september 2005 Published by the American Recorder Society, Vol. XLVI, No. 4 XLVI, Vol. American Recorder Society, by the Published ©2005 Yamaha Corporation of America www.yamaha.com thoughtful choiceforteachersthatcare. Playful withseriousqualityYamaha isknownfor, Yamaha Recordersarethe effortless controlandanaccuracyofintonationthatprovidesarich,fullsound. range.Theyoffertheidealamountofairresistancefor are easytoplayinevery Yamaha 20SeriesRecordersarespeciallydesignedforbeginningstudentsand Pink colorsaddthatextrafunforstudentsbeginningtheirmusiceducation. students aresuretoenjoy. SourAppleGreen,CottonCandyBlueandBubbleGum The world’s mostdependableandchosenrecordersarealsotheplayfulthat
EDITOR’S ______NOTE ______Volume XLVI, Number 4 September 2005
ometimes I think I should have been a FEATURES Shistorian, or even a biographer. I often Terry Kirkman Answers ...... 18 get drawn into the process of trying to give The second interview in a series on jazz and pop recorder players a three-dimensional feel to the two- by Frances Feldon dimensional pieces, appearing in AR, about people related to the recorder. Tui St. George Tucker (1924-2004) ...... 22 This is true whether the subject is real- 5 Friends remember the composer, conductor and recorder player ly most sincerely dead (borrowing from The Wizard of Oz), as in the March 2004 Happy 500th Birthday, Thomas Tallis ...... 26 piece David Lasocki wrote on Renaissance The twelfth in a series of articles by composers and arrangers recorder players. It’s equally true if the discussing how they write and arrange music for recorder, person is vibrantly alive, as in Frances Fel- by Stan McDaniel don’s interviews (page 18) with jazz/pop recorder players . When I read through the first draft, I want to know and see more. 18 DEPARTMENTS This was the case with the article on Advertiser Index ...... 48 Tui St. George Tucker (page 22). Her death went almost unnoticed in the Chapters & Consorts ...... 34 recorder world. Pete Rose (page 16) called Classified ...... 48 up one day; he thought we should try to Compact Disc Reviews ...... 32 print something in AR about her life and accomplishments. He gathered several Music Reviews...... 44 tributes—but, reading those, I knew there 38 On the Cutting Edge...... 36 was so much more. There was no concrete information about her youth, as she left Opening Measures ...... 30 only distant relatives (and those apparent- President’s Message ...... 3 ON THE COVER: ly live outside the U.S.). Q&A ...... 29 After a Recorder Music Center (page Musical Odyssey by Tidings ...... 4 41) committee meeting, I stayed to see Ethan Gettman what I could find about Tui there. RMC
6 American Recorder PRESIDENT’S MESSAGE ______Changing Guard on the ARS Board
all is the season of change. In most She has been an active participant of CT), the task force will Fparts of the country, the leaves change CAMMAC (Canadian Amateur Musician’s put together a slate of color, the days grow shorter, and Christ- Association), serving on the its board for candidates for elec- mas displays start to appear in the malls. tion to the Board next The changes are numerous and all around year. us. The ARS Board is changing too. Fall is the season of If you are interest- After two years of service, Kathy ed in running, or Cochran has stepped down from the change.... The ARS know someone who Board. Most recently, Kathy was Assistant would be a good can- Treasurer and a member of the Chapters Board is changing too. didate, please let us know. Serving as an and Consorts Committee. She had previ- ARS Board member is a rewarding, but ously served as chair of that committee. four years, and has also served on the sometimes challenging, job. It is a way for We will miss Kathy, and appreciate the board of St. George’s School of Montréal. your voice to be heard and a wonderful skills and enthusiasm she brought to the As announced in the last issue of the opportunity to make a contribution to the board. ARS Newsletter, the Nominating Task community of recorder players. Starting with the September meeting, Force is gearing up for the 2006 Board Wishing you a musical fall, two new members will join the Board: elections. Under the leadership of chair Alan Karass, ARS President Jerome Kaplan and Susan van Gelder. Janice Williams (Birmingham, AL) and
September 2005 7 TIDINGS ______Reports of recorder happenings near and far, and of players of all ages The Sweet Flute on the Great Wall Scott Reiss of HESPERUS writes about very successful businessman in the global speeches by school and cultural officials musicians as cultural ambassadors economy. By March, he was ready. welcoming Choate, and the Choate con- I left for China on March 6, the day af- ductor reciprocating. Recorder soloists ter I had played the same Brandenburg The Chinese orchestra performed, Scott Reiss (at violin with Gwyn Roberts, and the Vivaldi flauti- then Choate set up and began its perform- soloist’s left) and no concerto, RV 444, with the Washington ance. It was about 45°F, and the wind was David Langstaff play Bach Sinfonia in D.C—missing Choate’s fierce. Tuning was impossible, but the Bach on the Great Wall warm-up concert in San Francisco, CA, for orchestra persevered and finally got to the which I had recommended my friend and Brandenburg. The violin soloist was a colleague Judy Linsenberg. I arrived in superb musician, a high school senior China a day after the orchestra, but had already performing at Juilliard. As her only missed a tour of Tiananmen Square. music blew around, she navigated her Each concert on the tour was a collab- solo—the really difficult of the three in the oration between Choate and a local Brandenburg—with grace and power. Chinese high school orchestra. The Chi- The concert on the Great Wall was the ow many times does a recorder nese orchestra would perform first: always most exotically remarkable one, but the H player get an opportunity to play the a program of Chinese-composed music whole tour was an experience that tran- fourth Brandenburg Concerto on the Great based on the Euro-classical model, and scended the music. One of the orchestras Wall of China? always ending with a piece of American in Shanghai was made up of Chinese tra- The story starts a year ago when I was music (often a Broadway show tune, once ditional instruments, but played the same contacted for lessons by David an arrangement of Winter Wonderland!) kind of modern Chinese composed music, Langstaff—the nephew of Jack Langstaff, Then Choate would perform: Bach and except for a superb traditional solo on the originator of the Revels. Although a busi- Vivaldi, one or two American pieces (one pipa (a sort of four-stringed Chinese lute). nessman by trade, David has had a life by the musicologist/satirist who “discov- The tour reminded me of years ago, filled with music, both early and folk. He ered” PDQ Bach, Professor Peter Schick- when HESPERUS had the opportunity to told me he had been asked to play the ele), and a lovely Chinese piece called perform in Southeast Asia and Latin Brandenburg No. 4 with the Choate Rose- Reflection of Moon by Wu Zuqiang. America through the United States Infor- mary Hall orchestra. Occasionally the orchestras would play mation Agency. USIA was a government Choate is a prestigious prep school in something together; there was always agency charged with providing opportuni- Connecticut, whose graduates include the some kind of interaction between the Chi- ties to share American culture with the likes of John F. Kennedy and Glenn nese and American students. world. Admittedly, it was also what one Close—and David. It has a “modern” The morning after I arrived, we board- could call a “propaganda” organization, orchestra with no great knowledge of his- ed a bus and went to the Great Wall. We but its prime mission was to show the torical performance practice, but talent to climbed up narrow steps for about a mile world America’s best side—the arts and burn. The orchestra’s conductor has been to one of the frequent buildings that sup- culture of this country that are not domi- at Choate for many years and remembered plied shelter for travelers on the Wall. nated by the super-media of TV, pop music that David played the recorder; the origi- (David, whose current company is in recordings and Hollywood movies. nal event was to be a concert in Houston, space technology, pulled out his Blackber- In our experience, it was a tremendous TX, with Houston Symphony members. ry to e-mail some work acquaintances— opportunity for cultural encounter. We Then, one day last fall, David asked me astronauts Sally Ride and Neil Arm- were treated to dinners and traditional if I would like to travel to China to play strong!—to ask if you really can see the performances in Indonesia—a perform- with the Choate orchestra. How could I Wall from space. Sally replied before we ance of Wayang Kulit, the shadow-puppet turn down an opportunity to perform and got down, and Neil later that night: yes.) play accompanied by a small gamelan in travel around China, all expenses paid? On the way down, we could see the Java; performances of Meningkabow mu- So in November, I began working with plaza, a widening of the path to an open- sic in West Sumatra; Batak music in North David as a potential colleague whom I also air promenade with a beautiful temple- Sumatra. What astonished us was that the had to train to play the second recorder like structure as a backdrop to the orches- Batak musicians had tunes that were ex- part of the Brandenburg to my first, for an tras’ setup. It was sunny, but cold and actly like Oh, Susannah, and She’ll be Com- international audience. He applied him- windy. The musicians had to use many ing Around the Mountain. When we asked self to the task with the same vigorous clothespins to keep their music in place. where they had learned these, they told us work and practice that had made him a First came the numerous obligatory they were Batak tunes! (We suspect the 8 American Recorder tunes traveled to Sumatra by way of Por- Bits & Pieces tuguese traders who were fond of cowboy songs.) We invited the Batak musicians to play their version of Oh, Susannah, then we performed ours, and finally we played Letitia Berlin, Frances Blaker and Shi- ARS at Amherst it together! ra Kammen have been awarded the 2006 Alison Melville con- We heard local music and shared mu- Recorder Residency at the Sitka Center for ducted an ARS play-in at sical and cultural experiences wherever Art and Ecology in Otis, OR. Sponsored by the Amherst Early Music we went. It was situations like these that the Oregon Coast Recorder Society, this Festival in Bennington, made me realize the importance of face- residency will be used to work on new VT, on July 17. Fifteen recorder players to-face inter-cultural encounters. compositions for two recorders and braved afternoon heat and humidity, in- The Choate orchestra students were vielle/harp, and to develop a trio program cluding three Recorder Orchestra of New collecting experiences in China (and oth- using these pieces and earlier repertoire. York members who brought and played er countries they had visited) that would Early Music America (EMA) has large recorders. The group was rewarded not only affect their own lives, but would postponed its second Medieval/Renais- with an informative session, starting with affect the future of our country’s relations sance Performance Competition to warm-up ideas for better consort and with the rest of the world. 2006 to encourage more applicants. The ensemble playing. Melville then led them The USIA was discontinued in the winner of the competition receives $5,000 in four- and five-part English tunes and mid-1990s; Congress decided that there in cash and a concert sponsored by EMA dances, working on phrasing, creative was already enough of American culture as a concurrent event at the Boston Early arrangements to make the most of short all over the globe. It’s a pity that we no Music Festival in 2007. The competition is pieces, and performance suggestions. longer send out the many artists, musi- designed to encourage the development of An ARS reception was held on July 18, cians and dancers, writers and painters, emerging artists in the performance of honoring seven ARS scholarship recipi- amateurs and professionals, who con- Medieval and Renaissance music. ents (see this ARS Newsletter) and Eliza- tribute to the fabric of America’s other Among the criteria, contest applicants beth Silliman, who was sponsored by side—the side that isn’t about commerce, must be ensembles (two performers or Hudson Mohawk Chapter. The event trade deals, treaties, and military might. more) using voice(s) and/or period instru- (cold drinks on a hot day!) attracted many. I can’t help but wonder whether 9/11 ment(s). For details, contact EMA at 888- ARS Board members Rebecca Arken- would have happened if we had more SACKBUT, or visit
September 2005 9 YOUNG RECORDERISTS IN THE NEWS Katie Rogers earned There was standing room only at the perform on the Pub- recognition at Alabama Neighborhood Music School recital hall in lic Radio Interna- State Solo and Ensemble— New Haven, CT, on April 29. Over a hun- tional program, playing recorders. dred people gathered to hear Jaron “From the Top,” a Raspe’s senior recorder recital, a program program featuring Rogersville Recorder of music for soprano and alto recorder that young classical mu- Kids Update showcased his talent and ability to inter- sicians. John and his The Rogersville Optimist pret different periods and styles—from friend and pianist, Club, in conjunction with fast, technical pieces to slower, more Jason Wirth, won the Birmingham (AL) ARS expressive ones. the Chamber Music Chapter, sponsors a pro- Jaron selected two challenging Tele- Minnesota contest gram to teach local fourth and fifth mann sonatas (F minor and C major), a set for the most humor- graders to play the recorder. The program of Medieval dances, a set of Renaissance ous version of Humoresque by Antonin completed its fourth year, and one of the divisions, three contemporary solos by Jo- Dvorák. He played with the Minnetonka first students in the program, Katie hannes Collette, and Arioso and Jazzy Ron- Symphony Orchestra as the winner of the Rogers (left), is now the teacher’s aide. do by former ARS Board member Carolyn 2004 Young Artist Competition, and also Sue Roessel has led the program since its Peskin. He performed masterfully, some- at honors recitals at MacPhail Center for inception. times accompanied on viola da gamba by the Arts and the Schubert Club. John par- Early last spring, Katie asked about Grace Feldman, who has been his ticipated in the 2004 Amherst Early Music possible recorder solos for the Alabama recorder teacher for over 10 years and who Baroque Academy and Virtuoso Recorder State Solo and Ensemble Festival. She took the photo below. The audience gave Program. wasn’t sure that recorders would be a stand- In addition to his music—he also plays allowed, since the Festival is for band ing ova- violin and piano, and composes—John instruments. Sue checked with the Festi- tion, and (above right) is very active in social justice val chairman, asking whether there was a he of- issues. He will attend the Oberlin Conser- recorder judge or whether recorders fered an vatory of Music next year, studying might be placed with flutes. Not asking if encore. recorder and political science. recorder was accepted, but where it would Jaron Suzuki recorder students, ages 4 to be placed in the judging, proved effective: and his 17, of Mary Halverson Waldo (at right Katie was to go to the flute judges. mother, below) performed at a number of public Sue gave Katie two choices for an ap- Julia Blue events in the Minneapolis area during propriate solo: Recercarda Segunda by Raspe, spring 2005 (several during March for Diego Ortiz on soprano; or on alto, the who Play-the-Recorder Month). Included Giga in Sonata III from Il Pastore Fido by teaches were the Suzuki Association of Minneso- Vivaldi. Sue thought that Katie would at the ta’s annual graduation performances at pick one of them, but both pieces sound- Neighborhood Music School, are both Orchestra Hall; Bachman’s “Music in the ed good after a couple of weeks; they ARS members. In addition to playing the Garden” Flower Show; a matinee lobby decided to enter both. Katie also played recorder, Jaron is also a member of the recorder concert at MacPhail Center; clarinet in both a solo and an ensemble. New Haven Morris and Sword team. In the a studio solo recorder recital; and With all this on her plate, Katie did a fall, Jaron will continue his recorder stud- combined group performances with fantastic job. She earned a “I” on the ies at Moravian College in Bethlehem, PA. MacPhail Suzuki recorder, flute, harp Ortiz and a “II” on the Vivaldi. The John West, a senior at Blake School of and guitar students at Twin Cities judge’s comments were very helpful and Minneapolis, MN, gave his senior recital churches. Advanced teen students were encouraging. He liked the sound quality in May, including the world premiere of a featured at the Milkweed Editions Book on both of her instruments. Some of the piece that Matthias Maute wrote for him, Lovers’ Ball, and at a fund-raising con- rhythms were challenging for her, and the A Day in the Life of J.W. Maute’s Sonata II cert for the MacPhail Suzuki Association. judge pointed out that these caused and Pete Rose’s Bass Burner were tempo problems. But the conclusion was: also on the well-rounded pro- “Very talented young lady.” gram, plus the Fantasia and Echo We can’t argue with that! of Jacob van Eyck and works by Susan Roessel Bartolomeo de Selma y Salaverde, Telemann, Vivaldi, Bach, Egil fine editions of early & contemporary music Hovland and Edmund Rubbra. PRB PRODUCTIONS John has been playing the Peralta Avenue, Albany, CA recorder for 11 years and has -- -- Phone: Fax: been a student of Cléa Galhano E-mail: [email protected] Web: www.prbmusic.com for the last seven years. At age 12, He was the first recorder player to
10 American Recorder Friedrich von Huene, the well-known recorder maker, was awarded the 2003 Curt-Sachs-Award of the American Musical Instruments Society (AMIS)
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FOR CHILDREN, BEGINNERS, STUDENTS FOR ADVANCED, AND ADVANCED MOECK MUSIKINSTRUMENTE + VERLAG AND PROFESSIONAL RECORDERS PLAYERS PLAYERS Postfach 3131 • D-29231 Celle Lückenweg 4 • D-29227 Celle Tel.: +49-5141-8853-0 • Fax: +49-5141-8853-42 E-Mail: [email protected] www.moeck-music.de gave a concert. No, in fact it was more of a Musicologically, the show was all The Soul Dies First Performance Show. The four “activists,” obvious humbug. Red Priest has about as From Israel, harpsichordist and journalist dressed as pirates, thought of ways to keep much to do with stylistically informed per- Michael Borgstede breaks the unwritten rule Misters Bach, Vivaldi and Telemann from formances of Early Music as Star Wars of never criticizing colleagues after hearing a getting boring. Recorder player Piers does with astro-physics. concert of the English ensemble, Red Priest Adams and colleagues are always on the Let’s think this through: just imagine We thought we’d seen it all. Several move. Now he toots with fluttering tongue four men dressed as garden gnomes play- years ago the punk violinist Nigel Kennedy into two recorders at once, wiggling as las- ing Beethoven’s Pathetique on kazoos, af- caused an uproar in the established classi- civiously as Prince. The harpsichordist, in ter renaming it Here Comes the Sun. Could cal music scene by appearing on the stages true Jerry Lee Lewis fashion, thrashes into this happen in serious classical music? Yet of illustrious concert halls with hair dyed his instrument and the ’cellist hangs her with Early Music it is possible. bright red and without a tie. On MTV, one ’cello ’round her neck like a great big gui- Suddenly a terrible thought arises: could see a certain Vanessa Mae massacre tar. There are, of course, other ways to play could this be our own fault? For years now, the D minor organ toccata by Bach, pizzicato, but that’s not the point. the Early Music credo has been that the while—to the delight of teenage boys the It’s all about the show—and, as shows freedoms of the interpreter should be un- world over—wading half naked in a go, it wasn’t bad. It’s especially attractive limited. brook. And just a few months ago the to kindergartners. However, in listeners Well, it’s time to beat a retreat! Baroque British BBC presented an auto mechanic from other age groups a question arises music is lively, and whatever is alive can be who, with impressive virtuosity, ham- that, in the eyes of the Artistic Innovation killed. And, as Red Priest so impressively mered out the same Bach toccata on met- Front, immediately stamps them with the demonstrated, the soul dies first. al parts taken from a Harley Davidson. He label “purists”—namely: is this really Some may have admired the empty probably got more applause and money allowed? virtuosity, but nobody in the audience was for that than I received for all my concerts Of course it’s a silly question. Of moved to tears. Funny, that this diagnosis together in the last half-year—yet, to tell course it’s allowed. Thank heaven there’s should come from a member of an the truth, that doesn’t really bother me. no such thing as the Style Police! Everyone ensemble (Musica ad Rhenum), whose is entitled to fiddle away, in private and in fast tempi, love of excessive ornamenta- Suddenly a terrible public, however he likes. And if people are tion and generous application of rubati thought arises: prepared to pay to hear it, then one is suc- has made it a sort of enfant terrible in the cessful. That’s how it works. world of Early Music. could this be our own Even so, one hesitates here. There was We know that nothing is more open to fault? For years now, something on the program called Pièce debate than taste. But still: the love and re- the Early Music credo has Fantastique for ’cello and harpsichord by spect of music unites us with even our François Couperin. Now it just so hap- harshest critics. Red Priest, so far out of been that the freedoms pens that this author has recorded 17 CDs this consensus, couldn’t care less about of the interpreter of Couperin’s music in the last year, and the good of the music. They violently rape should be unlimited. knows for a fact that there is no such Telemann and Vivaldi and sell them off for piece—just like there is no Gypsy Sonata in their own benefit. That in itself is pretty a-minor by a certain Mr. Telemann. sad. The impulse to write this article stems On the other hand, maybe Red Priest is But Red Priest has another problem. not from envy or jealousy, but from some- right: a new composition deserves a new Rarely, very rarely, a musician just stood thing different—something that should name. Hardly ever do Adams and his gang still and played, for example, a fantasia by be dear to audience and performers alike, play a piece from beginning to end. In be- Telemann. These were moments of relax- something encapsulated in grand words tween, they’ll add a little Elgarian improv- ation, but also of disappointment—for it like love of music, worthiness, respect, in- isation culminating in random glissandi, became apparent that, when left alone tegrity. And even more, it stems from the and on it goes to the next unrecognizably with the music, the performers had noth- conviction that so-called Early Music can deformed fragment, not without inserting ing to say; indeed, that they are not even move and entertain its audience. their very piraty war cry: “Uhh.” particularly good musicians. Their ability So, the British ensemble Red Priest to play fast was far outbalanced by their Join us as we celebrate the November 18-20, inability to play in tune. But, if it was all so bad, how can one 30th Fall Texas Toot! 2005 explain the reservedly enthusiastic final It's a weekend workshop for recorders, viols, reeds, voice, lute, harp, and others! applause? Relaxing in the beautiful Piney Woods of East Texas, enjoy both technique and Perhaps a short anecdote will provide ensemble classes, socializing, and after-hours activities like English country dancing the conclusion: at the beginning of the last and the world-famous Krummhorn Konklave. Featured faculty: century, the implacable German director Douglas Kirk, reeds/brass Gwyn Roberts, recorders Max Reinhardt sent an actor packing after Valerie Horst, recorders/notation an audition. “But you enjoyed it, didn’t Daniel Johnson, director; Susan Richter, assistant director. Boulder Early Music you?” the disappointed actor asked, in- Shop will also be on site. Complete class offerings, housing information and the credulously. “Oh, I enjoyed it” Reinhardt registration form will be on our Website in late September: replied, tears of laughter in his eyes, “but, www.toot.org or email: [email protected] below my level.”
