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winter 2015 V ol. LVI, No. 4 • www.americanrecorder.org Published by the American Recorder Society, Recorder American the by Published BACC7975 400 Series Recorder AMR.qxp_Layout 1 10/12/15 3:40 PM Page 1

Introducing 400-Series Recorders

Yamaha once again breaks new ground with the world’s first musical instruments made from plant-based resins. The 400-series soprano recorders are constructed using ECODEAR™, a type of plastic that replaces a portion of the oil-based raw materials used in regular plastics with resins produced from plant starch.

While these models share the same general design as the popular YRS-301 and YRS-302B, the higher density of ECODEAR compared to regular ABS gives these recorders a richer, more centered tone and improved breath resistance and response. All of this combines to give these new recorders a sound and feel close to that of wooden recorders.

Soprano voice, key of C. 3-piece construction with arched windway and Rottenburgh body design. Includes zippered cloth case, manual and fingering chart, recorder cream and cleaning rod.

Available in German (YRS-401) and traditional Baroque (YRS-402B) fingerings.

Learn more now at: www.4wrd.it/yrs4AMR

YamahaCorpUS

Introducing 400-Series Recorders

Soprano voice, key of C. 3-piece construction with arched windway and Rottenburgh body design. Includes zippered cloth case, manual and fingering chart, recorder cream and cleaning rod.

Available in German (YRS-401) and traditional Baroque (YRS-402B) fingerings.

Learn more now at: www.4wrd.it/yrs4AMR

YamahaCorpUS

Editor’s ______Note ______Volume LVI, Number 4 Winter 2015 Features ould Elizabeth I have been a man? Was Shakespeare actually a woman—and a relativeC of a recorder dynasty? Theories The Bassano Family, the Recorder, abound in both cases, but the approaching Shakespeare anniversary has provided an and the Writer Known as Shakespeare...... 11 David excuse to look at the latter question. By David Lasocki 4 Lasocki, a Bassano family expert, gives us recorder-specific background and looks at a Departments new book proposing that Emilia Bassano Lanier wrote Shakespeare (page 11). It’s been a while since readers have Advertiser Index ...... 48 heard about new or expanded collections Recorder Music Center at the . With the Compact Disc Reviews ...... 32 repository now 10 years old, Mark Daven- port gives us an update on recent acquisi- English music for the stage and concert 8 tions at this valuable resource (page 8). A goal of the ARS for many years Education ...... 26 has been to provide resources to help you Renata Pereira’s young student Júlia enters a contest become a better recorder player. Now the Traveling Teacher Program is available to Music Reviews...... 35 offer support to bring a specific teacher to give lessons to you and your friends (page 4.) Editions Dolcimelo and Peacock Press, plus more Some of us would never even consider playing the recorder in a competitive situa- President’s Message ...... 3 11 tion—much less at age 7 and after only a couple of years of recorder playing and ARS President David Podeschi remembers how he instruction. The charming story (page 26) of young Júlia’s preparations for the contest entered the fantastic musical world of the recorder at Open Recorder Days Amsterdam 2015 is recounted by her Suzuki teacher Renata Tidings ...... 4 Pereira and by her supportive parents. You’ll have to read the story to see how Júlia did! ARS christens its Traveling Teacher Program; Gail Nickless 26 Focus on ARS Business Members (page 7); Recorder www.youtube.com/user/americanrecordermag www.facebook.com/groups/177397989075511/ Music Center at 10 years; Tom Zajac (1956-2015);

Gail Nickless, Editor ON THE COVER: Bassano, Francesco Contributing Editors (1549-92). Boy with Tom Bickley, Compact Disc Reviews flute, c.1580-85. Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Kunsthistorisches Amanda Pond, Line Editor Museum; photo: Erich Lessing/ Advisory Board Art Resource, NY Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin © , American Thomas Prescott • Kenneth Wollitz Recorder Society www.AmericanRecorder.org Copyright©2015 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Idaho Westchester: Erica Babad 914-769-5236 Birmingham: Les Bois (Boise): Kim Wardwell Janice Williams 205-870-7443 360-202-3427 North Carolina Arizona Illinois Carolina Mountains: Susan Hartley 423-612-0421 Desert Pipes (Phoenix): Chicago: Greenville Recorder Society: Karen Grover 623-687-4791 AMERICAN Ben Eisenstein 847-998-0198 John Shaw 252-355-2737 Arizona Central Highlands—Prescott: Chicago–West Suburban: Triangle: Jan Jenkins 919-870-0759 RECORDER Georgeanne Hanna 928-775-5856 Kathleen Hall-Babis 630-464-1828 Tucson: Scott Mason 520-721-0846 Indiana Ohio Arkansas Greater Cleveland: SOCIETY Recorder Orchestra of the Midwest: Edith Yerger 440-826-0716 INC. Aeolus Konsort: Marilyn Perlmutter 419-265-3537 Toledo: Charles Terbille 419-474-6572 Don Wold 501-666-2787 Louisiana Oregon Honorary President Bella Vista: Barbara McCoy Eugene: Lynne Coates 541-345-5235 Erich Katz (1900-1973) 479-855-6477 Baton Rouge: California William Behrmann 225-766-9465 Oregon Coast: Corlu Collier Honorary Vice President New Orleans: Victoria Blanchard 541-961-1228 Barbary Coast Recorder Orchestra: Winifred Jaeger 504-810-8540 Portland: Zoë Tokar 971-325-1060 Frances Feldon 510-527-9029 Pennsylvania East Bay: Susan Jaffe 510-482-4993 Maryland Statement of Purpose Inland Riverside: Greg Taber Northern Maryland: Bloomsburg Early Music Ens.: The mission of the American Recorder Society 951-683-8744 Richard Spittel 410-242-3395 Susan Brook 570-784-8363 is to promote the recorder and its music by Los Angeles Recorder Orchestra: Massachusetts Erie: Linda McWilliams 814-868-3059 Matt Ross 949-697-8693 Philadelphia: Sarah West 215-984-8923 developing resources to help people of all ages Mid-Peninsula Recorder Orchestra Boston: Pittsburgh: Helen Thornton and ability levels to play and study the recorder, (Palo Alto): Fred Palmer 650-591-3648 Henia Yacubowicz 978-857-7418 412-486-0482 presenting the instrument to new constituencies, Nevada City: Recorders/Early Music Metro-West Rhode Island Miriam Morris 530-265-0986 Boston: Bonnie Kelly 781-862-2894 encouraging increased career opportunities for North Coast: Kathleen Kinkela-Love Worcester Hills: Alan Karass Rhode Island: David Bojar professional recorder performers and teachers, 707-822-8835 508-847-8559 401-944-3395 Orange County: Michigan Tennessee and enabling and supporting recorder playing as Mary Van Cott-Hand 562-598-8947 a shared social experience. Besides this journal, Redding: Kay Hettich 530-241-8107 Ann Arbor: Kevin Gilson 734-780-7476 Greater Knoxville: Ann Stierli 828-877-5675 ARS publishes a newsletter, a personal study Sacramento: Mark Schiffer Kalamazoo: Annette Brown 916-685-7684 269-762-7503 Greater Memphis: program, a directory, and special musical San Diego County: Metropolitan Detroit: Samuel Sidhom 901-848-1955 editions. Society members gather and play Vanessa Evans 619-297-2095 Molly Sieg 313-532-4986 Greater Nashville: Carol Vander Wal San Francisco: Greta Haug–Hryciw Northwinds Recorder Society: 615-226-2952 together at chapter meetings, weekend 415-377-4444 John MacKenzie, M.D. 231-547-7072 Southern Middle Tennessee and summer workshops, and many Sonoma County: Dale Celidore Western Michigan: Jocelyn Shaw (Tullahoma): Vicki Collinsworth ARS-sponsored events throughout the year. 707-874-9524 231-744-8248 931-607-9072 South Bay: Liz Brownell 408-358-0878 Minnesota Texas In 2014, the Society celebrated 75 years Southern California: of service to its constituents. Ricardo Beron 818-782-0710 Twin Cities: Anne Mundahl Austin: Derek Wills 512-471-3424 651-895-5049 Dallas: Alice Derbyshire 940-300-5345 Colorado Nevada Rio Grande: Sylvia Burke 575-522-1742 Boulder: Trudy Wayne 303-651-6860 Utah Board of Directors Colorado Recorder Orchestra: Las Vegas: Buddy Collier 702-610-6148 David Podeschi, President Rose Marie Terada 303-666-4307 Sierra Early Music Society: Utah Salt Lake: Mary Johnson Kathy Bohrer 775-393-9002 801-272-9015 Ruth Seib, Vice-President Denver: Jon Casbon 719-799-6630 Fort Collins: Pattie Cowell New Hampshire Vermont Jennifer Carpenter, Secretary and 970-484-0305 Monadnock: Monadnock: Communications Chair Connecticut Kristine Schramel 413-648-9916 Kristine Schramel 413-648-9916 Nancy Buss, Interim Treasurer Connecticut: & Lynn Herzog 802-254-1223 & Lynn Herzog 802-254-1223 Alice Derbyshire, Educational Outreach, John Vandermeulen 203-810-4831 New Jersey Virginia Eastern Connecticut: Betty Monahan Bergen County: Northern Virginia: Edward Friedler Grants and Scholarships Chair 860-536-7368 Nancy Gorbman Mary Comins 201-489-5695 703-425-1324 District of Columbia & Reita Powell 201-944-2027 Shenandoah (Charlottesville): Tony Griffiths, Member Benefits Washington: Highland Park: Donna Messer Gary Porter 434-284-2995 and Engagement Chair Daniel Bruner 202-669-3388 732-828-7421 Tidewater (Williamsburg): Greta Haug–Hryciw Delaware Montclair Early Music: Vicki H. Hall 757-784-2698 Julianne Pape 845-943-0610 Washington Laura Kuhlman Brandywine: Princeton: Barbara Prescott, Fundraising Chair Roger Matsumoto 302-731-1430 MaryJoan Gaynor 609-924-8142 Moss Bay: Florida New Mexico Michael Bancroft 206-523-6668 Cynthia Shelmerdine Recorder Orchestra of Puget Sound: Anne Timberlake Ft. Myers: Sue Groskreutz Albuquerque: Bryan Bingham Charles Coldwell 206-328-8238 239-676-5968 505-299-0052 Seattle: Laura Faber 206-619-0671 Largo/St. Petersburg: Flat & Baroque in Las Vegas: Wisconsin Staff Elizabeth Snedeker 727-596-7813 Tom Curtis 505-454-4232 Miami: Ruth Trencher 305-665-3380 Rio Grande: Sylvia Burke 575-522-1742 Milwaukee: Carole Goodfellow Susan Burns, Administrative Director Orlando Consort: Sheri Grayson Santa Fe: John O’Donnell 505-662-5745 262-763-8992 Julia Ward, Administrative Assistant 407-299-3076 New York Southern Wisconsin: Greg Higby Palm Beach: Gail Hershkowitz 608-256-0065 P. O. Box 480054 561-732-5985 Buffalo: Bonnie Sommer 716-662-5975 Canada Charlotte, NC 28269-5300 Sarasota: Charlotte Trautwein Hudson Mohawk: 704-509-1422; tollfree 1-844-509-1422 941-504-9594 Kathryn Kuhrt 518-477-8450 Edmonton: Vivien Bosley Georgia Long Island: 780-439-3215 866-773-1538 fax Patsy Rogers 631-734-7485 Merrie Pipers Rec. Orch (Kelowna, BC): [email protected] Atlanta: Mickey Gillmor 404-872-0166 New York City: Gene Murrow Bruce Sankey 250-766-1550 Hawaii 646-342-8145 Montréal: Mary McCutcheon www.AmericanRecorder.org Recorder Orchestra of New York: 514-271-6650 Hawaii: Irene Sakimoto 808-734-5909 In accordance with the Internal Revenue Service Karen Wexler 631-751-5969 Toronto: Sharon Geens 416-699-0517 Big Island: Rochester: Jessica Brennan Vancouver: Tony Griffiths Taxpayer Bill of Rights 2, passed by the United States Roger Baldwin 808-935-2306 585-683-2802 604-222-0457 Congress in 1996, the American Recorder Society makes West Hawaii Recorders: Rockland: Jacqueline Mirando freely available through its office financial and Marilyn Bernhardt 808-882-7251 845-624-2150 Please contact the ARS office incorporation documents complying with that regulation. to update chapter listings.

2 Winter 2015 American Recorder President’s Message ______Greetings from David Podeschi, ARS President [email protected]

love hearing origin stories about myself in the ’70s while living in a how people came to the recorder. I couldn’t believe there was small town in Illinois. But without IYet I had not heard that story from this musical and social access to a chapter or a teacher or a my friend and fellow Dallas Chapter way to find good instructional materi- member Alice Derbyshire until read- milieu where adults came als, I became frustrated and gave up. ing her Board greeting in the Fall ARS together to learn and to Fast forward 38 years in a retail Newsletter. What a great story about grocery career, to a bucket list conver- first hearing recorder while hiking the play recorders in ensemble. sation with that same person I had Appalachian Trail—and I really liked seen in a quartet so many years before. her comment: “I’d found my people.” melodic lines produced by the instru- I mentioned I still wanted to learn I first became interested in ment and vowed to learn to play it recorder and play in a consort. The recorder upon hearing the tenor in the someday. response was, “You’d better get Jefferson Airplane song “Comin’ Back My goal went on that mental list started” and so I did. to Me” from Surrealistic Pillow, www. we carry around waiting for someday I Googled “recorder,” found the youtube.com/watch?v=0NdvMT32skw. to arrive. Motivated by hearing a friend American Recorder Society, the self- I was taken with the haunting and play with a quartet, I tried to teach instruction materials on the web site, and the local Dallas Chapter. This led me to the Texas Toot and the whole workshop scene. I couldn’t believe there was this musical and social milieu where adults came together to learn and to play recorders in ensemble. Like Alice, I’d found my people, including my first recorder teacher Jennifer Carpenter, also on the ARS Board. The ARS was my entry into this fantastic world and I am passionate about our mission: “to promote the recorder and its music” and our goal: “to be the organization that recorder players naturally want to join.” I am proud to serve on the ARS Board and humbled to have been elected president. My dream is that I can help ARS bring the pleasure in playing recorder to as many people as possible. Do you have a dream? Please send an e-mail, and we’ll see what the ARS can do to help you follow that dream as you enjoy recorder playing.

www.AmericanRecorder.org Winter 2015 3 Tidings ______ARS Traveling Teacher Program; ______checking in with the Recorder Music Center

o ARSyou and others Initiates in your Traveling Teachermonitored Program and advanced methodi- recorder community want to cally. This program is not intended Dtake your playing to the next to subsidize existing workshops level? Does that solo piece you or long-distance learning (Skype- have been practicing need a based, for instance); it will comple- critical ear? You need a teacher! ment or provide instruction to However, for many recorder those who may not be able to seek players an experienced teacher is a distant What if one of these it otherwise. dream. The ARS wants to help you bring in Such programs seem to work. The a recorder teacher to enable you to reach your teachers can be VdGSA receives strong endorsement of goals. We are proud to launch a program that brought to you? their program, which has involved 24 of the will provide funds to defray the costs of bring- top viol performers and teachers in North ing in a recorder teacher. The ARS Traveling Teacher America since 2008. Program is inspired by the successful Circuit Rider Program Here are some quotes from their members: of the Viola da Gamba Society of America (VdGSA). “...participation in the Circuit Rider Program … The ARS recognizes that many areas in North America has engendered a strong sense of community and family do not have access to professional recorder teachers. A quick among us, enabled us to coalesce as a viol community, scan of the list of teachers on the ARS web site underscores and has emboldened us to tackle ambitious projects….” the uneven distribution, with the majority of teachers located “We’ve had great teachers and learned from every one.” in some major urban centers. Likewise, not all of our ARS members have a local How does it work? chapter that affords the learning benefits of regular meetings. The ARS has asked professional recorder players with strong Recorder players may travel to workshops throughout teaching credentials to apply to participate and be willing to the year in order to receive excellent instruction. Workshops travel to you. offer invaluable opportunities to meet other recorder players Local groups of underserved players: and be inspired by remarkable teachers and performers— 1. choose a teacher from a list on the ARS web site but what if one of these teachers can be brought to you? 2. select a mutually-convenient set of dates The ARS wants to help you establish a long-term rela- 3. agree to pay the teacher’s fee for several visits tionship with a specific teacher so that your progress can be 4. provide accommodation and local transportation for the traveling teacher. Photo: William Stickney Photography The ARS provides funds to defray the teacher’s travel expenses (see below). For 2016, a limited program is available to pave the way for a full-scale program in future years. • Loosely defined, an underserved area lacks access to a professional recorder teacher within a reasonable driving distance. The ARS is less likely to approve funds to bring a teacher to Boston, New York City, San Francisco or Montréal—but is likely to help teachers travel to areas without known access to recorder professionals. • The ARS will provide up to $400 per visit for transportation. The participating group must supplement costs higher than $400. For the trial year (2016),

4 Winter 2015 American Recorder $800 will be provided for two visits. In the future, we hope to provide up to $1600 per year to cover four visits by the same teacher. Teachers must be members of the ARS. • Participants can organize a group of nearby players who will guarantee to be involved in (and pay for) 10 hours of teaching at $50 per hour, for a minimum of $500 to be paid to the traveling teacher. These hours should be spread over a two-day visit. The instruction can be for individuals or groups, with payment apportioned accordingly. A minimum of three members of the local group must be ARS members. Deadline: January 1, 2016. More information and the application are at www.americanrecorder.org under Traveling Teacher Program. The ARS Executive Committee will appoint a task force to screen applications on the basis of merit. Gather your recorder-playing friends, submit your application, and begin a new journey! Tony Griffiths and Jennifer Carpenter, ARS Board More Circuit Rider Program Testimonials tice—not just mindless practice, but practice with a pur- The features that make it work, in my opinion, are: pose and with a goal in mind, the next lesson as well as the • The clients organize what they want and need, desire to make beautiful sounds: that is, music. As you prac- and make their proposal. They decide if they want tice, questions can come to mind. Answers can be explored consort coaching or private lessons or combinations. by you and the traveling teacher. The teacher gets to know The clients also choose the teachers. you, discovers how you learn. You are improving technique, • That means that the participants all buy into the building on the skills you had through lessons repeated over scheme—they pledge to do their part and pay their a longer time frame (as opposed to a short-term workshop). share—and, presumably, they practice for the sessions! For an ensemble, having a coached lesson means not • In addition to specified hours of teaching, the teacher just comments from local friends, but rather from a profes- has always given us “free” playing sessions in the eve- sional outsider. Also, if the ensemble has a problem that is ning after a group dinner. This opportunity for social too touchy to deal with on its own—for example, ensemble interaction has enhanced the cohesion of the group as etiquette or intonation—an outsider can more easily effect well as the relationship of the group to the teacher. a resolution. It means the opportunity to gain insight into Although often individuals play well, we think the matters of ensemble, interpretation, and all the other group needs help getting better as an aspects involved in music-making in a group. ensemble. The teacher Working together with someone from the • Why is this better than a workshop? outside helps the group to share equally Because of the continuity among the gets to know when practicing without the coach. sessions and the commitment of both Actually, the original ARS traveling students and teachers to really improving you, discovers teacher was Martha Bixler. She was invited playing at a local level. Workshops are all here to give lessons and coach ensembles in too often days of entertainment—good how you learn. the late 1980s. She also presented a Saturday in themselves, but sometimes without mini-workshop. For a number of years she continuing effect. This is not for hordes of came monthly (ideal, but probably impossible now). It’s people—probably hordes won’t make the amazing that she continued coming, at least a couple of commitment—but for people who really times each year, until 2006. Even now, when a workshop want to get better. leader comments on the proficiency level of our members’ Suzanne Ferguson, Ft. Myers, FL playing, we realize that much of that was due to her skillful teaching and the motivation she provided. We were the first group to have a circuit rider (before the Liz Seely, Rochester, NY program had been officially approved), so the first year was a trial. We had only six people, a minimum to make a visit There were more gambists in my part of Florida than there viable. We sponsored a session for people who wanted to were recorderists. Suzanne Ferguson taught gamba to a try out the gamba—mainly from our ARS chapter. They group of college students—I couldn’t beat them, so I joined met twice for an hour on two successive days; after that them. We used John Mark Rozendaal’s Dojo books: a lot of short time, they could play a six-part piece together. One of playing on open strings. Next thing I knew, I was playing in those people stuck with viol, and is active in our group now. a weekly group, thrown from playing open strings straight Having private lessons is a huge motivator, even if it’s into Jenkins and Lawes. Even though I have played violin only four times a year. They provide an incentive to prac-

www.AmericanRecorder.org Winter 2015 5 Bits & Pieces Imagine what this could do for recorder players!

