september 2008 Published by the American Recorder Society, Vol. XLIX, No. 4 3IMPLY HEAVENLY n OUR NEW TENORS AND BASSES WITH BENT NECK
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Attaignant: Second Livre de Danceries Gervaise: Quart Livre de Danceries, 1550 For SATB Recorders For SATB/ATTB Recorders Very little ensemble dance music has come down Whilemuchlikethetitleatleftinthatitcontainsahefty from the 16th century. The Attaignant dance prints 42 pieces, this volume 4 is distinguished by a number of collection is one of the only collections of ensemble particularly elegant pavanes based on chansons of the pe- pieces of that period. This volume 2 is probably the riod. most varied of the Attaingnant books, containing Item # LPMAD04, $13.25 basse dances, tourdions, branles, pavanes and galli- Also in this collection... ards. The tunes are mostly French in origin, though LPMAD05: 5th Livre de Dances, 53 pieces. $12.25 there are a few Italian pieces. Many are based on LPMAD06: 6th Livre de Dances, 48 pieces. $12.25 famous chansons of the time. 38 page score with extensive introduction LPMAD07: 7th Livre de Dances, 27 pieces. $8.75 and performance notes. Item # LPMAD02, $13.25
Praetorius: Dances from Terpsichore For SATB/SATTB Recorders 127(:257+<1(:6 From this major German contribu- tor to early baroque music came his from your friends at Magnamusic Distributors collection of 312 short French and Italian instrumental dances in Mendelssohn: Overture to ‘A Midsummer four, five and six parts, including courantes, voltes, Nights Dream’, Abridged, Charlton, arr. bransles, gaillardes, ballets, pavanes, canaries, and For NSSAATTB(Gb) recorders bourees. Volumes 1 to 4, Large bound scores, The famous piece that helped popularize the famous play. 12 page score and $12.25. Volume 5, Score and Parts. $19.25. parts. Item # JR00026, $24.95 Volume 1, LPMDM11 Also republished from this publisher... Volume 2, LPMDM12 Royal Flush, For SAATB recorders, Score and parts. Item # JR00013 $14.95 Volume 3, LPMDM13 Addio Roma, For sop voice, SATB recorders Volume 4, LPMDM14 An aria from Monteverdi’s beautiful ‘L’Incoronaizione di Poppea’ with lyrics Volume 5, LPMDM15 Item # JR00020, Score and parts. $13.50 Turini: Sonata a 3, ‘Tanto tempo hormai’ Leenhouts: Ixi Mii Dixi For SSB Recorders and Bc For SAAATTB recorders One of the most popular examples of late 16th Composed on Blues and Jazz studies the composer had century Italian polyphony contains a dazzling set a fun time working on in a workshop for young ama- of variations. teur players. Score and parts with a great introduction Item # LPMCS09, Score and parts. $9.50 and performance notes. Item# MK03307, $34.95
Uccellini: Two Sonatas, ‘Quatro Libro’ Teschner: Seaport Jump For SB Recorders and Bc For SAAATTTBGbCb recorders A fine example of this strikingly innovative Italian baroque composers Capturing the atmosphere and drive of typical Big technique. Score and parts. Item # LPMCS12, Band Swing Era music of Glenn Miller, Benny Good- $8.75 man or Duke Ellington with triplet phrasing, syncopated accents and offbeats. Score, parts and great introduction. Item # MK03309, $38.95 Finger: Suite for a Flute, ‘Farewell’ For Alto Recorder and continuo Van Eyck: 20 Pieces (1649) One of the most wonderful things about this For soprano recorder solo publisher is that they have a small collection of This selection of music from Der Fluyten Lust-Hof only the best recorder pieces. Players agree that (1649) endeavors to reflect the variety of van Eycks Finger Sonatas are favorites, and this collection of collection, with variations on popular tunes, dances, six of his best pieces more than makes up for its hymns, including his big blockbusters. 32 page score slightly expensive price. Score and part. with introduction and notes on each piece. Item # EBA1154, $35.50 Item # DOL0506, $13.00 Hall: Three Cats For SATB recorders A wonderful musical introduction to the au- Bach, CPE: Sonata in C Minor thors three cats, Gonzo, Tigger and Charlie. For alto recorder solo 8 page score and parts. Originally for flute, this is a wonderfully bold and original work, that really Item # HAEE013 , Retail: $13.95 repays the effort involved. Item # DOL0504, $6.50