12 American Recorder FR: Do you usually do master classes A QUICK CHAT for recorder consorts? WITH BRISK Brisk: We always try to combine An e-mail interview by Francisco Rosado master classes with concerts. For us, at the time of a concert and master class by this is a nice and interesting way to Brisk Recorder Quartet Amsterdam as part get into contact with the new gener- of the VI Encontro de Música Antiga de ation. We give workshops for Loulé/Algarve - Portugal in fall 2004 recorder ensembles, mixed groups and individual players. Bert liked FR: When did the group get started? What’s working with your students very the current line-up? The original members much. Some of them played at a [stayed] together until when? high level, and they were very open Brisk: The group gave its first concert in [to] new information. 1986. The players [on] the first tour played together until 1992. In [1992], FR: Have you participated in joint Brisk members (l to r) Marjan Banis, Marjan Banis entered the group, and in projects with Amsterdam Loeki Alide Verheij, Saskia Coolen and Bert Honig 2004, Saskia Coolen joined the quartet. Stardust Quartet or Flanders Recorder vocal ensembles like Egidius Kwartet and The current line-up is Marjan Banis, Alide Quartet? Gesualdo Consort, but also with instru- Verheij, Saskia Coolen and Bert Honig. Brisk: We work together with many mentalists like Mike Fentross, Fred Jacobs, colleagues like singers, lutenists, organ Jacob Heringman (lute players) and Siebe FR: Who were the makers of the recorders players, and we also did several concerts used at the Loulé concert [October 1, 2004]? Henstra (harpsichord), Leo van Doeselaar together with the ALSQ. Last May we did and Bernhard Winsemius (organ). Brisk: The most important recorder mak- a nice project with both ALSQ and the ers of the instruments we used in Loulé Malle Symen Quartet. We played a pro- FR: Do you have any CDs in the making? were Peter van der Poel, David Coomber, gram [of] early and contemporary music. Brisk: We plan a CD with music of Schein Friedrich von Huene and Adrian Brown. Several pieces were specially written for and Scheidt, with organ and viola da gam- Adrian made a large consort for us in this concert with 12 recorders. ba. We will play music from Banchetto Mu- 1993, which consists of a sub bass (in F), sicale and Ludi Musici. a bass in C, two bassets in f, one basset in FR: Do the members of the group also have g, four tenors, two altos in f, one alto in g, solo projects? FR: Have your concerts been in rooms with and two sopranos (descants). We combine Brisk: We all play in various combinations the appropriate acoustics? In churches and in this set with a consort of Schnitzer with different groups such as Baroque or- mid-sized rooms? recorders by Peter van der Poel, which chestras and early music groups [like] the Brisk: The last half of [2004], we did a lot have Ganassi fingerings. This enables us to Amsterdam Bach Soloists and Camerata of performances in theatres with our pro- play a wider range of tones. Trajectina. Marjan, Saskia and Bert were all duction for children. Acoustic circum- three driving forces in the organisation of stances there are not always OK., but it is FR: What type of recorders do you use to play the SONBU, the Open Recorder Festival a lovely way to reach young children, the your contemporary repertoire? Utrecht. [Along with] a competition for audience of the future. The presence of Brisk: Contemporary music we play on all amateur players, there are always various two very good Dutch actors enabled us to sorts of instruments. It depends of the interesting concerts. play a Bach recital for a hall full of laugh- sound that the new composition needs. Last year Brisk organized a series of ing children (and their parents…). It is a Sometimes a composer has a special wish, concerts called “Quartets.” We invited combination of a recital with a slapstick sometimes we prefer a certain type of in- two other quartets (mentioned above) to act. Other concerts are in all sorts of strument. [Sometimes] we ask composers give a concert, and one concert we did to- rooms, but mostly in churches or concert to write for certain Baroque or Renais- gether. This was a very special happening. halls, which we like very much. sance instruments. The specific sound Saskia did a project with museum and possibilities of these instruments in- recorders—which could be heard live in a FR: Do you often play concerts in schools or spire new composers. concert, just before they were hidden into concerts for students? the museum again. She also made a nice Brisk: We are very interested in projects FR: And who are the makers of the recorders CD with these instruments, but it was very for children. For next year, we [are plan- for your Renaissance and early Baroque special to watch and listen to these histor- ning] a film project for children of [age] 12 repertoire? ical instruments. years and older. Without underestimating Brisk: Besides above, Renaissance: Adrian our audience, we want to confront them Brown and Peter van der Poel; Baroque: FR: I presume you are all recorder teachers. with contemporary music by composers Friedrich von Huene. Brisk: We teach at music schools, conser- of different cultural backgrounds. vatories and also privately. FR: In what countries have you played? FR: How was the show in Loulé? Brisk: [Besides] numerous concerts in the FR: Have you participated in concerts and Brisk: We liked the church and the Netherlands, we played in the U.S. and CDs with other musicians and singers? acoustics very much. There was a friendly Canada, and in many European countries, Brisk: We do a lot of projects with other and [attentive] audience. like Belgium, Germany, Switzerland, Italy, musicians. We did many concerts with In short: it was great to be there! France, Great Britain, Iceland, singers like Michael Chance, Maarten For more information about Brisk, see the Slovakia, Hungary and Bulgaria. Koningsberger and Johannette Zomer, or ensemble’s web site,
September 2005 13 Seen in the Exhibition (clockwise from top left): Sabine Haase-Moeck (l) and ARS Administrative Director Kathy Sherrick; at the ARS booth, ARS Board member Marilyn Perlmutter (l), glad to meet Johanna Kulbach; Nik von Huene with son Markus; Judy Linsenberg rearranging Jean- Luc Boudreau’s hair, while startled and amused John Tyson (l) and Frances Blaker look on; Lee Collins (l) and Aldo Abreu at the Magnamusic booth; Simon Polak (l) playing Baroque flute duets with ARS Board member Rebecca Arkenberg at his booth. Sights and Sounds of the Boston Early Music Festival pretation of the lazy servant’s interjections that Boris is not at home. Several audience members were heard wondering how that scene will play for Russian audiences international when the opera is produced in September production of 2006 in St. Petersburg and Moscow. the festival cen- A poignant melody with three alto terpiece opera, recorders accompanies the pleas of the Boris Goude- suppliants. In fact, altos and sopranos are now, which was played at several gentler spots in the never actually opera, ones not calling for the cutting performed at the sound of oboes. While recorder was only time that Johann occasionally a featured instrument in the Mattheson com- typical colors of the large Baroque opera posed it in orchestra, the recorder playing was well 1710. done by Kathryn Montoya, Washington The opera McClain and Geoffrey Burgess, all of recounts the whom also doubled on oboe. Montoya transfer of the especially added color at the beginning of Russian throne the last glorious chaconne, in which he theme of the 13th biennial Boston in 1598 from Tsar Fyodor I (more beloved Cupids and Pleasures dance with the cast. TEarly Music Festival (BEMF), held as a ruler than his father, Ivan the Terrible, Visually the conductor-less orchestra June 13-19 in Boston, MA, was “East and the childless end to the Ruriks blood was part of the action, being seated at a Meets West: Germany, Russia and the line) to the brother of Fyodor’s wife Iri- very long group music table equipped Baltic States”—an appropriately opti- na—Boris Goudenow, then mayor of with lamps, rather than being tucked away mistic theme for the present, in the Moscow. It was a complicated political sit- in a pit. Concertmaster Robert Mealy atmosphere of the global economy. How- uation in real life, and would not neces- used exaggerated body movements to syn- ever, as executive director Kathleen Fay’s sarily make an entertaining opera without chronize starts and stops of the orchestra. welcome letter mentioned in the BEMF introducing fictional elements—romantic The sets, while not opulent, did feature program book, some things were easier in intrigues, the lazy servant character who beautiful brocades and two-foot-tall hats days of yore—certainly before it was frequents German or Italian operas, even that added verticality—on occasion exag- necessary to have immigration and Home slapstick scenes. gerating the size of the petite dancers. Security clearances on musicians traveling Introducing humor into serious histo- The opera program notes mention the to share their talents. ry can be tricky. The scene in which pover- conjecture required to create modern sets Added to that paperwork for this festi- ty-stricken old men and orphans beg Boris of an unproduced opera from 1710, itself val was a German copyright lawsuit in to take up the scepter and guide Russia is based on an event that took place over a which BEMF defended its right to its made almost too lighthearted by the inter- hundred years earlier. This echoes the
14 American Recorder fundamental question offered as a starting ments are constructed in a more consis- point of the Instrument Makers Sympo- tent manner to provide the same sonority A program with songs sium that took place over two mornings of in each register, while early instruments the festival: “Interpreting the Sounds of and reproductions of early instruments praising pickled herring Original Instruments and Considerations are much more idiosyncratic. in their Use and Presentation.” Moderated Larger acoustical spaces have replaced ... or recounting acts of by Richard Hester of Richard Hester the intimate chambers where musicians Fortepianos, the panel included perform- traditionally performed. All of these fac- cannibalism is not the ers, instrument makers, collectors and tors can be problematic, especially for conservators too numerous to list. While writers who review early music concerts. norm for BEMF. recorders were not specifically represent- The symposium participants generally ed, much of the discussion related to any felt that performances should go beyond comfortable letting the music shine historical performances. the playing of early instruments as histori- through their sense of ensemble, joking Historical instruments often are treat- cal curiosities, and instead focus on the and enjoying the concert. Coolen’s inter- ed as holy relics in performances and quality of performance. The performer ludes on sopranino sparkled, and her recordings, but our perception of their who plays a historical instrument that is in soprano and alto playing provided “original” sound is affected by a number of good shape, or who chooses a well-crafted contrast or support for the prevailing factors. The instruments may have sur- reproduction, learns about that instru- winds during the ensemble’s program. vived because they did not live up to the ment and is better able to interpret it to the June 15 brought an afternoon per- standards of the day, and thus were not audience. Rather than “dipping back into formance that just barely incorporated played much. Instruments were con- the time period” of the instrument, recorder into “Music of Machaut and His structed to sound good immediately, not performers can bring it into the present. Successors.” The program consisted of 100-200 years later, so present sound may During each symposium session, Peter nine pieces, only one of which, Rose, liz, not be an indication of original sound. The H. Bloom and Olav Chris Henriksen printemps, verdure, included recorder instrument’s materials may have changed provided entertaining and enlightening played by Alexander Korolov. Formed in over time (wood dries out and warps, met- musical examples of the discussion, play- 2004, Indiana group Subtilitas explores al rusts), and it may have gone through ing a variety of historical flutes and an Eng- “how Machaut integrated the Ars antiqua repairs, adaptations and conservation, lish guitar respectively—thus bringing to- idioms into his Ars Nova pieces, and how with varying levels of intrusion. gether the instruments’ own voices with his successors followed suit in experi- If the instrument is even playable, their own renditions of music. menting with—and furthering—the there are more issues. Each instrument The week brought many unique rendi- rhythmical complexity to compose some represents a culture and a particular style tions of music, starting with a June 13 of the most intricate, mysterious, yet of playing: a French flute sounds different performance by Camerata Trajectina. wonderfully expressive polyphony of from an English flute of the same time pe- Rumors in the audience, numbering about Ars subtilior.” While the performance was riod, and each has its own repertoire. Put 250, were that the air conditioning in New well-done, pleasant to hear and musical, the musician into the picture, and the England Conservatory’s Jordan Hall was and the performers were much involved in instrument will reflect individual playing on, but the day’s heat was hardly affected. their playing, a more varied program could styles and preferences. Still, an energetic performance ensued, have better appealed to an untrained ear. The performance venue is also impor- starting with Saskia Coolen playing a Another Wednesday fringe concert ex- tant—architecture, the number of people lone soprano recorder as the other ensem- plored “The German-Swedish Connec- in the audience, and levels of temperature ble members entered—baritone Hans Wi- tion” through chamber music by J.S. Bach, and humidity affect the sound. jers carrying a tray of glasses of water to G. F. Handel, and a lesser-known Swedish The discussion moved on to modern quell the heat. composer Johan Joachim Agrell. Agrell’s society’s noise, and how it relates to early Their program of “Sea Shanties from Sonata for Two Violins or Flutes, Op. 2, No. music. Today we are bombarded by ambi- the time of Czar Peter the Great” was at 4, in G Major, played on flute by Chris- ent sound at high levels (and 70% of all times bawdy, with all ensemble members tiane Laflamme with violinist Diana classical music is listened to in automo- singing when appropriate. The sea-going Lee-Planès, especially highlighted the biles!). We have been trained to hear mu- songs on the program were occasionally sound of the traverso. Ms. Laflamme sic amplified, even when unnecessary. dramatized by the three singers, some- graciously shared the information that Applause at a concert, especially if it is times involved audience singing, or were this sonata is available online from loud and prolonged, assaults and re-tunes accompanied by whistling or a seated
September 2005 15 does; sighing phrases are executed ten, using “Shave and a Haircut” as a sub- the same way among performers; ject; to Roy Sansom’s programmatic intonation is flawless. arrangement of the Simon and Garfunkel As a full ensemble, the most in- tune Slow Down. The final selection, Eric teresting work they played was a Haas’s version for six recorders of his suite of Musica Pacifica favorites, prize-winning viol quartet composition, arranged in the spirit of French salon Five Variants on “Wondrous Love,” was a se- musicians, from Jean-Philippe rious homage to Ralph Vaughan Williams. Rameau’s opera Dardanus (1739). Using Vaughan Williams textures, Haas Judith Linsenberg’s soprano pro- has created a piece of such beauty that it vided filigree on the harmonies of the brought tears to listeners’ eyes. Ouverture movement. In the Cha- Later on June 16, the Texas Camerata conne, with Linsenberg on tenor, performed “Love Songs,” with works by unison passages of the three solo in- Barbara Strozzi, José de Nebra, Mozart and 120. Jennifer Carpenter, now pursuing a struments were startlingly synchronized. Handel. Guest artist Ava Pine’s soprano master’s degree in musicology and study- vocal solos were balanced by a well- ing recorder with Sara Funkhouser, When a movement is chosen mix of instrumental selections, shone as she had in last year’s UNT fringe including works by Philidor and concert during the Early Music America supposed to end abruptly, Playford—and Quantz’s Sonata in C (EMA) conference in Berkeley, CA. with Musica Pacifica, it Major, in which a fresh and lively, flute and At first listen, her duo partner Jason recorder dialogue (Lee Lattimore and Roddey seemed less accomplished— does; sighing phrases are Sara Funkhouser respectively) brought until one learned that he had been playing out to perfection melodic and technical recorder only a half-year! He is pursuing a executed the same way passages of this often-performed sonata. Ph.D. in saxophone performance, plays in among performers; Simultaneously, at the lovely St. Paul’s Carpenter’s recorder ensemble (which has Episcopal Church in Brookline, Pipistrel- grown from two students to 15!), and also intonation is flawless. li Chamber Players offered a fringe event began private studies with Funkhouser in where recorderist Kara Ciezki was joined January. With such natural talent, one Linsenberg’s alto pyrotechnics were on by Boston-based friends, violinist Hol- hopes he will continue on recorder. display throughout the Sonata Sesta in A land Phillips and ’cellist Michael Wise- Indeed, the natural talent and meticu- minor of Francesco Maria Veracini, with man. While an NEC graduate student, lous preparation of the entire ensemble ornate cadences and a rousing finale. Kara was a regular on the Boston early mu- was evident. The soprano recorders espe- In another overlapping concert, Musi- sic scene. Now that she has graduated and cially shone in Johann Heinrich cal Playground offered music that was returned to Australia, there are few oppor- Schmeltzer’s Sonata ad tabulam à 4 from “Lost and Found”—pieces composed by tunities to hear her perform in the U.S. Sacro-profanus concentus musicus of 1662. artists who lived in the period 1660-1772. The venue is a striking convergence of The triple-meter middle section was an The interaction of Martina Bley, recorder, old and new, with an open structure that is opportunity for spirited divisions by and Jörg Jacobi, harpsichord, was visually appealing. However, the church Carpenter, while the ending duple section collegial and comfortable. Godfrey location—well off the Festival’s beaten ended in a sonorous chord with her at the Finger’s A Ground (from Air Anglois, Livre path—meant that few attended, thus top, ornamenting the cadence. Troiseme) was musically presented and missing some fine recorder playing. People lined up 30 minutes before enjoyable, as was Johann Mattheson’s The highlight of the program was the concert time the next morning outside Sonata in C-Major, and the final Ciacona opening work, an arrangement of the Trio Church of the Convenant, awaiting the Allegro by Benedetto Marcello was fast for Sonata in F major, BWV 529. Pipistrelli ef- start of “Invitation to a Salon,” a concert of the artists and fun for the listeners. fectively brought J.S. Bach’s counterpoint Parisian pleasures, c.1730, by California- In “School’s Out,” a program of music alive with a clean, crisp and bright sound. based Musica Pacifica. Actually, oboist by Boston area recorderists—Majbritt The contrasting instrumental timbres and Gonzalo Ruiz announced that, only Christensen, Sarah Cantor, Tom Zajac, expressive articulation enabled the listen- weeks before, he had moved his family to Eric Haas, James Young and Roy San- er to clearly hear the contrapuntal lines, as Boston, so it was in fact his first concert as som—there were moments in which the well as the interaction between lines. Not a Bostonian. North American Recorder Quartet and all sophisticated organ works are success- Hearing the sense of ensemble guest artists seemed much like a bunch of ful when arranged for a mixed ensemble, exhibited by Musica Pacifica (above, kids having a very good time after school. but both this arrangement and its per- photo by Eiji Miki), in contrast with some Their music, all either composed or formance would have made Bach smile. of the other excellent individual perform- arranged by one of them, was witty, often Kara’s playing was strong throughout ers in group settings at BEMF fringe playful, and full of jokes. At the same time, the program. She has a focused, warm events, drove home the difference be- it was well crafted and always well played. sound, and an innate sense of how to tween the sound of an ongoing group that The group re-arranged itself as a duo, bring out a melody’s lyrical beauty. Unfor- rehearses together regularly and one that trio, quartet, quintet and sextet for various tunately, lack of ensemble balance period- assembles only to perform at a specific pieces. Selections ranged from Haircut ically made it difficult to hear the recorder. event. When a movement is supposed to Fugue, in which Young created a Bachian In “Theatre of Music: instrumental and end abruptly, with Musica Pacifica, it fugue that was both clever and well-writ- vocal 17th-century music from Italy and