professionally most of my life, a gamba bow behaves quite differently. I developed a whole list of bad bowing habits. We had our first Circuit Rider “intervention” with Gail Ann Schroeder. In private lessons over two years, she exclusively worked on bowing—I was not the only one with bad habits. After her visits the first year, I actually started to The recorder as an instrument of civil disobedience sound like a gambist; our group rose a level in its sound. ? It started when Our next Circuit Rider was Mary Springfels. One of her conditions was police told Leif Solem to stop playing that we present a concert at the end of her year. This was motivating for all of his guitar on an Albany, NY, sidewalk. us, and it went quite well. Mary worked us on articulation and dynamics— He returned a few days later, with nine not only how to get a gorgeous pianissimo, but when to do so. fellow musicians, most of them strang- The third year, Mary Springfels came twice; Joanna Blendulf came the ers—this time with the blessing of the other two times, and continues with us this year. I really started to feel like an city, which had determined that busk- accomplished gambist. Our group became much better listeners, and we stayed ing requires no permit. Solem was together without the need of anyone reading a score. joined by drums, a trumpet with a It is fairly easy to learn the basics of recorder on one’s own, as I did. During singer, and others including a“hobo my first workshop, I was told that my thumb was not working correctly and was folk clown vaudevillian” playing guitar, slowing me down dramatically. With real, serious, and experienced teachers vis- kazoo and harmonica—and Laura Hagen iting parts of the country that have no teachers, more players would learn to not with her recorder. The Dutch just play, but to play with good technique—beautifully, using dynamics, articu- city of Utrecht had a law allowing lations, phrasing, and the list goes on. street performers as early as 1649; Imagine what this could do for recorder players! Albany was settled by the Dutch: www. timesunion.com/local/article/Busker-s- Sue Groskreutz, Estero, FL and Kankakee, IL melodious-return-6520329.php. by the Deutsche Phono-Akademie Happy 10th anniversary to the Recorderist Martin Bernstein since 1994. Honored were Marc- Baroque Chamber Orchestra of (age 17, and mentioned several times Antoine Charpentier’s La Descente Colorado (BCOC), www.bcocolorado. recently in AR) played two pieces on d’Orphée aux Enfers and La Couronne org/news/video.php. BCOC offered its From the Top, recorded in June for de Fleurs (both offered in 2013) as first program of improvisatory music of September release. The NPR show, Opera Recording of the Year— the 17th and 18th centuries in fall 2005 featuring “America’s best young classi- 17th-18th Century; the pair also won (and was part of the 2014 “RecorderFest cal musicians,” was taped at Chautau a 2015 Grammy Award. Agostino in the West”). Founder/artistic director/ qua Institution, www.fromthetop.org/ Steffani’s Niobe, Regina di Tebe (the harpsichordist Frank Nowell (second musician/martin-bernstein-2. He 2011 centerpiece opera) won World row from top, in photo of part of BCOC) played Sonata in F major, Op. 5, No. 11, Premiere Recording of the Year. leads the group with violinist Cynthia by Arcangelo Corelli and Sonata No. 2 Videos posted by American Bach Miller Freivogel (at his right, lower). by Giovanni Battista Fontana. Soloists (ABS) at www.americanbach. Recorder players Linda Lunbeck (at The Claudio Monteverdi Trilogy org/youtube include a recent 30-minute Nowell’s left) and Michael Lightner operas (Orfeo, Ulisse, Poppea) mounted documentary, Bach’s Mass in B Minor: are among its 10 or so wind players. at the 2015 Boston (MA) Early Music Anatomy of a Masterwork. Festival (BEMF) were recorded in Footage from the 2014 ABS performance and can be heard at www. Festival & Academy (a sum- wgbh.org/articles/The-Monteverdi- mer festival in San Francisco, Trilogy-at-the-Boston-Early-Music- CA), the film includes inter- Festival-11079. Cast lists and librettos views with ABS Music are also posted. Visit www.BEMF.org Director Jeffrey Thomas, for photos and rehearsal video. violinist Elizabeth Blumen Two BEMF recordings won the stock, flutist Sandra Miller, ECHO Klassik Award, given annually oboist Debra Nagy and others. 6 Winter 2015 American Recorder FOCUS ON ARS BUSINESS MEMBERS PRESCOTT WORKSHOP AMERICAN ORFF-SCHULWERK ASSOC. recorder & other instruments. We have Susan Joan Stansbury, President Lindvall recorder music arrangements. You will Thomas M. & Barbara C. Prescott 147 Bell Street, Suite 300, Chagrin Falls, OH 44022 find among our accessories recorder cases, stands, 14 Grant Rd., Hanover, NH 03755-6615 440-600-7329; Fax: 440-600-7332 clip on and wooden thumb rests and more. We 603-643-6442; Fax: 603-643-5219 [email protected], [email protected]; www.aosa.org also carry music for flutes, crumhorns, ocarina, [email protected]; www.prescottworkshop.com The American Orff-Schulwerk Association tabor pipe, tin whistle, bodhran, guitar, strings, Established in 1974, Prescott Workshop has a (AOSA) is a professional organization of educators fiddle, harp, reed, keyboard, voice and choral worldwide reputation for the beauty and reliability dedicated to the creative music and movement music. of its recorders. We guarantee that you will like any approach developed by Carl Orff and Gunild instrument you choose. Instruments we offer are: Keetman. Our mission is to: LAZAR’S EARLY MUSIC Baroque sopranino after Bressan; sopranos after • demonstrate the value of Orff Schulwerk and Bill Lazar Steenbergen and Boekhout; Transitional soprano; promote its widespread use; 425 N. Whisman Rd. #200 Bressan alto in g'; Prescott, Bressan and J.C. 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www.AmericanRecorder.org Winter 2015 7 The Archives and Special Collec All Things Recorder: tions presented All About “Love”: an exhibit of covers and scores from the The Recorder Music Center celebrates 10 Years David Goldstein Collection of Popular Music. Stephanie Douglas, By Mark Davenport, Denver CO for the full faculty. Highlights of the a technical Services Assistant who faculty concert can be viewed online selected the materials, writes that “the The Recorder Music Center (RMC), (www.YouTube.com, search for lyrics from the 1920s and ’30s reflect at Regis University in Denver (CO), “CollegiumChannel” with no spaces). the changes in many cultural attitudes celebrated 10 years of operation in ser- Selections there include Tico Tico no about sexuality, gender roles, mother- vice and support of the recorder world, Fubá by Zequinha Abreu, and Bob hood, and a relaxed view of domestic since first opening its doors to the pub- Dorough’s Eons Ago Blue, possibly the abuse. However, through artwork, lyrics lic in July 2005. The banner year kicked first American jazz piece written spe- and scores, the joy of romance reigned off in September 2014 at “Recorder cifically for recorders (1962) for a com- supreme!” Fest in the West,” an international fes- mission by Bernard Krainis, a pioneer The leadership of the Denver tival and conference hosted by the in the 20th-century American recorder Recorder Society (DRS) in running RMC and Regis, and co-sponsored movement. the conference activities of “Recorder by the Denver Recorder Society Two special exhibits commemo- Fest in the West” helped to ensure that (celebrating its 50th anniversary), rating the occasion offered four display the event was a financial success as well, and the American Recorder Society areas in the Dayton Memorial Library with the chapter board of directors vot- (celebrating its 75th anniversary)! at Regis, with selected materials from ing to donate 100 percent of its festival A capacity assemblage of partici- RMC archives. Exhibit highlights profits to the Center. In gratitude, the pants, from 24 states and three coun- included a display of recorders in the RMC presented its very first “Special tries, worked with some of the coun- RMC Recorder Instrument Collection, Recognition Award” to the DRS for its try’s finest recorder faculty who led including Erich Katz’s two Peter co-sponsorship of the festival, its gen- them in four exciting days of coached Harlan recorders he used in Freiberg, erosity, and for supporting the efforts of playing sessions, technique classes, Germany, during the 1930s; historical the RMC in “fostering the education, recorder orchestras and master classes. photographs and issues of American preservation, and recognition of the Two sold-out concerts capped the Recorder; and the launch of Martha recorder in America.” The award was festivities: the Baroque Chamber Bixler’s The American Recorder Society presented to Jon Casbon, DRS presi- Orchestra of Colorado, with guest and Me: a Memoir, describing the inner dent, at the group’s semi-annual recorder soloist Paul Leenhouts; and workings of the ARS through histori- “Rocky” recorder workshop in Estes the Festival Faculty Concert, which cal records, letters, photographs and the Park, CO, in May 2015. provided a performance opportunity author’s personal recollections (free Also in May, Dr. Reeves Shulstad, download at www.americanrecorder. org/docs/ARS-And-Me-140820_ an Associate Professor of musicology Do you have recorder music, at Hayes School of Music in North FINAL-2.pdf). recordings or instruments Carolina, conducted research in the that you would consider donating to the RMC? For information about donating or about the RMC, please contact: Dr. Mark Davenport Regis University Mail Code C-4 Department of Fine & Performing Arts 3333 Regis Boulevard Denver, CO 80221-1099 [email protected] 303-964-3609

8 Winter 2015 American Recorder Archival Recorder Music Collections Newman, who passed away at the age of the RMC, working with the Katz of 96 on December 17, 2014 (see the Collection and the institutional records Spring 2015 AR), was a major figure in of the ARS. She is currently working the early years of the recorder move- on a book about microtonalist comment in America and in the ARS. He poser Tui St. George Tucker. Tucker first studied recorder with Krainis in was associated with the New York 1950 and then became a prominent recorder scene in the 1940s-60s and musicologist and long-time faculty composed several works for recorder. member at Columbia University. He She even published a chart for the alto edited the ARS Editions for many years, recorder that demonstrates quartertone and in 2007 was presented with the fingerings. In an obituary that appeared ARS Distinguished Achievement in the September 2005 issue of AR, Award. The recorder world will per- Bixler remembers Tucker as “a truly haps remember Newman best as co- remarkable woman—talented, creative, owner of the Provincetown Book clever, funny, generous to a fault, and shop, which held one of the largest marvelously kind.” inventories of published recorder music. In July 2015, the RMC awarded In June 2015, I traveled to Massa its “Special Projects Grant” to Fred chusetts to help Newman’s nephew, erika Gilbert (photo, previous page), a Philip Swayze (left, with me at right), Dean’s List student at Regis working sift through and package the large col- towards a dual degree in vocal perfor- lection of sheet music, still housed in mance and French. For her summer the backroom offices of his celebrated grant, Gilbert completed the year- bookstore. We shipped eight large long project of inventorying the large boxes to the RMC. The process to Shirley Robbins Collection. Robbins inventory this important collection was a leader in the Southern California has only begun. recorder movement; for a time, she Other significant donations directed the longest-running recorder have included a Roland digital harpsi- workshop in the U.S.: Canto Antiguo chord and 15 additional boxes of music Early Music and Dance. from former ARS president Connie A significant new acquisition is Primus, to be added to her existing the Joel Newman Music Collection. collection. Luckily for the RMC,

www.AmericanRecorder.org Winter 2015 9 the alcove and lending stacks on the third floor of Dayton Passing Notes Memorial Library were expanded last year to accommodate Francisco Rosado died September 23 of a heart attack. the growing amount of cataloged recorder music. The recorder professor taught in his native Portugal, and ARS members are encouraged to take advantage of organized numerous events and festivals—the last one the services provided by the RMC. The catalog of recorder set to start a few days after his untimely death. Known for music can be accessed at www.libguides.regis.edu/library his kindness, he was always more interested in teaching (click on “Books & More” and search using the keyword and promoting the recorder than in his own career. “recorder” to get started). Of course, the catalogued editions At the age of only 19, he had to leave his country (about 1,400 items) only represent a small fraction of for France because of his opposition to the Marcelo approximately 18,000 scores. Of these, about 5,000 have Caetano dictatorship. After the peaceful coup called the been “pre-inventoried” by student staff members. There “Carnation Revolution” ousted Caetano, he was able to is currently an initiative to make the inventory more return to Portugal. He remained a foe of social injustice, accessible; we are working with members of the poverty and power abuses. ARS Board to develop this. In North America, recorder players may have known Dr. Mark Davenport is the founder and director of the him mostly by his Facebook posts. He was also a frequent Recorder Music Center at Regis University, where he is an contributor of interviews and reports to the The Recorder Associate Professor and director of the Collegium Musicum, Magazine in the UK. the performing arm of the RMC. Adapted from a memory by Marie Dominique Berthier, recorder teacher, Paris, France

Tom Zajac (1956–2015) Piffaro (recipient of the 2015 ARS for an internationally-broadcast The “RecorderFest in the West” festival Distinguished Achievement Award), Gatorade commercial (and as a pre- faculty concert will be remembered as well as a frequent guest with the recorded wake-up call for astronauts with bitter sweetness among col- Folger Consort, Newberry Consort, on a 2001 space shuttle mission), and leagues and friends of Tom Zajac, Boston Camerata, and others. With serpent in a PDQ Bach work on who passed away on August 31 after his own group Ex Umbris, Tom NPR’s A Prairie Home Companion. battling Grade II Atypical Meningi played 14th-century music at the I know I speak for all of us in oma for three years; the 2014 festival Fifth Millennium Evening in the the recorder world when I say that marked one of his last events. Clinton White House and 18th- Tom was a dearly loved treasure Tom studied early music with my century music for the score of Ric who will be deeply missed. father, LaNoue Davenport, at Sarah Burns’s historical documentary Mark Davenport, at right below, Lawrence College in the 1980s. My for PBS, New York. with Zajac to his right and other father adored Tom, and I came to do Tom’s appetite for learning new “RecorderFest” faculty (l to r) Anne the same. He went on to become one instruments was insatiable. In addition Timberlake, Vicki Boeckman and Cléa of the most versatile and accomplished to recorders, double reeds, brass and Galhano. More info is at www.facebook. early music performers as a long-time percussion, he also played hurdy gurdy com/lilli.nye/posts/510418529112808. member of Renais sance wind band for American Ballet Theater, bagpipe

10 Winter 2015 American Recorder THE BASSANO FAMILY, THE RECORDER, AND THE WRITER KNOWN AS SHAKESPEARE he Bassano family played an leave, but “putting also any displeasure By David Lasocki important role in the history of or damage [that] might ensue unto theT recorder in the 16th and 17th cen- them aside, [they] are departed ... with The author writes about woodwind turies as performers, instrument mak- all their instruments.” After praising instruments, their history, repertory, ers, and composers. Recent research by the Bassanos as “all excellent and and performance practices. His book John Hudson has placed the family esteemed above all others in this city,” with Richard Griscom, The Recorder: closer than you can imagine to the Harvel goes on to suggest “it shall be A Research and Information Guide, plays and poems of William Shake no small honor to His Majesty to published by Routledge, received the 2014 speare, in an astonishing way. have music comparable with any other Vincent H. Duckles Award from the Let’s take a look first at the prince or perchance better and more Music Library Association for best book- Bassano family and their involvement variable.” length bibliography or reference work in with the recorder. In 1531, the brothers What would the Bassanos have music. Now in its third edition, this col- Alvise, Anthony, Jasper John and — added to the musical establishment at laborative book incorporates Lasocki’s de Jeronimo going by the last name “ ” Court? Not only Anthony but several annual reviews in AR of research on (sons of Jeronimo)—paid an initial visit other members of the family were the recorder. Among his other books, he to the English Court of Henry VIII important instrument makers. On the wrote a definitive study of the Bassanos (ruled 1509-47), serving in the “sack- performing side, besides a violin band, with Roger Prior. buts,” a consort that played both two wind consorts existed at the Court: sackbuts and shawms. The musicians “sackbuts” and “flutes” (flutes and cor- In 2010 he received the ARS Distin probably stayed only a year or two, netti). Although the Bassano family guished Achievement Award. He is also then returned to Venice. had concentrated on shawms and sack- the recipient of the 2010 Frances Dens In 1538, Anthony Bassano must buts in Venice as well as during their more Prize from the American Musical have gone back to England, because he first visit to England, my research has Instrument Society for the most distin- was appointed by the king as a “maker shown that in 1540 the brothers made guished article-length work in English for of diverse instruments.” A year later, up a third wind consort of “recorders.” his two-part article, “New Light on the Alvise, Jasper and John arrived in In 1550, when Alvise’s son Early History of the Keyed Bugle.” England again, along with two more Augustine was old enough to join, Jacomo brothers, the eldest and the consort expanded to six members. Since he retired from his position as Head Baptista the youngest. Alvise wrote of Reference Services in the Cook Music later that in leaving Venice, they “lost Recent research by Library at Indiana University in January their entertainment and [were] in jeop- John Hudson has placed 2011, he has been devoting himself to ardy of utter banishment from thence.” the family closer than many unfinished writings and editions, Although Jacomo returned to Venice you can imagine to the to his own publishing company within a few years, continuing the plays and poems of Instant Harmony, and to the practice Venetian branch of the family, the of energy medicine. See his web site, other five Bassanos were appointed William Shakespeare. www.instantharmony.net. to the English Court in 1540 “in the science or art of music.” From this Astonishingly, this consort lasted time on, the family used the last until the reorganization of the Court name Bassani, then Bassano. wind musicians into a single group by The reason the brothers would Charles I in 1630—exactly 90 years. have lost their “entertainment” (service Of the 19 members of the consort or employment) and been unable to during this period, and one man who return to Venice is revealed in a letter was used as an extra, no fewer than 13 written by Henry’s agent in Venice, were Bassanos. In addition to the six Edmond Harvel. The Venetian author- already listed, the consort included ities denied the Bassanos a license to Alvise’s son Lodovico; Anthony’s www.AmericanRecorder.org Winter 2015 11 Family Tree of the Musical Members of the Bassano Family Jeronimo I ?d. 1545

Jacomo Alvise Jasper John Anthony I Baptista d. c.1559-66 d. 1554 d. 1577 d. 1570 d. 1574 d. 1576

Orvetta Laura Lodovico Augustine = Santo Griti d. by 1596 d. 1593 d. 1604 aka Santo = Joseph Bassano Lupo d. 1616 c.1530-1586

Elizabeth Mark Anthony Arthur Edward I Andrea Lucretia Jeronimo II b. 1545 1546-1599 1547-1624 1551-1615 1554-1626 1556-1634 1559-1635 = Ambrose = Nicholas Grasso d. 1582 Lanier I Giovanni Anthony II Thomas c.1523–1612 c.1560-1617 1579-1658 1589-1617

Scipio Edward II Henry 1586-1613 1588-1638 1597-1665

Santino Antonio fl. 1615-19 fl. 1615 Emilia 1569-1645 = Alphonso Lanier (son of Nicholas) d. 1613

sons Arthur, Edward I, Andrea and family tree above and chart of consort Clement Lanier—were related to the Jeronimo II; Arthur’s son Anthony II; on p. 13.) Three of the outsiders— Bassanos by marriage. and Jeronimo II’s son Henry. (See William Daman and Alphonso and Henry VIII himself played the recorder. A chronicler reported that the summer Progresses of 1510 found him “exercising himself daily in shoot- ing, singing, dancing, wrestling, casting of the bar, playing at the recorders, flute, virginals, and in setting of song, making of ballads, and did set two goodly Masses.” A case of seven walnut recorders from the royal instrument collection was signed out in 1542-43 “to the King’s majesty’s own use.”