TOLL FREE 888-665-2721 Call us with questions or to order Shop online at www.magnamusic.com and see sample scans of these and many more pieces EDITOR’S ______NOTE ______Volume XLIX, Number 4 September 2008 ith the summer Olympics starting Was I write this, the young athletes FEATURES (especially those gymnasts) have made me An Interview with Shirley Robbins ...... 12 think about music prodigies. I’ve read of by Martha Bixler and Mark Davenport only a few in recent years—but do their accomplishments compare with the results of the single-minded effort and DEPARTMENTS time put in by a 16-year-old (or perhaps really 14-year-old) gymnast? With less 4 Advertiser Index ...... 32 emphasis these days on music—and the Chapters & Consorts ...... 20 arts in general—in our schools, we seem Classified ...... 32 to rely on parents to recognize and nurture a young Mozart. Lucky is the music Compact Disc Reviews ...... 18 teacher who spots that potential in a stu- Education ...... 24 dent—and even luckier if the parents have Music Reviews...... 26 the energy to support that spark while also serving as surrogate teachers for today’s 12 On the Cutting Edge...... 23 increased homework load and chauffeurs President’s Message ...... 3 to numerous other activities that produce Q&A ...... 30 a “well-rounded” child. I’ve enjoyed Mary Halverson Waldo’s Response ...... 7 recent Education columns describing Tidings ...... 4 young South American students and their passion for the recorder—in this issue A look back at the Berkeley Festival 2008; winners of ARS/ALSQ (page 24), how blind students have taken 24 composition competition announced to the recorder in Bogotá, Colombia. It was also encouraging to hear the talented young-adult recorder players ON THE COVER: during the summer’s Berkeley Festival “Henri juggling recorders” (page 8) events, especially the “New Illustration by Generation” concert sponsored by the Reine Sloan, ARS. A young artist competition for
6 American Recorder PRESIDENT’S MESSAGE ______Stop, play and listen
earing is the most important sense for listening to the music itself, without ana- her through the noise Hmusicians. Try taking 30 seconds to lyzing structure or judging technique, is a of the exhibition. She stop what you’re doing and listen. Does liberating experience. The feeling of being is playing Bach in the the world suddenly seem more alive with caught up, and transformed into a pair of beautiful way she has sound? Were you blocking out the sounds ears and an auditory cortex—even for just of letting the music around you before you started listening, one moment of a performance—is pure speak for itself. like I often do? joy. The next several Focus on one sound so that everything Allaudin Mathieu, in The Listening minutes are sublime. else seems to fade away, then open up your Book: Discovering Your Own Music The cacophony of the ears to listen to all the sounds around you. (Shambhala Publications, 1991), writes: exhibition doesn’t dis- It’s like being an amplifier with your own “Just pretend that your life depends on the appear, but is separated from her sound volume control. next sound you hear” when you want to so that I am able to concentrate on her We all block sounds at one time or focus on your aural surroundings. He playing. What a treat! another. Our habit of blocking the noise suggests sitting down with paper and Both Oliveros’s and Mathieu’s books of traffic, crowds, machinery and other pen, and recording every sound you hear. contain exercises for listening. Two I annoying urban sounds is a survival skill I tried this at home one evening. The particularly like involve a single note. in a man-made environment, but leaves windows were open and I could hear the Mathieu’s exercise varies dynamics, dura- us in danger of blocking sounds we might train, cars, a ticking clock, my stomach tion, timbre, texture, feeling and intention want to hear. For musicians (recorder rumbling, the refrigerator creaking. I real- to discover the array of sounds available to players especially, since our instrument’s ized that I usually shut out the constant us with one note. For example, play any pitch is susceptible to any change in noise of the nearby highway, thereby note on your recorder—as soft as possible, breath pressure), the temptation to block protecting myself from one of the annoy- as loud as possible, and everything in annoying sounds is particularly strong. ances of urban living. between. Try to keep the pitch the same. Blocking doesn’t happen only in Oliveros describes an exercise called response to annoying sounds. Some play- the Extreme Slow Walk. While walking ers are unable to listen to a duet partner Try taking 30 seconds very slowly, eyes closed or open, sing long because they must concentrate on their to stop what you’re doing tones—one per breath. Or play long tones own notes and rhythms. More advanced on your recorder while