16 American Recorder gy from some unknown source—else how Letitia Berlin next offered solo could he have played his Boudreau Ganas- recorder pieces, including an effective ren- si soprano so lightning-fast on the Sher- dition of the subtle shifts in minimalist brooke Reel of 19th-century Quebec? phrases of Belgian composer Frans Gey- Audy’s jazz background emerged in his sen’s 1994 landmark work, Geproesterol tasty counterpoint and unexpected chord (which was commissioned by her Belgian choices for the familiar Sherbrooke. The friend, Geert van Gele). Singing simulta- rest of their program, traditional music of neously into bass and alto recorders can’t Ireland or New England, employed be easy, but she made it sound that way on recorder pitch bends and finger slides Pete Rose’s Bass Burner. punctuated with guitar licks—and an old- The last of the morning mini-concerts time, Texas-style, rollicking Dill Pickle Rag. was a solo program by Cäcilia Lauen- In a different vein, Emily O’Brien stein-Larivière. She flew through bird played her modified alto recorder, with a music from Jakob van Eyck, landing for bell key that she designed and built espe- the quasi-Baroque Sonata in B Major by Geert Van Gele is congratulated by cially to play high f on the fly. Her use of Matthias Maute, before launching another ARS Board member Amanda Pond. that key was especially effective in the fast bird piece—Huizitli (Hummingbird), England,” recorderist Geert Van Gele, notes flowing through the Allegro move- published in 1992 by Gabriela Ortiz. Her soprano Ellen Delahanty and harpsi- ments of the Duo Concertante, Op. 16, of soprano pitch bends, chirps, hyper- chordist Webb Wiggins offered fine 19th-century composer Ernst Krähmer, a staccato tonguing and flutter-tonguing renditions of works of Monteverdi, piece originally for czakan and piano—the built to a climactic cutoff—where her foot Caccini, Locke, Blow and others to an au- latter part played by Alastair Thompson stomp signaled the Relay’s finish. dience of about 50 at St. Paul’s Cathedral. on a 17th-century Flemish harpsichord If that was not enough to keep recorder In parts of the program, Van Gele colored loaned by Richard Kingston. players busy, across town at NEC, John the sound of his recorder by changing the Next on the Relay was the quartet Tyson and guest artists presented Free at shape of his mouth, to complement or Flûte Alors!—young players well- Last: The Performer’s Contribution in match the soprano voice. During The coached in articulation, phrasing and in- Renaissance Music. The morning-long Plaint from Henry Purcell’s Fairy Queen, tonation by Sophie Larivière. The Mon- session, followed by a concert, lived up to Van Gele’s alto recorder timbres echoed tréal group moved comfortably through what it Delahanty’s vocal sighs in poignant repertoire ranging from a 15th-century advertised: fashion, with the last note sounding like a Ciconia piece for two altos and two tenors an illumina- voice singing through the recorder. to the sparking Wassermusik of Telemann, tion of They saved the comic element until to the jazzy Short Wave of Paul Leen- performance near the end, when the first of two con- houts—the last employing snaps, finger practice cluding Purcell pieces called for Hippoly- slaps, bell-on-knee and pitch-bending ef- in the tus to be awakened by Delahanty’s pleas. fects, with each allowed to take a solo Renaissance. Audience member Charlie Wibiralske of “ride.” the Boston Recorder Society was drafted Relay performers (top photo) Flûte Alors! (l to r) for the role of the slumberer. Ariane Lareau, Natalie Gagnon, Friday, June 17, dawned clear and Marie-Laurence Primeau, Jean- warmer, after a mid-week cool spell that Michel Leduc; (middle row) Pascal- caused people to search for umbrellas Frédéric St-Yves (l) and guitarist Paul (thoughts occurred at the ARS booth to Audy, Cäcilia Lauenstein-Larivière produce one with an ARS logo). The ARS with the bird that supported her over- 13th Annual Great Recorder Relay sized music; (bottom row) Olav Chris kicked off at 9 a.m. at St. Paul’s, with Henriksen (l) and Eric Haas, Alastair 20-30 in the audience throughout the Thompson (l) and Emily O’Brien morning-long, extremely varied event. flanking the Kingston Harpsichord Pentimento—recorderist Eric Haas, with lid painted by June Zinn with Olav Chris Henriksen on arch- Hobby), and Letitia Berlin. lute—started with “Orpheus Caledonius: Music of 18th Century Scotland” that in- cluded several Playford selections on alto. Solo 2 in G, from Six Solos for a German Flute of 1762 by Scottish general, flutist and composer John Reid, was a nicely- crafted little-known offering in a folk vein. “Montréal to Boston is only six hours, but it’s a very long six hours,” explained Pascal-Frédéric St-Yves of their all-night drive to BEMF. The recorderist, with guitarist Paul Audy, seemed to pull ener-
September 2005 17 Sarah Cantor with grandfather Jack Langstaff (l), who started the Revels, and Friedrich von Huene. “We are both her grandfathers,” said Friedrich. The youngest generation of the family is Maika, with parents Angus Lansing and Sarah. Tyson used a lecture-demonstration much improvising as well. format to discuss and illustrate two im- The performers took turns portant aspects of Renaissance music: taking “riffs” as jazz players polyphony and improvisation. He asked do, and a very good time was listeners to read Ganassi’s1535 recorder had by all. method and to take especial note of Tucked away in the idyllic Ganassi’s exhortation always to pay atten- setting of the Beacon Hill tion to the text used in a Renaissance Friends Meeting House, chanson—not only for phrasing but for Seven Times Salt presented expressiveness. He made much of the fact “Tune, Tyme and Temper.” that song is heightened speech. The per- Boston-area early music fans complement- former should therefore pay attention to have been familiar with the group, with ed the colorful rhetorical devices, such as repetition for Daniel Meyers on recorders and flute, arrangement. emphasis, and stretched syllables for in- since the ensemble began presenting con- While tensity. But he should also note the free- certs in the area in 2003. Dedicated to per- there were no dom given to each individual performer, forming English consort repertoire of the recorders ap- coming together with the other players in 16th and 17th centuries, Seven Times Salt parent when a polyphonic piece in social union. demonstrated during the concert their un- Fanfare Con- derstanding of the repertoire and its con- sort presented The well-prepared lecture text, which truly brought the music to life. “Germanic In historically informed fashion, the Presence in Ye captured the essence of musicians gathered around a rectangular Olde Eng- the polyphonic music table at the front of the meeting house and land,” the pro- of the Renaissance read music from the table rather than gram included works by Handel as well as stands. The program was a sparkling two lesser-known composers, Gottfried in just one hour. blend of consort music by Thomas Morley, Finger and Gottfried Keller (all three of John Dowland, Richard Nicholson and whom also wrote and published a great The well-prepared lecture captured the Thomas Simpson. The first of many high- deal of easy, attractive music for the ama- essence of the polyphonic music of the lights was an exceptional rendition of the teur recorder player). The entire ensem- Renaissance in just one hour. well-known Galliard Can She Excuse by ble—clarino, Baroque violins and viola, During the second hour, Tyson Dowland, done with tasteful ornamenta- and positiv organ—and special guest discussed improvisation as a necessity for tion and subtle yet effective articulation. Robert Crowe, male soprano, joined at understanding Renaissance music. He Throughout the concert, Seven Times the end, delighting the audience with noted that speech is a form of improvisa- Salt impressed the audience with its well- Handel’s aria from Samson, “Let the Bright tion too, and that, for all of us, improvisa- blended and impeccably balanced sound. Seraphim,” during which Crowe’s incred- tion on instruments or voice should be as The concluding piece was an arrangement ible voice and the clear, silvery sound of natural as speech. of The King’s Delight from John Playford’s the trumpet traded displays of virtuosity. At his 1 p.m. concert, Tyson brought in The English Dancing Master, beginning Also on June 17, the New York Con- a variety of instrumentalists to perform with a solo recorder, followed by a lute and tinuo Collective brought a nearly forgot- Renaissance songs and dances. He played viol duet, and finally the full ensemble. ten Italian opera back to life, presenting the whole concert without music; his Meyers’s transition from recorder to Psiche by Alessandro Leardini (libretto by friends had music stands, but they did pipe and tabor during the piece nicely Diamante Gabrielli). Psiche was performed in Mantua in 1649 to celebrate the mar- riage of Duke Carlo II Gonzaga and Isabel- la Clara of Austria—and, as far as can be determined, was never performed again. NYCC’s resident musicologist Marty Morell prepared this edition with the assistance of Tony Elitcher, Grant Her- reid, Holly Mentzer and Pat O’Brien. Early Music America Magazine is the quarterly The semi-staged version, directed by Her- publication for the Early Music Community in reid with Paul Shipper, O’Brien and North America: Professionals, Students, and Morell, featured NYCC members on many Audience members. instruments and voice. Leardini’s music is accomplished, varied and tuneful. Articles on performance practice, trends in the In another afternoon event in the gor- field, recording reviews, and a new book reviews geous ballroom at the Boston Center for department. Adult Education, Saltarello offered “The Birth of the Cosmopolitan: Eastern European, French & Italian styles found Call 888-722-5288 or email [email protected] in German Music.” Playing recorders for a FREE sample issue.
18 American Recorder made by Friedrich von Huene, who was On June 15, Ingeborg and in the audience, Sarah Cantor shone Friedrich von Huene were hon- when playing soprano on Johann Pachel- ored at a BEMF reception. In bel’s Partie IV in E minor from Musicalische recognition of their service to Ergötzung, trading melodies effortless with their community and the “world guest violinist Cécile Garcia-Moeller. All in the realm of music from an ear- ensemble members got a workout in the lier time,” an endowed fellowship spirited Aria movement of that piece. The in their name was established to final Ciacona employed an interestingly encourage and enable talented varied bass line as Angus Lansing played young instrument makers to double stops on viola da gamba. participate in BEMF exhibitions. In a break from concerts, the EMA an- The BEMF program book nual meeting was accompanied by awards included a personal appreciation presented to several from the recorder from early keyboardist James S. world: to Friedrich and Ingeborg von Nicolson, partially printed here: Huene of Von Huene Workshop, the It has been my enduring good fortune and privilege to have been befriended by the Howard Mayer Brown Award for lifetime von Huene family for the last 45 years. As with so many others, my initial contact came achievement in the field of early music (see from a quest for a fine alto recorder, at a time when I was discovering a deep attraction also the boxed text at right of the award they to old music through encounters with players and instrument makers in the Boston received from BEMF); to Case Western area. In 1960, I found Friedrich von Huene, a tall, elegant man, working and sharing Reserve University professor Ross workshop space with the harpsichord maker Frank Hubbard in the carriage house of Duffin, the Thomas Binkley Award for the Lyman estate in Waltham, MA, just a few miles outside of Boston and Brookline…. outstanding achievement in performance During the period of the 1960s and early ’70s, the von Huene music instrument en- and scholarship by a university collegium terprise and the family seemed to develop and grow hand-in-hand. The New York vir- director; to Nina Stern of New York City, tuoso Bernard Krainis acquired a von Huene alto recorder in 1958, [and his reputation NY, the “Early Music Brings History Alive” helped to publicize] to the world the extraordinary musical qualities and peerless work- Award (her work in low-income schools manship of the von Huene instruments. As demand grew, so did the need for a larger was mentioned in the March 2004 AR). and more expandable workshop which would allow for greater production capability. Founding Baltimore Consort member In 1970 a suitable brick building on Boylston Street in Brookline Village was acquired, Mark Cudek also received the Award for and there a shop was established, where it remains to this day. With Ingeborg installed Outstanding Contributions to Early Mu- as business manager, Friedrich then had the foundation for constructing his remark- sic Education for his direction of the high able operation. A number of future instrument makers passed through the von Huene school early music program at Interlochen Workshop as employees and apprentices, responding perhaps not only to their own ca- Summer Arts Camp—a program that iron- reer inclinations but also to the almost explosive growth in the market for woodwind ically has just been discontinued. instruments, fueled by the flowering of public interest in early music…. Among the 2005 EMA scholarship re- From the outset, the shop has been a Mecca for visiting players and makers from cipients announced were recorder player around the world….There is scarcely a performing European recorder ensemble today and former ARS scholarship winner without numerous instruments from the von Huene Workshop. Laura Osterlund of Oak Park, Illinois. One evening in 1979 a group of approximately 20 people met around Friedrich and Back at the exhibition, where Harpsi- Inge’s dining table….The von Huenes, drawing upon their experiences with the Euro- chord Clearing House had loaned instru- pean trade shows, felt that similar opportunities for American instrument makers to ments and its room to a performance by exhibit their wares before the public was woefully lacking; that Boston would be the La Donna Musicale, one found the space ideal location for an early music festival. The von Huenes foresaw that such an event ... filling up quickly. The ensemble, dedicat- would have incalculable benefits for the growth and prosperity of not just the Ameri- ed to historically-informed performance of can instrument makers but for the entire field of early music, internationally as well. music by women composers, presented All present at the table responded enthusiastically, and on that evening the Boston “The Seven Psalms of David,” works by Early Music Festival & Exhibition was founded....The rest is history. Can anyone doubt Antonia Padoani Bembo (c.1640–c.1720) that the vision of Inge and Friedrich has been fulfilled? and Elisabeth Jacquet de la Guerre (1665- 1729). Com- Recorders popped up in unexpected concerti prompted substitutions from Ross Duffin and Nina Stern at mentary by places—even at the Festival’s 5 p.m. Waild among the opera orchestra’s own. The the EMA award ceremony Claire Fontijn and Krejzy concert of 1730s gypsy music changes included adding a second concer- on the lives of in Jordan Hall, where a recorder player to by Johann Wilhelm Hertel—for violon- the composers leapt up in the audience to play along with cello, played splendidly by Phoebe added poignancy a Slovak march. Of course, it was pre- Carrai—to the planned Hertel fortepiano to beautifully- arranged: Pernille Ebert Spišský studied concerto, making it perhaps a rare con- performed in- with Vicki Boeckman in Denmark for eight cert, offering two concerti by Hertel. strumental and years and is married to Peter Spišský, Recorder players were awaiting the vocal selections, violinist on the program. works featuring soloist Matthias Maute. two featuring Friday evening’s concert in a nearly-full He took command of the stage for Tele- Na’ama Lion on Jordan Hall was entitled “Five Concerti mann’s Concerto for Recorder and Strings in Baroque flute. and a Magnificat”—but illness of the F major—with eyes opened wide during Baroque violinist slated to play two of the the lightning Allegro, adding a dramatic September 2005 19 Pete Rose accepts the Distinguished Achievement Award. “I must admit that I was quite surprised that the ARS would choose someone so far outside of the Early Music mainstream. The fact that they did clearly shows that the ARS leadership recognizes and values the diversity of its constituency.” diences worldwide. (Rose edited With Alicia Kravitz, playing the first “On the Cutting Edge” in AR movement of Handel’s “Fitzwilliam” until 2002, when he stepped sonata, Maute took a more direct ap- down to pursue other activities.) proach. She played competently, but too Rose thanked the many peo- loudly. He first asked her to “use less ple who opened doors for him air”—the Italian term flauto dolce was to and made possible his achieve- be taken literally. Kravitz gamely did exact- element as if he were singing an aria. In the ments. As part of his award, Rose was ly as he wanted, with beautiful results, and Menuets, his dancelike motion conveyed commissioned to compose a special work modified what she had undoubtedly prac- his tempo nuances in crystal clear fashion for Play-the-Recorder Month, which will ticed for weeks—playing more quickly, to the orchestra. appear in the January 2006 AR. and then using smoother articulation for Opening the second half, in Vivaldi’s Matthias Maute’s master class at the the Courante’s “running notes.” Concerto in G major for Flautino, Strings 2003 BEMF was impressive, creating high The members of Flûte Alors! played a and Continuo, RV 443, Maute once again hopes for this one. The audience was not Concerto in G major by Vivaldi for strings proved himself a first-rate showman as disappointed. Once again he gently, but arranged for four recorders. They per- well as technical virtuoso, easily cuing en- firmly, coaxed the best out of his young formed with great élan and sensitivity. trances by the orchestra sections. On the performers—by focusing not on their Maute showed how one must crescendo on flip side of the coin, the Largo movement performance, but on the music itself. recorders by starting very softly. He also allowed him to slip easily from unadorned Alexa Raine Wright played two gave the students (and audience) a lesson melody into ornate decorations. At the movements of a Fantasia for solo alto in tuning that was very helpful. end, the audience exploded into applause. recorder by Telemann with a skill that was Throughout the afternoon, Maute’s Ensemble Lipzodes started June 18 impressive in a young performer, but nonjudgmental attitude was that of a facil- quietly. At times, the acoustics of Church Maute transformed the piece. He is always itator and wise counselor, a teacher who of the Covenant almost swallowed the interested in the “story” being delivered— wishes to build up his students rather soft-spoken sounds of Guatemalan in this fantasia, a sad “story” throughout, than tear them church music of c.1582. However, the even in the fast movement. As usual, he down. spirit was there, especially when the involved the audience in singing the har- While most shawms and dulcians proclaimed their monies and sometimes the internal of the Festival dancelike quartets. Their combination melodies that should always be in the recorder per- with the singers in a Kyrie for chorus and player’s ear. First Wright played over our formances were quartet produced strong open-fifth end- singing, then by herself; her playing history by June ings, preceded by rich harmonies that one became much more expressive. 19, there were might not expect in Medieval repertoire. Wai Kit Leung presented the Sonata yet two Sunday Sounds of a choral group warming up Prima by Dario Castello. Although com- morning events beckoned from a church on the way to St. posed for violin or cornetto, this piece is a for recorder Paul’s, where the ARS roundtable for soprano recorder favorite. Maute coaxed players. ARS members gathered at NEC recorder professionals was underway. The Jean-Michel Leduc (a student of Maute’s for breakfast and a town-hall meeting. As topic was “Keeping Standards High.” wife, Sophie Larivière, there to play both the meeting’s highlight, Alan Karass pre- Moderator Frances Blaker proposed on the Recorder Relay and also later in the sented the ARS Presidential Special three questions for the dozen participants, master class) to play the bass part, so Honor Award to Carolyn Peskin (above but there was time to cover only one: Leung could hear (for the first time!) the right), composer/arranger and AR’s Q&A What is a professional recorder player? accompaniment as he played. The two editor. Karass lauded the former ARS Defining a professional may be based young players had trouble keeping togeth- Board member for being a tireless advo- on a number of criteria, such as whether er, clearly because Leung was rushing. cate of the ARS and a devoted, energetic one receives money for playing, or by an Maute ignored this obvious problem. In- member of the ARS Scholarship and Edu- individual’s playing level. Largely, we rely stead, he insisted that Leung convey the cation committees, and also for her com- on an individual to make self-determina- beat to us, the singers—which, of course, positions and arrangements that she has tion. No conclusions were reached, but immediately straightened out his beat. shared through AR and the Members’ the idea was put forth that perhaps the ter- At the piece’s end, Maute did not say, Library. minology be changed from “professional” “Don’t breathe before the last note,” but After the award, everyone broke out to more descriptive terms that could be emphasized that the last note is a relief recorders as both a current and a past ARS used in the ARS Directory, in a “performer from the preceding dissonance, and must president—Karass and Martha Bixler category” similar to that used for teachers. settle in quietly without a gasp before it. (below left)—led them in a spirited Following the roundtable, the play-in. ARS presented Pete Rose with its 2005 Distinguished Achieve- Gail Nickless with ment Award. Alan Karass men- contributions from tioned Rose’s significant contribu- Rebecca Arkenberg, tions in performing, promoting and Martha Bixler, teaching a wide range of recorder Alan Karass and repertoire, especially making new Marilyn Perlmutter music accessible to players and au- 20 American Recorder World Class Recorders!