12 Winter 2015 American Recorder Origins of the Family The Recorder Consort One of the functions of Jeronimo I, father of the six brothers, What was it like to be a member of had moved by 1506-12 from the town the recorder consort a recorder consort at Court in those of Bassano to Venice, where he became days? The musicians were attached to a member of the six trombe e piffari was to play dance music. the Presence Chamber, a part of the (sackbut and shawm players) of the main living area of all the various royal Doge. Bassano is situated in the foot- prior of the Sancte Crucis (Holy Cross) palaces—Westminster, Greenwich, hills of the Alps, below Monte Grappa, monastery had given “about four fields” Richmond, Hampton Court, and in the Veneto region of northern Italy of forested land near Crespano Windsor—that was open to anyone and at that time a dependency of (10 miles east of Bassano) to Baptista who was entitled to appear at Court. Venice. Lorenzo Marucini, a Venetian Piva (son of the late Andree Crespano), Augustine Bassano, threatened with doctor and man of letters, wrote in Baptista’s unnamed wife, and their removal from his rented house in 1564, 1577 that Jeronimo was “called ‘il Piva,’ sons Zanantonio and Hieronimo. This stated in a legal case that he was “one inventor of a new bass wind instru- document furnishes the names of bounden to give daily attendance upon ment, excellent pifaro ... his excellence Jeronimo’s brother, father and grandfa- the Queen’s Majesty”—or in other also in making recorders was great; ther, previously unknown, and suggests words, be on call every day. whence those instruments marked that the family was living in Crespano. Judging by its surviving repertory, with his stamp are held in high esteem Because Jeronimo’s father was as we will see, one of the functions of among musicians and are very expen- already known as “il Piva,” Roger Prior the recorder consort was to play dance sive when they are found.” speculated that the family “originally music. Elizabeth was herself a keen “Il Piva” meant “the bagpipe”—or worked as traveling bagpipers in the dancer. Towards the end of her reign a dance of the 15th and 16th centuries, villages around Bassano.” The silk- the French ambassador said she told presumably originally danced by peas- worms and mulberry trees on the him that “in her youth she danced ants to the bagpipe. This appellation family’s coat of arms also suggest that very well, and composed measures and for Jeronimo has been traced in the the family were at one time involved music, and had played them herself Bassano archives. In 1502, the city in the silk industry, which was well- and danced them.” As late as 1601, Council hired Magister Hieronymus established in Bassano and Venice Virginio Orsino wrote of his meeting Piva or his son, Magister Jacob Piva, at that time. How and when they with the Queen, then in her late 60s: to tune and maintain the organs of the became involved with wind-playing “Her Majesty was pleased to dance, church of San Francesco. In 1481, the and -making remains to be discovered. which is the greatest honor that she

Places in the Court Recorder Consort Alvise Bassano Lodovico Bassano Robert Baker senior Robert Baker junior 1540-1554 (1554) 1568-1593 1594-1637 (by 1625) 1637-1642 Jasper Bassano Jeronimo Bassano II Henry Bassano 1540-1577 1578-1635 (1622) 1635-1665 John Bassano Arthur Bassano Anthony Bassano II 1540-1570 1570-1624 (1609) 1624-1658 Anthony Bassano I Edward Bassano I Anthony Bassano II William Noke 1540–1574 1575-1615 1615-1624 1624-1631 Baptista Bassano William Daman Alphonso Lanier John Hussey 1540-1576 1576-1591 1593-1613 1613-1629 Augustine Bassano Clement Lanier 1550–1604 1604–1661

Dates in parentheses show when the member began serving as a substitute before being officially appointed. In 1630, the wind musicians became part of one large group, but they retained their nominal membership in one or more consorts until their death. Anthony Bassano II held and was paid for two places in the recorder consort.

www.AmericanRecorder.org Winter 2015 13 could do me, according to the word of those informed of Instrument Making this court.” The Venetian doctor Lorenzo Marucini reported Jeronimo Dance music was used not only to accompany dancing: I’s excellent reputation as a recorder maker. The “new bass some of the pieces, especially the contrapuntal ones or those wind instrument” he is said to have invented was presumably with irregular structures, were probably used as entertain- the curtal (dulcian). Marucini’s comment about Jeronimo’s ment or dinner music. Lupold von Wedel wrote of dinner maker’s mark suggests that it may have been different from with the Queen (1585): “her musicians were also in the those of his descendants. So he may have used the marks apartment and discoursed excellent music” (shades of HIE.S, HIER.S, and HIERO.S, found on 31 surviving Hamlet! see p. 23). The transcriptions of vocal music com- wind instruments (nine cornetti, eight dulcians, and 16 monly played by wind musicians would also have been used recorders, as well as a recorder case). The three marks are as entertainment or dinner music. presumably contractions of the Latin name Hieronymus, the In the early 17th century, documents relating to the equivalent of the Venetian Jeronimo. The modern recorder recorder players show they took part in special ceremonies. maker Adrian Brown (photographer of these maker’s marks on These included the installation of the Duke of York (the museum instruments, below) has concluded, however, that the future Charles I) as a Knight of the Garter in 1611; the marks are more likely to have been German than Italian. marriage of the Elector Palatine to James I’s daughter The four brothers who went from Venice to England Elizabeth at Windsor in 1613; and the arrival of Henrietta in 1539 brought “all their instruments”—perhaps stock- Maria, Charles I’s wife, from France in 1625. in-trade as well as those they played. We can be sure that Recorders seem to have played little part in Court Alvise was a maker, because he had a “working house” masques, although they may have been intended by the as well as a dwelling house in the family’s living quarters term “soft music,” as in the theater. A Spanish visitor who in the Charterhouse in 1545. Anthony also had more attended a masque in 1611 reported that “When their accommodation there than Jasper, John and Baptista, Majesties entered accompanied by the princess and the but in any case, all the brothers would have had ample ambassadors of Spain and Venice, flageolets played and space for working as well as living. the curtain was drawn up.” “Flageolets” is probably an When the brothers were turned out of the Charter erroneous version of recorders. house, Anthony, Jasper and John lived together in Mark Although Court documents called the Bassano brothers Lane in the City of London, on a property containing and their successors “recorders,” this consort may have played several houses and pieces of land, formerly called The Bell other instruments, too. Mixed consorts of one or more and thus perhaps a disused inn. It was close to the recorders with plucked and bowed stringed instruments as River Thames and the port of London, therefore ideal well as keyboard instruments are documented in Europe. for the export of instruments. Baptista’s choosing to The Bassanos did keep up their chops on other live apart from them could mean that he had a separate wind instruments: four descendants of Anthony I workshop or else was not a maker. (Mark Anthony, Andrea, Edward II and Henry) A surviving legal document from 1571 states that served in the sackbuts; and Anthony II and Thomas Jacomo, the brother who returned to Venice and a known were associated with the flutes. wind-instrument maker, was “in fraterna existentis”— a business relationship—with his brothers. Another passage refers to “the property . . . of the brotherly company of the said late Jacomo and John Bassano.” Perhaps instruments went in both directions between London and Venice, and Jacomo would probably have supplied his brothers with music for their use in London as well as for resale. The breadth of the instrument- making of the first generation of the family in

14 Winter 2015 American Recorder England may be grasped from an The making, and Fugger junior, an Augsburg banker inventory of “the instrument chest and patron of the arts—includes “a made by the Bassani brothers” that particularly the repairing, large case, in it twenty-seven recorders, contained “instruments so beautiful of instruments was large and small. Made in England.” and good that they are suited for digni- Although the inventory does not say taries and potentates.” The inventory continued by members of so, perhaps some of the cornetti, crum- was made in 1571 by Johann (Hans) the Bassano family’s second horns, fagotti (probably curtals), flutes Jakob Fugger, superintendent of the generation in England. and shawms listed were also made by music at the Bavarian court in Munich. the Bassanos. The chest contained: (1) a set of six dulceuses, two fifes, 77 flutes, a tabor Bassano instruments also show unidentified wind instruments, possibly pipe, 76 recorders, 18 or 19 shawms, up in Spain. In 1567 Ciudad Rodrigo bombards (large shawms) or quiet a Venice lute, and 19 viols. Another cathedral asked Felipe II’s ambassador shawms; (2) a set of seven Pfeiffen inventory from 1542 duplicates 53 in England to help them in acquiring (pipes), which may have been flutes; items in the 1547 inventory almost recorders and crumhorns for their min- (3) a set of 10 cornetti and a fife; word for word. Yet in the five interven- istriles (instrumentalists). In 1626, the (4) a set of 12 crumhorns of named ing years, the collection had gained 11 chapter minutes of Huesca cathedral sizes; and (5) a set of nine recorders of the crumhorns, the dulceuses, the included a reference to a case of eight (Fletten). An accompanying letter fifes, 12 of the flutes, 36 of the record- “very good recorders” in the sacristy, mentions a chest of six viole da gamba ers, the lute, and 14 of the viols. Many, and another, “large and very good and a chest of three lutes made by the if not all, were presumably made by recorder” stored separately that served Bassanos in London. Bassano family members. as a baxon (bass curtal), and may there- The well-known inventory of The inventory made in 1566 of fore have been a great bass in F or Henry VIII’s instrument collection at the instruments belonging to another even an extended great bass in C. Westminster after his death in 1547 Fugger family member—Johann The making, and particularly the includes 16 cornetti, 18 crumhorns, 13 Jakob’s youngest brother Raimund repairing, of instruments was continued

www.AmericanRecorder.org Winter 2015 15 It was probably Anthony II who made one of the most famous sets of recorders in history.

by members of the Bassano family’s dants constituted the Venetian branch second generation in England. Arthur of the family, who performed and made bequeathed to his son Anthony II instruments there into the early 17th in 1624 “all my instruments, working century. In 1559 Jacomo and his son- tools and necessaries belonging to the in-law Santo Griti made a contract art of making of instruments which with three pifferi of the Doge of Venice shall be remaining in the capital mes- to provide cornetti, crumhorns, curtals, suage [large house] where I now dwell flutes, recorders and shawms, partly for ... in Mark Lane....” No other member the musicians’ own use, although they of the third generation seems to have also acted as agents for the makers. been associated with instrument mak- Because of the draw of the name, ing or repairing, so it was probably Santo changed his name to, or became Anthony II who made one of the most known as, Santo Bassano. He was the famous sets of recorders in history. In probable inventor of the bassanello; his Harmonie universelle (Paris, 1636), Michael Praetorius describes it as a Marin Mersenne says that the three quiet double-reed instrument with nar- sizes of recorder most common in the row conical bore, made in three sizes, 16th century (discant, tenor and bass) and having an innovatory construction “make the small register, as those that allowing the joints to be pulled apart follow make the great register; but they to vary the instrument’s pitch. can all be sounded together, like the Santo’s son Giovanni became a great and small registers of organs.” member of the Doge’s piffari, then He shows an engraving of two smaller maestro di canto at the ducal seminary recorders and two larger, remarking, of St. Mark’s cathedral, and finally “The large recorders that follow have director of instrumental musical at St. been sent from England to one of our Mark’s. He wrote several methods as kings.” (See illustration, left.) well as both sacred and secular music. Mersenne shows the largest As members of both branches of recorder’s fontanelle removed to the Bassano family made instruments expose the keywork needed to play —and they seem to have been prolific its low notes, “so that our makers makers—one would expect some, per- could make similar ones [keys].” That haps many, of their instruments to have recorders played at the French court survived. But none of the maker’s had been made in England by the marks on extant instruments can be Bassanos could be the origin of flûte ascribed to them with certainty. I put d’Angleterre (English flute), one of the forward a theory, which has been gen- French names for the recorder, first erally accepted, that both branches after reported by Mersenne. Jeronimo I used some version of the !! Anthony Bassano II may also mark, formerly described as “rabbit’s have made some or all of the wood- feet,” occurring singly or in twos or wind instruments bought for the threes. (See photos on p. 14). This mark English Court in the early 17th cen- is found on no fewer than 121 surviv- tury, including cornetti, shawms, and a ing wind instruments, including “treble recorder” (discant in G) in 1636. 45 recorders. As we have noted, the oldest Three arguments link the !! mark brother, Jacopo or Jacomo, went back to with the Bassano family. First, given Venice by 1544. He and his descen- the family’s coat of arms, it could well

16 Winter 2015 American Recorder be a schematic version of a silkworm moth with open wings—that is, the wings only, without the body. Second, the mark is found on surviving examples of all the instruments the family are known to have made, and it is by far the most common mark on such instruments. Third, the cornetti at Christ Church Cathedral, Oxford, which have the triple mark, are known to have been bought for that cathedral, presumably from makers in England. The same mark is found on a cornetto in the Castle Museum, Norwich, which is likely to be of English provenance (perhaps used by the Norwich waits).

Standard of Performance Some sense of the quality of performance the Bassanos would have brought with them from Venice can be deduced from Venetian and other Italian sources. Sylvestro Ganassi’s famous treatise on recorder playing, Opera intitulata Fontegara (Venice, 1535), was written by a recorder player employed by the Doge of Venice at the time the Bassano brothers were in that city and perhaps similarly employed; they would presumably have been among those leading recorder players of the time that Ganassi says he had stud- group of more than 30 wordless motets consort music by adding a sextus part, ied and played with. Ganassi described, and madrigals found in the Fitzwilliam which was in effect a second cantus; and Jerome Cardan confirmed c.1546, Wind Manuscript, which bears the the practice of pairing and crossing an expressive style of recorder playing coat of arms of James I in the early those two parts was introduced from based on imitation of the human voice 17th century, continued this practice. the Italian madrigal of the day. and achieved by good breath control, Although the Court recorder con- About 19 16th-century pieces by alternate fingerings, a variety of articu- sort consisted of five, then six players, Augustine and Jeronimo Bassano II lations, and diminution technique. the earliest music for it (1540-60) (as well as one by William Daman) would have been in a maximum of survive in consort versions and/or Compositions four parts (canto, alto, tenor and bass), lute or keyboard arrangements, which No surviving English compositions consort music for a larger number of seem to represent part of the repertory from the 16th or early 17th centuries parts being as yet unknown in England. of the recorder consort over a period are marked specifically for recorders. The extra player or two in the consort of 50 years. As one would expect The performing of transcriptions of might have doubled, say, the bass at the from their having been composed vocal music by flute and recorder con- octave below, a practice that makes the by members of the second generation sorts was known in France in the 1530s whole consort sound an octave lower. of the Bassano family, these pieces and had spread to Germany by the Around 1560, composers began are in four to six parts. (See Fantasia 1550s; it may also have been a common adding a quintus part between the by Jeronimo II above, and a five-part Venetian practice that the Bassanos tenor and bass. Finally, around Galiarda by Augustine Bassano would have brought to England. A 1575-80, composers created six-part following this article.) www.AmericanRecorder.org Winter 2015 17 Were the Bassanos Jewish? The family coat of arms, page, Cuoco returned home, where he A wealth of circumstantial evidence, of was summoned to the Holy which we have space to cite only a little, Inquisition. When asked, “Was there on which is displayed suggests that the Bassanos were of anyone in England who wanted to Jewish origin, passing for Christians make you three silkworm moths and perhaps practicing Judaism in read prohibited books and to teach secret. The family was close colleagues you the doctrine of heretics?” Cuoco and a mulberry tree, of Jews, lived with them, and married cited Ambrose Lupo as well as “five them. For example, Augustine’s sister Venetian brothers who are musicians refers to a trade that Jews Laura married the Venetian violinist of the Queen and make recorders and and composer Joseph Lupo, whose bowed stringed instruments.” If we introduced into Italy father Ambrose was imprisoned in take Cuoco’s comment literally, he 1542 for being a “New Christian” would have known Anthony’s five and in which they were (converted Jew). Laura and Joseph sons. Normally the “heresy” then were living with Augustine by 1571. found in England would have been The family coat of arms, on which Protestantism. But the heretical books involved for a long time. is displayed three silkworm moths and the Bassanos pressed on Cuoco were a mulberry tree, refers to a trade that likely in Italian, or perhaps Latin, Jews introduced into Italy and in which so they are unlikely to have been they were involved for a long time. Anglican tracts. When the five Bassano brothers settled in London, they were given Did Emilia Bassano Lanier lodgings in the London Charterhouse. Write Shakespeare? The public execution of the Carthusian Emilia (Amelia, Aemilia) Bassano monks who had lived there had scan- (1569–1645) was the younger daughter dalized Catholic Europe in 1535 and of Baptista Bassano and probably his caused open expressions of outrage in common-law wife, Margaret Johnson. Venice. Yet only a few years later the Baptista lived separately from his Bassanos, who had just arrived from brothers in Spitalfields, outside the Venice with their wives and children, City of London, in a sketchy area that were living in the monks’ abandoned housed the main theaters as well as cells and using other rooms as work- makers and weavers of silk. In 1597 shops. Emilia told the astrologer Simon Mark Lane, where three of the Forman that her father died when she brothers settled next, was home to was seven, and even before that he suf- London’s Portuguese Jewish commu- fered financial misfortune. Stephen nity. A member of this community, Vaughan the Younger, a silk merchant, Erasmus Añes, was Augustine’s lived next door and later became the “servant” in 1564. The head of the overseer of Margaret’s will. Portuguese Jews, Dr. Hector Nuñez, After her father’s death in 1576, lived with his extended family in a Emilia was brought up as a surrogate posada (inn), an arrangement that daughter by Susan Bertie, the wid- sounds like that of the Bassanos at owed Countess of Kent, who would Mark Lane. The Nuñez family was have lived with her brother, Peregrine reported to observe Jewish rites Bertie, Lord Willoughby, a celebrated at home but to publicly attend general. The family connection may Protestant churches. have been Vaughan’s daughter Anne In 1576, the Earl of Oxford took Locke, inventor of the sonnet the singer Orazio Cuoco, aged about sequence, who dedicated her book 16, back to England with him from to the Duchess of Suffolk, mother Venice. After 11 months as Oxford’s of Susan and Peregrine Bertie. 18 Winter 2015 American Recorder Living with an aristocrat would have given Emilia an education available only to a privileged few in England, including history, logic, rhetoric, Greek, Latin, literature and the classics. Willoughby could well have taken Emilia on his voyage to Denmark in 1582, where he stayed at Elsinore Castle and encountered Rosencrantz and Guildenstern. When Susan Bertie remarried that same year and headed to Holland, another living situation had to be found for Emilia. She became the mistress of Lord Hunsdon, thought to be an illegitimate son of Henry VIII. Among other official posts, he eventually served as Lord Chamberlain, in charge of the English theater. Hunsdon not only lived in London but also monitored the northern border of England with Scotland. Emilia told Forman that Hunsdon treated her well, and showered her with money and jewels. The much older Hunsdon, separated from his wife, may have welcomed Emilia as an English example of the cortigiana onesta, or “honest courtesan.” In Italy such women were known for their knowledge of languages and literature, their wit, and their skill at music and in the bedchamber. When Emilia became pregnant in 1592—perhaps by an affair with the playwright Christopher Marlowe rather than by Hunsdon—she was married Henry Carey, Lord Hunsdon off for the sake of appearance to her cousin Alphonso Lanier, a member of the Nicholas Lanier I (1526-96), by Steven van Court recorder consort. Lanier was the son of , a flute and Herwijck (c.1530-1565/67). cornetto player from Rouen, France, who arrived in England in 1561 and created Among other official posts, a musical dynasty similar to the Bassanos, even marrying into their family himself. he eventually served as Emilia told Forman that in five years Alphonso had already squandered her Lord Chamberlain, in fortune. Living away from the Court, she would have set up a household and charge of the English theater. been concerned with domestic matters. Emilia moved to Cookham Dean near Windsor around 1604, helping to tutor the Countess of Cumberland’s daughter, Anne Clifford, later Countess of Dorset. In 1611, Emilia published a book of poems, Salve Deus Rex Judaeorum , the last of them a “Description of Cooke-ham.” The title of the book may be a parody of “Ave rex Judaeorum,” addressed to Jesus on the cross. Emilia and her book have become celebrated among modern feminist scholars and the subject of numerous articles. Emilia came to instant fame in 1973, when the historian A. L. Rowse ... proclaimed that she was the “dark lady” described in Shakespeare’s Sonnets numbers 127-154 ... a black-haired, black-eyed woman of notorious promiscuity. Alphonso Lanier died in 1613. Four years later, Emilia set up a school, uncommon for a woman, where “for her maintenance and relief,” she “was com- pelled to teach and educate the children of divers persons of worth and understanding.” In the 1630s, representing herself in court, she fought a protracted legal battle with Alphonso’s brothers to obtain his share of their royal grant of fees for the weighing of hay and straw brought into the London area. She was buried in 1645 at the age of 76, described as a “pensioner.” Emilia came to instant fame in 1973, when the historian A. L. Rowse, after reading about her in Forman’s casebooks, proclaimed that she was the “dark lady” described in Shakespeare’s Sonnets numbers 127-154, which have as their princi- pal theme the poet’s tormented love affair with a black-haired, black-eyed woman of notorious promiscuity.