walking. Pay atten- players, rather than blocking sound, may and listen. tion to the vibrations caused by your stop focusing on their own sound. singing and playing. When we play music, we operate at In Deep Listening: A Composer’s Sound We tend to turn off our listening when several levels. We think ahead constantly, Practice (iUniverse, Inc., 2005), Pauline we play in large group situations. It is dif- while being aware of the sounds we are Oliveros writes, “More often than not, ficult for recorder players to play in tune in making at that moment. Our ability to lis- urban living causes narrow focus and large groups, so we tend to stop listening ten may be compromised if reading music disconnection.” Do you have a place just to protect our ears. Next time you’re at is challenging. On top of all that, we have where you can listen intently, without a chapter playing session, try doing the to remember tone, posture, hand posi- distractions? My ears are always happiest opposite—really listen to the group, to tion, articulation, and expressive playing. outside, away from traffic and crowds. yourself, to your neighbor, and to the It’s much easier to really listen to sounds Since first trying Mathieu’s exercise, people you can’t see but can hear if you fo- being produced if techniques can be done I’ve been focusing on sounds. As I write cus on them. Let me know if your large automatically, without conscious think- this, it’s the middle weekend of the group playing experience changes at all. ing. This only comes with regular practice. Amherst Early Music Festival. The exhibi- Speaking of large group experiences, No matter what one’s playing level, we tion is in full swing, with people trying I hope you’ll all come to the next ARS can all learn to listen better. How much of recorders, violins, harpsichords, harps, Festival, July 30 to August 2, 2009. playing and teaching time is spent really flutes and viols, or greeting old friends. We’ll be in St. Louis, MO, to celebrate our listening? What about when we’re in the Standing in front of Jean-Luc 70th birthday with classes, concerts, audience? Boudreau’s booth, about to try a recorder, demonstrations and playing sessions. Those who attend music school are I become aware of Dana Maiben, violin Visit
September 2008 7 TIDINGS ______Matthias Maute wins ARS/ALSQ composition contest, ______reports on concerts from Florida to New York Composition Competition Winners Named entation at the Montréal Recorder Festival position from Washington State Universi- this month, with prize awards of $1500, ty and did post-MA work at the University $750 and $500 respectively. of Washington. He taught at Washington The premiere of the three winning State University, founding the WSU Con- compositions is planned for early 2009, sort, an early music ensemble. during the ALSQ’s 30th Anniversary Tour Recently performed works have been (see
8 American Recorder Bits & Pieces
In the Media first of its kind established in North Judith Linsenberg and Musica Pacifica America. Under Verstappen's leadership, are featured in a podcast and article on EMV has developed imaginative pro- the Minnesota Public Radio web gramming and educational activities site, Awards Anthony Rowland–Jones, a frequent contributor to AR and an ARS Presiden- Strings & Early Winds tial Special Honor Awardee, has been R elected Honorary Vice President of the Modern/Baroque Strings Viols Vielle Society of Recorder Players (UK) for his Küng Moeck Mollenhauer Paetzold Yamaha Ehlert “active support of the Society and the E Wenner Baroque flutes recorder over many years.” He joins a dis- tinguished list of Vice Presidents: Brian Wendy Ogle Lu-Mi Ifshin Snow Bonsor, Frans Brüggen, Paul Clark, C Competitive Prices Jeanne Dolmetsch, Friedrich von Huene, Sent on Approval Hermann Moeck, Kees Otten and Theo Personalized Service & Advice Wyatt. O José Verstappen has received the Order of Canada "for his contributions to the promotion and vitality of R early-period music in British Columbia, and for showcasing Canada within the international early music community." D Established in 1967, the Order of Canada is Canada’s highest civilian honor for lifetime achievement. Appoint- E ments are made on the recommenda- tions of an advisory council chaired by the chief justice of Canada. R Verstappen has been the executive Lazar’s Early Music director of Early Music Vancouver (EMV) (866) 511-2981 [email protected] for over 25 years. EMV, which is devoted S www.LazarsEarlyMusic.com to the performance and study of early 292 Gibraltar