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by Frances Feldon This article is the second in a series on [house band of the famous L.A. folk club The American jazz and pop music recorder play- Troubadour], it consisted of 13 guys singing ers (see the January 2005 AR for the initial and playing all sorts of folk instruments.” article in the series, an interview with jazz “What really set the group apart from all drummer and recorder player Eddie Mar- the rest [of the] big folk groups of the day was shall). Some of these figures are perhaps little that we electrified some of [our] instruments. known as individuals, but they are an impor- (Bob Dylan was booed at the Newport Folk tant voice in recent American music history, Festival for electrifying his band.)” The author performs chamber music during the last 40 or so years. Although prac- “We even had the audacity (audio-acity!) with Flauti Diversi, an ensemble specializ- titioners of a different idiom, these musicians to add drums. Then we incorporated the ing in Baroque/contemporary works, share the same passion for recorder and arrangement sounds of the Four Freshmen, and Danza!, a Renaissance mixed recorder-playing that you and I do. Henry Mancini and Stan Kenton, and quite consort. She teaches recorder and I heard about Terry Kirkman under literally blew the roof off many a venue.” Baroque flute privately at her studio in completely random circumstances: while “‘[A] day late and a label short,’ we Berkeley, CA, and is a regular conductor lunching with two drummers near Fredonia couldn’t make a go of a group that big and and faculty member at recorder workshops in western New York state, near Lake Erie. soon split up. Six of us walked out of throughout North America. Ms. Feldon One is a close friend and colleague; the other rehearsal one day and somewhere in the next directs the SFEMS Recorder Workshop drummer happened to know Terry Kirkman. couple of hours not only realized that we were and teaches at Albany Adult School. When I asked him if he knew of any jazz or two tenors, two basses and two tenors, but In September 2003, she traveled to pop recorder players he said, “As a matter of had even found a name for ourselves: Montréal to conduct the recorder fact, I know this guy…” The Association.” orchestra at the international festival That was my introduction to an amazing Besides Kirkman and Alexander, there Les Journées de la flûte à bec in her performer on recorder and vocals (among were Russ Giguere, guitar; Brian Cole, bass; arrangements of George Gershwin dozens of other instruments) with the phe- Ted Bluechel, drums; and Jim Yester. Rhythm tunes. Current projects include nomenal 1960s folk rock band, The Associ- guitar. Larry Ramos, then of the New Christy exploring contemporary works for ation. Terry Kirkman, a most interesting Minstrels, would soon join The Associa- recorder and multiple percussion and friendly rock recorder player, is the focus tion, making it a seven-man band. Several and studying jazz recorder of this installment. members were multi-instrumentalists—and through courses at the Terry Kirkman, who was born in Salina, most importantly, each member also sang. Jazz School in Berkeley. KS, moved to California when he was two. He The Association became known for its grew up listening to his parents and older tight, expressive and sophisticated vocal abil- Ms. Feldon studied recorder and brother singing and playing a number of ities, lovely rock ballads and its other songs Baroque flute at Indiana University, different instruments, including the tonette touched with folk, jazz, psychedelic sensibili- where she completed a Doctor of Music (a plastic, recorder-like instrument common- ties, and social commentary, such as Kirk- in collegium directing. She has taught ly used to teach music in elementary man’s Requiem for the Masses. at Indiana University and UC Davis. schools—at least through the early 1960s, Their first big single was Along Comes In October 2004, she traveled to because I learned to play one!). Mary (1966), which rose to number seven on the International Congress of Recorder Kirkman writes, “I taught myself to play the Top Ten chart. It features a recorder solo Orchestras in Holland to conduct her everything I could lay my hands on. My first with great hooks by Kirkman. Then Cherish Ellington arrangements and music gig for money at the age of 14 was (1966), which was written by Kirkman, give a presentation on American playing polkas and waltzes at a Basque became their first number one hit. jazz and pop recorder players. restaurant. When I was 21 I migrated to The recording of these two songs set a new Honolulu, HI, where I met Gary (Jules) standard in recording technology for rock Alexander. Improvising wonderful music music. The voices and the instruments were together from the very beginning, we soon recorded on separate tracks in two different found ourselves together, back in Los Angeles, studios in four-track stereo, and then mixed helping to form the first so-called ‘folk-rock’ skillfully. Rock recordings had never before group in the country. Called ‘The Men’ displayed this high level of craftsmanship.
22 American Recorder Windy (1967) became their next number FF: What kind of music do you play, and what one hit. The Association also opened the are your instruments? My favorite instrument Monterey International Pop Festival (1968), TK: My performance career consisted and played incidental music for the sound- mostly of 3000-plus concerts with my track of the Hollywood film Goodbye 1960s vocal group, The Association. to play on tunes was, Columbus (1969). As rock styles changed We were a folk rock/pop, exploratory har- around 1970, moving toward a harder mony group, originating out of the folk and remains, the rock sound, the delicacy and complexity of club scene of southern California. The Association’s music became a Our first hit record, Along Comes Mary casualty of this cultural shift. By 1973, the (1966), featured a recorder instrumental soprano recorder. original core of the group broke up. solo, played by me! I was using, as I Kirkman “stepped back from the music remember, a simple wooden student-level business and worked in the civil rights and soprano recorder, possibly a Hohner or anti-war movements, while learning to make [some] other similarly priced, local music a living writing TV game shows (‘Name That store brand of that era. The solo and song Tune’). Transitioning into variety shows, I had a totally unique jazz/rock flavor to it. found myself working on an HBO show The song is acclaimed as one of the (1979). HBO asked if I could put The Asso- true breakthrough recording composi- ciation back together for that production.” tions of its time. Leonard Bernstein spent “A year later we were all back on the road. 10 minutes of a TV special [discussing] While I only stayed with it until 1984, the that tune and its importance in our musi- group still continues on the road, with two of cal evolution. the original members keeping our music alive Other instruments that I played on for concert audiences. In 2003, after 19 years stage at that time were numerous. I was of retirement, I rejoined the group one more like a utility-hitter on a baseball team. This time for our induction into the Vocal Group was before synthesizers and instrumental Hall of Fame.” sampling voices, so when we wanted a “Although still writing songs for myself particular sound in a particular place I did and various L.A. musical projects, my cur- my best to supply it. rent passion is working with artists who are By the time I left the group the first making their way back from the throes of time in 1972, my setup onstage included substance abuse addiction. As a veteran drug 13 instruments (at minimum): two sopra- and alcohol counselor, I am the former no recorders (which I frequently played clinical director of the Musician’s Assistance harmonies on at the same time), alto and Program (MAP), and now have a private tenor recorder, trumpet, flügelhorn, bass practice in L.A. called A-I-R Support, for trumpet, pocket trumpet, tenor sax, artists in recovery,” Terry concluded. soprano sax, blues harmonica, bass I hope that you enjoy meeting Terry and harmonica, chromatic harmonica, con- getting to know his work as much as I have. gas, timbales, claves, tambourine, etc.— whatever we needed for whatever effect in a song. My favorite instru- ment to play on tunes was, and remains, the soprano recorder. To get into the microphone and keep my fingers clear, I began playing the recorder out of the side of my mouth, sort of like a piccolo, but blowing into the end instead of down into it. What I discovered in this kind of logistical adjustment was that, in doing so, I gained a whole new level of air and sound control I had not known before. Terry Kirkman, playing recorder out of the side of his mouth in 1968
September 2005 23 about nine or so, I never studied with her. leaving hundreds of bags of donated gifts Recorders are so close to I was playing everything I could get my behind us wherever we sang. hands on by ear: bugle, drum heads, After about the second stop, when I the human sound: woody, homemade string instruments, anything realized our exit song was going to be Feliz rich, with just that touch my brother brought home from school. Navidad—the Latin Christmas song that The first instrument I studied was tuba Jose Feliciano made popular in the ’60s or of the primitive/purity in junior high school band. My brother ’70s—I brought my soprano with me on- was playing it, so [I did too]. Then, about stage and simply joined in with the key- of a sound from nature. the ninth grade, I started blowing into board players in playing the choir out of school loaner tenor saxophones. the venue. It became, as the day went on, FF: What other musical activities— My mentors were simply other musi- a better and better jam session each time. e.g., composition, arranging—would you cians whom I would see play. It wasn’t The conductor said that having the like to mention? until my thirties, when I met Richard jamming recorder join in was one of the TK: While all of us wrote songs for the Thompson, a multiple instrument player nicest surprises that she had ever had with group, I was privileged to have composed who joined The Association as a key- the choir. Luckily, the song was in a key I some of the more successful tunes, in- board player, that I became a student. He could handle with dexterity. I am fairly cluding: Cherish, Everything That Touches taught [me] many, many things about the limited in the keys I am comfortable You, Requiem for The Masses, Enter The instruments I had already been playing. improvising in; D is my favorite. Young, and Six Man Band, [to mention a My all-time favorite experience was few]. FF: In what special way does the recorder playing at least three different ranges of serve your “musical voice?” How is it distinc- recorders on an unreleased recording FF: How did you come to play recorder? tive from the other musical voices you use? The Association produced in 1980, TK: I started playing instruments when I TK: Recorders are so close to the human when we were first trying to reunite and was three. My whole family played at least sound: woody, rich, with just that touch of get a new record contract. The song was one instrument. My mother was a the primitive/purity of a sound from called Bird Outside My Window, a very laid- profoundly gifted pianist and church nature. back, acoustic melody, with a soft slow organist. My dad played and sang in bands Caribbean/Polynesian lope to it. On the in Kansas. My brother (five years older FF: Have you had any special experiences recording I played a stack of sopranino, than I) went on to be a semi-professional playing recorder in your work? soprano and alto recorders (maybe tenor jazz bass player. TK: Many! Playing the soprano, I carry it as well), in melodic inventions of my own. I was born in December of 1939, so the with me in my backpack, or whatever, and I started recording it at about 10 p.m. and hard times of World War II are a major part it has been fun to whip out in the middle finished around 11:30 p.m. To this day, it of my childhood. While we couldn’t afford of a party or other place where music is is one of my favorite little pieces of music I a piano [when I was very young], we could going on. I sang in a hundred-voice choir have ever been involved in. I am very sad it afford a marimba, and that’s the first in- here in L.A., called the Angel City Chorale, never found a way to be released. strument I remember playing a tune on. I and we did a Christmas Tour of Hope, Overall, the soprano made the perfect was about three, and had to climb up on a hitting about 12 shelters, missions, embellishment to The Association’s chair to hit the bars with the mallet, but I hospitals, and old age homes in one day— deep harmony lines. It cut through while did manage to hit the right bars to play the kind of like a hit-and-run musical show, remaining compatible with whatever was melody of Jesus Loves Me—that, plus play- going on. ing a little snare drum in the hallways of our “Government Defense Worker/Rosie Fans write about being inspired by Terry Kirkman’s playing the Riveter” apartment house, while I pa- triotically sang Anchors Away. “I never told TRK this, but my first year of med school (1972), I acquired a teak sopra- The other instruments we could afford no recorder for two reasons. First, I was always intrigued by the recorder break in were those school-level, little black plastic Along Comes Mary, and second, it cost about $4. Imagine my surprise when the in- flutes [tonettes], and those flutes and struction book showed holding the recorder in the center of the lips, not to the side as whistles were my introduction to playing Terry always did. I had just assumed that, sort of like the flute, that is how you held such woodwinds. I don’t think I ever the recorder. I played the recorder for several years before I switched to drums.” played recorder until the folk music days Jim Hinson, M.D., Brentwood, TN of the late ’50s/ early ’60s. I don’t remem- ber when it was. I probably bought my first “I love[d] the Kirkman sound so much, that when I formed a six-person, Christian- recorder at the famous little folk shop in flavored vocal folk group in the ’70s, I wanted someone who could play recorder. Claremont, CA—a shop that supplied Though I got a flautist, I patterned several of her flute parts by stealing riffs from Ter- many notable musicians of my time. ry’s style, particularly off the Association’s second and third albums (Renaissance, In- sight Out). I also know that one of the ASSN clone bands based in Houston, called FF: What is your musical background, train- “The Fun and Games,” had two members of six who learned the recorder just so they ing and experience? Who were your mentors could play Along Comes Mary, Everything that Touches You and When Love Comes to Me coming up, especially mentors on recorder? onstage. Sam ‘Duck Soup’ Irwin (Austin, TX) learned alto recorder, and Roger ‘Rock’ TK: Like I said, everyone in my family Romano (now a Houston, TX, record producer) learned the soprano. They had one played. Though my mother taught piano national hit, Grooviest Girl in the World off their album Elephant Candy (UNI Records). every day in our house, from the time I was Charlie Balsam, Austin, TX
24 American Recorder A low-resolution screen shot from footage of the FF: What are the advantages/disadvantages FF: What characteristics of the recorder lend Monterey International of using recorder in your work? it to successful expression in pop/jazz? Pop Festival, showing TK: My only disadvantages are my TK: I think by now I have covered most Terry at right playing inability to play in the range of different of that question—but if I had to recorder into the mic keys that I might [be able to] play on a summarize I think it would be the sweet FF: If you were stranded on a desert island, padded reed instrument. I simply never warm woodiness of it. what three recordings would you like to have sat down to learn all those fancy and along? bizarre fingerings [which would be] FF: How/what do you recommend for prac- TK: Resphighi’s Pines and Fountains of needed to be unhindered. Whenever I ticing recorder in jazz/pop context? Rome, The Best of the Four Freshmen, tried, I would lose the timbre and shadings TK: Learn to play the melodies, then learn Sketches of Spain. Those three diverse pro- that I had taken so long to develop in the to play accompaniment lines. Maybe, if ductions would be representative of the simpler keys. When faced with that you read [music], get some actual jazz and sounds that influenced me most as a kid. choice, I would probably play another pop charts, and see what good arrangers There were hundreds more—Stan instrument rather than settle for a [less] have suggested be played by other instru- Kenton at the top of that list—but the reliable tonal quality on the recorder. ments. Listen a lot to flute and sax players combined and incredible brilliance of and how they interpret songs, then try to those works would keep me fairly sated for reproduce the lines with your own Learn to play a long time. I have never grown tired of recorder flavor. listening to them, and have never heard them without discovering something the melodies, FF: Could you list any recordings you’ve completely new to wonder at. made using recorder and let us know if then learn to play they’re available still? FF: Do you know of any other recorder TK: Any of the now-abundant CD releases players or instrumentalists using recorder in accompaniment lines. of The Association albums—there are the jazz/pop field? both Japanese and domestic re-masterings TK: No, I do not. I know many primitive of the whole Warner Bros. catalog. Each of [flute], whistle, and pipe players, [and] FF: What, if any, genre or idiom do you think those albums has at least one or two cuts a multi-ethnic flute [player] here in recorder is especially suitable for? featuring the recorder. Windy (the live L.A.—but no jazz, pop, folk recorder TK: There are so many genres suitable to album version), Along Comes Mary, Every- players. We are a lonely lot. Thanks for let- recorder. New age/ambient music artists thing That Touches You, No Fair at All, Love ting me participate in your rich world of do not seem to have explored it nearly as Affair (tenor and soprano)—all have music. much as I would have thought probable. featured recorder parts. Many other tunes Once, in Jamaica, I jammed with the had background recorder accompaniment hotel band, and they were shocked at the thrown into the mix. quality of sound I delivered—like they had never thought of recorder for their music; FF: Are there other recordings you would same with Latin, blues and dreamy, exotic recommend with recorder? ballads. TK: I know of very few. The Beatles used it In the early ’60s, I lived in Waikiki some. I have never gone out shopping for [Hawaii] for several months and played recorder-focused albums—not sure why tenor recorder with Haygood Hardy, the that is, but I haven’t. Canadian vibraphone player, who was working there with [late pianist and FF: What about recordings you would creator of “exotica” music that incorporat- recommend specifically to recorder players, ed sounds of nature] Martin Denny at the not necessarily using recorder? time. Tenor recorder with vibes and/or TK: Any jazz or pop flute albums—but for marimba is a mighty cool sound, particu- the sheer delight of listening to the kinds larly if you eat the mike, and have a little of lines that are most suitable to a rich, reverb/echo added for flavor…really cool, warm, woody sound, I think anything by totally unique, woody flavor at every Stan Getz, much of Miles Davis (Sketches harmonic level. of Spain inspired me greatly on recorder), a whole world of Brazilian acoustic works, Discography the tenor sax work of Ernie Watts, Joni And Then…Along Comes Mitchell songs, early Judy Collins, etc. The Association (1966) Any music that captures the warm, woody, Renaissance (1967) acoustic-rich melodic flavor [of recorder] Insight Out (1967) is exciting to try adapting to your recorder The Association’s Greatest Hits style. Irish pipe and whistle music is both (1968) demanding and fun to take on with my The Association (1969) soprano. Goodbye Columbus (1969) The Association “Live” (1970)
September 2005 25 Tui St. George Tucker (1924-2004) fervor major works like J.S. Bach’s All of us who knew her mourn the passing Magnificat, and Handel’s Messiah— of Tui St. George Tucker. She was a truly even singing at New York City’s remarkable woman—talented, creative, Town Hall and in other concerts. A clever, funny, generous to a fault, and number of her Camp Catawba boys marvelously kind. Composer and became professional musicians. She was a composer, a conductor, a recorderist Tui Another letter from Tui to Erich, recorder player, and very much a mod- St. George Tucker written from Camp Catawba, de- ernist. The furnishings of her apartment died on April 21, scribes part of the camp’s schedule. included two pianos, keyboards at right 2004. She was living She writes that Erich’s son Michael angles to each other, tuned a quartertone alone in the Blue Ridge “is singing in the choir one hour a apart. Tui composed eccentric, fascinating Mountain area of day, performing once a week, and music for her friends and for the world. North Carolina. has also mastered the bugle with She was a bit crazy, too. When I asked These two photos by which he is to play Taps at night and her to conduct a student performance of Moritz von Bredow, the orchestra call at noon.” the Machaut Mass at Hudson Guild Farm provided by Robert Camp Catawba closed in 1970. she said quite positively, “Of course I Jurgrau, were taken In 1985, Tui returned to live on wrote it,” and I think she more than half- in October 2002. Camp property in the Blue Ridge meant it. The performance was rather Mountains. She continued to com- wild, too. pose, and also conducted the Mostly I remember her kindness. She merican composer Tui St. George Springhouse Farm Choir in the quaint, was a wonderful party-giver, and so warm ATucker died April 21, 2004. rural town of Valle Crucis, NC. She was and loving in her manner that she made Born in Los Angeles, CA, on November featured in the Appalachian State Univer- everyone feel good who came near her. 25, 1924, Tui’s name (perhaps a nick- sity concert series entitled “An Evening of What a dear, dear friend! I miss her name) refers to a bird species from New Women Composers” and also on the very much. Zealand, where her mother was born. In North Carolina Composers series. Martha Bixler, New York City, NY an undated letter in the mid-1950s from Tui’s Requiem received its world pre- Tui to ARS honorary president Erich Katz, miere at Appalachian State University last she spelled out her entire given name: Lor- April 30, almost exactly one year after her raine Percival Granville St. George Tucker. death. Composed for her mother, it is a In 1946, she moved to New York City, large work for chorus and orchestra that NY, where her talents as a teacher, con- took over 40 years to complete; she fin- ductor, composer and recorder performer ished it only shortly before her death. were wholeheartedly embraced. Compos- At the performance, the creation was er Johnny Reinhard recalls that they also announced of the Tui St. George hosted many musical parties together. Tucker Scholarship Fund, to support Tui’s compositions often used micro- the performance and study of her music, tonal techniques—that is, they employed and to provide scholarships to deserving quartertones, the tones in between the Appalachian State University composition notes of a piano keyboard. She composed students. For details, please contact works in a number of media, including Robert Jurgrau, weekdays 212-522-6161; organ, piano and recorder, and published
26 American Recorder I can’t claim a close friendship with Tui Tucker, though she once put on me the Six Paragraphs in Homage obligation of close friendship. Stunned as I was by the request, her personality was by Johnny Reinhard: so vivid that I obliged and acted as a go- between to effect a reconciliation between Tui St. George Tucker Tui and another person. ’Til then I had no I. idea the two even knew each other, and. Tui was a champion of the virtuoso, of the extroverted, of the introverted, and of the given the fiery temperaments of the two, I intuitive. She spoke her mind, clearly and unequivocally, risking all for a tractor never inquired what their falling-out had beam-like contact of personal communication. been about. I was too afraid of what might result, but the reconciliation went II. smoothly, and, in retrospect, I am happy When she blew the alto recorder she would command a melody as if she were riding that I was able to help. the bulls in Spain, each hand holding on to a horn. The recorder was as big as a In the 1970s, I performed some of conch shell in its ringing tone. Tui’s music for recorder. Much of it was microtonal and presented quite a chal- III. lenge. I’m sorry that I haven’t heard or Her body was her temple, nutrition through fresh-squeezed juice, imaginative seen any of it since those long ago days. organics, vitamins, herbs, and best intentions were a life-long credo for Tui to Indeed, I saw Tui only once since her honor, and subsequently recommend. Her elixir of health in the form of a move south, but I will always think of her fruit shake was a welcome treat, if initially rebuffed. as she was in the ’70s: a handsome woman with a full head of wild red hair. IV. She was sort of a “tough broad” type, All the harmonics of Just Intonation were heard “flat” in Tui’s sound universe, but you had to be tough in those days notated with a downward pointing arrow, signifying an alteration to allow for if you were a woman who composed. the existence of the quartertone flat notes. Quartertones were always to be Woman composers are quite common considered part of a greater family of relationships. today; they receive performances, and respect, even win composition prizes. V. Not so when Tui began her work. She Tui abhorred those who would profit from the great work of the pioneers while was among the few women who dared to denying them their place, as well as any attempts to separate women composers compose, and she deserves our respect for from composers at large, as with all-women composer concerts. her pioneering work. It would be a real memorial if someone, or some organiza- VI. tion (the ARS perhaps?) would collect and By arranging engaging parties in Manhattan and Brooklyn, Tui brought microtonalists publish her music for recorder. together throughout New York City. We would soon be a community, developing the Anita Randolfi,New York City, NY foundation for the American Festival of Microtonal Music. At left are the cover and inside page of a concert program from 1952, which includes works by Erich Katz and Tui St. George Tucker, the latter performed by her Catawba Choir Boys. This program is in the Erich Katz Collection of the Recorder Music Center at Regis University, Den- ver, CO. Many thanks to the RMC and Mark Davenport for help in finding this original source mate- rial. Our search of the Katz Collection did not locate any photos of Tui from her earlier years in New York City. The contributors to this article made suggestions of individuals to contact regarding photos, but American Recorder was not able to find any. Members who may have photos of the younger Tui St. George Tucker are invited to submit them.