www.AmericanRecorder.org Winter 2015 19 The “Chandos” right”). Jonson, introducing the First Folio, Shakespeare’s portrait collected works, in 1623, described the author as a “matron.” (c.1600-10) About 80 other candidates for the author have been of William proposed so far, notably the Earl of Oxford, Christopher Shakspere, Marlowe, Francis Bacon, Queen Elizabeth, the Earl of possibly painted Derby, the Earl of Rutland, and the Countess of Pembroke. by a fellow player and later passing New Research on Emilia through possession Research on Emilia Bassano Lanier has recently experienced by the Duke of a new and exciting turn. The Shakespeare scholar and dra- Chandos. maturge John Hudson has made an excellent case for her having written the works herself, or at least been the princi- Rowse made some factual errors, which hindered the pal author. The circumstances of Emilia’s life, the knowledge acceptance of his argument by literary scholars, but Roger she could have picked up from them,and aspects of her own Prior demonstrated that Emilia was close to Shakespeare writings fit numerous features of the plays and poems well. and certainly a good candidate for the dark lady, including Hudson’s case moves along six major trains of thought: physically. Her cousins, arrested in 1584 for what modern (1) The vast and broad knowledge displayed in the works, English law would call loitering with intent, were described including Hebrew, Italian, and Jewish literature, litera- as “a little black man” and “a tall black man.” And a year ture for girls and women, cooking and homemaking, later, during the war with Spain, another cousin was medicine, northern English dialect (little from Shak mistaken for a Spaniard on the streets of London spere’s Warwickshire), music and instruments, power and almost killed by soldiers. struggles at Court, generalship and soldiery, shipping, William Shakspere, the actor whose name appears the law, astronomy, falconry, silk weaving, the cities of in about 60 different spellings in family documents, was a Bassano and Venice, and Elsinore Castle. Many of the glove-maker’s son from Warwickshire with an elementary 2,000 neologisms (newly-invented words) in the works education. He was charged with murder as an associate of are translated from Italian. the gangster Francis Langley and lived far from where the (2) The religious allegories in the works, which demonstrate Shakespeare plays were performed. a strong anti-Christian stance. Even more surprisingly, Disbelief that he could have written the plays and there is a focus on the Flavian Caesars and the First poems published under the name Shakespeare began even Roman–Jewish War (66-73 AD) from a Jewish in his lifetime. For example, he acted in Ben Jonson’s Every perspective. Man out of His Humour (1598), which parodies him as the (3) The little we know about William Shakspere the man country bumpkin Sogliardo who has the comic coat of arms and how unpromising a candidate he is as the author and motto “not without mustard” (poking fun at the motto of the works. on Shakspere’s coat of arms, Non sanz droict, “not without

20 Winter 2015 American Recorder (4) The fit between Emilia’s biography and the knowledge which besides displayed in the works. being more or (5) The fit between the characteristics of Emilia’s poetry less the name of and the works. Shakspere, may (6) The “literary signatures” left in the works: the common have denoted name Emilia; the characters Bassanius and Emillius in Pallas Athena, Titus Andronicus; and the image of a swan dying to the goddess of music, Ovid’s symbol of a great poet, associated with poets, known as “a four names: Aemilia and Willough(by), Bassanio, and shaker of the spear.” Johnson ( John’s son)—Emilia’s first name, the last name Hunsdon of her adopted family (Countess of Kent), her father’s could even have last name, and her mother’s last name. placed Shakspere in the Chamber Why Hudson Thinks Emilia Wrote Shakespeare lain’s Men to ensure Briefly summarizing Hudson’s version, Emilia Bassano was a supply of fine the daughter of the youngest of five Bassano brothers, who material for his emigrated to England in 1538-39 and were probably secret company. Shak Jews. Growing up in a musical household, she picked up spere brokered the some practical knowledge of music and probably learned plays, ignorant of the dangerous heresies they contained, to play the lute and keyboard. She was also introduced to even claiming that his “fair copies” were his original drafts. Hebrew, Judaism, and Jewish history, which she kept up Despite Ben Jonson’s satire, Shakspere was never by contact with her cousins later in life. exposed, and retired to his mansion in Stratford upon Avon, After her father died when she was seven, she was wealthy perhaps partly because of payments for the plays, brought up in the household of the Countess of Kent, a and his fraudulent reputation intact. Emilia continued to Calvinist sympathizer, and given a privileged education. modify and revise the plays after Shakspere’s death in 1616. After the age of consent, she became the mistress of Lord Hunsdon could even have placed Shakspere Hunsdon, a prominent courtier in charge of the English theater. In her early twenties she had an affair with the in the Chamberlain’s Men to ensure a playwright Christopher Marlowe. supply of fine material for his company. After she became pregnant, by Hunsdon or Marlowe, she was married off to a relative of the Bassanos, another The Recorder in Shakespeare Court musician, Alphonso Lanier, continuing her exposure In Shakespeare’s A Midsummer Night’s Dream (1590-97), to music practice. A trip to Italy with her cousins soon after- Act 5 scene 1, the recorder appears in a play within a play. wards enabled to her to become familiar with Bassano, Commenting on the Prologue to Pyramus and Thisbe per- Venice, and the Commedia dell’Arte. The influences of the formed by the “mechanicals” at her wedding, Hippolyta Countess of Kent, Lord Hunsdon, Marlowe, and Italy gave compares Quince’s acting to a child’s inability to control a her the knowledge of the world and of writing that she recorder: “Indeed he hath played on his prologue like a child needed to create plays and poems. on a recorder; a sound, but not in government.” This beauti- Simon Forman recorded that Emilia told him “tales ful quotation suggests a tutor’s intimate knowledge of the of invoking spirits” with which she had intended some recorder in education, not to mention the understanding that kind of “villainy”—hardly the stuff of orthodox Christianity. the recorder is more difficult to “govern” than it may seem. If she wrote them, she used literary techniques to hide Act 3 Scene 2 of Hamlet (1599-1602) includes a cele- beneath the plays’ surface a heretical Jewish story about brated scene for recorders. The first published edition of the Christianity, waiting for a time when “eyes not yet created play, the First Quarto of 1603, contains only about half the shall o’er-read” it (Sonnet 81). She used “literary signatures” text of the later editions, and may be a reconstruction from to claim her authorship. memory by one of the actors. The recorder scene is not fully But to protect herself, in case the true meanings of realized, and the “pipe” is not even named, but Hamlet’s the plays were discovered during her lifetime and she were ironic reference to the instrument as “a thing of nothing” imprisoned, tortured and executed, she used a play-broker, is thereby spelled out more clearly than in the later versions. the actor William Shakspere, to conceal her identity. The Hamlet’s childhood friends Rosencrantz and Guilden plays were published under the name William Shakespeare, stern have been sent by King Claudius (his uncle and

www.AmericanRecorder.org Winter 2015 21 stepfather) and Queen Gertrude (his mother), to spy on him.

HAMLET I pray will you play upon this pipe?

ROSENCRANTZ Alas, my lord, I cannot.

HAMLET Pray will you?

GUILDENSTERN I have no skill, my lord.

HAMLET Why look, it is a thing of nothing. murderer—the very scenario that has taken place at the Tis but stopping of these holes, Danish Court, and Hamlet wants to let Claudius and And with a little breath from your lips, Gertrude know that he is aware of it. He tells them: It will give most delicate music. “This play is the image of a murder done in Vienna: Gonzago is the duke’s name; his wife, Baptista.” GUILDENSTERN He is clearly taunting, because the Gonzagas were But this cannot we do, my lord. dukes of Mantua, in Italy—but the wife’s name is highly significant for our purposes, especially as it is roughly HAMLET equidistant in the text from the two stage directions for Pray now, pray heartily, I beseech you. players with recorders, a form of “literary signature” for Emilia’s father Baptista. (Hudson has shown that the entire ROSENCRANTZ play is built upon a complex matrix of allegories arranged My lord, we cannot. like the lines in a polyphonic score.) When the players return, Hamlet’s first comment refers HAMLET to how hunters move to the windward side of animals to Why, how unworthy a thing would you make of me. drive them into a net, but it also puns on the wind needed to You would seem to know my stops, you would play upon me, blow the recorder. Then he seizes on the recorder, an instru- You would search the very inward part of my heart, ment that seems easy but needs some “skill” to “command,” And dive into the secret of my soul, as a metaphor for how his friends are pumping him for Zounds, do you think I am easier to be played information: Guildenstern cannot play the recorder, so he On than a pipe? Call me what instrument certainly cannot “play” Hamlet. You will, though you can fret me, yet you cannot Play upon me.... Reenter the PLAYERS with recorders

“Stops” here means fingerings as well as how his HAMLET friends are impeding him. “Fret” means torment or ... Oh, the recorders! Let me see one. annoy, but also refers to the frets on stringed instruments, (aside to ROSENCRANTZ and GUILDENSTERN) switching the musical metaphor. To withdraw with you, why do you go about to recover the In the Second Quarto edition published only a year wind of me, as if you would drive me into a toil? later, this passage has become part of another play within a play, The Mousetrap, framed by two references to “players” GUILDENSTERN (actors) with recorders. The musicians attached to the O my lord, if my duty be too bold, my love is too unmannerly. London theaters of the day acted minor parts in the plays. In this subplay, a man murders a king; his loving wife, HAMLET initially inconsolable over the king’s death, marries the I do not well understand that. Will you play upon this pipe?

22 Winter 2015 American Recorder GUILDENSTERN www.darkladyplayers.com/the- “The verbal imagery of My lord, I cannot. dark-lady.html and www.youtube. this speech is reinforced com/watch?v=tyn-3GNOd7w. HAMLET in performance by the David Lasocki, “The Recorder in I pray you. presence of the recorder the Elizabethan, Jacobean and as a visual signifier.” Caroline Theater,” American GUILDENSTERN Recorder 25, no. 1 (February 1984): Believe me, I cannot. whose name is even invoked—and 3–10; available from the ARS wife of another (Alphonso Lanier). archives and as a free download HAMLET In The Two Noblemen Kinsmen from http://instantharmony.net/ I do beseech you. (1613-14), a collaboration between Music/american_recorder.php. Shakespeare and John Fletcher, Act 5 David Lasocki with Roger Prior, The GUILDENSTERN scene 1, the stage directions call for Bassanos: Venetian Musicians and I know no touch of it, my lord. “Still music of record[er]s.” Amazingly, Instrument Makers in England, the music introduces the prayer of a 1531–1665 (Aldershot: Scolar HAMLET character named Emilia—that, of Press; Brookfield, VT: Ashgate, It is as easy as lying. her two suitors, the one who loves her 1995); out of print; available as an Govern these ventages with your fingers should conquer her. Love and the e-book with a bonus, Research on and thumb, give it breath with your supernatural were the recorder’s the Bassano Family, 1995–2014, mouth, and it will discourse most eloquent main associations in the Jacobean from http://instantharmony.net/ music. Look you, these are the stops. theater of the time. Music/eb12.php. Christopher R. Wilson and Michela GUILDENSTERN Emilia, the Recorder and the Calore, Music in Shakespeare: A But these cannot I command to any utter- Writer Known as Shakespeare Dictionary (London & New York: ance of harmony. I have not the skill. Hudson’s persuasive argument that Thoemmes Continuum, 2005). Emilia Bassano Lanier was the princi- HAMLET pal author of the plays published under Editions Why, look you now, how unworthy a the name of William Shakespeare gives Augustine Bassano, Pavans and thing you make of me! You would play us a new view of the recorder in those Galliards in 5 Parts for an upon me. You would seem to know my plays and ties in neatly with the impor- Ensemble of Recorders (Flutes/Viols/ stops. You would pluck out the heart of tant recorder-playing history of Shawms/Cornetts and Sackbuts) my mystery. You would sound me from Emilia’s families of birth and marriage. S.A.A./T.T.B., ed. Peter Holman, my lowest note to the top of my compass. What better present for us as The Royal Wind Music, I And there is much music, excellent voice, recorder players as we approach 2016, (London: Nova Music, 1981); in this little organ, yet cannot you make the 400th anniversary of the death of only available as an e-edition from it speak? ’Sblood, do you think I am easier Shakspere? http://instantharmony.net/Music. to be played on than a pipe? Call me Jerome Bassano, Four Fantasias in what instrument you will, though you Reading List 5 Parts for an Ensemble of can fret me, yet you cannot play upon me. Adrian Brown and David Lasocki, Recorders (Flutes/Viols/Shawms/ “Renaissance Recorders and their Cornetts and Sackbuts) S.S.A.T.B., How much more poetic this Makers,” American Recorder 47, ed. Peter Holman, The Royal metaphor has become! And as no. 1 (January 2006): 19-35; Wind Music, II (London: Christopher R. Wilson and Michela available from the ARS archives Nova Music, 1981); reprinted by Calore put it, “The verbal imagery and as a free download from Spartan Press, Scotland, 1999; of this speech is reinforced in perfor- http://instantharmony.net/Music/ www.spartanpress.co.uk/spweb/ details.php?catno=NM202. mance by the presence of the recorder american_recorder.php. as a visual signifier.” John Hudson, Shakespeare’s Dark William Daman, Fantasia de sei soprani The Shakespeare text implies a Lady: Amelia Bassano Lanier— for Six Treble Instruments, ed. Peter familiarity with the instrument that The Woman Behind Shakespeare’s Holman (London: Mapa Mundi, www.mapamundimusic. becomes more explicable if it was writ- Plays? (Stroud, Gloucestershire: 1980); com/mapamundi.html ten by the daughter of a professional Amberley, 2014). See also . recorder player (Baptista Bassano)— www.AmericanRecorder.org Winter 2015 23 24 Winter 2015 American Recorder www.AmericanRecorder.org Winter 2015 25 Education ______How to foster positive experiences in a competition: ______concerns in preparing a Suzuki contestant

By Renata Pereira A Teacher’s Challenge Translated by Gustavo de Francisco I have taught using the Suzuki method for 17 years, and I always try to supplement the daily lives of my students This article includes viewpoints from a teacher, Renata Pereira, with information and opportunities and the parents of young Júlia Abdalla, a Suzuki Method student related to the recorder. This means that who decided to enter the category for students up to 11 years in age in I talk with them about ongoing con- the recorder competition at Open Recorder Days Amsterdam (ORDA), certs, courses, events, master classes, held in May 2015 and sponsored by The Royal Wind Music. opportunities to play with an orchestra, The jury members for the ORDA international recorder travel—and why not, contests? competition were Bert Honig, Susanna Borsch, Robert de Bree, I know some teachers are against Eva Gemeinhardt, Filipa Pereira and Marion Verbruggen. the participation of their students in More information is at www.openrecorderdays.com/en. competitions. I’ve heard a number of comments related to negative experi- The preparation for the contest spurred this article, ences of children—and especially of where teacher and parents alike outline their concerns as well Suzuki students, who are taught about as their positive experiences, as they all encouraged Júlia the joy of playing and to respect and to participate and supported her preparation. encourage other students rather than to compete against them. This inevita- The Brazilian recorder player Renata Pereira began her recorder studies bly changes as the students become at age eight, while she was also involved in other musical studies. old enough to audition for instrumen- When she reached adolescence, she says, tal ensembles and master classes. “I did not choose the recorder, but it chose me.” I began to change my mind in 2001. Before that, I was also mostly She earned the Bachelor of Music degree in recorder at EMBAP against this type of activity, until expe- (Escola de Música e Belas Artes do Paraná) in 2004, and rience demonstrated the opposite: we her Doctor of Music degree at São Paulo University in 2009. can learn a lot in competitive situations, She started to teach using the Suzuki Method for recorder in 1998. especially if we know how to choose In 2011, she founded the Suzuki Education Music Center the right event and prepare in accor- in São Paulo and became a recorder teacher-trainer dance with work already being done. certified by the Suzuki Association In 2001 I attended a recorder con- of the Americas in 2014. test with different categories in southern Brazil. At the time, I took a student Both Renata Pereira and I had taught for six years. It was a very translator Gustavo de Francisco positive experience for her and for me. are founding members of the Brazilian We both shared the preparation for recorder quartet Quinta Essentia, the contest and also shared the results. www.5eofficial.com, and have I remember that my impression written previous articles of entering contests improved at the for American Recorder. time, because I learned that preparation was the most important part of the whole process. The repertoire selection, rehearsals, classes, and even having the chance to watch the other participants

