tones, St. George Tucker’s works, but they were 2) Compositions with a Jazz, Pop, or Rock eighth-tones, sixteenth-tones, and struc- unknown to the composers of the Euro- Orientation - Such pieces have had a con- turally modified (i.e. “prepared”) instru- pean avant-garde literature that defined siderable following in the 1990s. Works in ments have all been put into practice more the era. Besides, Tucker’s experimental this genre have varied from original com- than at any time in the modern history of works of the 1950s evolved from a premise positions to arrangements and/or adapta- the recorder. that was entirely different from and options, from difficult to fairly easy, and from posed to the language of the post-Webern unique to hackneyed. Looking Back to Look Back school—a premise more in tune, oddly 3) Works for Recorder and Mixed Instru- With this edition, On The Cutting Edge enough, with the eclecticism of today’s ments - Combining the recorder with other is now a decade old. Its mission has been modern recorder music. instruments evolved into an important to call attention to what is happening in For the purpose of identifying impor- trend during the 1990s.It has been applied the world of modern recorder music by tant contemporary trends in the recorder to three distinct types of music: composi- profiling important performing artists, music of the 1990s, I have established ten tions for chamber groups that employ the musical compositions, recordings, and categories based on a variety of shared as- recorder with classical music instruments; concert events. In many cases, especially in pects including language, style, esthetics, written and/or improvised works for the first couple of years, the subjects of instrumentation, and general orientation. groups with more of a jazz, pop, or rock Cutting Edge received little notice else- Individual pieces often overlap, represent- orientation and instrumentation; and writ- where. My only regret in writing this col- ing several different trends and therefore ten and/or improvised works of an eclectic umn is that I was not able to cover some fitting into more than one of these cate- nature and instrumentation. major events—most notably the Second gories. But that is beside the point. This es- 4) What Might Be Called Post-Post-We- 20th Century Blockflute Festival in Hol- say will merely provide a cursory look from bern Music - that is, compositions which land and the Calw Competitions in Ger- a distance; an in-depth analysis of repre- are clearly rooted in the post-Webern style many. At any rate, I hope to continue to sentative works would be an enormous un- whose composers have absorbed other present interesting news about modern re- dertaking, clearly beyond the scope of this ideas into an eclectic mix. corder music and the devoted people who column. 5) The “New Romanticism” - This label create and perform it. The recorder music trends of the 1990s can be applied to a very diverse lot of com- Pete Rose

March 2001 45 CHAPTERS & CONSORTS ______Chapters learn dances, perform a 17th-century masque, present ______music from Shakespeare, and introduce a new JRS ensemble The first public appearance of the new Beethoven originally written for three ment interspersed drama performed by the North Coast (CA) Chapter took place flutes. The Autumn Salon is expected to St. George Players in Renaissance garb December 17 during The Ink People’s Hol- become an annual event. with songs found in Shakespeare’s plays, iday Gift Fair at the Eureka Municipal Au- including “Fortune My Foe,” “Heigh Ho! ditorium. Members performing were, in The Hawaii Chapter’s Skylarks perfor a Husband,” “When That I Was a Little order of range, Karla Talbert, Kathleen formed at a Hawaii Music Education Asso- Tiny Boy,” and “Greensleeves.” The con- Kinkela-Love, Carolyn Moskowitz, Harry ciation luncheon on January 21 at the Pearl sort of recorders, harp, and viola da gamba Haecker, and Kathy LaForge. The pro- City Recreation Center, and also at Central included Victoria Blanchard, David Kemp, gram for the concert presented a melodic Union Church on January 21. Marilyn Peak, Gary Porter, Shauna theme in settings by different composers Roberts, and Betty Wauchope. or by the same composer in different con- On Saturday, March 3,members of the At- texts. For example, they played five ver- lanta Early Music Association took a field- The February meeting of the Greater Den- sions of the “Allein Gott in der Hoh sei trip to the Kelischek Workshop in Brass- ver (CO) Chapter was transformed into a Ehr” theme: one arranged by Praetorius, town, N.C. The group was hosted by 17th-century masque, complete with ap- one by Sweelinck, and three by J.S. Bach. Michael Kelischek, who answered ques- propriate music, dance, poetry, costumes, tions as the participants observed many scenery, and refreshments. Everyone at- On Sunday, November 12, members of the musical instruments in various stages of tending wore “jewel colors, lots of jewelry, East Bay (CA) Chapter presented their construction. and masks” (with the help of a mask-mak- first Autumn Salon, an informal and pri- ing workshop hosted by Bobbie Blanc). vate home version of their larger Members Several members of the New Orleans Connie Primus was leader of the event, Recital held in March. Six small consorts (LA) Early Music Society participated in dubbed “The Masque of the Queen of the took turns playing audience and per- “An Evening of Shakespeare and Song” on Jewels,” and Victoria Taylor played the role former, including the trio Those Three Al- December 1 at St. George’s Episcopal of the Queen. The entertainments were to Guys, who performed a sonata by Church in New Orleans. The entertain- recorded for the chapter’s continuing videotape project.