September 2005 27 SOME PERSONAL REMINISCENCES Tui, together with perhaps a virginal- Whitman, that "Very well then, I contra- In 1950, my first and second recorder ist and gambist, would sometimes occu- dict myself"), including the outbursts of teachers, Carolyn and Alfred Mann, py the slot Erich reserved for profession- temper that could pepper her ensemble moved their family from New York City, al soloists between bouts of mass ama- rehearsals or sometimes damage her per- NY, to New Brunswick, NJ. In the fall, I teur sight-readings of consort music. I sonal relationships. On the other hand, would need a new teacher; my parents' can still clearly recall the deep impres- she was also an avowed "monarchist" attempt to enlist Gertrud Bamberger of sion that, on a particular occasion, her who befriended anarchists, a practicing Juilliard had not worked out. As it hap- flawless and, most notably, impassioned Episcopalian comfortable in the compa- pened, that summer also marked my first rendition of Handel's A minor Sonata ny of atheists, a proponent of (theoreti- attendance at Camp Catawba for Boys in made on all who heard it (including cal) capitalism who associated with Blowing Rock, NC. Amazingly, the direc- Erich and my father). Trotzkyists. Her musical tastes ranged tor of music there proved to be a brilliant I have already touched on some ex- from Gregorian chant and Machaut to 25-year-old recorder player, composer ceptional qualities of her teaching. There Schönberg and Charlie Parker—and it and conductor, resident in New York, is more. Not only did her pedagogy, as I was she who introduced me, among her named Tui St. George Tucker—one of a experienced it, embrace the recorder as a contemporaries, to the great pianist group of young California-based artists full-fledged, non-apologetically "mod- Grete Sultan and also first drew my at- who, in search of new frontiers, had ern" woodwind instrument, it also em- tention to the German organist Helmut moved East in the 1940s. braced music beyond the confines of any Walcha, both of whom in turn became My parents were then immigrant aca- particular medium: in those early years I my teachers. demics who had suffered cuts in their received from Tui my first insights into Her reading was equally catholic, as teaching schedules, and cash was sparse. theory, harmony, conducting, orchestra- evidenced by the fact that over the years, For three years, with unforgettable gen- tion and composition---for these "side"(!) to me alone, Tui introduced Whitman erosity, Tui subwayed weekly from the issues were introduced based on the and Blake and numerous other literary East 70s to Washington Heights, in re- extent to which they were relevant to the masters, along with some classical Chi- turn for dinner and conversation---and particular instrumental matter at hand. nese and Indian philosophy—as well as bowled me over with double- or triple- Such breadth did presuppose a gen- psychoanalysis and post-Huxleyan value lessons. From her, I imbibed the erosity with—if not almost an oblivious- psychedelia. She herself wrote poetry most unbusinesslike precept that, when ness to—time. Across the board, Tui St. and painted. instruction is musically worthwhile, time George Tucker's teaching was a model of It is clear that, with her passing, the is not an issue. the non-academic "apprenticeship" tra- world, including the musical world, has In contrast to the common practice of dition of the individual teacher-student lost more than a great player and teacher that period, she taught the recorder relationship and interaction (which, of of the recorder, however significant. Her exactly as she had once been taught the course, goes back much further than, say, deepest and most unrelenting lifelong violin—e.g., with arpeggios and scales, in to J. S. Bach's at-home and at-church engagement was as a composer, and it all tempos, in all major and minor keys, benevolent hectoring of his talented may well be that Tui St. George Tucker as well as those constructed exclusively sons). will be remembered for her compositions of half- or whole-steps. She imparted a While my last formal lesson with Tui (which span almost all musical then-largely oral tradition of Baroque was in mid-1952 (by which time she had media—of course including the recorder, performance practice (while also keeping seen to it that I was conversant with both but excepting opera) long after all of us up with Sol Babitz's newest findings in recorder parts of the fourth Brandenburg are gone. the Musical Quarterly)—straightforward, Concerto), our musical and personal Though many of her works have been closely-tongued legato-disciplined ren- interactions continued over a sometimes performed, and some recorded, she did dition, with no or few agogics or ritards; turbulent half-century up to the last tele- not particularly excel in the 20th-century but with fast tempi, continuo-driven, phone conversation in summer 2003. crafts of self-promotion, nor encumber driving (and even) rhythms, and impro- Not only because (in most cases) creative time in negotiations with vised ornamentation. teaching contributed to her livelihood, publishers. Her music is highly idiosyn- She did not, however, affect a "block"- but also almost as a matter of "credo" and cratic, varied, both un-"trendy" and flutishly stiff or non-vibrato sound; of pedagogical and human commitment, un-academic; warm and at times playful; recorder-playing could and should be as Tui did not devote herself exclusively to and also uncompromising without being sensuous and luscious as oboe-playing mentoring the most gifted and promising avant-garde. (deliberately not partaking of the special children or adults. With those who Tui's disappointment, as a dedicated, asceticism of most clarinet or French learned more slowly, or whose horizons original and prolific composer who did horn tone production). could foreseeably not be stretched as far, not garner more recognition during her What Tui preached, she also—and she demonstrated an awesome degree lifetime, is understandable. Like most persuasively—could demonstrate. of quiet patience. She was capable of Mozart's, her Requiem became her final Apart from when I was at camp, I initial- inventing ingenious procedures for testament. It received its world premiere ly experienced this mostly in meetings to circumventing the student's blocks or on April 30, 2005, at Appalachian State which she took me. Held at one or the limitations. University in Boone, NC—fittingly locat- other of the NY Public Library branches, This striking forbearance in turn ed in the Blue Ridge mountain region these were meetings of the ARS, which formed an intriguing contrast—for in her that Tui especially loved and where she was at that time under the personal being, Tui encompassed many contradic- spent her last years. direction of Erich Katz. tions (and she probably felt, as had Walt Paul Jordan , New Haven, CT
28 American Recorder Letter from the 1950s written by Tui St. George Tucker to Erich Katz Recorder Music of Tui St. George Tucker: A Performer’s Perspective Though she wrote a great deal of music for recorders, Tui St. George Tucker is best known for her Sonata and Romanza for solo recorder, both published in the same edi- tion (Anfor RCE No. 14). Actually, Tui was a prolific composer, and her recorder com- positions make up only a small portion of her œuvre. She was also a pioneer in the use and development of extended techniques on recorder. Recognition of the primacy of her many sonic discoveries has been obscured, in part, by the fact that the edition of Sonata and Romanza bears only a 1970 date of publication—without any hint as to how much earlier the music was composed. Sonata, the full title of which is The Bullfinch Sonata, was actually written in 1960, and Romanza in 1962. The Bullfinch Sonata, with its many special effects, not only pre- dates by a year the first avant-garde recorder composition from Europe (Muziek voor Al- toblokfluit by Rob DuBois), but is not even one of Tui’s first efforts in this direction. Her experiments actually began as early as 1952. Another reason that her innovative work has not been noticed as much as it should in the recorder world is that it does not seem to be as avant-garde as the first super-modern European works. The Bullfinch Sonata, in particular, contains long passages at the beginning and end that are extremely conventional and may even strike the unsophisticated listener as being music from a much earli- er century. But a negative evaluation based on this criterion would be a misun- derstanding. Tui had very different Tui had very different goals from those of the European composers of goals from those of the the early 1960s. They felt a need to European composers of speed up the progress of musical lan- guage, which had been slowed by both the early 1960s. the conservative, neo-classical move- ment of the 1920s and 1930s and by the events of World War II. They saw the memory of the past as the primary culprit in holding up the evolution of music, and turned to highly structured serial meth- ods to exclude the influence of memory and to generate completely novel shapes. Tui, on the other hand, developed an all-inclusive approach, with a broad palette that encompassed tonality as well as atonality, equal temperament as well as micro- tonality, and notes as well as sounds. Ironically, her recorder pieces are—at least philosophically—more like the extremely eclectic works being written for recorder today than are the early ’60s warhorses by Rob DuBois, Jurg Baur and Louis Andriessen. This statement is not intended to overlook or dismiss the thoroughly established historical importance of the pioneering recorder music of these European composers. The bulk of Tui St George Tucker’s recorder music remains little known. Perhaps it will be musically and historically assessed at some future date. Pete Rose
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September 2005 29 Composers/Arrangers Happy 500th Birthday, Thomas Tallis
by Stan McDaniel homas Tallis (c.1505-1585) is consid- “they became”). Subsequently, the other Tered one of the greatest composers of voices play about in imitative counter- English sacred music. Candidi Facti Sunt point over the more slowly moving tenor (represented here in part, up to the first ca- line. dence) is a polyphonic composition that Again, however, it is not entirely celebrates spiritual transformation. The possible to keep the tenor line absolutely Latin text seems to suggest the physical intact because of range. In the transition transformation of substances invoked by from measure 9 to 10, the tenor melody is the alchemists: the first line, “Candidi shifted momentarily to the second alto facti sunt Nazaraei eius” means “Brightly while the alto part is taken by the tenor— radiant became His Nazarites,” and is fol- the reason being that, if the alto were to lowed by a reference to the transformation continue normally, its often-weak low F of milk into yogurt—whereas the corre- would sound below the tenor, which sponding alchemical allegory is the trans- would be on strongly sounding notes. The formation of base matter into brightly tenor picks up the melodic line again in shining silver or gold. The text is appropri- measure 12. ate in particular for liturgical use at Easter. A similar exchange of parts takes place Arranging this motet for recorders in measures 25 and 26. With the instru- presents a challenge (as does playing it), ments this exchange does little harm, since the text and the melodic lines are whereas it would be an inadmissible break closely integrated and thereby dictate the in the vocal line for the singers. This is appropriate phrasing and emphasis. effective, however, because of the close Because of the lack of text in this version, similarity in timbre between recorders; it breath marks have been introduced at would not work well if shifting, for exam- some points where a line of text ends and ple, between clarinet and oboe. a new one begins; however, these should When we reach measure 18, the move- not be overdone. The breath marks are ment begins to pick up as the soprano and This is the twelfth in a series of there just to suggest phrasing. The main then the first alto play 16th notes. This is articles featuring the works of consideration is to keep the melodic lines in anticipation of the quicker motion that moving smoothly and with consideration begins in measure 25, with descending composers and arrangers who write for their contrapuntal interplay. eighth notes in soprano, first alto and for the recorder. Each installment is The first step in creating this arrange- bass. The musical purpose is to arrive at a ment was to transpose the piece down a resting point in the final measure, where accompanied by a discussion of the minor third to the key of B minor in order the typical addition of a raised third (D ) to to accommodate the recorder range. Even the concluding B minor chord yields a the composer’s own working with the transposition, however, a few harmonious major triad as the music methods, including the performance melodic changes were required. For exam- temporarily “comes to rest”—temporarily, ple, in the first note of measure seven, the since this is only the first part of the motet. considerations that went into soprano recorder moves up to a D, rather Stan McDaniel is a former president of creating the selected piece of music. than down as in the original. Because the the Sonoma County (CA) Recorder Society. alto is playing the same note, the soprano He was first place winner in the 1999 Chica- It is hoped that the considerations line would “disappear” momentarily if go (IL) Chapter recorder composition compe- duplicating the note—particularly be- tition, and is a composer of music for that composers and arrangers have cause the soprano low D is weaker than recorders and for orchestra. More informa- to keep in mind will be of general the alto note. (In the vocal part, a new tion may be found on his web site syllable is begun in the sopranos on that at
30 American Recorder
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September 2005 31
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32 American Recorder Q & A ______Hemiola
uestion: Can someone give me an easily Hemiola in Third movement, m.27-29, of Sonata in C Major Q understandable explanation of what a Baroque Music by George Frideric Handel (1685-1759) hemiola is?—Arthur Brandon, Delray In Baroque and later music, Larghetto Beach, FL hemiola refers to the percep- œ. œ Ÿ tion of two bars of triple meter 3 J œ œ #œ œ. œ ˙ nswer from Pat Petersen: The word as if they were one bar of aug- & 4 J Bar A Bar B Bar C A“hemiola” comes from a Greek word mented triple meter—that is, meaning “the whole and the half.” In early two bars of 3/4 time sounding ? 3 œ œ music, it means a rhythmic ratio of 3 to 2. like one bar of 3/2, or two bars 4 #œ œ œ œ œ of 3/2 sounding like one bar Third movement, last three measures, of Sonata in a minor, Hemiola in Renaissance Music of 3/1. This usually occurs Op. 1, No. 1, by Jean Baptiste Loeillet de Gant (1688-1720) In music of the late Medieval and Renais- preceding a cadence or end- Adagio sance periods, the 3:2 ratio was expressed ing. The result is a change of as three imperfect, or two-beat, notes in pulse, a feeling of slowing ˙ œ œ Ÿ œ w. 3 #˙ ˙ #˙. the time of two perfect, or three-beat, down before the cadence. & 2 notes. In triple-meter music, hemiola can To find hemiolas, first find Bar A Bar B Bar C provide a pleasant cross-rhythmic effect. It the cadences, both internal ? 3 ˙ ˙ may occur in one voice and not in another, and final. In the Handel and 2 ˙ ˙ ˙ w. and can be found anywhere in the piece. Loeillet examples at right, you ˙ In the Dufay example below, the top see rhythmic strength on the third beat of voice uses a hemiola against the second bar A (tied note), weakness on the first and third voices in beat of bar B (end of bar 1; in bar 2, the The word “hemiola” a tied note), and middle voice has a strength on the hemiola. In the comes from second note of Holborne example, a Greek word bar B (dotted note note the contrasting meaning and trill). meters of the top Baroque hemiola and bass parts. “the whole and the half.” is found in all parts To find your own simultaneously— examples, look for patterns of 3/4 in including the continuo part, if there is one. a piece in 6/8 time, or patterns of 3/2 in a Often the bass will drop an octave in the piece with a 6/4 time signature. two beats preceding the cadence. Opening of Je me complains, a three-voice chanson by Patricia Petersen, Guillaume Dufay (c.1397-1474) a nationally known Primum recorder teacher and & 86 j œ j ˙ œ œ œ œ former ARS Board member, is a Direc- tor Emeritus of the Secundum 6 j & 8 œ œ j œ Amherst Early Music œ œ œ œ Festival, and is music director of the Tertium j j Triangle (NC) 6 œ œ œ & 8 œ. œ œ J œ Recorder Society. She plays many oth- Cantus and bassus of the five-voice galliard The Fairie-round, er early instruments published in 1599, by Anthony Holborne (died 1602) and teaches English country dance. Her ˙ œ & 46ˆ23 ˙ œ ˙ œ ˙ œ vocal group Fortuna recently completed its 20th year of per- Send questions to Carolyn Peskin, Q&A Editor, 3559 Strathavon Road, Shaker Heights, OH 44120; ? 6 3 ˙ ˙ ˙ forming Renaissance 4ˆ2 ˙ ˙ ˙ music.