26 Winter 2015 American Recorder Preparation Júlia Abdalla (7 years old) investment of time and money; other families preferred to avoid competitive Júlia’s parents, Thiago Abdalla (a pro- accepted the challenge. situations for their children. fessional guitarist with Quaternaglia My approach at times like this Guitar Quartet, which often tours the at the competition—all of these situa- is always to talk about the event with U.S.) and Gabriela Vasconcelos tions seemed to be worth much more the parents and students. They decide Abdalla, are also musicians; they than any prize (or unsuccessful results) whether to participate, not me. And know the importance of such an event from a competition. even if the answer is no, I continue in the life of a music student. When Nevertheless, I have remained talking about future events. It is impor- they decided Júlia would compete, I wary about possible negative experi- tant for parents and students to know began my strategy to help her prepare. ences in contests, and especially the that there is life for your instrument For ORDA, Júlia would have to effect on the emotional state of a outside the classroom or the immediate play 10 minutes of music—a big chal- child: expectations, frustrations, com- music community. lenge for a person who has studied an parisons, etc. I always take great care For ORDA 2015, the family instrument for 18 months! when I place my students in competi- of Júlia Abdalla (7 years old) accepted In addition, since the financial tive situations. the challenge. Júlia would be able to investment would be significant, I had For this reason, let me share with participate in the category for children to prepare her in such a way that she you the most recent experience in the up to 11 years old. She might be the had a chance of success in the contest. participation of one of my students in youngest competitor, but it would For me the goal of success meant: an important recorder contest. be a great experience. selecting a repertoire technically and Why did I share the information musically suitable for her age and skills, The Contest about ORDA? Because it was not just and that can be easily memorized by a

When I received information about a recorder contest, but also a great student who does not yet sight-read Open Recorder Days Amsterdam recorder event happening in The fluently—and playing this repertoire (ORDA) for 2015, I forwarded it to Netherlands—a country known for musically. all my students and their families. its superb recorder players. What was needed to achieve this? Many of them had technical and musi- The ORDA schedule included 1) Repertoire: the choice was not cal skills advanced enough to partici- lectures, concerts and an instrument an easy task. A contest repertoire pate and were of sufficient age to exhibition, as well as various contests in should be well-thought-out. It enter one of the categories. I thought different categories of the competition. should show off the player’s skills the major difficulty would be financial. Júlia could fill her eyes and heart with and must be within the contes- Travel to another country, with the music for the recorder. This may be the tant’s capabilities. It must present unfavorable exchange rate, is almost best scenario to present to a recorder a certain challenge to the player, unfeasible. student, and the ideal opportunity to who must work hard for a long Families had different reasons enter a competition without the burden time on the same pieces. It must for not going to ORDA. In addition of its being only a contest. The many be attractive for the jury, which to financial, for some it was not the other activities may serve to diminish could be tired of hearing similar time for the student to risk such an the importance of the competition. pieces during the long contest. Here were my strategies: • We chose something she had already played: Larghetto from the Handel Sonata in F Major (a movement she had completed in Suzuki Book 2). • Because I think it’s not artisti- cally appropriate to play only part of a larger work, I challenged Júlia to play the Gigue from the same sonata. She would learn this movement later in her studies, in Suzuki Book 3.

www.AmericanRecorder.org Winter 2015 27 We set up three recitals before the • To fill out the 10 minutes of contest. As one of them approached, repertoire, I asked what Júlia could Júlia had a fever. She was not feeling offer to an audience and jury that well in the morning; we thought she is unique. Brazilian music was a would be ill. By the time of the recital, great choice! My challenge was to the fever was gone and she was fine the find original Brazilian music for following day. What became very clear recorder that was within the capa- to the adults (parents and teacher) was bilities of a Suzuki Book 2 student. that the Júlia’s illness was caused by I chose a set of five Brazilian her emotional reaction. miniatures by Edmundo At this point, I was sure that we Villani-Côrtes (b. 1930). were on the right track, because we 2) Preparing the entire program, were also working on dealing with “without stopping, without haste” her emotional skills. (Shinichi Suzuki): this took place in My philosophy was always to the period from February to April. convey to Júlia what it meant to Our choice was to meet for extra participate in a contest. The outcome lessons to have time to prepare of the competition would be an oppor- everything, without procrastinat- tunity for good performance, plus ing. Working gradually and with the experience she would learn playing tranquility produced a resulting in a contest in another country. Her calm later, when Júlia needed it. parents reinforced the same ideas; all 3) Practice at home: I had the help of us were speaking the same language. of parents who knew what to do The next recital was set in a because they were already accus- bookstore for children, which sent tomed to the process. We decided out announcements about the recital that she would play the contest and about Júlia’s story. Thus, a few repertoire accompanied by her journalists came to us to interview father on the guitar, which would Júlia and report on her adventure. give her more security when she Now Júlia’s attitude was so positive played in a foreign country. that—when interviewed by Folha de 4) Preparation and emotional São Paulo, a large media company in practice: I talked to her parents Brazil— she replied, when she was about Júlia’s performing the con- asked what she thought she would test repertoire before ORDA—in find in The Netherlands, “I imagine different settings, to different audi- a lot of people who play well together. ences. Simulating the contest situ- And an audience in a circle, so that you ation was extremely important in can see the musicians everywhere.” the process. Partially we worked on “Whoever plays better is going dealing with emotions, but also on to win a trophy, but the best award navigating instrument changes for me is to go to Amsterdam.” (condensation, temperature, usual In reading her responses, I felt recorder concerns), tuning and even more that our work up to that on-stage presence. time had been successful: her expecta- It was vital to involve Júlia in the tions were not whether she would win preparation process. For this, we made or lose. Her attitude was more one of: a schedule where Júlia kept track of the I’ll take whatever I can, so long as I go! extra recitals, extra lessons, rehearsals— (The full interview in Portuguese, and the travel dates. At the end of each plus a video, is at www1.folha.uol.com. day, Júlia pasted a sticker on her calen- br/folhinha/2015/05/1626072-flautista- dar, a concrete way to show the passage de-7-anos-sera-a-unica-brasileira-em- of time and completion of tasks. concurso-na-holanda.shtml.) 28 Winter 2015 American Recorder The Contest Thoughts from Júlia’s Parents Beyond this, we as parents Júlia arrived in Amsterdam with her Júlia is a child who had the opportunity encouraged her to learn to play piano father and participated in the prelimi- to experience music and rhythm games and guitar (the instruments we already nary round. I received many e-mails very early, possibly even during preg- play at home). However, she lacked and messages from professional col- nancy. She could listen to her mother the discipline and motivation to leagues who were there and saw her singing, her father practicing guitar. practice, at her young age. performance. Everyone was delighted! Recordings and videos that include We heard about Renata Pereira, She enjoyed every experience possible, music from different periods and styles and knew that she taught music classes and she played beautifully. For all of us, certainly influenced her sense of the to a girl of the same age as Júlia. We the results there, combined with the natural process of learning music. had the opportunity for our daughter preparation we had at home, were Since early childhood, she has to begin the study of another instru- already amazing. used musical language elements in her ment: the recorder. Her motivation and When she went to the finals, her play—singing, dancing, and composing study discipline significantly improved. parents told me they did not imagine rhythms and melodies. she would get this far. I knew she was well-prepared, but never mentioned anything about expectations beyond the process we had followed. I could not predict what would happen there. Which children would be in her category? How well would these other children be prepared? What contest criteria would be used to choose the best recorder player? ...the best award for me is to go to Amsterdam. Back at Home Júlia came back super-motivated. She learned a lot about her instrument in such a short time and in the best way: by hearing good examples. Now she carries this amazing experience, having observed the interpretations of others and the relationship of different players with the instrument. She shares this energy wherever she is, infecting the other students with the same joy of making music by playing recorder. She even said to me, “I can not stop playing!!” I asked another student (age six) if he had caught Júlia’s virus, and was also playing the recorder all day long, He answered: “I think that all your students have the same virus!” After this uplifting experience, now it time for Júlia’s parents to describe their feelings about everything that happened. www.AmericanRecorder.org Winter 2015 29 American Recorder Society Publications Since then, she has made progress, after hundreds of repetitions to learn Musical Editions from the Members’ Library: good posture and to develop beautiful Additional hard copies may be ordered: ARS Members, $3; non-members, $5 (including U.S. postage). Please ask about discounts for multiple copies. ARS Members may also download at the ARS web site. sound, tuning and interpretation of Algunos lugares 1 (A solo) Marcelo Milchberg Los Pastores (S/AAA/T + perc) different musical styles (phrasing, artic- Arioso and Jazzy Rondo (AB) Carolyn Peskin Virginia N. Ebinger, arr. Belmont Street Bergamasca (ATB) Sean Nolan Lullaby (AATB) and Cake Walk (SATB) from ulation, breathing and other elements Berceuse–Fantaisie (SATB) Jean Boivert Suite for Recorder Quartet Hildegard Erle Blues Canzonetta (SATTB) Steve Marshall Mere Bagatelle IV (AAA/T) Anthony St. Pierre of interpretation). Following the Bruckner’s Ave Maria (SSATTBB) New Rounds on Old Rhymes (4 var.) Suzuki Method used by Renata, we Jennifer W. Lehmann, arr. Erich Katz Canon for 4 Basses (BBBB) David P. Ruhl Nostalgium (SATB) Jean Harrod established the link of parent-teacher- Dancers (AT) Richard Eastman Other Quips (ATBB) Stephan Chandler Danse de Village (SAB) Kevin Holland Poinciana Rag (SATB) Laurie G. Alberts student, supporting Júlia in what we Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz consider to be an excellent technical Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. Carolyn Peskin Serie for Two Alto Recorders (AA) and musical development. Elizabethan Delights (SAA/TB) Frederic Palmer Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) The experience at Open Recorder Faded Memories/Opus 88 (ATBB/SATB) Colin Sterne Days Amsterdam encouraged her to William Ruthenberg Sonata da Chiesa (SATB) Ann McKinley Fallen Leaves Fugal Fantasy (SATB) S-O-S (SATB) Anthony St. Pierre practice a specific repertoire, using Dominic Bohbot 3 Balkan Line Dances (SATB) Emilie George, arr. Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley the following guidelines: Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin • Focused lessons Gloria in Excelsis (TTTB) Robert Cowper Three Dutch Folktunes from Hollantse Boeren- He Talks, She Talks (AT) Bruce Perkins lieties en Contredansen (SAAT/AAAA/ATTB) • Daily practice with her mother Havana Rhubarb Rhumba (SATB up to Victor Eijkhout 7 players) Keith Terrett Three in Five (AAB) Karl A. Stetson monitoring Idyll (ATB) Stan McDaniel Tracings in the Snow in Central Park (SAT) • Regular rehearsals with her father, Imitations (AA) Laurie G. Alberts Robert W. Butts In Memory of Andrew (ATB) David Goldstein Trios for Recorders (var.) who would accompany her on the In Memory of David Goldstein (SATB) George T. Bachmann Will Ayton Triptych (AAT/B) Peter A. Ramsey guitar during performance. Lay Your Shadow on the Sundials (TBgB) Two Bach Trios (SAB) William Long, arr. Since the moment Renata encour- Terry Winter Owens Two Brahms Lieder (SATB) Leaves in the River (Autumn) (SATB) Thomas E. Van Dahm, arr. aged Júlia to apply to ORDA, we also Erik Pearson Variations on “Drmeš” (SATB) Martha Bishop LeClercq’s Air (SATB) Richard E. Wood Vintage Burgundy (S/AS/ATT) encouraged our daughter to decide Little Girl Skipping and Alouette et al Jennifer W. Lehmann, arr. herself whether or not to participate, (SATBcB) Timothy R. Walsh Western Union (ATBgB) Peter Dixon ZIP Code Boogie (SATB) Charlotte Van Ryswyk keeping in mind the 10-week intense ARS Information Booklets: study period that would be necessary. ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 Júlia attended recorder lessons two *Free online to ARS members times a week, to absorb all the details Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis needed to interpret the new repertoire. Renaissance Music Peggy Monroe Music for Mixed Ensembles *American Recorder Music Constance Primus Jennifer W. Lehmann The practice routine became more Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Judith Whaley, coord. *Recorder Care Scott Paterson intense at home. The deadline, which Education Publications Available Online and Free to Members at first looked quite tight, gradually The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). became feasible. Guidebook to the ARS Personal Study Program (1996). ARS Music Lists. Graded list of solos, ensembles, and method books. At home, we listened to a variety of music—different versions of pieces Videos Available Online to All Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting by Handel, plus historical and aesthetic resource about teaching recorder to young students. interpretations of the Five Miniatures Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. The video features Rose performing a variety of music and in an interview with ARS by Villani-Côrtes. To know the context member professional John Tyson. of Brazilian musical styles, as well as to Other Publications improvise on their sounds, were strate- Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20. gies used in our home study. The more One free copy sent to each ARS chapter with 10 members or more. we played, the more Júlia liked to Consort Handbook. Available Online and Free to Members. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. practice. Small recitals, to “warm up” before Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card the trip, took place in different venues and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. in São Paulo: the British Center, the See www.AmericanRecorder.org for complete publication offerings. bookstore Nine Seven, and São Paulo ARS, P. O. Box 480054, Charlotte, NC 28269-5300; tollfree 1-844-509-1422; State Music School–Tom Jobim. In 866-773-1538 fax; [email protected] her regular school, Júlia played to

30 Winter 2015 American Recorder At ORDA 2015: Júlia and her father in a concert audience framed by recorders onstage (left) and performing (below), photos © Yat Ho Tsang; Júlia shows her prize certificates to her father (bottom)

classmates. After a while, it became a little routine, which she loved, involving the teacher and the other students. For us, the goal had already been achieved: Júlia felt great pleasure in making music! During ORDA in Amster- dam, Júlia was able to watch other children and teenagers masterfully playing music ranging from Renaissance to contemporary, in different ensembles including the recorder. Every day, when we returned to the hotel, she digested the positive activities of that day. An accelerated development was inevitable, given her immersion in the recorder universe. Besides watching the performances in the contest, there were concerts and an instrument exhibition with numerous recorder makers and businesses, where she might try many different instruments without restrictions. The entire festival team gave a lot of care and attention to the participants. And the Winner is ... Júlia returned victorious! She was the second prize winner in her age category and received a cash prize. Even more important, she had intense experiences—and in the end, played a challenging repertoire in a manner that was correct in its musical context. Afterwards, we all feel that Júlia is still the same child—but now the recorder holds its own place in her musical life.

www.AmericanRecorder.org Winter 2015 31 Compact Disc Reviews ______English Music for the Stage and Concert

Reviewed by Tom Bickley, ...performance practice plishments of Borsch and Brown have [email protected] a continuing positive impact in the appropriate for pleasantly recorder world. Brown is well-known Disguisings. Dapper’s as a recorder maker. His web site Delight (Susanna Borsch, rowdy, rather intimate (www.adrianbrown.org) has links to a recorders database of detailed measurements of & voice; venues à la small cafes, 290 historical recorders, a bibliography Adrian vaudeville or music halls. of his scholarly research, (see some of his Brown, photos of Bassano makers’ marks on his- Anglo Reactions of listeners encouraged torical recorders, on page 14 in this issue) concertina them to transform that practice into and information about the recorders & voice). a public performance endeavor. They he makes. Karnatic continue to do that successfully. Brown made the recorders used Labs KLR030, 2014, 1 CD, 64:00. The 14 tracks cover a relatively on this recording to match the concer- www.cdbaby.com/cd/ Available from wide range of music—yet all in this tinas he plays. Details on the instru- dappersdelight2, $20 for CD; $9.99 for context emulate performance practice ments are on pp. 20-21 of the booklet. www.susannaborsch.com mp3 downloads from both CD Baby appropriate for pleasantly rowdy, rather Borsch ( ) and iTunes. Videos & more informa- intimate venues à la small cafes, vaude- has earned a reputation as a recorder tion: www.dappersdelight.com, www. ville or music halls. These offerings performer of both early and new music, facebook.com/dappersdelightamster- would fit very well in a folk festival often venturing into theatrical aspects dam. or as a fringe event for an early music of performance. Her work with ensem- Disguisings is the second CD festival. There’s a transgressive joy bles Hexnut and Elektra combine and released by Susanna Borsch and in hearing this music through the move among genres in a more techno- Adrian Brown as Dapper’s Delight, procrustean bed of Anglo concertina logically intense manner than does and it continues the jovial approach and recorders. Dapper’s Delight, but with a similar that characterized Indoors, their first The sources (listed on pp. 16-18 freedom and energy. disc (2011). The duo is a formalization of the booklet) draw from John Play On Disguisings the playing and of the pleasure these musicians experi- ford, The Beggar’s Opera, Morris dances, singing is uniformly well done, and enced playing music for their own Broadside ballads, Cecil Sharp’s collec- the CD sound is appealingly balanced. entertainment on cycling holidays. tion that accompanied the folk-song Commentary on the project, and notes revival in England in the early 20th on each track (as well as the source century, and others. Thus the range listings) make entertaining and infor- goes from 16th–20th centuries (the mative reading. Their approach brings last represented by their version of to life the vernacular aspects of this Ian Drury’s There Ain’t Half Been Some repertory. Clever Bastards). To my ears almost all Fans of the folk-related bands work winningly. I was surprised at how Pentangle, the Incredible String Band easily the music hall song (A Great Big and others—as well as the City Waites, Shame from 1895) fits, and how much Hesperus and the remarkable sound of less well is the fit for their cover of the Jantina Noorman’s voice with Michael Drury song. Morrow’s Musica Reservata—will find Even as Dapper’s Delight devel- a great deal of pleasure in Disguisings. ops its audience, the individual accom- Other audiences will as well.