Flatwater Recorder Society Sponsors Cedar Lane Unitarian Universalist Its First Recorder Workshop Church, the site for the Washington (DC) Recorder Society meetings, has agreed to Thirty recorder players from Ne- make space available for filing cabinets to braska, Iowa, and Kansas attend- house the WRS Music Collections. The ed the Flatwater Recorder Soci- Collections, consisting mostly of a large ety’s first annual Omaha Recorder donation of music formerly belonging to Workshop on November 25 at St. Dr. Wesley Oler, have not been easily avail- Vincent De Paul Catholic Church able to members since meetings were in Omaha, Nebraska. The works moved to the new site. rehearsed included A Christmas Antiphon by Keith Davis, the Hal- CHICAGO COMPETITION lelujah Chorus from Handel’s Entries for the Chicago Chapter’s Messiah, and Concerto Grosso in An informal moment at the Omaha workshop. D Minor by William Boyce. Richie Seventh Biennial Recorder Composi- Henzler of Courtly Music Unlim- tion Contest are due May 15. These ited came from New York to conduct the ensemble. It was a rare opportunity for play- entries should be original composi- ers in the area to participate in a recorder orchestra, whose rich sonorities were per- tions suitable for ensemble playing in fectly supported by the church’s live acoustics. recorder society meetings that are For the past three years members of the Flatwater Recorder Society have played at likely to have players of varying ability. elementary schools in the Omaha area during Play-the-Recorder Month. Last March, It is open to the entire ARS member- they played at five elementary schools. Activities varied at each school. At one school, ship. For more information and the students sang a rehearsed piece (“Amazing Grace”) with recorder accompaniment, rules, contact either Arlene Ghiron, and at another school, Flatwater members participated in a session with the school’s [email protected], or Hilde recorder group. Staniulis 773-363-7476.

46 American Recorder From left: Sally Dawson, director, Hunter Block, Julia Kesselem, Katie Kesselem, Erin Bolyard, Gabby Cappello, all members of the Greater Cleveland Chapter’s new Junior Recorder Society group.

In November, the members of the Twin Cities (MN) Recorder Guild and the North Star Viols teamed up to offer an introduction to Renaissance social dancing at the Lynnhurst Congregational Church in Minneapolis. Jane Peck, founder and director of Dance Revels and an instructor of dance history at the University of Min- nesota, presented the pavane, galliard, and other dances from the 16th and early 17th centuries. INDIANA UNIVERSITY At their January 9 meeting, members of the Princeton (NJ) Recorder Society SCHOOL OF MUSIC studied the historical dances that go with the music they play. Kjirsten Hendriksen BAROQUE WOODWIND demonstrated Renaissance dances to a drumbeat established by Russell Almond. AND DANCE Sue DuPre led the English country dances, Award-winning recorder music while Judy Klotz and Susie Lorand con- with a Baroque flavor SEMINAR ducted music published by John Playford. ULY www.screamingmarymusic.com J 15 - 22, 2001 Princeton members dance the pavane. [email protected] Eva Legêne - Recorder, Director Sandra Hammond - Dance SWEETHEART Janet See - Traverso Corey Jamason - Harpsichord FLUTE CO. Washington McClain - Oboe Michael McCraw - Bassoon Baroque Flutes: our own “Sweetheart” model David Lasocki - Lecturer Fifes, Flageolettes “Irish” Flutes & Whistles. For more information, please contact: Send for brochure and/or CHAPTER NEWSLETTER EDITORS antique flute list. Eva Legêne Want to see your chapter in the news? Check IU School of Music to be sure that a copy of your chapter 32 South Maple Street newsletter goes to American Recorder, 472 Enfield, CT 06082 Bloomington, IN 47405 Point Road, Marion, MA 02738; or e-mail (860) 749-4494 text to [email protected]. [email protected] E-mail: [email protected] www.sweetheartflute.com