September 2005 33 OPENING MEASURES ______I want to play in a group!
o you’ve been playing recorder for An alternative to asking to join a group Do you like only music from one par- S awhile—maybe a long while— is to spread the word to everyone you ticular period (Renaissance or Baroque, by yourself; and now you want to play in a know that you are looking for a group to for example), or do you want to play group. How do you find people to play join. And since studies show (I read some- music from all periods and of all sorts? with you? What do you play? Here are a where) that each of us knows between 100 Is it your goal to have a performing few thoughts which you might consider, and 1000 people, telling everyone you group, or do you prefer to play only in in- depending on your circumstances. know will really get the word out! This formal situations? I think it helps to be very clear with way, when a group that wants more If you want to play in an all-recorder yourself about what your ideal group members hears about you, the group can group, is it important to you that all the would be like before starting out. Ask invite you to join. players have matched instruments (such yourself these questions to get an idea of Do you like to be in charge, or do you as a set of hand-made Renaissance what you want in a music group. prefer to follow someone else’s lead? Or recorders)? (Note: this will only be impor- Do you want an all-recorder group, or do you fall in between? Any of the three is tant to groups striving for high levels of would you rather play with a mix of playing, who have an interest in playing instruments (and perhaps voices)? appropriate instruments for a particular Do you want a small group that can Ask yourself these repertoire. It is likely that only a group of make a transparent sound, with all parts advanced players will face this issue.) clearly heard; or do you want to be part of questions to get If you want to play in a mixed group, a large group with rich sound? will your pitch be A=440 or A=415? Do you want to play one-on-a-part— an idea of what you (This is another advanced topic, impor- that is, each player has a part in the music tant for those who wish to focus on and plays that part on his/her own—or do want in a music group. Baroque music in a mixed ensemble. The you prefer to double a line with one or answer will depend partly on the other more other players? This may seem to be just fine, but knowing yourself will save musicians in your community. If your the same as question two. The difference frustration in rehearsal. oboe player has a modern oboe, your pitch is in whether you are a strong enough Do you want a group with a will have to be 440. On the other hand, player to feel comfortable carrying a part conductor/instructor/leader, or would if she plays Baroque oboe, using a copy of on your own, or whether you prefer some you prefer a self-directed group? an 18th-century instrument, the pitch will support. Question two refers to the overall Do you want a group that will make likely have to be 415. Also, do you have sound you want from your ensemble. technical and musical progress, striving recorders of both pitches? If not, that will Do you want to play with musicians toward higher standards of tone, be a deciding factor.) well-matched in level, all at the same level intonation, togetherness, and musical in- Do you want a group that will have re- or would you accept players of varied terpretation? Or are you more interested freshment breaks during meetings, or do levels? in just getting together to play without re- you want your rehearsal time used Do you want to join someone else’s quirements of practice between meetings? efficiently—play more, talk less? group or form your own? If you want Are you doing this for social or musical Once you have answered these ques- to join an existing ensemble, you must reasons? (Note that both are good reasons. tions, and any others that occur to you, it scope out what is happening in your com- There is nothing wrong with “just playing will be time to start looking around for munity—find out what groups are out for fun,” and there is nothing wrong with other players for your group. A great place there. Ask around to discover whether any wanting to make progress and improve to start looking for other players is your of them have room for a new member. Do one’s playing. Problems only arise when nearest ARS chapter. You can go to the not hesitate to ask—but do ask in a man- you have both sorts of people in one playing meetings, sit next to various play- ner that is not pushy, leaving an opening group. The striver will quickly get ers, and get a feel for each person’s playing for the person you are asking to gracefully frustrated, and the happy-to-play-along- as well as personality. Talk to people decline letting you into the group. You see, at-the-same-level person will not like during breaks. Ask about local recorder some groups have achieved a happy being pushed or being made to feel groups—there are sometimes groups that balance that satisfies the players—adding inadequate. This is why it is important to will take in new players or that happen to a new person, no matter how nice and figure out beforehand where you stand on be looking for a new member to replace how good a player, can throw off that this issue.) one who has left the group. You can get a balance. Do you want a group that works in lot of good pointers on all sorts of topics If your advances are spurned, do not depth on a smaller number of composi- about groups from those who play in their take it personally. On the other hand, if tions over several meetings, or do you own ensembles. you don’t ask, you will never know. prefer to do lots of sight-reading? If you notice someone with whom you
34 American Recorder think you might like to play, ask that per- anyone, you can again talk to your 100- son about his or her playing preferences, 1000 friends, family and acquaintances, especially if you happen to be very specif- and urge them to begin playing recorder. ic in your interests. Let on that you are Help get them started yourself. Voila! After thinking of forming a group, and tell the a few months, you could have yourself a prospective member what your goals and group. interests are. Try playing duets one day to Once you have found some players, discover whether you have fun playing make it clear that the first few meetings of together, or get on one another’s nerves. your new ensemble will be tryouts, to see Another great way to meet other musi- how you all fit together in playing and in cians is to attend a workshop—whether it personality. Although it’s very exciting to be a day-long, weekend or week-long get going with a new ensemble, make sure workshop. You have more opportunity to that everyone knows this is a time of learn about players in a week than in a day, adjustment and learning to play together. but they are all good situations for meeting If it doesn’t work, bear no hard feel- fellow players. ings. Don’t be disappointed if your group One thing to keep in mind is that does fall apart, or if you lose a member or shorter workshops lasting a day or a week- two—you can find others to take their end tend to attract more local participants. places. It is better to recognize a Players may travel great distances for dysfunctional group and fix it, or even to week-long workshops, so make sure that disband, than to press on without the prospective group member lives in addressing issues. your area. Rehearsals across three states My mom, an amateur Baroque ’cellist, are difficult to plan. has tried many groups with varying Still can’t find other players for your degrees of success and musical satisfac- group? Check the ARS Directory for teach- tion—sometimes dissatisfaction—but ers in your area. Ask them to recommend recently she decided to start her own people from among their students. Often group of like-minded string players. They teachers have groups, and there may be are mostly self-directed, with occasional room for you in one of them. coaching sessions. They specialize in late If you take lessons but your teacher has Renaissance and early Baroque repertoire, no other suitable students for your group, and prepare for and give performances. it is fine to ask other teachers in the area She and the other group members are hav- for suggestions. In the case of a coached ing a grand time—plus they sound great. ensemble, you might be having lessons You will need to make sure that at least from one teacher but end up in a group one person in your group has an interest in coached by another teacher. That is OK finding music, or has music already, or you too, but it is a courtesy to tell your main will have nothing to play. A great way to teacher about it. (In fact, I coach an en- discover pieces you like is to go to concerts semble consisting of students who all and listen to what other groups of your study with another teacher. I share this sort are playing. Also listen to recordings. ensemble with another local recorder If you notice a piece you want to play, note teacher, and when neither of us is avail- the composer and title, and start search- able, the students’ regular teacher takes ing. You can contact early music shops and the group. This is all because this group of ask for help locating pieces. The people at students particularly wants to meet as a these shops are often very knowledgeable coached ensemble every week.) about what is available. You can find the There are still more ways to find play- names of some of these shops in this very ers. Make a sign (ideally with a picture to magazine in the list of advertisers. grab attention) about the type of group Another way to find good pieces is to you want to form and post it in music sight-read a lot of music at your first meet- stores; at your place of work (especially if ing. Ask everyone to bring some music. you work in a large business or Make a list of the pieces you like best, and company—there might be other recorder then decide what to work on first. players right under your nose about whom For more ideas about how to keep you never knew !); bulletin boards or oth- a group happy and healthy, see my er announcement locations at libraries, Opening Measures column on “Ensemble coffee shops, college/university music Etiquette” in the March 2003 AR. departments and churches; and any other I wish you a happy experience finding method or place that occurs to you. people to play with, and great joy and What if no one else for miles around satisfaction in all your music-making. plays recorder? If you just can’t find Frances Blaker
September 2005 35 COMPACT DISC REVIEWS ______Two CDs from Alison Melville
ARCHIPELAGO. ALISON MELVILLE, discs feature recital-style programs rather what outside the norm. Eschewing a more RECORDER AND TRAVERSO; MICHAEL JARVIS, than music by a single composer. Melville, obvious sense of virtuosity, she displays a CHARLOTTE NEDIGER, BORYS MEDICKY, in her engaging notes, puts this down quiet confidence that draws in the listener HARPSICHORD; DEREK CONROD, NATURAL simply to a desire to record her favorite and makes the music a shared experience. HORN; MARY CYR, BASS VIOL. Verdandi music, but it also has the paradoxical ef- There is definitely technical prowess on Music CD 0312. 60:10. $18.95 (available fect on Archipelago of clarifying each com- display, but in many ways Melville is at her from the ARS CD Club and through poser’s style (in a program of music by best in the least familiar pieces on
Each CD review contains a header with some or all of the following information, as available: disc title; composer (multiple composers indicated in review text); name(s) of ensemble, conductor, performer(s); label and catalog number (distributor may be indicated in order to help your local record store place a special order; some discs available through the ARS CD Club are so designated); year of issue; total timing; suggested retail price. Many CDs are available through such online sellers as
36 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site:
IN STOCK (Partial listing) ____JOURNEY Wood’N’Flutes, Vicki Boeckman, ____ARCHIPELAGO Alison Melville, recorder & Gertie Johnsson & Pia Brinch Jensen, recorders. traverso. Sonatas & concerti by Hotteterre, Stanley, Works by Dufay, Machaut, Henry VIII, Mogens Bach, Boismortier and others. $15 ARS/$17 Others. Pederson, W.W. Van Nieuwkerk & Maute—seven ______centuries. Kadanza Classics. $15 ARS/$17 Others. SONGS ARLECCHINO: SONATAS AND BALLETTI IN THE GROUND OF J. H. SCHMELZER Ensemble Caprice Stuttgart. ____A JOURNEY AMONG TRAVELLERS Cléa Galhano, Matthias Maute & Sophie Larivière, recorders; (CD SHORT) Peter Bowman & Kathryn Bennetts recorder, Vivian Montgomery, harpsichord. Songs Michael Spengler, gamba; Maria Grossman, harpsi- perform Donald Bousted’s 26-minute quarter-tonal based on grounds by Pandolfi, Belanzanni, Vitali, chord. Works by Schmelzer, Muffat, Vitali. Antes piece for two alto recorders, which had its U.S. Bach, others. 10,000 Lakes. $15 ARS/$17 Others. Edition. $15 ARS/$17Others. premiere at the 1998 Berkeley Festival. SUZUKI RECORDER SCHOOL (Four vols.) ____ BACH: MUSIC TO CHALLENGE THE $12 ARS/$14 others. Recordings to accompany the Suzuki® Recorder INTELLECT AND TOUCH THE HEART Carolina ____LANDSCAPES David Bellugi, recorders; Ali School method books, with Marion Verbruggen, Baroque, Dale Higbee, recorders. Cantata No. 21, Tajbakhsh & Chris Hayward, percussion. “Virtual” recorders. $15 ARS/$17 Others, for each single CD, Part One; Cantata No. 182. $15 ARS/$17 Others. recorder orchestra created by Bellugi. Three centuries or $33 ARS/$40 others for any two Suzuki® CDs: ____BLOCKFLOETENENSEMBLE WIEN of ethnic music by Encina, Brouwer, Ortiz, Bartok. ____Vols. 1 & 2 for Soprano or ____Vols. 1 & 2 for Alto Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, Frame. $15 ARS/$17 Others. (Vols. 1 & 2: folk & children’s songs, Baroque dances) Eva Maria Kaukal & Prisca Loeffler, recorders. ____LES AMIS DU BAROQUE Paul Nauta, recorder Ensemble works by Demantius, Monteverdi, & Baroque flute; Koen Dieltiens, recorder. Music by ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others Morley, Mozart, Schermann, Kaeser, Bassani, Corelli, Vivaldi, etc. Highlight Intl. ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others W. W. van Nieuwkerk, Pachelbel, Reichard. $15 ARS/$17 Others. ____SWEET FOLLIA, THE RECORDER ON TWO $15 ARS/$17 Others. ____MIDNIGHT SUN Alison Melville & Colin Savage, CONTINENTS Ensemble Caprice. Matthias Maute ____CHARLESTON PRO MUSICA ON TOUR recorders; Ensemble Polaris. New arrangements of & Sophie Larivière, recorders. Selections by Marsha Evans, Lewis Fitch & others, recorders, traditional music of Norway, Finland, Estonia, Sweden, Purcell, Morley, Maute, Couperin, Van Eyck, others. gemshorns, guitar and voice. Medieval and Scotland. Classic CD Disc of the Month, August 2000. Atma Classique. $15 ARS/$17 Others. Renaissance music with consort and singers. Dorian. $15 ARS/$17 Others. ____TELEMANN: DUOS POUR FLUTES, Millennium Music/ Charleston SC. $15 ARS/$17 Others. ____MUSIC FOR A WINTER’S EVE, Bringing Light Ensemble Caprice. Matthias Maute & Sophie ____CIRCULO MAGICO (MAGIC CIRCLE) to the Darkness. Eileen Hadidian, recorder & Larivière, recorders & transverse flute, Alexander Cléa Galhano, recorder. Brazilian and American con- Baroque flute, with voice, violin, viola da gamba & Weimann, clavichord. Six Telemann duos & temporary music for recorder and various instruments. Celtic harp. Traditional, Renaissance and Medieval sonatas alternate with five fantasies for clavichord $15 ARS/$17 Others. songs to celebrate midwinter and the changing of by Maute. Atma Classique. $15 ARS/$17 Others. ____A. CORELLI Ensemble Caprice Stuttgart. the seasons. Healing Muses. $15 ARS/$17 Others. ____TELEMANN: TRIO SONATAS WITH Matthias Maute & Sophie Larivière, recorders; ____MY THING IS MY OWN: BAWDY MUSIC OF RECORDER Vicki Boeckman, recorder. Trio sonatas Michael Spengler, viola da gamba; Maria THOMAS D’URFEY Tina Chancey, Grant Herreid & for recorder and violin, recorder and gamba, recorder Grossman, claviorganum. Works by Corelli & Scott Reiss, recorders & other early instruments; and harpsichord. "Expertly played collection of cham- Kuhnau. Antes Edition. $15 ARS/$17 Others. Rosa Lamoreaux, soprano. Improvisations on ber music..."--Early Music America Magazine. ____DREAMS INSIDE THE AIR TUNNEL tunes of love, sex & seduction in 18th-century Qualiton. $15 ARS/$17 Others. Zana Clarke, recorder & composer. “Drawing on the England. Koch Int’l. $15 ARS/$17 Others. ____TRIO ATLANTICA Lisette Kielson, recorders. music of the didjeridu & shakuhachi...beautiful & ____PRIEST ON THE RUN Piers Adams, recorders. Works by Bach, Telemann, Montéclair, Leclair. Trio hypnotic...”—American Recorder. Orpheus Music. Concerti composed by the ensemble’s namesake, Atlantica. $15 ARS/$17 Others. $15 ARS/$17 Others. flame-haired Vivaldi. Upbeat. $15 ARS/$17 Others. ____20TH CENTURY MUSIC FOR RECORDER & ____ENSEMBLE PIACERE 2002 Ensemble ____RECORDER JAZZ Warren Kime, recorder. PIANO Anita Randolfi, recorders. Music by Jacob, Piacere, Irmtraut Freiberg, Eva Maria Kaukel, Original jazz charts with a great groove. Bartok, Leigh, others for recorder & piano. recorders. Sparkling performances of works from $15 ARS/$17 Others. $15 ARS/$17 Others. the Renaissance to the 20th century by ____REFLECTIONS, Music to Soothe and Uplift ____VON PARIS NACH WIEN Duo Caprice Frescobaldi, Ortiz, Telemann, Fux, Keil and many the Spirit. Eileen Hadidian, recorder & Baroque Stuttgart. Matthias Maute, recorder & Michael others. Ensemble Piacere. $15 ARS/$17 Others. flute, with Celtic harp and ’cello. Celtic, traditional, Spengler, gamba. Works from Paris to Vienna by ____FOR NO GOOD REASON AT ALL Scott Reiss, Renaissance & Medieval melodies. Healing Muses. Rameau, Satie, Maute, J. Haydn, Chopin, others. Bruce Hutton & Tina Chancey sing and play more than $15 ARS/$17 Others. Antes Edition. $15 ARS/$17 Others. 30 early and traditional instruments. Hesperus's first ____ SACRED & SECULAR CANTATAS OF J. S. crossover CD, fusing Medieval and Renaissance Please indicate above the CDs you wish to order, BACH. Carolina Baroque. Dale Higbee, recorders. and print clearly the following: music with Appalachian, blues, Cajun, vaudeville, Live performances of three cantatas, BWV 82a, Name______early swing. Recorder heard as jug, blues harmonica, BWV 202, BWV 209. $15 ARS/$17 Others. Daytime phone: (_____) ______pan pipes (quills)--and, of course, recorder. Golden ____SAMMARTINI: SONATAS & CONCERTOS FOR Apple. $15 ARS/$17 Others. FLUTE Ensemble Caprice & Rebel. Matthias Maute Address: ______THE GREAT EMU WAR Batalla Famossa, a & Sophie Larivière, recorders & traverso. Extended City/State/Zip: ______young ensemble, with first CD of Australian concertos and sonatas by Sammartini & Maute. Check enclosed for recorder music. Orpheus. $15 ARS/$17 Others. Atma Classique. $15 ARS/$17 Others. _____ single CDs x $___ = $______THE GREAT MR. HANDEL Carolina Baroque, ____LUDWIG SENFL Farallon Recorder Quartet _____ 2-CD sets x $____ = $______TOTAL $_____ Dale Higbee, recorders. Sacred and secular music featuring Letitia Berlin, Frances Blaker, Louise Please charge the above amount to my MasterCard or by Handel. Live recording. $15 ARS/$17 Others. Carslake and Hanneke van Proosdij. 23 lieder, Visa:#______Exp. Date: ______HANDEL: THE ITALIAN YEARS Elissa motets and instrumental works of the German Berardi, recorder & Baroque flute; Philomel Renaissance composer. Cardholder’s signature: ______Baroque Orchestra. Handel, Nel dolce dell’oblio & ____SOLO, DOUBLE & TRIPLE CONCERTOS Mail to: Tra le fiamme, two important pieces for OF BACH & TELEMANN ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 USA.. obbligato recorder & soprano; Telemann, Trio in F; Carolina Baroque, Dale Higbee, recorders. You may fax your credit card order to 314-966-4649. Vivaldi, All’ombra di sospetto. Dorian. $15 2-CD set, recorded live. $24 ARS/$28 others. ARS/$17 Others. CHAPTERS & CONSORTS ______Chapters celebrate Play-the-Recorder Day and Month 2005
The Chapters & Consorts Committee Other prize-winning groups included contributed a gift certificate for a music once again had an exciting and challeng- Boulder-Fort Collins-Denver, CO, purchase. ing time evaluating entrants in the Play- where members of the three chapters gave To all our entrants, we appreciate your the-Recorder Month contests. There multiple performances as the Front Range efforts and enthusiasm. It truly is great were so many fine descriptions of activities Recorder Orchestra; Riverside-LaMer testimony to your vitali- from differing groups that it was difficult Consort of Hermosa Beach, CA; and ty and the love to choose and name prize winners for Colorado Springs, CO, chapter, which of making music with 2005. We looked for variety in activities, won a prize for the biggest percentage our chosen instrument. the numbers of times children were increase in membership from new mem- We hope you and involved, the publicity generated for the bers who joined during PtRM. many others will start recorder, and the quantity of activities that Each year, a special prize is awarded for planning now for your were carried out. the most imaginative use of a special celebration of PtRM With these criteria guiding us, the two recorder work, which for 2005 was David 2006! groups placed at the top were the Eastern Goldstein’s trio Lullaby. As with previous Richard Carbone, Chair Connecticut Recorder Society and St. years, we are delighted with one entrant Chapters & Consorts Louis (MO) Recorder Society. Both held that stands out from the rest: the Jasmine Committee a number of concerts, but each had things Recorder Consort of Greenville, SC. that were especially memorable as well. This group went to the maternity ward of SLURS member Joyce To name only two, Eastern Connecti- one of their local hospitals, where they Wilson prepares to cut’s library display for played Lullaby for admiring and apprecia- use the drill press to publicity outreach (at left in tive nurses, new parents and children. drill holes in a photo by Laura Clementsen, ARS contests receive support from recorder stand base, showing the display at Rus- many members of our recorder business with Linda Small, sell Library in Middletown, community. The Von Huene Workshop Mary McKinney and CT) struck us as particular- donated a Yamaha bass recorder and Carolyn Munch in ly good. St. Louis shone Courtly Music Unlimited gave a Yamaha background. Below, with their “Build Your Own soprano and alto recorder set. Norm Stoecker in- Recorder Stand Assembly Line” and Magnamusic, Arcadian Press and stalls a peg in a near- potluck dinner party, a project that would Screaming Mary Music each sent pack- ly-complete stand. spark up any chapter or consort gathering. ets of music, and Honeysuckle Music (Photos by Bill Long)
CHAPTER NEWS Chapter newsletter editors and publicity officers should send materials for publication in American Recorder to: AR, 7770 South High St., Centennial, CO 80122-3122, by e-mail
38 American Recorder Rosi Terada conducted members from three Colorado chapters in March performances by the Front Range Recorder Orchestra. (Photo courtesy of Rebecca Beshore) Bruce Randall, Bonnie Six ensembles and one soloist per- Rogers, Alison Gottlieb formed for the annual Consort Day of the and John Berg); Atlanta (GA) Recorder Society on Quilisma Consort (Lisa March 20. Music ranged from Henry VIII’s Gay and Carolyn Jean 15th-century sound to Carolyn Peskin’s Other celebrations of Smith); Brian Warnock, Gail Page, very current 2003 works. Participating Play-the-Recorder Day and and Bob Rowlands; and the BRS Perfor- were Windsong, Rossi Quintet, Play-the-Recorder Month 2005 mance Ensemble (Karen Yeats, Jonathan DeLoach and Jody Miller, the Patricia Grimes and husband Richard Warnock, Oded Shaham, Mike Shonle, Wilton Consort, Fantasia, and the Cowper celebrated PtRM by giving a Vineet Prabhu and Gay). Repertoire in- Emory Early Music Ensemble; the recorder demonstration at a primary fun- cluded Renaissance party music, contem- soloist was Myra Kibler. damental school in St. Petersburg, FL, on porary Latin rhythms, and Baroque duets. A crowd of 60 recorder players and ear- March 30. They played duets on various There were refreshments and literature ly music enthusiasts gathered at Carolina recorder combinations, and Patricia about how to get started playing the Friends School on March 12 for the talked about recorders and the music, and recorder. John Tyson also gave a Triangle (NC) Recorder Society’s spring answered questions. There were over 200 “RecorderPower!” demonstration. Audi- workshop, “A Grand Tour of Europe.” The students, grades 3 to 5, and all of them ence members, young and old (below in a high spots of the musical tour included had taken recorder lessons for at least part photo courtesy of Laura Conrad), played Vienna, Venice, Paris, Rome, Florence, of a year from their school music teacher. loaner soprano recorders, ending with a Antwerp, London and Madrid. Partici- Patricia and Richard received great jam on a C-D-G-C bassline. pants took classes from Jack Ashworth of applause from the students, and the Louisville, KY, and Eric Haas of Boston, music teacher called later to say that she MA, as well as North Carolina regulars had received many positive comments. Stewart Carter, Michelle Oswell, Plans to play at their church in March Patricia Petersen and Kathy Schenley. were delayed when the church music Hudson Mohawk Chapter members director became ill—but Richard and (below) celebrated PtRM by having a con- Patricia performed in April before return- cert at the New York State Museum each ing to Canada for the summer, where they Tuesday during the month of March. continue to play recorder in their church. Sweetbrier Recorder Consort, the Seven Greater Cleveland (OH) Jill Ballesteros organized a group Corelli Clash, Platt Hollow Trio and the Chapter members performed in a PtRD from the Tucson (AZ) Recorder Society Adirondack Baroque Consort each concert on March at the Beachwood to offer demonstrations for elementary played a program at the museum. Library. The Queensbridge Recorder children in seven schools during March. Consort (Barbara Perkins, Carolyn Other chapter members gave a belated Peskin, Dennis Sadzewicz, Don Shaf- PtRM performance on April 2, providing fer and Edith Yerger) played English musical interludes between poems at the Renaissance selections; Music for 2 Benedictine Monastery Open House (Yerger and David Betts) offered a variety Poetry Reading. The chapter meets at the of music; and Yerger joined Valentin Usti- monastery, which also hosted historical nov to play viol fantasias by Thomas Mor- displays and had tours of liturgical vest- ley. At exactly 3 p.m., they played Gold- ments for its 70th anniversary event. stein’s Lullaby, the piece chosen by the ARS to be performed at that time on PtRD. The Twin Cities (MN) Chapter per- formed at the annual Bachman’s Flower Beatin’ Path Publications Show during the evening of March 20. Five chapter members played before members Music That Works! of the public who were touring the display of beautiful spring flowers. Several also Robert Amchin played at churches during Lent. Alto Antics ensembles for beginning alto recorder with percussion accompaniment At the March monthly Twin Cities Recorder Frolics for beginning C-pipes (Play-along CD available) meeting, recorders joined with the North Moods and Modes for intermediate classroom ensembles: includes play-along CD Star Viols in a workshop on chansons, led Brent M. Holl and Michael R. Nichols by Gerald Hockstra of St. Olaf College. The Beatin' Path Consort Collection for beginning and intermediate ensemble Five groups of Boston (MA) Recorder Michael R. Nichols Society members played at the Central Christian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort Square branch of the Cambridge Public Li- brary for a belated celebration of Play-the- See our online catalogue of Church, Recorder Day on April 2. Performers in- 302 East College Street choir, Orff and recorder music at: Bridgewater VA22812 cluded: the Cantabile Renaissance www.beatinpathpublications.com 540-478-4833 Band (Laura Conrad, Ishmael Ste- or visit your favorite music dealer fanov-Wagner, Anne Kazlauskas,
September 2005 39 ON THE CUTTING EDGE ______Antarctic performances and summer “fun music”
ome further news from the English Example 1. Opening of first movement of Nice Folks, with tenor playing solo melody Srecorder duo Kathryn Bennetts and Peter Bowman regarding performances of the radio opera Kathryn and Peter Cross Antartica (Kathryn und Peter durchqueren die Antarktis), about which I wrote in the September 2004 issue: the opera is no longer just a radio event. During April 2005, the work received Example 2. Excerpt from “She’s Like the Swallow.”The melody is now bifurcated six performances at the Forum Feies between the two recorders (soprano and alto) being played simultaneously. Theater in Dusseldorf, Germany. Yes, live performances! Once again Bennetts and Bowman were the recorderists, and their son Tim Bowman (lead guitarist of the new punk band Made in Britain) repeated his role from the radio broadcasts. In addition to broadcasts on Deutsch- land Radio, the opera was also broadcast in Britain on May 19 and in Eastern Aus- afternoon working on this entertaining (example 1). Guitar then takes over with an tralia on May 20. Readers interested in fur- composition. ostinato-style pattern, which is subse- ther information can contact Bowman The music was commissioned by a quently joined by soprano recorder, and at