32 Winter 2015 American Recorder Nicholas Marshall: Songs and Chamber The compositions by English composer Music. John Turner, recorder; James Gilchrist, Nicholas Marshall carry on the lyrical, tenor; Harvey Davies, pastoral lineage so audible in Ralph piano/harpsichord; Tim Smedley, ’cello; Man Vaughn Williams’s music. Turner chester Chamber Ensemble . conveys the beauty and substance Métier MSV28552, 2015, 1 CD, 74:54. Available from www.divine-art.co.uk/CD/28552info.htm or www.smile. of that lineage with much grace. amazon.com (CD $15.99 + S&H on either site); $9.99 for mp3 downloads from www.iTunes.com. (e.g., Thomas Hardy and W.B. Yeats) and the less-familiar John Turner’s elegant playing figures prominently in five James Reeves. of the eight works on this recording. The compositions by Virtuosic playing shines in the Recorder Concerto and English composer Nicholas Marshall carry on the lyrical, The Nightingale (Fantasia on a Welsh folk-song), both scored pastoral lineage so audible in Ralph Vaughn Williams’s for alto recorder and string quartet. Settings of four familiar music. Turner conveys the beauty and substance of folk songs for tenor, recorder and piano conclude this tour that lineage with much grace. of Marshall’s work. This may be a greater accomplishment than first This recording works best in the higher sound quality appears, as it would be tempting to fall into sentimentality in of the CD, rather than the mp3 files. The accompanying this music. Marshall’s work does not deserve that, nor do the booklet is helpful in grouping the tracks together into the performers here need to resort to a saccharine interpretation. eight larger works, as each movement is its own track. The Tenor James Gilchrist sings with wonderful diction, inclusion of the lyrics supports the enjoyment of the songs, such that the lyrics are crystal clear. His voice works marvel- as do the brief notes on the compositions and the perform- ously with Turner’s recorder (as well as the playing of the ers. Fortunately, the iTunes download includes the digital other musicians) in settings of poetry by well-known poets version of the CD booklet as well.

www.AmericanRecorder.org Winter 2015 33 Sweete The 22 tracks give a apt description. In this recording the Musicke musicians play only Renaissance-style of Sundrie marvelous sonic image of the recorders, patterned after the Italian Kindes. The range of consort music from makers Bassano and built by Adriana Royal Wind those centuries in England. Breukink and Bob Marvin. The instru- Music, Paul ments range from sopranino in g"to Leenhouts, disc provides a high standard that can subcontra bass in Bb. The sound is dir. Lindoro be a model for larger recorder ensem- rich, full and organ-like, and the NL-3023, 2014, 1 CD, 58:50. bles seeking to emulate this pathway arrangements of the pieces (by Paul Available from www.arkivmusic.com/ of historically informed performance Leenhouts) exploit articulation to classical/album.jsp?album_id=1614575 practice. strong musical effect. (CD $16.99 + S&H), mp3 download The music ranges from three- to Particularly ear-catching are from iTunes ($10.99); audio samples six-part consort music from England Galliard by Brade (with diminutions at www.royalwindmusic.org/media. in the 16th and 17th centuries. There by Leenhouts); Susanna Galliard by Information about the ensemble: is depth of emotion, both in poignancy Dowland, Hackney by Woodcock, www.facebook.com/royalwindmusic. and exuberance, in this repertory. Much Heigh Ho Holiday by Holborne The Royal Wind Music repertory of it was composed for use in staged (diminutions by Eva Gemeinhardt), has some overlap with that of Dapper’s entertainments, some are more sophis- The Bull Maske by Bull and the anony- Delight, but with a very different ticated versions of social dance forms, mous Anti-Masque (diminutions by approach. While the duo album has and a few are abstract instrumental Hester Groenleer). a rightly music-hall feel to it, Sweete works. The 22 tracks give a marvelous The thoughtful commentary by Musicke of Sundrie Kindes suits a more sonic image of the range of consort Leenhouts in the accompanying book- formal, concert hall setting. music from those centuries in England. let argues strongly in favor of purchas- That is not to say that it is less An ensemble of 12 recorder playing this as a CD rather than download- lively or engaging! As with the Royal ers may seem a bit small to be called a ing the mp3 files (n.b., in this case, the Wind Music’s other recordings, this recorder orchestra, but that seems an iTunes download does not include a digital booklet). The chart on page 7 of the booklet identifies the players and instruments by part on each track. In itself this is a lesson in arrangement/ orchestration of this music. Additionally, the higher quality of the CD sound yields rewards for your ears.

Honeysuckle Music

Recorders & accessories ... Music for recorders & viols

Jean Allison Olson 1604 Portland Ave. St. Paul, MN 55104 651.644.8545 [email protected]

34 Winter 2015 American Recorder Music Reviews ______Getting to know Schein and Schickhardt, ______and music from Dolcimelo and Peacock Press

TRIO F-DUR, by Schickardt, ment. The soprano and alto lines usu- arr. Ulrich Herrmann. Noetzel This piece would be ally interact as a duet, while the tenor Edition N3938 (www.edition-peters. appropriate for intermediate line provides the basso continuo, occa- com), 2009. SAT. Sc 12 pp, pts 4-5 pp sionally taking a more melodic role. ea. $18.75. players (likely with a The first movement, Adagio, is Johann Schickardt (c.1682-1762) rather plain and simple with a series was a German composer and instru- more advanced player of dotted-eighth and 16th-note pat- mentalist who worked in a variety of on the soprano). terns. It needs ornamentation that cities in Germany, The Netherlands would be developed by the performers. and Scandinavia, as well as in London, gamba and basso continuo. It is printed The Allegro is very active by con- England. He composed and published with large, clear notes in an easy-to- trast, with long 16th-note runs and at least 30 sets of compositions, with a read format on high quality paper. arpeggios in the soprano part, occa- large number of pieces for the recorder. The virtuosic top line is upper sionally joined by the alto. It is fol- This arrangement for soprano, alto advanced level when played up to lowed by a short, 17-measure Vivace and tenor recorder trio was originally tempo. The other two lines are inter- movement with the two lower lines written in B major and originally com- mediate, though requiring a sensitivity providing a chord underlay for the posed for alto recorder, oboe, viola da to their changing roles in the arrange- fast, primarily 16th-note, upper line.

www.AmericanRecorder.org Winter 2015 35 The next movement, Adagio, Note: The Grove Dictionary spells With a simple yet provides a contrast by returning to the this composer’s surname with an addi- slow and simple mood of the opening tional letter, “Schickhardt.” The spell- soulful Adagio, movement. The final Chaconne has ing Schickardt is used on the cover of the tenor providing a four-measure the work. a sprightly Allemanda, walking bass, with occasional varia- Bruce Calvin started playing recorder a non-threatening Vivace, tions. The top two lines play back and in college some unspecified years ago, and forth with each other until halfway has reviewed videos and books for profes- and a lively Giga, it is through—when the tenor drops out sional library publications over the years. a little gem of a piece. for eight measures, leaving the alto to He and four others meet weekly in the provide the bass line. Then the soprano Washington, D.C., area to play recorders. via PayPal. Downloading music in the bows out for eight measures, allowing The group enjoys Renaissance through public domain online is not so unusual, the lower lines several measures of contemporary music, performing occasion- but ordering music and paying the glory. All come back together in close ally for special church events. composer, editor or publisher directly rhythm, leading to a 16th-note duet for it is. It’s a great way to buy music, between the soprano and tenor. The SONATA IN D MINOR, Op. 23, and the fact that the person doing the movement then gradually winds down No. 4, by Johann Christian work of composing or editing actually with notes of longer length, recalling Schickhardt, ed. David gets paid is highly commendable. the mood of the Adagio movements, Lasocki, kbd realization Another new thing is the prac- and slowing down for a sedate ending. Bernard Gordillo. Instant tice of publishing a part with the solo This piece would be appropriate Harmony (http://instantharmony.net), and continuo lines printed together. for intermediate players (likely with a IH0009a, 2012. A, bc. Sc 19 pp, Lasocki calls this a “double part.” For more advanced player on the soprano) pt 8 pp. ’Cello/viol pt 6 pp, rec & bc years I have longed for published wanting to explore more challenging double pt 10 pp. $10. music with the solo part and the con- Baroque literature without being over- Readers of this magazine hardly tinuo on the same page so that my stu- whelmed with technical difficulties. need an introduction to David Lasocki. dents could see both (and presumably He is a leading researcher on the listen to them) together. The little notes recorder and other wind instruments. on the full score are too small for some He has written prolifically about the eyes, and trying to teach a solo sonata recorder for AR (see his article in this without the continuo being visually issue) and many other publications, available to the soloist is often quite and is the author or co-author of some frustrating. This double part is now 11 books and 40 bibliographies. He is being used by other publishers as well. a recipient of the ARS Distinguished The sonata’s unusual continuo Achievement Award. In “another life,” realization is by Bernard Gordillo. I he is an energy healer and a practitio- have to admit that I had never seen ner of “matrix energetics,” a system of anything like this realization before. consciousness-raising done in person Gordillo (who has done a number of and online. continuo realizations for Lasocki) says I had an interest in reviewing it is “modeled after a general Italo- Lasocki’s edition of this sonata by German approach from the first J. C. Schickhardt for several reasons. half of the eighteenth century.” The As stated by Lasocki in his preface, “Italo-German” approach turns out to although Schickhardt’s Opus 23 is be a much, much fuller chordal realiza- “weaker than his earlier sets” [of tion of the continuo than I have seen in recorder sonatas], No. 4 is “stronger other editions, whether they be con- than the rest...and well worth playing.” temporary or written out by an This is one of the early publica- “informed” modern editor. tions by Instant Harmony, which sells At first glance the continuo part music online. First, one orders the looks like the singularly “uninformed” music online, as in an e-book or editions of the 1950s, which consisted e-edition, and your payment is made of heavy, clunky chordal material that

36 Winter 2015 American Recorder Johann Christian drowned out the soloist. So I was sur- Schickhardt’s mastery prised to learn that this is a perfectly Schickhardt: Six Sonates, authentic period style that is taught Op. 5, for Treble Recorder, of both recorder and at universities and described in 18th- 2 Oboes, Viol and Con oboe shines through century treatises by Johann Heinichen tinuo, vols. 1 & 2 (of 3). clearly in these works. and Francesco Gasparini. Ed. Nicola Sansone. UT Orpheus And in spite of my misgivings, FL12 and FL19 (www.utorpheus.com), comprises four or five movements in I found that the realization works 2010 and 2012. A, 2 oboes, viol, bc. a mixture of forms. Most movements perfectly. Gordillo states in the preface Vol. I: Sc 36 pp, 5 pts, 10-11 pp ea. recall the Roman-style chamber to the edition that “special attention Vol. II: Sc 29 pp, 5 pts, 4-8 pp ea. concerto favored by composers such was given to the harmonic interplay $32.95 & $26.95. as Alessandro Scarlatti or Johann between the topmost voice of the right Born in Braunschweig, Germany, Christoph Graupner, with the recorder hand and the recorder line ... and the Johann Christian Schickhardt enjoyed as primary soloist, the oboes taking on realization is designed to give the clear- a long and successful international the role usually assigned to the violins, est possible picture of the harmony and career as a professional woodwind and the viol playing a decorated version texture....” He beautifully accomplishes player. During his early years working of the continuo line. both aims—and what a joy it is to see in Amsterdam, The Netherlands, But Schickhardt ensures that both solo and continuo parts, as the he began a long-term association the other instruments also get their 18th-century soloist did, while playing! with the publisher Estienne Roger. moments in the spotlight: in each of When properly played the chords Nicola Sansone notes in the the first two sonatas, the viol joins the fill in the harmonies in a way that is preface to this edition that Schickhardt recorder as co-soloist for a Menuet, not possible by a very spare continuo had published at least 10 sets of works alternating with a Trio showcasing the part. Gordillo’s admission that “the for recorder and oboe in various com- oboes. Other movements give equally original figures are not necessarily binations before moving to Hamburg virtuosic parts to all four solo instru- taken in the harmonies” seems to in 1711 or 1712. His Opus 5, pub- ments. be OK too—it all works. lished in 1710, features both of his The music is attractive and Is the acquisition of yet another favorite instruments alongside a solo tuneful. As in many of his other works, Schickhardt recorder sonata worth our bass viola da gamba and continuo— Schickhardt tends to stick close to the while? It is. This work is non-virtuosic, a distinctive and unusual combination. home key throughout each piece, easily accessible to the intermediate (A facsimile of the original Roger print relying on orchestration, form and recorder player. With a simple yet soul- is available from Performers’ Facsimiles, tempo to provide variety. The techni- ful Adagio, a sprightly Allemanda, a no. 183, published in 1997.) cally challenging passages for recorder non-threatening Vivace, and a lively Schickhardt’s mastery of both and oboe produce satisfyingly flashy- Giga, it is a little gem of a piece. recorder and oboe shines through sounding results while lying well under Martha Bixler has long been active clearly in these works, each of which the fingers, as one would expect in in the ARS. She has been a member of the Board and twice been President of the Society, and served for 10 years as editor of the ARS Members’ Library Editions. She is a teacher/performer on recorders, piano, harpsichord, sackbut and gamba. Prominent early music ensembles with which she has performed include New York Pro Musica, Musica Sacra, Bach Aria Group, and Berkshire Bach Society.

www.AmericanRecorder.org Winter 2015 37 music written by a composer who is an unfinished manuscript in three played the instruments well. parts. Italian musician Aurelio True musical detectives This Ut Orpheus edition divides Virgiliano apparently intended it for will want to scrutinize the the set of six sonates into three vol- eventual publication: the dedication critical commentary and umes, of which I received the first two page begins ALL’ ILLUSTRISSIMO refer to a reproduction for review. There is no realization of ET (To the Most Illustrious and...), of the manuscript. the continuo provided. The continuo followed by several inches of blank part book is figured, the typesetting is space to be filled in once a patron Bologna, is available for download free clear, and the paper is nice and opaque. were secured. of charge at www.imslp.org. Facsimiles Surprisingly, in this era of editions Part 2 of the manuscript comprises are available from Studio per Edizioni where the parts are computer-gener- 16 extensive ricercatas for solo instru- Scelte (1979) and Fuzeau (2001), with ated, there are some significant errors ment, nine of which specify flauto; Fuzeau’s newer digital clean-up job in the part books (including missing plus a single division on a madrigal, producing a very legible result. The 13 measures of rest and of music in several although the title page suggests that ricercatas for high instruments, includ- movements), which must be corrected more of the latter were planned. ing the nine for flauto, were edited by by referring to the score. The sole surviving copy is dam- Bernard Thomas as Volume 1 (1980) aged, with water marks and extensive of London Pro Musica Editions’ esti- 9 RICERCATAS FROM IL ink smears. Add to this the many mable Ricercate e Passagi series. Thomas DOLCIMELO, by Aurelio blanks, scribbles and corrections presents the music in modern clefs, Virgiliano, ed. Nicola inherent in a work-in-progress, plus with barlines, and with an additional Sansone. UT Orpheus FL22 Virgiliano’s somewhat eccentric nota- transposed version for C fingerings. (www.utorpheus.com), 2014. tion system, and you have a serious What does this new version A in G. 22 pp. Abt. $21. editorial challenge. add to the conversation about these Il Dolcimelo (c.1600) is something A beautiful color photo-reproduc- unusual and tantalizingly virtuosic of an enigma. Written by a composer tion of Il Dolcimelo, provided by the compositions? about whom nothing else is known, it Biblioteca del Liceo Musicale di In this new transcription, editor Nicola Sansone presents the nine ricercatas that Virgiliano designates for flauto in the original clefs and without barlines. The occasional dots and crosses that indicate beat groupings are included, even though Sansone speculates that they may have been added by a later hand. Virgiliano’s original beaming groups are also pre- served, providing clues about articulation and conceptual organization. A few other aspects of the original—including some that Sansone speculates may have meaning—have been modernized; true musical detectives will want to scrutinize the critical commentary and refer to a reproduction of the manuscript. Reading the music with these original visual cues in place really does provide a different experience and a richer understanding of the text. However, the music is notated entirely in soprano clef (middle C on the bottom line), except for Ricercata 12, which switches frequently among soprano, alto and tenor clefs. I can’t 38 Winter 2015 American Recorder help wishing that Sansone had taken a cue from Thomas and included an alternative version in a more familiar clef, and possibly also a transposed version for C fingerings, making it accessible to many more recorder players. Gwyn Roberts co-directs and per- forms with Philadelphia (PA) Baroque orchestra Tempesta di Mare, which has released its ninth CD on Chandos. She is professor of recorder/Baroque flute at Peabody Conservatory, Director of Early Music at the University of Pennsylvania, and she directs the Amherst Early Music Festival Virtuoso Recorder and Recorder Seminar programs.

editions from editions early 17th century. I confess to a great for tenor and bass, if there is more dolcimelo, arr. Charles love of “theme and variation” music of than one, implying that a small but Coldwell, www.dolcimelo.com any kind, and these two skilled recorder orchestra might transcriptions are wonderful. attempt this arrangement. PAVANA PHILIPPI, by Jan Charles Coldwell did a good job These are delightful pieces. As Pieterszoon Sweelinck. in allocating the musical material from the variations increase in difficulty, ED-R00301, 2003. SATB/gB a keyboard piece among the four a group could satisfactorily tackle the (gB printed on back of B pt). recorder parts. In the introduction, he challenges while enjoying the creative Sc 15 pp, 5 pts 2 pp ea. $12. writes “… some passages that appear transformations originally created by ENGELSCHE FORTUYN to belong to a single voice in the key- Sweelinck. These two pieces can be (VARIATION ON ‘FORTUNE board version have been segmented heard on the Dolcimelo web site. MY FOE’), by Jan Pieterszoon and distributed between voices to pro- Valerie E. Hess, M.M. in Church Sweelinck. ED-R00302, 2003. duce a dialog effect, as well as assure Music/Organ from Valparaiso Univer- SATB. Sc 8 pp, 4 pts 1 p ea. $9. that all of the recorder parts have a sity, is Coordinator of Music Ministries Jan Pieterszoon Sweelinck balance of interest and activity.” at Trinity Lutheran Church, Boulder, (1562-1621) was hugely influential Otherwise, he says, the transcription CO, where she directs the Trinity Con- and famous as a composer and key- follows the original “pretty closely.” sort. She has also published two books boardist in his lifetime, which was This segmentation and distribution on the Spiritual Disciplines. lived almost entirely in Amsterdam. of voices means that everyone in the Many students came to him from group needs to be able to play 16th- MEIN JUNGES LEBEN HAT Germany and so his influence on note passages well and for several EIN END’, by Jan Pieterszoon the North German organ schools, measures at a time. Even the bass or Sweelinck. ED-R00103, 2001. which ultimately gave us J.S. Bach, great bass player gets a turn to shine. SATB or TBgBcB or viols (separate was profound. The Pavana Philippi may pts for viols). Sc 13 pp, 8 pts 2 pp ea. He composed vocal music have been composed in honor of $14. (all of which has survived) as well as the English composer Peter Philips’s Charles Coldwell states in his keyboard music (none of which has 1593 visit to Sweelinck in Amsterdam. preface that the original piece “has survived except through copies made It has three sections, each repeated been recognized as a masterpiece of by his students). He was renowned with ornamentation. the variation form since it was first for his improvisational skills, creating Engelsche Fortuyn was a popular published in 1894. James Joyce even increasingly elaborate variations on tune in Holland, found in many refers to it in his celebrated novel themes, often on a popular tune. Dutch sources of music from 1603 Ulysses.” The tune used for the original The variations reviewed here are through the early 18th century. There keyboard variation was a German just two examples from a genre that are three variations for this tune. This Kirchenlied (church song). It is based dominated the musical scene of the transcription has a possible short divisi primarily upon a descending scale and

www.AmericanRecorder.org Winter 2015 39 carried a sorrowful text: the title translates, “My young PRAEAMBULUM IN G—WV 73, by Heinrich life has an end.” Because of the English predisposition Scheidemann. ED-R00702, 2007. SATBgB. for common practice voice-leading in keyboard music, Sc 5 pp, pts 4 pp ea. $12. and because the original composition stays predominantly Heinrich Scheidemann (born c.1595) was a leading in three or four voices, this piece lends itself to a four-part organ composer of the North German school in the 17th recorder arrangement without the necessity of extensive century. The church of St. Katharinen in Hamburg funded doubling or excessive rests in any one part. The original him to study with Dutch composer and organist Jan keyboard piece has an improvisational character that is Pieterszoon Sweelinck in Amsterdam. not entirely lost in the arrangement. After three years, he returned to Hamburg and took The quartet opens with a mostly homophonic over his father David’s position at St. Katharinen, where Variation I, stating the main theme in the soprano part. he worked until his death from the plague in 1663. Harmonically, there is an interesting mixture among The organ there was one of the most famous of its D minor, F major, and D major, all within the first phrase. time. It’s not surprising that most of Scheidemann’s com- Variation 2 becomes more contrapuntal. Variation 3 positions are for that instrument. This Praeambulum was introduces more divisions and thus all four parts play 16th- arranged for recorders from an organ piece, and the original notes at some point, with 16th-notes grouped in septuplets three-staff organ version is included underneath the in the soprano part. recorder parts in the score. Variation 4 moves on to dotted-rhythms, triplets and It is a freely composed piece—that is, not based on afterbeats in the inner parts. The afterbeat rhythms at the a pre-existing cantus firmus. The work is in three sections: beginning of this variation can be very tricky to place accu- free chordal style at beginning and end, with a contrasting rately; thus, an ossia is included for the soprano that would imitative section in the middle. remove the dotted rhythms (which were not in the origi- There is an inherent difficulty in adapting keyboard nal) and make the afterbeats much easier to place. Later on, works for an instrumental ensemble: keyboard composers dotted rhythms with afterbeats appear without any ossia, are not limited to a specific number of lines at any given but these dotted rhythms were in the original. time. To add another voice in a chord, put down another Variation 5 remains very active with 16ths in all parts finger (or in the case of organ music, a foot). and 16th-note afterbeats that are even more challenging to In order to cover all the parts, Coldwell arranged the place correctly. The sixth and final variation calms down piece for quintet, although much of the time there are only and brings the piece to a graceful conclusion. four parts sounding. He writes, “Thus, the bass recorder I was fortunate to be able to play this (4th voice) ends up doubling either the tenor recorder or great bass recorder parts at times. The part that is doubled piece with both recorders and gambas, was often selected based on which voice would benefit and I liked it with both groups— from strengthening.” but preferred it with recorders. Although I see his point and concede that the arrangement works as a teaching piece, I have a particular preju- I was fortunate to be able to play this piece with both dice against doubling parts in an ensemble and would recorders and gambas, and I liked it with both groups— choose to eliminate much of it for performance, even but preferred it with recorders. I liked the fact that eight though it would result in lengthy rests in the lower parts. parts are supplied for ease of clef reading for recorders and Both score and parts are well-edited and legible. gambas. But what I really liked was that the original key- The great bass part appears in both treble and bass clef. board composition is included in the score. I’d love to It is easily playable by an intermediate-level consort, see this practice more often in arrangements derived proceeding mostly in quarters and eighths with an occa- from keyboard originals. sional brief 16th-note passage. This is an upper-intermediate piece for either Anne Fjestad Peterson has a Bachelor of Arts in music recorders or gambas. education from Concordia College, Moorhead, MN, and a Sue Groskreutz has music degrees from Illinois Wesleyan Master of Music in music history from the University of University and the University of Illinois, plus Orff-Schulwerk Colorado. She has taught private and class recorder in certification from DePaul University. Playing and teaching Boulder, CO, since 1974 and has performed since 1980 recorder are the greatest musical loves of her life. For 10 years with the Boulder Renaissance Consort, for whom she she was president of the American Recorder Teachers’ arranges music. Association.