March 2001 47 CONSIDER ADVERTISING IN SCHOLARSHIPS CLASSIFIED ______for recorder players to attend ______recorder/early music ______Fullpage...... $500 2/3page...... $365 SUMMER 1/2page...... $300 WORKSHOPS 1/3page...... $240 1/4page...... $180 applications must be Where the haves 1/6page...... $140 postmarked by April 16 and have-nots 1/8page...... $105 1/12page...... $75 of the recorder world 1columninch...... $ 45 for recorder players to attend can find each other Web link in AR On-Line ...... $20 recorder/early music Circulation: Includes the membership of the American Recorder Society, libraries, and WEEKEND music organizations. FOR SALE: Moeck wood tenor recorder. $120. WORKSHOPS Published five times a year: January, March, May, Call Vivian Lipson, 973-402-9198. throughout the year, September, November. apply two months FOR SALE: Paetzold FF contrabass, with stand, ex- Reservation Deadlines: December 1, February 1, April 1, August 1, October 1. before funding is needed tra mouthpiece. Like new, rarely played. A good deal. Call before 10 pm EST, 616-471-5224, or Rates good through November 2001. Please Weekend workshop scholarships inquire about discounts on multiple-issue contracts, [email protected]. inserts, or other special requests. Extra charges for are made possible by memorial typesetting, layout, halftones, and size alterations. fundsestablished to honor FOR SALE: Recorders and Sheet Music. Prices re- 133-line screen recommended. Advertising subject to acceptance by magazine. First-time advertisers Jennifer Wedgwood Lehmann duced. Please see our website, www.holtmar.com. must include payment with order. and Margaret DeMarsh. Email address: [email protected]. For more information, contact Benjamin S. Dunham, Editor AMERICAN RECORDER seeks articles on re- 472 Point Road, Marion, MA 02738 corder: history, performance practice, artists and 508-748-1750 (bus. hrs.); Fax: 508-748-1928 E-mail: [email protected] repertoire, education, instrument building, etc. Al- so, photographs and reports of news events. Will AMERICAN RECORDER SOCIETY Box 631, Littleton CO 80160-0631, U.S.A. consider artwork, poetry, riddles, puzzles. Modest 303/347-1120 • 303/347-1181 (fax) e-mail: [email protected] honoraria by arrangement with editor: Benjamin S. ADVERTISER INDEX the organization for recorder players since 1939 AMERICANRECORDERSOCIETY...... 39,40,48 Dunham, 472 Point Road, Marion, MA 02738. AMHERST EARLY MUSIC FESTIVAL ...... 8 Phone: 508-748-1750 (bus. hrs.); fax: 508-748- TUREBERGSTRØMRECORDERS...... 34 1928; e-mail: [email protected]. STEPHANBLEZINGER...... 44 JEAN-LUCBOUDREAU...... 29,30 PLEASE PATRONIZE SCHOLARSHIPS for recorder players to attend BOULDEREARLYMUSICSHOP...... 47 recorder/early music weekend workshops during CANTOANTIGUO...... 27 OUR ADVERTISERS COURTLYMUSICUNLIMITED...... 34 the year. Apply two months before funding is HESPERUSWORKSHOP...... 38 needed. Weekend workshop scholarships are HIGHLIGHTINTERNATIONAL...... IFC made possible by memorial funds set up to honor HONEYSUCKLEMUSIC...... 34 Jennifer Wedgwood Lehmann and Margaret De- INDIANA UNIVERSITY SCHOOL OF MUSIC ...... 47 The KATastroPHERECORDS...... 38 Recorder Magazine Marsh. Contact ARS, Box 631, Littleton CO 80160; KELISCHEKWORKSHOP...... 34 we invite you to visit the site 303-347-1120; [email protected]. LONGY INTERNATIONAL BAROQUE ACADEMY ...... 42 KEITHE.LORAINE...... 42 www.recordermail.demon.co.uk MUSIC REVIEWERS for AR needed. Reviews must MAGNAMUSICDISTRIBUTORS ...... BC be submitted by e-mail or on disk. Please send a MOECKVERLAG...... 7 MOLLENHAUERRECORDERS...... 29 brief bio with a list of the types of music you are in- SUZUKI STUDENT INSTITUTES: THEMUSICSTORE...... 36 July 20-23; July 25-28 terested in reviewing to Connie Primus, Box 608, OXFORDUNIVERSITYPRESS...... 35 Teacher Training: Georgetown, CO 80444, or [email protected]. HERBERTPAETZOLDSQUARERECORDERS...... 30 Unit 1A, 2: July 17-23 PORTTOWNSENDWORKSHOP...... 25 Unit 1B, 3: July 25-31 Classified rate for American Recorder: 60¢ PRESCOTTWORKSHOP...... 44 PROVINCETOWNBOOKSHOP...... 38 per word, ten-word minimum. “FOR SALE” State University of New York THERECORDERMAGAZINE...... 48 Plattsburgh, NY 12901 and “WANTED” may be included in the RECORDERSHOP...... 42 Katherine White copy without counting. Zip code is one SANFRANCISCOEARLYMUSICSOCIETY...... 25 Box 233, Fairfax, CA 94930 word; phone, e-mail, or web page is two. SCREAMINGMARYMUSIC...... 47 [email protected] Payment must accompany copy. Dead- SUZUKISTUDENTINSTITUTES...... 48 SWEETHEART FLUTE CO...... 47 Tel/Fax: 415/897-6500; lines are one month before issue date. vm: 415-339/8163 TEXASTOOT...... 36 Send copy with payment to: ARS, Box VONHUENEWORKSHOP,INC...... 31 or Nancy Kennard, [email protected] 631, Littleton, CO 80160. YAMAHACORPORATION...... IBC Tel: 216/561-2505, 216/402-7130 DOMINIKZUCHOWICZ...... 34

48 American Recorder