32 South Maple Street Enfield, CT 06082 (860) 749-4494 [email protected] www.sweetheartflute.com
40 American Recorder Example 4. Nice Folks, third movement, showing recorder multiphonics above the guitar pizzicato.
The movement concludes with an op- This is “fun music,” and if you don’t portunity for recorder improvisation on have it in your library, you should. Call up the pentatonic scale (example 3). Rose has your guitarist friends and make a date to thoughtfully included some pentatonic play through this clever and entertaining exercises as an addendum to the score, to composition. Better yet, practice hard and help those who might feel a little put on a performance. Your audience will challenged by the improvisatory passage. thank you and there will be smiles for all. Nice Folks concludes with a merry Published in 2001 by Carus-Verlag, scherzo in triple meter (“Down the Stuttgart, Germany, Nice Folks carries the Ohio”), with soprano recorder playing edition number 11.607. The American sputato and guitar required to play muted distributor is Elkin Music International, pizzicato to imitate the sound of violin Inc. (
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September 2005 41 ARS Board member Mark Davenport (l) takes a break with exhibitor James Bartram and presenter Frances Feldon he first ARS TFestival & Conference, held ARS inaugurates Conference July 28-31 in Den- ver, CO, gave partici- pants from 24 states Mark Davenport’s session centered group of 20 to improvise in pairs. Maute’s and three countries as many as five op- on “Spain in the New World,” early much-awaited method book on improvi- tions in every concurrent block—sessions Renaissance Spanish composers who sation will soon be available in English. for players at all levels, with music from brought their culture to the Americas, or In “Popular and World Music for the old to new; for teachers of young and old; whose music was carried here. While Recorder,” Cléa Galhano helped players and for chapter leaders. It was like a puz- Europe moved on, the Americas still expand their musical horizons, leading zle to pick what to do from the choices! retained the old style. The group played them through Brazilian, Hungarian and Some tuned in immediately to playing from transcriptions of a manuscript by Jewish musical examples in her vivacious options, since almost every block includ- Spanish composer Frecha, found in the and engaging manner. She stopped the ed a coached session—where players were past 50 years in an archive. The lush, love- group at appropriate times to demonstrate guided through pieces from a variety of ly music was written with the original note phrasing and articulation styles. periods and styles, focusing on strategies values—almost like reading early nota- A hands-on technique session, using for good ensemble playing—or a session tion—counted two whole notes per beat. music played by Eileen Hadidian mixing lecture information with playing, With a second piece written in Mexico (recorder) and Natalie Cox (Celtic harp) plus late-night playing. Others absorbed by Padilla Juan Gutierrez (1590-1664), he in their Healing Muses programs in information from the topical lectures. mentioned that many instruments built health care facilities and intensive care The coached sessions led by Ken in the New World were based on the units, expanded horizons in a different Andresen, founder and former director of Old World; Bolivian flutes were probably way. The idea is that music transmits har- the Recorder Orchestra of New York, cen- fashioned after Old World recorders. monious vibrations to our minds and bod- tered on recorder orchestra repertoire. He Throughout the session, he took time to ies, and we respond to it in a way that can coached 20 participants in an arrange- explain technical aspects of the music. ment, crafted by Andresen with Friedrich In a well-planned session on the art of The idea is that music von Huene, of Six Russian Folk Songs by imitation in fugues and grounds, Daven- 19th-century composer Anatoli Liadov. port described fugal writing from its gen- transmits harmonious The work, for nine recorders (SSAAAT- eral beginnings to the highly specific form vibrations to our TBcB) in two choirs, displays a variety of that J.S. Bach perfected—an overview that tempi and moods, is quite challenging, was short, clear and packed with informa- minds and bodies .... and makes good use of the low choir. tion about what participants would do in For his second session, he chose four that session, fugues overall and the promote a feeling of wellness. Music based pieces from his Polyphonic Publications, E minor fugue specifically. His preparation on the Medieval church modes, Renais- starting with Vaughan Williams’s five- allowed the group to play through the sance, Celtic and other traditional music voice Come Away, Death—a good begin- piece with considerable satisfaction. seem best for relieving anxiety. Hadidian, ning, as its sustained passages helped the Participants also enjoyed playing who experienced these healing effects dur- group play well together. He followed with fugues in Letitia Berlin’s session—inter- ing her own cancer treatments, showed Lyndon Hiling’s ambitious nine-voice esting selections from The Art of the Fugue participants how to organize music in a Midsummer Meadow Suite. This rewarding by Bach. While these selections came from repertoire set designed for healing purpos- work contains tricky rhythmic passages. the Oriel edition, she announced that PRB es. Accompanied by Cox, participants Where indulgence was needed, he moved Productions will publish her own edition. played on alto, tenor and bass a number of the difficult parts along with his own Reading from early notation can be appropriate pieces arranged by Hadidian, singing, directing with a sense of humor. daunting, but Frances Feldon provided a from a 12th-century chant by Hildegard Frances Blaker chose to coach a vari- useful handout including her own select- von Bingen to American folk hymns. ety of Renaissance music, starting with ed bibliography on original notation plus The session contained some of the Henry VIII’s Hélas Madame. After tuning, music in various clefs and early notation. same background presented earlier by she worked on consciously synchronizing This was unfamiliar to many of the partic- Healing Muses, when Hadidian and Cox breath and brain. A Heinrich Isaac piece ipants, who dove right in and played. gave an overview session about music for called La la hö hö (#437 in The King’s Matthias Maute’s session on extend- healing. That audience received a resource Trumpets and Shalmes series that Lazar’s ed techniques mixed information and folder including a bibliography and exam- Early Music was selling at the exhibition) playing, concentrating on “sputato”—an ples of music used. Other topics discussed was especially good for breath/brain work. articulation in which the tongue moves were the musician’s role, characteristics of Next was a Roland de Lassus piece, La sharply, starting at the top of the upper healing music and use of improvisation. Nuict Froide et Sombre, available for free at teeth and flipping very rapidly backwards. Andresen led a discussion session on
42 American Recorder By contrast, string and keyboard pieces of offerings at the ARS Festival & with arpeggiated figures are harder. To Conference. The only way to get the full demonstrate his own techniques, An- effect was to be there yourself! dresen played a synthesizer rendition of his own Boxwood Bounce (Polyphonic Pub- Plenary Sessions and Performances lications), a jazzy piece for recorder quar- In a joint town-hall meeting of the ARS tet, passing around a score for inspection. and American Recorder Teachers Associa- Sounds of recorded music were also tion, questions from the audience were heard coming from the room where Fel- discussed in light of the goals of both don summarized her research into jazz 200-400 dpi (dots per inch), and the organizations. and pop recorder performers (leading to a “grayscale” or “black-and-white photo” The highlight of the evening was the series in AR; an interview appears in this is- setting of the scanner. presentation of the Presidential Special sue, and a previous one in the January 2005 Another exhibitor offering a confer- Honor Award to Marie-Louise issue). She recounted how Eddie Marshall ence session was Adriana Breukink “Weezie” Smith for her contribution to became a fan of Marion Verbruggen after (above), creator of Mollenhauer’s Dream fostering recorder playing among young being inspired by her playing Vivaldi and recorders. “My goal is to give children players, through her work at the Indiana Sammartini—dressed in leather pants and better instruments.” Her demonstration University Recorder Academy (IURA) . sporting a spiked hairdo. Marshall finds and playing session (pieces for multiple Smith expressed how gratifying it is for ballads, Latin music, and romantic pieces sopranos!) gave participants data about something about which you feel passion- most suitable for recorder. The group lis- bore shapes—and also a souvenir plastic ate to be appreciated by others. She cred- tened to several of his pieces. Dream soprano. She passed out a graph ited the success of the IURA to strong staff Another example was Terry Kirkman, comparing bore shapes; charts showing and faculty who loved working with chil- who played up to 13 different instruments how historical bore shapes affect sopra- dren; parents willing to send their teens with The Association. He can be heard no/tenor fingerings; and drawings she there, and students who brought talent providing a bridge, trills or countermelody made in museums—culminating in her and enthusiasm as well as an openness for on soprano in many of the folk rock first Dream design sketch. (See recent AR change and a sense of humor. Saying that group’s hits—among them, Along Comes articles about the Dream recorder: an inter- the award should be shared by many, she Mary and Windy, heard in the session. view with Breukink in September 2003, and thanked Thomas Binkley, who first asked The next example was a surprise from On the Cutting Edge, January 2004.) her to establish a pre-college program the world of jazz: the composer was Duke These descriptions, along with the at the IU Early Music Institute, as well Ellington. Art Baron played with Elling- others that follow, only grazed the surface as colleague Eva Legêne. Her husband, ton’s group in the early ‘70s, doodling on recorder when he was not playing trom- bone with the band. The Duke heard him and told him he would write something R for recorder. It blended perfectly into the overall fabric of his third Sacred Concerto. The session also squeezed in a piece by E Jefferson Airplane, in which Grace Slick played tenor recorder—Come Back to Me. Bruce Munson of Sibelius gave two C sessions on the music notation program, assisted by Michael Gathings of exhibitor Rockley Music Center in Lakewood, O CO. A notable enhancement is that parts and score are now linked: score changes update the parts, and vice versa. R Munson demonstrated how to revise a score and how to start a new one. Notes are entered with a MIDI keyboard, com- D puter keyboard, mouse, existing MIDI file, scanned PDF file, or by importing materi- al from a Finale file. He demonstrated E scanning a printed score using Photoscore Lite 3, which comes with Sibelius 4. There was a slight hiccup in transferring scanned R music from Photoscore to Sibelius, sug- gesting interface problems not present with Sibelius 3. It is advisable to make sure S that Photoscore 4 is included before pur- chasing Sibelius 4. Munson provided scanning hints: use a resolution of
September 2005 43 With the two previous speakers taking Professionals can provide inspiration—as a “prescriptive” approach, Fischer was in, “I had no idea the recorder could “descriptive.” The sound of the recorder sound like this!” While amateurs may not first got him interested. Now there are bet- inspire in the same way, hearing them may ter instruments with even more beautiful be less intimidating and may make listen- sounds. Among professionals, there is ers think that they can do it too. more emphasis now on consort playing, Primus asked the panel to discuss how and less on concerto soloists—a good the recorder fits into the uncertain future example of the recorder’s social function. of mainstream classical music. Blaker David (shown with her in the photo above) Maute looked at the big picture, where pointed out that people like classical “put up with my single-minded devotion there may be factors beyond our control music—a number of movies use it. Maute to the Academy.” (such as those that led to the demise of in- outlined a scenario: classical music is 1% The ceremony included a musical trib- struments like the cornetto). He thought it of all music; early music is perhaps 1% of ute by the Hedgehogs, a quartet of Col- unnecessary to dwell on the recorder’s classical; and recorder music 1% of early orado teenagers who had attended IURA future: there are cycles of life, and there are music. “We are at the edge of the edge of and who study with Linda Lunbeck. cycles in the recorder’s popularity. We the edge.” That frees us to do anything, to With two Hedgehogs off at summer activ- must connect with young players—who experiment without being tied down! ities (including a workshop), Lunbeck and generally aren’t excited by early music, to To end, Primus returned to notes from Michael Lightner assisted the remaining which the recorder is so strongly tied. Also a similar panel discussion that she moder- two Hedgehogs in a performance of Indian he pointed out the robust infrastructure in ated in 1992 in Berkeley, CA. Her conclu- Summer, written for Weezie by Matthias European music schools, which receive sion still held true: “In the past charismat- Maute, and Tango für Elise (in their ver- financial support from sources like towns. ic leaders and teachers, such as Erich Katz, sion, “für Weezie”) by Paul Leenhouts. inspired many amateur, as well as profes- First on the July 30 schedule was a Even affecting one person sional, players. And many recorder play- lively and intriguing discussion on the ers, who were the dedicated followers of topic of Keeping the Recorder Alive is a valid goal. these charismatic leaders, had a mission- in the 21st Century, with panelists ary-type zeal to share their love of music Frances Blaker, Weezie Smith, Charles Rather than aiming for perfection in a making with their friends. So I would like Fischer and Matthias Maute. Moderator situation with factors beyond our control, to challenge all recorder players to work Connie Primus asked each panelist to include drama or other disciplines— together with the ARS to reach out to first express a few thoughts. topics that appeal to younger players. young students, prospective teachers, Blaker said we should all “stick A discussion followed the opening new chapter leaders, and would-be per- recorders in our mouths and blow”—keep statements. An audience member pointed formers—to encourage them to become playing! Remember that people can start out that the common theme among the the charismatic leaders and dedicated fol- playing at any time, any age. panelists seemed to be young players as a lowers of the next generation...!” From Smith, the audience heard a key: find ways to interest them, get good Two performances by professionals in- “Heaven on Earth” vision of many young instruments into their hands, etc. spired the entire conference assemblage. players, with workshops to help them Adults are also important, either on On the evening of July 30, conference pre- progress. Children become excited by their own as potential recorder players or senters gathered at nearby Berkeley teachers who are enthusiastic players. as support for young players. A teacher Church (which also hosted a reception Make sure there is always a broad range of seeing a child for only one hour each week following). The varied program gave the workshops for players and teachers. won’t change the situation. Support can professionals a chance to shine in settings come from grandparents who take up the from solo to large ensemble. Lazar’s recorder and may be encouraging figures Early Music loaned several low recorders in the lives of their grandchildren. Even for the Friday evening recital—some with affecting one person is a valid goal. price tags dangling from the bell. Moving into a discussion of profes- Playing Baroque instruments, the sionals, Blaker mentioned that Baroque opening group tackled Davenport’s eight- repertoire used to dominate recorder liter- voice double-choir arrangement (with his Honeysuckle Music ature, but young players (such as those on late father LaNoue) of J. S. Bach’s Singet the Recorder Relay during June’s Boston dem Herrn ein neues Lied—a difficult Early Music Festival) branch out to tradi- motet made to sound easy and very musi- Recorders & accessories tional music and jazz. Maute echoed her cal. The scale passages, which give even ... sentiments, saying that we can’t afford to advanced amateurs fits, sounded smooth Music for recorders & viols specialize, playing the same pieces over and natural in their hands. and over. Being a professional is now 50% Switching to all-Renaissance consort, a Jean Allison Olson arranging and composing music. quintet played two settings from Fortuna 1604 Portland Ave. Primus read a quote from AR educa- Desperata of Ludwig Senfl. Adriana St. Paul, MN 55104 tion columnist Jody Miller, urging people Breukink played lovely melismatic runs 651.644.8545 to play music that is fun for an audience to on bass in the second version. [email protected] hear (see the May 2004 AR) and asked Healing Muses then played tradition- whether amateurs should play in public. al Irish and English music discussed in
44 American Recorder Ken Andresen (l) congratulates Matthias Maute after his Sweet Follia performance their conference sessions—performed Nearly all of the professionals joined in without the interruption of applause. a “riki-tiki” playing of Chinatown by Jean A piece from Ken Andresen’s session Schwartz, in Denis Bloodworth’s recorder was next: Six Russian Folksongs by Anatoli orchestra version. Everyone got to shine in Liadov. Played by nine of the profession- short solos before a roaring finish. als, the four varied folksongs that were The conference conclusion was a played ranged from sombre to birdlike to recital by Maute on July 31. Entitled Sweet shifting harmonies under an ostinato-like Follia, each section was like a conversation theme, to its sprightly ending. at a party. In addition to performing with Birelli Lagrene interjected the jazzy riffs Brazilian musicologist and anthropolo- great energy, Maute set the scene for each and sung chords of Djangology. A new gist Kilza Setti’s 2 Moments (fittingly section by explaining which composers twist on a violin warhorse was next: Pa- titled—it was short!) was played by Cléa were at that “table of the feast.” ganini’s Caprice No 24, after which 1960s Galhano. Its opening improvisatory sec- Three rather unlikely tablemates had movie composer Marchetti’s Fascination tion moved into a spirited dancelike tune. the first discussion. Bach’s famous Prelu- ended the visit of the surprise guests. Switching to alto, Galhano joined dio from an unaccompanied partita was Marchetti used “as few notes as possible;” Matthias Maute to play his A Due. Rapid- first exclaimed flawlessly on alto, with Maute’s seconds-long rendition effectively fire sputato arpeggios of the Prelude gave soprano trills, bends and chiffs of Korean swept through the waltz, even down to its way to a jazzy, flawless unison riff in Circle composer Isang Yun’s The actor and the quiet accompanying offbeats. of the Songs I, splitting into occasional in- monkey responding. Back on alto, the The host, Maute, said goodbye to his tervals, and then a melody/countermelody lyrical Lascio mio pianga (let me weep) of guests with his La petite etude, a Philip section ending with a sotto voce unison. G. F. Handel completed the conversation. Glass-style sputato piece fading into noth- Returning to large groupings, Tele- Machaut, Maute and an itinerant ing; and a jazzy Miles Davis-style Once mann’s Overture in F Major set by Frances musician “with a couple of buttons miss- there was a child that rose in a vocal glis- Feldon was offered in a quartet version ing” (Anonymous) met at another table for sando to a two-note stinger—the farewell with two on each part. The familiar For- a set played on Renaissance instruments. for the Festival & Conference, and for a lane from Le Tombeau de Couperin of Mau- A 15th-century love song from Machaut unique recorder party thrown by Maute. rice Ravel—lush Impressionistic har- (“he is 70, she is 17”) led into Maute’s Gail Nickless with contributions from monies adapted for sopranino to great haunting, chantlike singing/playing on Rebecca Arkenberg, Jann Benson, bass with bass clarinet—was next played bass, then a spirited istanpitta Tre Fontane. Barb Duey, Carolyn Peskin, Bill Rees, by seven recorderists with arranger and At perhaps the party’s climax, unex- Eileen Rees, Susan Roessel, Daniel Soussan, bass clarinetist Alan Kolderie. pected guests arrived: gypsy musician Rosi Terada and Rosemary Whitaker A highlight of the Festival & Conference was the grand opening of the Recorder Music Center (RMC) at festival site Regis Uni- versity. The gala reception held on July 28 packed the entry lounge of Dayton Memorial Library as conference participants listened to a welcome from RMC director Mark Davenport and looked at an exhibit of a few materials housed in the RMC (below right). In a conference session on “Locating and Playing Music from the Recorder Music Center,” Davenport gave an overview of how the RMC can be used. Personal papers, published music, and original manuscripts have been donated to the RMC. At the moment, the material is in boxes awaiting sorting and cataloging, with an “informal inventory” on an Excel spreadsheet. The holdings will even- tually be bound if appropriate and catalogued, at a cost of $15 per item. A separate RMC section on the library’s third floor will contain material that can be checked out: primarily books, and any music for which there is a duplicate in the collection. The online catalog will be searchable on the Web. Dayton Memorial Library is open to the public, so anyone can check out circulating materials, or request and use the originals in the Special Collections area. In the session, participants looked up music in the inventory, requested that it be provided using the official forms, and played some of the music. One of the most enjoyable pieces was Pelog by Henry Cowell, in an old American Recorder Edition. “Pelog” refers to the Indonesian scale on which the piece is based, and it did have a lot of Gamelan flavor. It was composed for SSA recorders—as Davenport pointed out, there weren’t as many tenors and basses in 1955 as there are now. Gerrie Fisk (l), one of several Denver Chapter volunteers who helped at the Festival & Con- ference, poured wine along with reference librarian Martin Garnar, who serves on the Recorder Music Center committee