40 Winter 2015 American Recorder SONATA 15 à 4, by Dario single movement with several sections clear explanation of his editing pro- Castello. ED-R00106, 2001. of different tempi and meter. In order cess, as well as information about the SATgB(B). Sc 8 pp, pts 2 pp ea. $11. to accommodate the narrower range composer. SONATA 16 à 4, by Dario of recorders, the arranger has trans- These two pieces should be suit- Castello.. ED-R00703, 2007. posed some passages up or down an able for an advanced ensemble that is SATB. Sc 9 pp, pts 2 pp ea. $11. octave or interchanged them between prepared to accept some challenges. Little is known about Dario parts. Both score and parts note all There is enough difference between Castello, not even his birth or death such revisions. the two that they are both worthwhile dates. In the title pages of his pub- Sonata 15 opens with a section additions to the ensemble’s repertoire. lications, he described himself as in the older canzona style before it David Fischer is a member and past “musician of the most illustrious ventures into the more modern style president of the Kalamazoo (MI) ARS Signoria [a governing body] of with sections in varying tempi. Meter chapter, and director of their annual fall Venice,” and leader of a company changes may pose some difficulties recorder workshop. He has studied with of wind instruments in Venice, Italy. in interpretation. Measure equals Judy Whaley and holds the ARS Level The Castello family included a measure is indicated when changing III proficiency certificate. He is a member number of musicians who worked in from 4/4 to 3/2 and back; however, of the Troubadours ensemble. Venice during the first half of the 17th taking the triple time section twice century. It is thought that Castello that fast gives a livelier result. may have died during the Great In Sonata 16, all the meter Plague of 1630, as he published changes keep the same beat— no new music after that date. quarter note equals quarter note. Several sections in the middle part of Both of these sonatas the piece use trumpet-like repeated- are taken from Castello’s note passages reminiscent of the older second collection (1629) “battle” pavane pieces. Again, clear of sonatas in the “modern contrasts between slow and fast sec- style” of the early Baroque. tions make for a livelier performance The music printing is very clear Both of these sonatas are taken and easy to read. It should be noted from Castello’s second collection that Sonata 15 has parts for either bass (1629) of sonatas in the “modern style” or great bass recorders, with the great of the early Baroque, and have been bass part in two versions—one in bass transposed from works originally clef, one in treble clef. The arranger’s intended for strings. Each consists of a comments at the beginning give a

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www.AmericanRecorder.org Winter 2015 41 editions from peacock thoughtful as this. For those wanting to RECORDER CONCERTO, press, http://recordermail.co.uk explore the complete set, London Pro by David Bedford. P482, n.d. Musica offers a similarly careful edition S’oSATB (one player), pf. Sc 36 pp, DANSERYE: 32 DANCES FROM that includes all 57 dances edited by pt 14 pp. Sc abt. $26, pt. abt. $15. HET DERD E MUSYCK Bernard Thomas. David Bedford (1937-2011) BOEXKEN (1551), by Tielman was the brother of conductor Steuart Susato, ed. Andrew Robinson. AIRS AND DANCES, by Gwilym Bedford and a very active musician in PAR620/621, 2013. ATTB or other Beechey. PJT174, 2013. SATB. his own right. As a composer, he was instruments. Sc 44 pp, pts avail. Sc 13 pp, pts 3 pp ea. Abt. $10.50. commissioned to write works for Sc and pts abt. $32. Gwilym Beechey is known as ensembles such as the London Tielman Susato’s Danserye is one an editor of many fine editions of Philharmonic and the Scottish of the best-known collections of recorder works, but he also composes Chamber Orchestra. He orchestrated instrumental music from the Renais music for the instrument as well as music for films such as The Killing sance. It consists of 57 short dance music for the church. Fields; and was an arranger for pieces in four parts, several based on popular musicians such as Mike popular vocal works that represent a Most of the six short Oldfield and Elvis Costello— cross-section of the dances of the all the while performing himself period. pieces in this set are as a vocalist and keyboardist. Andrew Robinson’s edition pres- inspired by dances of the Bedford’s Recorder Concerto was ents 32 of the dances rather than the written for Piers Adams in 1993-94. whole set. There is no rationale given Renaissance and Baroque. It has a simple but effective con- as to why these particular pieces were struction in five thematically linked chosen, but the selection is a good one. Given his familiarity with the movements—one for each of the Robinson’s extensive notes offer music of the past, it is no wonder that five recorders progressing from bass to a background to Susato and the most of the six short pieces in this set sopranino—performed without a break Danserye, the basis in Renaissance are inspired by dances of the Renais and lasting approximately 18 minutes. music theory for the choice of added sance and Baroque. The first two are a Bedford’s style is reminiscent of accidentals (musica ficta), and even Pavane and Galliard followed by a minimalist pattern music in its use of a note on Thoinot Arbeau’s con- Minuet, Sarabande, Air and Gigue. repetition, ostinato and prevailing contemporary treatise, Orchesography, Beechey is such a skillful composer sonance, but it is freer than a strict pat- and Arbeau’s observations on the that, along with echoes of the older tern piece would be. This is especially various dance types. Robinson is styles, the music also has a great deal of true of the solo part, which is some- somewhat liberal with his suggestions his own voice. This is especially true of times tightly enmeshed with the for ficta resulting in some especially the Sarabande and Air, which are quite accompaniment, but which sometimes colorful cross-relations on occasion, moving—the Sarabande with striking ranges more widely. The piece has an but the choices are clearly-marked harmonies and the Air’s spare textures. impressive variety of textures that seem as editorial, so performers can In general, Beechey’s style is sol- to flow into one another very naturally, experiment with various possibilities. idly tonal, with a penchant for sudden and the individual movements take Edition 620 gives the majority of modulations. All the pieces except the their character quite effectively from the pieces in their original key and can Galliard and Gigue are on the slow the size of recorder each one features. be played ATTB, while Edition 621 side, giving the collection a thoughtful, The writing in the solo part is transposes them for SATB recorders. even melancholy, character that is extremely virtuosic and requires the Parts are available but were not submit- somewhat different from what one highest level of technique. Although ted for review. Some of the pages in the might expect, considering the title of Bedford is known for his avant-garde review copy of the score for 620 are the collection. gestures, the Concerto does not involve badly misordered, but perhaps that can As long as the players have no fear any extended techniques aside from be fixed in the next print run. (I have of accidentals, the collection would be some transitional passages that require not seen 621, so don’t know if this quite comfortable for an intermediate the soloist to play two instruments at problem is replicated in that score.) ensemble. An advanced group will also once. Instead, there are just plenty of This is an important and enjoyable enjoy exploring the depth of expression fast notes covering the entire range of collection and any edition that makes it in many of these pieces. The presenta- the recorder! This is especially true of accessible is welcome, especially one as tion is accurate and easy to read. the final two movements, for soprano

42 Winter 2015 American Recorder and sopranino, which are as difficult and as brilliant as any- introduction for the uninitiated to the modern version of thing ever written for the instrument. There are also fre- notes inégales—a possible teaching point of comparison with quent changes of meter, sometimes at great speed. A perfor- French baroque. Altogether this should prove a worthwhile mance with piano reduction would require a pianist of and attractive item for easy orchestra sessions and concerts.” similarly virtuosic technique. I agree. There is a recording of Adams playing this work on the NMC label, and the first and last movements are available OCTET-PARTITA (á la chasse), by Franz at www.youtube.com/user/Redpriestbaroque with Adams in Krommer, arr. Joanna Brown. P495, 2013. live performance. The accompaniment is for strings only SAATTBBgBcB. Sc 38 pp, 9 pts 7 pp ea. Abt. $30. and Bedford writes in his notes to the recording that he has Franz Krommer (1759-1831) was a Czech composer taken care to maintain a suitable balance between soloist and and contemporary of W. A. Mozart. He worked in Austria orchestra, but this is still likely to be problematic especially and Hungary as a violinist and organist, then gradually in the movements using bass and tenor. In the video, Adams began composing. Later, he held the position of court com- appears to be using amplification. poser for the Imperial Court of Austria, eventually publish- While few players will be able to tackle this piece, it is ing at least 300 works, including several symphonies. He important that it should be available for those who can. It wrote primarily for strings and especially string quartets. is a work that should be heard more frequently and one Today, he is best known for his wind music. that allows a recorder player to perform with a modern sym- Joanna Brown has arranged the Octet-Partita, a wind phony orchestra in a most enjoyable and impressive manner. octet in the key of Eb major, for recorders, moving the key Scott Paterson, a former ARS Board member, teaches to G major. Á la chasse means that this was originally con- recorder and Baroque flute in the Toronto (ON) area, where he is ceived to mimic a hunt; thus the original orchestration a freelance performer. He has written on music for various publi- involved horns, oboes, clarinets and bassoons. Indeed, cations for over 25 years, and now maintains his own studio the opening motive is much like a hunting fanfare. after over 30 years at the Royal Conservatory of Music of The movements are Allegro vivo, Menuetto, Toronto. Adagio, Polonaise with Trio, and Allegro vivo–Rondo. At tempo, this will be a challenging piece for all nine FLOW, by Eileen Silcocks. P437, 2012. parts, but well worth the effort. A good recorder orchestra S’oSATTBgBcB. Sc 16 pp, 9 pts 3 pp ea. Abt. $21. will find this 15-minute piece a nice addition to a program. British composer Eileen Silcocks conducted this piece at the 75th anniversary of the UK’s Society of Recorder CELTIC SUITE, by Marg Hall. P507, 2013. Players (to whom the piece is dedicated) at the National SAATTBgBcB, Sc 12 pp, 8 pts 2-3 pp ea. Abt. $30. Festival in Surrey in 2012. This single-movement piece is TAKE 8, by Marg Hall. P497, 2013. SAATTBgBcB. built on a short theme (two-bars, four chords) that repeats Sc 8 pp, 8 pts 2 pp ea. Abt. $13. numerous times. It begins in minor, moves to major, shifts to Marg Hall came to the recorder as an adult. She has 3/4 meter, and then reprises the second section. taught recorder in the Edinburgh, Scotland, area for many Parts for the great bass are published in both treble and years, including working at schools with both children bass clef. The bass recorder part moves into divisi in the and adults. Celtic Suite and Take 8 are two of her recent fourth section. compositions. While Silcocks has done a good job of adding variety Celtic Suite, based on original tunes “inspired by the into a very simple theme that carries on for 16 pages, this wealth of traditional material from Scotland and Ireland,” isn’t “great” music. The YouTube performance I listened to is in four untitled sections, each focusing on a different tune. affirmed that: www.youtube.com/watch?v=9srcdsh0mtw. Take 8 gives a nod to the famous Dave Brubeck piece Take However, it looked like the German orchestra playing it Five, though Hall is quick to point out the eight refers to the was made up of young people; it was a live recording made number of parts, not the beats in the bar. She also describes from an audience seat far from the performers. This would it as a “light-hearted swing-style composition” of her own be an excellent school or beginning recorder orchestra piece. creation. In Peacock Magazine (Summer 2013), Christopher Both of these would be good for a beginning recorder Burgess said, “Inexperienced players dipping a toe in the orchestra or even a school group, if one is lucky enough to deep waters of the recorder orchestra will take comfort in have the players for all the parts. As with any instrument or the frequently repeated phrases; and the rhythmic indication ensemble, one needs lots of repertoire to keep interest and beneath the initial marking of ‘Allegro facile’ to play the build skill. These pieces fill that need nicely. quavers [eighth notes] in a swung rhythm may be a useful Valerie Hess

www.AmericanRecorder.org Winter 2015 43 Lustspiel-Ouverture (Quintet version), We found that each line of this piece was interesting by Béla Kéler, arr. Joanna Brown. P487, 2013. to play, as the role of each line varies throughout the piece. SATBB. Sc 18 pp, pts 4 pp ea. Abt. $13. Intermediate players and higher would have fun with it. Béla Kéler (1820-82) was a Hungarian violinist, com- The numerous 16th-note passages are all in comfortable poser and conductor. He studied in Vienna, Austria, playing fingerings. in the Vienna Theatre orchestra, and also composed violin The one frustration with this printing is that all of solos plus dance and orchestral music. This fun and energetic the parts, other than bass 2, have impossible page turns. piece, which will remind you of a calliope, works well as a A photocopy solves this problem, but the publisher could five-part arrangement. prevent the necessity of the photocopy by laying out page turns more carefully. Otherwise, this is a well-arranged This fun and energetic piece, which and rowdy composition. will remind you of a calliope, works SEVILLE, by Ronald Wilson. P498, n.d. well as a five-part arrangement.... SATTB. Sc 3 pp, 5 pts 1 pp ea. Abt. $8. Ronald Wilson was born in 1932 into a musical a well-arranged and rowdy composition. family in England and started playing oboe at age 11. He retired from his academic career in zoology at Bristol The opening Andante Maestoso begins with a fanfare, University in 1990 to focus on composing, playing recorder like one would expect from a circus band announcing a new and oboe, conducting a small choir, and singing in the performer. The fanfare is followed by the alto playing the Shrewsbury Choral Society. theme over chords in the lowest three lines. The melody is This composition has a beautiful, mildly contemporary, passed up to the soprano, while the alto joins the accompani- moody sound, which our group enjoyed. The first clue that ment before the movement ends with a final fanfare. the piece contains contemporary harmonies is that the The Allegro vivo, in 2/4, begins with the tenor and soprano line is written in the key of C, while the lower four bass lines in a classic oom-pah accompaniment. Above the lines are in F. The first two measures set the mood—the accompaniment, the alto and soprano trade the theme back three middle lines slowly move up, then down, over the bass and forth every four measures until the alto closes the sec- on a low D. Then the bass starts the Spanish rhythm of a tion with a descending triplet passage. repeating 16th-eighth-16th pattern used throughout the In the next section, the theme is tossed among the piece by all the lines, a slow heartbeat. The soprano line has four top lines, with an ostinato bass line providing a steady the melody, while the bass line continues the rhythmic pat- pattern underneath. This time the soprano gets the showy tern. triplet line to end the section. The three middle lines—which play together, usually In section B of the Allegro vivo, the two basses state a with identical rhythms throughout the piece—provide rich new eight-measure theme before the soprano and alto take it chords to accompany the melody. There are regular shifts back. The tenor picks up the previous theme in section C, between faster sections with 16th notes and slower sections with the other parts providing the oom-pah accompaniment, using quarter notes until the soprano line drops out. The until the soprano carries it high into a descant line. low parts end the piece in the way it began. In section D, the alto and the tenor toss the melody The tempo for the 2/4 piece, with =40, is a problem. back and forth, while the other lines are passing 16th notes Since each beat is so far apart, it was impossibleq for the around, and bass 2 holds long notes. group to feel precisely where the next beat will fall. Then After a transition, the second theme is brought back in in mm. 36-38, the composer wants a poco ralantando before the top three lines, ending with the soprano and alto playing returning to the original tempo. If the written note values together on the now-familiar triplet descending passage. were changed to half notes, with four beats to a measure Section F repeats the material from section B, with and the =80, it would be easier to maintain a clear and the two basses beginning. However, this time the soprano steady tempo.q and alto move high into their range. In section G, the mate- Another problem was with the profuse dynamic mark- rial from section C is restated, with the alto leading, and the ings throughout the piece, everything from pp to f. Was this soprano resting—until the end, where it flies to the top of perhaps originally written with different instruments in its range, including a high C, as a descant line. mind, which actually have a dynamic range without all of the Section H has the alto start a new variation; the complications of recorders staying in tune? There are other soprano adds flourishes before taking over the theme, surprises, such as Db and Gb, to keep the players awake. until it transitions into a final grand fanfare. Bruce Calvin