Dr., #108, Sunnyvale, CA 94089 music, was founded in 1970 and was the September 2008 9 Spring Concerts from Reine-Marie Verhagen, a well-known recorder virtuoso and teacher from the up and down the East Coast Netherlands, was a welcome visitor in late March to St. Mark’s Episcopal Church in Islip, Long Island, where she joined For the last 40 years, Holy Trinity Luther- The excellent Bach Choir and period- recorderist Rachel Begley, harpsi- an Church in Manhattan, NY, has had a instrument Bach Players are led by Rick chordist Tami Morse and Baroque violin- tradition of performing the cantatas of J. S. Erickson, who also plays organ continuo. ist Marc Levine in a program of 17th- and Bach in the liturgical setting of Vespers or Susan Iadone, the regular recorder 18th-century instrumental music. The evening prayer. Except that the service is in player at Vespers, did some nice legato performers breathed new life into familiar English, it is very like the German lan- playing in Cantata 182. repertory: works by Handel, Telemann guage service for which Bach composed, For Cantata 175, she was joined by and masters of the French Baroque. I was thus giving an idea of how the first hearers recorderists Karen Snowberg and Larry particularly struck by Verhagen’s perform- experienced these profound works. Zukof. Taking advantage of having three ance with harpsichord of a Handel sonata I try to attend on those Sundays when good recorder players, the April 13 service —she was totally centered and relaxed, a cantata with a recorder part is presented. opened with a lovely playing of the Adagio projecting a focused, radiant sound. Last spring, recorders were heard in two and Allegro movements from the Sonata The ARTEK Early Music Ensemble Sunday Vespers: March 16, Cantata 182, (Quarttettino) for three alto recorders and joined forces with Piffaro last April in “Himmelskönig sei willkommon” for continuo by Alessandro Scarlatti. music of the three “S’s”—Schein, Scheidt Palm (Passion) Sunday; and April 13, and Schütz (plus Praetorius) in a rollick- Cantata 175, “Er rufet seinen Schafen mit Anita Randolfi ing performance at Holy Trinity Church Namen” for the fourth Sunday in Easter. in New York City, NY. ARTEK’s singers, plucked strings, violone, organ and harp- My husband and I spend winters in St. Petersburg, FL. Last March, we attended the sichord had the added spice of Piffaro’s third “Go-for-Baroque Early Music Festival,” held in Clearwater and Dunedin, both a recorders, dulcians, bagpipes, sackbuts, short drive north of St. Petersburg. This year’s festival highlight was a concert by hurdy-gurdy, krumhorns and shawms. Piffaro—Rotem Gilbert, Grant Herreid, Greg Ingles, Joan Kimball, Christa Patton, Playing separately and jointly, the two Robert Wiemken and Tom Zajac. They all play a variety of instruments—shawms, sack- groups completely wowed the audience buts, recorders, krumhorns, bagpipes, lutes, guitars, harps, dulcians and percussion. with their artistry and enthusiasm. And Their concert on this occasion was called “A celebration of musical genius from the yes, you could hear the recorders! Low Countries.” The venue was the neo-gothic Peace Memorial Church in Clearwater, Nancy M. Tooney which features exquisite stained glass windows, several of them designed by Tiffany. The fantastic acoustics enhanced the listening experience for the capacity audience. The concert began with several performers processing down the center aisle, playing a suite of Flemish tunes. It was easy to believe that we had been transported back to a Renaissance castle for an intimate chamber concert; even though the church is large, there was a feeling of being close to the musicians because of the setting and acoustics. After a group of pieces by eminent Flemish composer Jacob Obrecht, Piffaro moved on to the early 16th century, sharing a story behind the music of Josquin Desprès and Heinrich Isaac. Both were vying for the post of Maestro di Capella of Hercule I of Lost in Time Press Ferrara. Piffaro played pieces by both composers—one composer followed by the other, in pairs, three groups in all—and the audience had to vote on which piece they New works and preferred. At the end of the three groups, the winner was Isaac. (Although Josquin is arrangements more familiar to us today than Isaac, it was the latter who actually got the job at court.) After intermission, Piffaro played music of the next generation of Flemish for recorder ensemble Polyphonists–Gombert, Jacob Clemens non Papa, and Andreas Povornago–followed by a suite of Flemish