September 2005 45 Sessions on Teaching and Learning that was passed around the room. The holes closed to allow immediate For those wanting to help others improve group then played that rhythm on one access to lovely low sounds. She empha- or learn, there was more than one option note on recorders and added non-pitched sizes listening from the beginning and in most session blocks. percussion accompaniment. Each player never stops—and likes using one of the School teachers could start with “Be- improvised using several notes, with the Suzuki books in addition to these Suzuki ginning Recorder in A Classroom Setting.” same rhythm. They learned the round ideas. Introducing many important con- Leslie Timmons led her audience in “Firefly” by memory, playing it at four-, cepts all at once—breathing, phrasing and initial levels of imitation, exploration, im- two- and one-beat offsets—a challenge! tonguing—gets adults to music quickly. provisation and literacy in a lively session For students with a grasp of the basics, In another session, “Special Issues for using Orff-Schulwerk techniques. Imita- an after-school or community-based Mature Beginners,” Galhano led a discus- tion starts with non-pitched ostinati “recorder club” can give two-way motiva- sion about items on her outline: technical (clapped hands or easy percussion). tion—if they join a Junior Recorder Soci- issues like posture, sound resonance, en- When a simple repeated rhythm is secure, ety, they do better in private lessons or mu- ergy, breathing, articulation, fingering, in- “B” on soprano recorder is taught and the sic classes, and vice versa, said Louise terpretation and music style; psychologi- ostinato played on recorders. Articulation Carslake in her discussion of the East Bay cal issues of self-confidence, listening and is taught with a familiar phrase or word, Junior Recorder Society (profiled in the playing, listening to others, and perform- playing its articulation on “B.” When the January 2005 AR). Many EBJRS members ance anxiety; and repertoire in a variety of next note, “A,” is taught, children echo a keep coming back well into their high- styles to challenge a mature player. two-note pattern by singing, then playing. school years because they are encouraged For repertoire, the small group played Literacy starts with rhythmic notation to compose or arrange for the group. Aldo Abreu’s articulation exercises, on a percussion staff. A poster-sized fin- Parents are kept in the loop by being Susato dances, and some interesting alto gering chart is made for each note, show- invited to arrive 15 minutes early, a time at duets from Holiday in the Village by Japan- ing it on the staff with its proper fingering. the meeting’s end used for a mini-recital. ese composer N. Nakanishi. Galhano pro- Another method for teaching children This also serves the double purpose of vided coaching on phrasing, articulation is the Suzuki Recorder Method, covered giving the children experience playing. and interpretation—a great opportunity by Mary Halverson Waldo. Based on the to play in an intimate setting with her! philosophy developed more than 40 years The primary goal of More articulation ideas were covered in ago, all Suzuki techniques revolve around Letitia Berlin’s “Teaching Articulation the “mother tongue” approach—children most adult beginners and Phrasing.” She provided a handout of everywhere learn to speak their native primary sources and current methods for languages with ease. As when a child is to play music. articulation. Various tonguing styles were learns to talk, the parents are also demonstrated, then attempted by the involved in a child’s musical learning— Frances Blaker’s session on coaching group. Using articulations appropriate to attending lessons, supervising regular young ensembles was useful for any con- the music is important for recorder play- practice at home, perhaps playing the in- sort, focusing on building ensemble skills ers, many of whom only know and use TT. strument. Every effort is rewarded with as well as providing strategies to keep in- Carslake’s focus on “Teaching encouragement. (If a child says something terest levels high. She uses a warm-up rou- Baroque Ornamentation” began by men- that even sounds like “mama,” parents go tine that utilizes listening skills. Team- tioning Eric Haas’s book on ornamenta- wild—they don’t say “you can do better.”) building is also important—choose a con- tion. She divided ornaments into general A new volume of Suzuki recorder sort name, print T-shirts, attend recorder categories: essential, French, and free im- materials, now ready for sale, includes concerts together, and work towards a provisation. She provided a copy of the Marion Verbruggen playing on its CD. (See performance goal with high standards. facsimile of the Larghetto from Handel’s the ARS CD Club for current Suzuki CDs.) How does teaching adults differ from C major sonata, and pointed out many Rebecca Arkenberg explored “The teaching kids? Carslake presented her specific examples. Handel expected the Recorder in the Interdisciplinary Class- concise overview of basic teaching ideas player to add trills, but he did put in some; room.” Her hefty handout was chock full and how they differ from teaching chil- the Larghetto has good examples. of ideas for tying the recorder to social dren. The primary goal of most adult be- Then, to expand on standard French studies, sciences, art and writing—all ginners is to play music. They also see the ornaments, Carslake referred to Betty used by her in tours of youngsters and recorder as a social instrument. Have Bang Mather’s writings. The participants teachers at the Metropolitan Museum of them play together with others—first play studied a chart of agréments, as she dis- Art in New York City, NY. Her PowerPoint duets in lessons. She also recommends cussed each one, suggesting possible presentation, copies of which she gave starting adults on knick tenors and basses. modifications. For improvisational orna- out, included recorder images in works of Carslake helps adults relax while man- ments, examples were examined from the art taken from
September 2005 47 MUSIC REVIEWS ______Music for Indian Summer, Halloween and Christmas, ______footwear for the planets, and works with guitar
IN DULCI JUBILO: CHRISTMAS the time of his death, his style of music Veni Sancte Spiritus. Quoting an e-mail WITH DIETRICH BUXTEHUDE, ARR. was no longer popular). He was organist of from Eccles: “ The Kyrie Eleison is from the EHRENFRIED REICHELT. Doblinger No. the Madeleine in Paris from 1857-1875, Gregorian Mass setting known as Orbis 04491
48 American Recorder that arranged by Franz Moser. Kimber- ling’s pieces are intended for a single solo ARS Membership Enrollment and Renewal recorder or flute, whereas Moser’s are for Please enroll/renew me as a member of the Society. I’m looking forward to: one or two recorders with keyboard and ✰ American Recorder, ARS Newsletter, and the ARS Members’ Directory optional guitar. ✰ Members’ Library musical editions It is interesting to compare the varia- ✰ Eligibility for the ARS Education Program examinations tion techniques and styles in these collec- ✰ Discounts to some recorder workshops and on ARS publications tions. Moser presents each carol first with ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made the plain melody in the top part, in a available only to purveyors of goods and services for recorder players.) singable range, underlaid with one verse of ✰ Information on all aspects of playing the recorder
German words (no translation included). U.S./Canadian membership: This melody is set over a rhythmically sim- ❏ one year $40; ❏ one year sustaining $70; ❏ two years $75 ilar duet part and keyboard accompani- Foreign membership: ❏ one year $50; ❏ two years $95 ment that is effective in its simplicity. ❏ ❏ The ranges of the second recorder parts U.S./Canadian Student* membership: one year $20; two years $40 are low, and most would work better Foreign Student* membership: ❏ one year $25; ❏ two years $50 played on an alto up an octave. The *Enclose proof of full-time enrollment. variations that follow keep the same keys: Workshop membership: ❏ one year $60; Business membership: ❏ one year $120 C, F, G, D and A major. A few use ❏ Address and/or phone information has changed in past year. 16th-note divisions, but most are rhyth- ❏ Do not list my name in Directory. mic variations, usually in a jazzy style. All dues paid in U.S. funds by check on U.S. bank, or by international money order. The Kimberling variations are much Family members residing at the same address may share a membership. However, more complicated and difficult than the student rate is not applicable to a shared family membership. For an additional Moser’s because they use the whole listing in the ARS Directory under different surnames at the same address, add $5. soprano recorder range (including high Please check to be included on the ARS list of C ), and are scored in keys up to five ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activi- sharps and flats. The melody is usually ties may change, you must indicate on each renewal if you want to continue to be given first with a few embellishments, listed.) then transposed into various keys with ❏ I wish to contribute $______to help sustain the work of the Society. elaborate variations—from simple divi- sions to chordal patterns and large leaps. Please charge my dues/donation to my VISA/MASTERCARD: #______Exp. Date: ______Some variations are rhythmic (e.g., duple Cardholder’s signature______to triple and vice versa), and some involve carefully marked articulations (from NAME______PHONE (______)______staccato to long slurs). A few ornaments ADDRESS ______are added, including some glissandos. ______E-MAIL ______CITY______STATE ____ ZIP/POSTAL ______Doblinger’s edition includes no infor- mation about the songs or the arranger,but CHAPTER/CONSORT AFFILIATION, IF ANY:______there is a short dialogue (play?) in OPTIONAL INFORMATION: German, Ein Weihnachstsspiel, between Chapter officer or committee member? the Direktor and the Prokurist. A transla- ❏ Yes (officer/committee: ______) ❏ No ❏ Have served chapter in past tion would be helpful to English-speakers! Age: _____ For how many years have you played the recorder? _____ In contrast, the Mel Bay edition pro- ❏ ❏ ❏ vides lots of information: a photo and bio Level of recorder playing: Amateur Semi-professional Professional Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 of the arranger (who is a mathematician, ❏ ❏ ❏ organist and recorder player), perform- $50,000-75,000 $75,000-100,000 Over $100,000 ance suggestions, brief history of all of the Portion of your income derived from music: ❏ All ❏ Some ❏ None carols, and technical advice. Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None Both collections are very per- If all or some, what kind of recorder activities are involved? (Check all that apply.) formable—the Moser with keyboard ac- ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music companiment and possible second ❏ Performance ❏ Recorder maker ❏ Musical director/coach recorder and/or guitar, and the Kimberling ❏ Other ______What type of recorder music do you play? (Check all that apply.) KEY: rec=recorder; S’o=sopranino; S=soprano; ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo A=alto; T=tenor; B=bass; gB=great bass; ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as cB= contra bass; Tr=treble; qrt=quartet; trio sonatas) ❏ Broken consort with other instruments (such as a collegium) pf=piano; fwd=foreword; opt=optional; ❏ ❏ perc=percussion; pp=pages; sc=score; Consort involving three or more recorders playing one-on-a-part Grand consort pt(s)=part(s); kbd=keyboard; bc=basso con- (format used in many chapter meetings, with several recorders playing on each part) tinuo; hc=harpsichord; P&H=postage and handling. Multiple reviews by one reviewer are AMERICAN RECORDER SOCIETY followed by that reviewer’s name. Please submit 1129 Ruth Drive, St. Louis, MO 63122-1019 U.S.A. music for review to: Constance M. Primus, Box 608, 1097 Main St., Georgetown, CO 80444. Fax renewals to 314-966-4649
September 2005 49 for the brave recorderist who will perform ARS PUBLICATIONS all alone. Moser’s variations are in a light, Erich Katz Contemporary Music Series Members Non-Members jazzy vein, whereas Kimberling’s should Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 be played with a flare to flaunt virtuosity. 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 Both editions can be used in a peda- Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 gogical way—the Moser for less experi- Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 enced students, and the Kimberling as Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 technical material in various keys for more Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) advanced players. Most of all, they give edited by Alan Drake (3 scores) $8 $14 Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders examples of the many ways recorderists (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 can invent variations on simple tunes. Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Constance M. Primus Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 Musical Editions from the Members’ Library: THE PLANETS’ FEET, BY LANCE ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 ECCLES. Orpheus 060 (
50 American Recorder None of these Eccles works have any all three instruments, draws on both rock ture, a conductor is absolutely required. dynamic or expression markings, and, and Baroque styles in an energetic mood. Technically it is within the reach of although the music is straightforward, The second movement is atmospheric; the moderate players, giving them a good dynamic markings would definitely be a recorder explores simple multiphonics, chance to work on interlocking ensemble help in interpretation. The editions are and the guitar provides more dissonant, rhythm. More challenging, however, are otherwise well-presented, with no page colorful chords to support it. The double the problems of intonation, with so many turns required within movements. bass player plays only a rainstick during sopraninos and sopranos. that movement. The third movement This short piece would be a strong returns to the energetic world of the first conclusion to a concert by a recorder [Vampires] is perfect for a movement, taking the exact same musical octet, or perhaps by eight players in other Halloween concert, and is material and recasting it in triple meter. smaller groupings who join to play it. Of upper moderate difficulty, it is a As one expects from Orpheus, the of moderate difficulty. suitable recital offering and would add a score and parts are clean and easy to use. creative twist to a program if a guitar and ALAB & DRIVE, BY RONALD J. double bass were available. Orpheus’s SONATINA (1983/86), BY ANDREW AUTENRIETH. Moeck 761 (Magnamusic), score and parts are clear and easy to use. UREN. Orpheus 124, 2004. S rec + piano 1998. TB double bass. 3 sc, 3 pp ea. $7. Page turns are easily done. In the less con- or guitar. Sc 10 pp, pts 4 & 6 pp ea. German composer Ronald Joachim ventional second movement, all play from Abt. $13.50 + P&H. Autenrieth has focused on composing mu- score for ease of reading. Andrew Uren (1955-1989) was an sic for recorder, organ and choir. He lives Australian composer and guitarist who in Eberbach and is a newspaper critic. A CLUTCH OF FIPPLES, BY RUSSELL has focused largely on works involving his Alab & Drive is a piece that derives, in GILMOUR. Orpheus 125, 2004. own instrument. Because of his very the composer’s own words, “from West- S’oS’oSSSTTB. Sc 7 pp, pts 1 p ea. young passing, much of Uren’s music is ern and Eastern traditions.” The word Abt. $15 + P&H. still being published and edited. “alab” comes from Indian classical music Australian composer Russell Gilmour Orpheus’s edition of Uren’s Sonatina and refers to an introduction preceding a has written works of all kinds (with a num- is edited by Malcolm Tattersall from the raga. Autenrieth uses the word “drive” in ber of works for orchestras and brass composer’s original manuscripts. The the sense of the rhythmic energy and bands) and has been active as a school- guitar part was fingered by the composer. spirit of the jazz tradition. teacher throughout Australia. Sonatina is a work that would be equal- The first movement, “Alab,” is short A clutch of fipples is an unusually ly effective with either guitar or piano, and and rhapsodic, including glissandi and textured, brief one-movement piece for two idiomatic accompaniments are thus pitch bends for the recorders and a variety large recorder ensemble. Its style and provided in this edition. This flexibility of colors and gestures for the double bass. rhythmic sound owes something to the makes the work very attractive for a variety The second movement, “Drive,” is very American minimalist and post-minimalist of teaching or recital purposes, since the brief and consists almost entirely of tradition, and particularly the music of recorder part remains identical. quarter-note motion in all instruments. Steve Reich and Michael Torke. The work is indebted to the musical It is hard to know how best to use this Overlapping rhythmic patterns run language of the early 20th century French work, although it would make an unusual throughout, keeping a steady 16th-note impressionists and also the post-impres- short recital offering or provide a chance to pulse that is passed between all players sionist music of Francis Poulenc. The use a double bass (which plays only pizzi- and colored in different ways. Because of three very short movements (Moderato, cato throughout). It is of moderate diffi- this somewhat complicated rhythmic na- Tranquillo and Humoresque) each have a culty because of the special effects in the first movement, although the second movement is quite easy for all. Provincetown Bookshop Editions As always, Moeck’s editions are beauti- fully produced and laid out. PUT SOME HUMOR INTO YOUR CONSORT WORK RAGGED ROBIN, BY BENJAMIN THORN. with these Provincetown Editions: Orpheus 133 (
September 2005 51 contrasting character, but share similar CONSIDER ADVERTISING IN musical material. This is a distinctive and ______CLASSIFIED appealing work of moderate technical dif- ______ficulty, and is strongly recommended. ______Carson Cooman ______Full page ...... $565 INDIAN SUMMER, BY MATTHIAS MAUTE. 2/3 page ...... $420 1/2 page ...... $345 Moeck ZFS 779/780 (Magnamusic), 1/3 page ...... $270 2004. SATB. Sc 6 pp, pts 3 pp each. $10. 1/4 page ...... $210 REMINISCENCES, BY HANS-MARTIN Where the haves 1/6 page ...... $165 1/8 page ...... $120 LINDE. Edition Schott OFB 202 and have-nots 1/12 page...... $ 90 (Magnamusic), 2003. ATTB. Sc 16 pp, of the recorder world 1 column inch ...... $ 55 pts, 6 pp each. $22.95. can find each other Prices include web site/e-mail link directly from Maute’s Indian Summer (does he know your ad in AR On-line,
52 American Recorder