44 Winter 2015 American Recorder RECORDERUMBA, by Andy delightful, not contrived—in our For this piece in particular, since Meyers. P493, 2012. SSA A/T TB. read-through, it caused no hiccups. it’s anonymous, some background Sc 9 pp, pts 3 pp ea. Abt. $14. Some of the transitions from one information would be helpful. Andy Meyers heads the music tune to another we found slightly more department of Homefield School in challenging, as they use extra beats and INNSBRUCK, ICH MUSS DICH Sutton, UK, conducts the Kingston tempo changes. A little attention to LASSEN, by Heinrich Isaac. Chamber Orchestra, and teaches con- those spots, and the result will be a PEMS043, n.d. SATB. 4 scs, 2 pp ea. ducting at Kingston University. He has rollicking good time. Abt. $7.50. published numerous works, mostly for Page turns are carefully managed, No text is provided for this well- recorder ensemble. and an extra, seventh sheet provides the known popular song. The soprano and This very accessible piece provides great bass part written in treble clef, in alto parts are quite low and could easily lots of rhythmic fun. It uses almost no addition to the regular bass clef version. be played on alto reading up and on note values shorter than an eighth, yet Kathleen Arends has enjoyed playing tenor, respectively. the rhythms are interesting enough recorders for 40 years and being an Orff that they tripped up a couple of my music educator for 34. She teaches and IM MAIEN, by Ludwig Senfl. experienced group members once or plays in the Seattle (WA) area. PEMS044, n.d. SATB. 4 scs, 2 pp ea. twice on first reading. Most of the Abt. $7.50. ranges are easy—though accidentals Peacock Press Early Music This German lied (song) has the do occur—and the tenor parts, in Series, www.recordermail.co.uk text underlaid only for the melody, particular, employ lots of repeated These five publications of Renaissance which is in the tenor line. One happy notes. The bass part, though, calls ensemble music, all edited by the American feature of the tenor lied arrangement for quite a bit of jumping about recorder player Susan Iadone, give a is that a female singer can perform the (and has a tricky page turn). beginners’ group an excellent introduction vocal line and be in the correct octave The piece features an abundance to part playing. The notes and rhythms relationship with a recorder consort. of articulation markings to work on, are easy, the large print is legible (great and I particularly enjoyed the question- for that seniors’ group!), helpful breath FORTUNA DESPERATA, by and-answer section, during which the marks are indicated, and each one Josquin des Prés. PEMS046, n.d. same question elicits a different answer provides multiple copies of the score. S A/T B. 3 scs, 2 pp ea. Abt. $6. each time. These are practical, not scholarly, The middle line of this, the lone editions: the only editorial information trio in the group, works better on tenor, A SCOTTISH LINSEY-WOOLSEY, provided is the dates of the composers. but is playable on an alto with a good by Daryl Runswick. P496, 2013. There are no written notes as to source, low F. No text is provided. SATBgBcB. Sc 7 pp, 6 pts 1-2 pp ea. no background information, and there Abt. $11. are no incipits indicating original key or GUILLAUME SE VA CHAUFER, Daryl Runswick (1916-92) was time signature. A few of the pieces have by Josquin des Prés. PEMS041, a British musician who wrote more their last lines stretched out to fit the n.d. 4 scs, 2 pp ea. Abt. $7.50. than 100 compositions and arrange- space, a mildly annoying feature typical The musically-monotone King ments for recorder ensembles. Peacock of some music-writing software. Louis XII of France supposedly asked Press has arranged with The Leicester Josquin (although my sources say the Society of Recorder Players to make AVE VIRGO, by Anonymous. authorship is debatable) to write a some of them available. PEMS045, n.d. SATB. 4 scs, 2 pp ea. piece in which he could sing. The tenor The notes say that Runswick Abt. $7.50. line, labeled “vox regis” (the voice of the has “interwoven”—as rough wool There is text underlay in the king), consists entirely of whole notes is woven into a linen wrap to make soprano and tenor lines of this sacred on D. The bass line plays half notes on linsey-woolsey—nine traditional Scots motet, with the verses numbered in G and D throughout, and the upper tunes. After presenting them separately, such a way that took my group a two voices repeat the same phrase he combines them so that several are moment to figure out the form. over and over in canon. The result is played at the same time. Repeat signs for the second half, either the best musical joke of the The fun is increased by some tunes before the da capo, would make clear Renaissance or its most boring piece, being in compound duple meter while what I believe is the correct ABBA depending on your point of view—but others are in simple duple, so that both sequence. it is a fun bit of music history trivia. can be heard simultaneously. This feels Anne Fjestad Peterson

www.AmericanRecorder.org Winter 2015 45 SUITE 20 FROM BANCHETTO and probably Samuel Scheidt as well. MUSICALE (1617), by Johann Johann Hermann Schein Schein and Schütz were responsible for Hermann Schein, arr. Joris was the first really notable introducing many of Monteverdi’s Van Goethem. Heinrichshofen composer to produce compositional techniques to Germany. www.edition-peters.com N2598 ( ), 2008. dance music. (Michael Schein was appointed Kapell AATB. Sc 16 pp, pts 4 pp ea. $21. meister to the ducal court at Weimar Dance music has occupied a place Praetorius’s monumental in 1615. But only 15 months later of interest during the early music collection Terpsichore he won the position of Kantor at St. revival. Audiences and players alike mainly comprised tunes Thomas’s in Leipzig. This position is enjoy the easy accessibility of the the one he would occupy until his rhythms and melodies of dance music. and arrangements by death at the relatively early age of 44. Scholars have long wondered why French dancing masters.) (Incidentally, J.S. Bach would hold the any of this music has survived or who same position some 100 years later.) would have purchased these editions. until they could scarcely be imagined Despite lifelong personal tragedies There are no easy answers to these as danceable. and chronic ill health (his first wife questions. Likely buyers might have Johann Hermann Schein was the died at an early age; seven of his nine been the emerging middle class. first really notable composer to produce children died in infancy), he was a pro- Nearly all of the music is based on dance music. (Michael Praetorius’s lific and innovative composer. Schein earlier sources. Even the earliest collec- monumental collection Terpsichore succumbed to tuberculosis, gout, scurvy tions, like Tielman Susato’s Danserye mainly comprised tunes and arrange- and a kidney ailment on November 19, of 1551, seem not to have been comments by French dancing masters.) 1630, in Leipzig. posed by Susato himself, but compiled Schein’s instrumental music occupies Schein’s only instrumental collec- from other sources. a very slight proportion of his output. tion was Banchetto Musicale (Musical Likewise the Il primo libro di balli However, his main contribution to Banquet), published in 1617. Although of 1578 by the Udine monk Giorgio musical history is the development frequently recognized as the originator Mainerio was most likely compiled of the instrumental suite, made up of of the instrumental suite, Paul Peuerl’s from local commedia dell’arte dances. stylized dances. Newe Padoan/Intrada. Däntz unnd [sic} Thus we find some irregularities in Schein was born on January 20, Galliarda from 1611 was the first orga- rhythms and structure from time to 1586, in Annaberg, Germany. After nization of dances into suites. time. the death of his father, Schein’s family Schein’s real contribution was It wasn’t until the opening years moved to Dresden. He joined the to give the suite a formal structure of the 17th century that we find pro- choir of the elector of Saxony as a boy by combining two dance pairs, the fessional composers turning their soprano. It was here where his musical pavan-galliard and the allemande-tripla attention to dance music as a form. talent was recognized and trained by (or Tanz-Nachtanz) and adding the Expatriate English composers like composer and teacher Rogier Michael. courante between those pairs. William Brade and Thomas Simpson Later Schein studied law at The suites are arranged with (and, to an extent, the earlier Lachrimae Leipzig University, after which he odd-numbered suites written in low collection by John Dowland) pushed taught music privately at Weissenfels— clefs and the even-numbered suites in the boundaries of the various dances where he first met Heinrich Schütz high clefs, with the exception of numbers 10 and 11, which seem to have been switched. Another curiosity is that, while the allemande-tripla pairs are always in four parts, the rest of the dances were written for five instruments. The title page of the publication gives the intended instrumentation: Banchetto Musicale/Newer anmutiger/ Padouanen, Gagliarden/Couranten und Allemanden à 5/auff/allerley Instrumenten/bevoraus auff Violen, nicht ohne sonder-/bahre gratia, lieblich

46 Winter 2015 American Recorder und lustig zugebrauchen./Mit fleiß Componiret und gesetzt/ noticeable, particularly in the Padoana (pavan). The missing Durch/Johan. Hermanum Schein/Grünh. dieser zeit bestalten part creates a gap where the three upper parts tend to float Cantorem und Musicum/zu Leipzig.... Clearly strings were above the bass line, which is an odd effect. This effect is less the instruments Schein expected to play these dances, but obvious in the faster dances. the word “viol” could refer either to viols or the violin family. I highly recommend this edition. Van Goethem is to be It is possible that the low clefs were intended to be read by commended, not only for bringing Schein to a recorder viols, while the high clefs were intended for violins. audience, but also doing so in a highly satisfying and artistic The title page also implies that Schein’s models for his way. pavan-galliard pairs were not the French or English types, so This edition is suitable for intermediate to advanced frequently seen, but rather the Italian dances. Schein’s collec- ensembles with two strong lead players. Although the bulk tion differs markedly from other contemporary editions by of the music is not especially virtuosic, the Courante con- such virtuosi as Brade and Simpson. Schein’s style is spare in tains “echo” passages with flurries of 16th notes passed contrast to those composers. There is little figuration for its between the two upper parts. own sake; Schein’s pieces are each one a small masterpiece A very user-friendly edition, its music is large, clear where every note has a purpose. and easy to read. Page turns are not an issue. There is a This new edition of Suite 20 is a fascinating and invalu- short preface in German, English, French and Japanese. able look at the arranging techniques used by a member of Frank Cone studied the recorder with the late Ellen Perrin, one of the world’s premiere recorder quartets. Although the the viola da gamba with Carol Herman, and the cornetto with music is wonderful in its own right, comparing this edition Larry Johansen. The California multi-instrumentalist has been with one that adheres more closely to the original is quite a member of the Orange County Recorder Society since 1985. illuminating. I compared this Flanders Recorder Quartet (FRQ) edition with the London Pro Musica edition from 150 GEMS OF IRISH MUSIC FOR TIN WHISTLE 1993 (LPM MP5). The original is, of course, more suitable WITH SUGGESTED ORNAMENTATION AND for strings than recorders. PHRASING, by Grey Larsen. Mel Bay MB98215BCD In deciding how to arrange this for recorders, one (www.melbay.com), 2013. Tin whistles in all keys. Sc 139 pp must look at the ranges. If sopranos are to be used on the + 2 CDs. $29.99. Also available as an e-book, same price. top lines, then the high tessitura quickly becomes a problem. A couple of notes before we begin: first, I acquired my As Kenneth Wollitz points out in his wonderful The first tin whistle about three weeks before this book was sent Recorder Book, the high chirping of the SATB quartet to me for review. Second, the front cover indicates that this rapidly wears on both the audience and the players alike. volume is a companion volume to 150 Gems of Irish Music However, if the ensemble chooses to play this music for Flute. And finally, Grey Larsen has also published at written pitch, then other problems arise. An alto at pitch The Essential Guide to Irish Flute and Tin Whistle and The would work on the top line, followed in order by two tenors, Essential Tin Whistle Toolbox (Mel Bay Publications, 2003 a great bass, and a contra bass in F. Clearly not every ensem- and 2004 respectively), which are close companions to this ble has access to these larger instruments. The effect of such volume. I am not familiar with these. More information on an ensemble is very murky. The larger recorders speak more these publications and recordings can be found at Larsen’s slowly and don’t easily lend themselves to rapid articulation. web site, www.greylarsen.com. Joris Van Goethem of the FRQ has solved these prob- I quickly got the sense that Larsen is a master teacher lems brilliantly in this edition. In the Renaissance, it was as well as player. His biography states he studied early music common to transpose problematic works like these, either and composition at the Cincinnati College–Conservatory of by a fourth or a fifth. Van Goethem transposes this music Music and Oberlin Conservatory of Music. Later he studied up a minor third to fit an ensemble of AATB recorders. The traditional Irish music from elder Irish immigrant musicians. overall effect works perfectly. If played in the original edition The introduction lays out Larsen’s purpose for the book on sopranos (in organ terminology, at 4' pitch), the result is (here I quote Larsen): too screechy; if played an octave lower (8' pitch), the music • To provide 94 tunes that fit the tin whistle like a glove, is too murky. This transposition might be termed playing that match its range, that favor its natural capabilities at 6' pitch. All details may be heard with clarity. and steer clear of its limitations (Section One). The only quibble with this arrangement is that the fifth • To provide 28 tunes of non-wind origin part is missing. I realize that the arrangement is intended for (Section Two)… a quartet, so arranging five-part music for four instruments • To provide 28 tunes that fit beautifully on means a loss of some musical material. In most cases, Van whistles in keys other than D (Section Three)… Goethem merely removed the tenor part. The loss of this is • To illuminate the tune transcriptions with suggested

www.AmericanRecorder.org Winter 2015 47 ornamentation and breathing he didn’t always observe his own KEY: rec=recorder; S’o=sopranino; places. suggestions. S=soprano; A=alto; T=tenor; B=bass; • To provide informative chapters There are helpful indices in gB=great bass; cB=contra bass; Tr=treble; qrt=quartet; pf=piano; fwd= foreword; on ornamentation, breathing, the back related to the music on the opt=optional; perc=percussion; pp=pages; phrasing, modes and notation. CDs, and tune sources and types. sc=score; pt(s)=part(s); kbd=keyboard; • To encourage learning by ear…. Also included is a list of books and bc=basso continuo; hc=harpsichord; P&H=postage/handling. Multiple reviews The three chapters referred to recordings by Larsen. by one reviewer are followed by that are titled: Ornamentation and Its I am thrilled to have this book. reviewer’s name. Publica tions can be purchased from ARS Business Members, Notation, Modes and Other Notation Certainly, having just gotten a whistle, your local music store, or directly from Matters, and Breathing and Phrasing. I claim no expertise on it—but this some distributors. Please submit music and books for review to: Sue Groskreutz, The ornamentation in the book is book feels very thorough. I believe it 1949 West Court St., Kankakee, IL 60901 U.S., notated using the system he developed will help me learn, through attentive [email protected]. and first published about 10 years ago. practice and listening, to play a tin It is covered briefly, with reference to Classified rate for American Recorder: 60¢ per whistle. word, 10-word minimum. “FOR SALE” and The Essential Guide to Irish Flute Valerie Hess “WANTED” may be included in the copy and Tin Whistle for a more thorough without counting. Zip code is one word; phone, e-mail or web page is two. Payment discussion of that system. He attempts must accompany copy. Deadlines are to give Irish whistle players a way to STATEMENT OF OWNERSHIP, MANAGEMENT AND one month before issue date. Send copy CIRCULATION American Recorder magazine. Publication with payment to: ARS, P. O. Box 480054, talk about ornamentation that doesn’t 0003-0724. 10/27/2015. Quarterly. 4 issues. $38 per year. Charlotte, NC 28269-5300. Association and Publisher address: Susan Burns, American use the same terms used by classical Recorder Society, 3205 Halcott Ln, Charlotte, NC 28269- musicians. As they are not the same 9709; 704-509-1422; Editor: Gail Nickless, 7770 South High Consider advertising in St., Centennial, CO 80122; Owner: American Recorder types of ornaments, Larsen seeks to Society, P.O. Box 480054, Charlotte, NC 28269-5300. No avoid aural confusion. bond holders, mortgagees, or other security holders. Purpose, function, and nonprofit status of American Recorder Society All three of the chapters have has not changed in preceding 12 months. Circulation Fall numerous musical examples. The 2015: (Average number of copies each issue in preceding 12 For current rates and specifications, see months/Actual number of copies of single issue published nearest www.americanrecorder.org/pubs/adver.htm. instruction is self-described as to filing date): a) Net press run (2131/2200); b) Paid and/or Please inquire about discounts on multiple- requested circulation: Outside county mail subscriptions issue contracts or other special requests. “encyclopedic” and I would agree. (1735/1738) 2) In-county mail subscriptions (0/0) 3) Sales Advertising subject to acceptance by through dealers, carriers, street vendors, counter sales and magazine. Reservation Deadlines: In the three sections of music, the other non-USPS (0/0) 4) Other classes mailed through January 1 (Spring), April 1 (Summer), corresponding CD track is noted USPS (124/120); c) Total paid and/or requested circulation (1859/1858); d) Free distribution by mail (samples, compli- July 1 (Fall), October 1 (Winter). under each piece. mentary and other free: (1) Outside-county USPS rate (0/0) For more information, contact the ARS The CD provides a 45-second 2) In-county USPS rate (0/0) 3) Other classes mailed through USPS (76/65) 4) Free distribution outside the mail (30/60); office,P. O. Box 480054, Charlotte, NC excerpt of that piece, giving one a e) Total free distribution (106/125); f ) Total distribution 28269-5300; 704-509-1422; tollfree (1965/1983); g) Copies not distributed (166/217); h) Total 1-844-509-1422; 866-773-1538 fax; chance to look at the ornamentation (2131/2200); j) Percent paid and/or requested circulation [email protected] notation and breathing/phrasing (94.59%/93.70%). Electronic Copy Circulation: a) Paid electronic copies (135/171); b) Total paid print copies+ Paid Advertiser Index marks while listening to it. In the electronic copies (1859/1858); c) Total print distribution + Paid electronic copies (2100/2279); d) Percent paid (both AMERICAN ORFF-SCHULWERK ASSN...... 41 back, Larsen indicates that the breath print & electronic copies) (94.95%/94.19%) I certify that AMERICAN RECORDER SOCIETY . . . . 1, 7, 29, 30, 48 marks are suggestions; on the CD, 50% of all distributed copies (electronic and print) are paid AMHERST EARLY MUSIC FESTIVAL...... 22 above a nominal price. Susan Burns, Business Manager BEATIN’ PATH PUBLICATIONS...... 46 STEPHAN BLEZINGER RECORDER WORKSHOP. . . .39 American Recorder (ISSN: 0003-0724), P.O. Box 480054, Charlotte, NC 28269-5300, is pub- DIE BLOCKFLÖTE RECORDER CENTRE...... 3 lished quarterly for its members by the American Recorder Society, Inc. $36 of the annual $45 U.S. JEAN-LUC BOUDREAU, RECORDER MAKER. . . .15, 28 membership dues in the ARS is for a subscription to American Recorder. Articles, reviews and letters DIVINE ART RECORDINGS...... 33 to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine does EDITIONS DOLCIMELO...... 41 not imply official endorsement by the ARS. EARLY MUSIC AMERICA...... 37 HONEYSUCKLE MUSIC ...... 34 Editorial Deadlines: December 15 (Spring), March 15 (Summer), June 15 (Fall), and LISETTE KIELSON RECORDER PLAYER...... 41 September 15 (Winter). Submission of articles and photographs is welcomed. Articles may be sent BILL LAZAR’S EARLY MUSIC...... 38 as an attachment (.doc or .rtf preferred) or text in an e-mail message. They should be for the exclusive KEITH E. LORAINE EARLY DOUBLE REED SERVICE. . .32 consideration of AR, unless otherwise noted. Photos may be sent as prints, or unedited JPG or 300dpi LOST IN TIME PRESS...... 36 TIF files (minimum 3”x4”). Advertisements may be sent in PDF or TIF format, with fonts embedded. LUTE SOCIETY ...... 20 MOECK VERLAG...... IFC Editorial office: Gail Nickless, Editor, [email protected], 7770 South High St., MOLLENHAUER RECORDERS...... OBC Centennial, CO 80122-3122. Books and Music for review: Sue Groskreutz, 1949 West Court St., PRESCOTT WORKSHOP...... 12 Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. THE RECORDER SHOP...... 37 Cutting Edge: Editorial office. Chapter newsletters, other reports: Editorial office. The ARS reserves RHYTHM BAND/AULOS...... 35 the right to publish any submitted magazine content on the ARS web site. By submitting material to SUZUKI ASSOCIATION OF THE AMERICAS...... 27 be published in a printed issue of AR, American Recorder’s editors and authors grant the America TLC RECORDER OPTIMIZATION...... 20 Recorder Society permission to use their material in this additional manner. Postmaster: Send address VERY GOOD RECORDER TRANSCR...... 9, 28 changes to ARS, P.O. Box 480054, Charlotte, NC 28269-5300. Periodicals postage paid at VON HUENE WORKSHOP, INC...... 34 Charlotte, NC, and at an additional mailing office. YAMAHA CORP...... IBC

48 Winter 2015 American Recorder