dances by Tylman Susato (1551). A standing ovation at the end of the Compositions by concert, and cries of “encore, encore,” brought them back to graciously perform for Frances Blaker several more minutes. This last piece featured each member of the ensemble in turn, so we were able to hear the different solo instruments backed by the others. Paul Ashford Anyone attending this concert would not say that early music is boring. As a bonus, Hendrik de Regt a reception following the concert allowed us to meet the musicians and examine their and others instruments, marveling at how many there are and how they transport them all by air. Other concerts during the jampacked festival included the award-winning tenor Inquiries: Bryce Westervelt with the Choral Scholars; Gregorian chant for organ and cantor; a harpsichord recital by Julane Rodgers, “The young Bach and his mentor (Buxtehude)”; Corlu Collier music of Italy with violin, viola and ’cello; and the Dunedin Scottish Country Dancers. PMB 309 Recorder was heard with Baroque oboe, gamba and harpsichord; trumpet and percus- 2226 N Coast Hwy sion; and guitar, the last with Nathaniel Thomas, recorder (see the report on him Newport, Oregon 97365 in the November 2006 AR). The next Festival is set for March 2009. For information, www.lostintimepress.com please e-mail founder and director Carol Alexander at 10 American Recorder RESPONSE ______Inspired to take up the pen and boot up the computer: ______poems, and Erik Bosgraaf’s playing ENVYING ERIK Quite on impulse, [my husband] Bert Charmion Burns of Manhattan Beach, I want to thank you for the article, “A and I took a weekend trip to the coastal CA, wrote the Italian sonnet below. She Portrait of Erik Bosgraaf” (AR, May redwoods. Our recorders came along, plays with La Mer Consort and Recorder 2008). Listening to his recordings of and the experience inspired a sonnet. It Players West of Los Angeles. Jacob van Eyck is at the same time in- uses imagery from Thomas Morley’s spiring and a matter of envy as his talent madrigals. An Old/New Adventure just oozes out of that CD. Would that I Best regards, Dorothy Barth, Vallejo, CA When I got old I could no longer sing could be even half as talented as Erik. My voice was shaky, Thanks for this work of yours in AR. Rosewood to Redwood breathing less than fine; Dick Jansson, Winter Park, FL Of fire and lightning We humans don’t improve with age rosewood flutes discourse, like wine, EDITOR’S NOTE: Bosgraaf reports that the A serenade from distant times to you, And seventy plus years is far from number of hits from the U.S. on his web site More ancient than the music’s spring. “exploded” after the May AR appeared. His gentle force, new CD, Telemann: Fantasias & Bach: Did elemental thunder split your trunk Could making music cease to be Partita, is now out on Brilliant Classics. in two? my thing? I searched to find an instrument benign INSPIRED TO VERSE When lo, by break of morn, a sacrifice, That I could teach myself to play I love American Recorder. My first issue As fragrant rosewood fell instead of in time. was the September 2007 publication. grew, Recorders soon became my aged fling. I read it from cover to cover. The article To bring to life our pipes, let joy arise, on jazz especially intrigued me. And celebrate your majesty anew; I found a group to give me some I started learning jazz standards and support, writing alto recorder solos. Now my In misty month of maying did we meet, An early music consort that plays well. husband and I have 45 jazz selections we A brief encounter in the We give concerts of passable report. perform in our group, The Horton Duo. north coast’s land, How this would grow on me Audiences love our new tunes. We also Our madrigals we placed on creviced who could foretell, perform Celtic and other World Music. feet, But we all need adventure of some sort; Here is a poem I wrote after reading Your trunk a welcome weathered I wasn’t ready yet to bid farewell. the latest [January 2008] issue of music stand; American Recorder. Hope you can use it. Sandi Horton, Waco, TX Oh redwood tree, your wisdom Responses from our readers are welcomed and may be sent to American Recorder, can’t be wrong, 7770 South High St., Centennial, CO 80122. Artist’s Reflection Did you prefer the silence or our song? Letters may be edited for length and consistency. I am an artist. W My paintbrush is a recorder. My breath is the paint. Listen to my art! I delight in creating Timbre and expression Deep within my soul of Inner peace and transcendence. Sacred sounds amaze Brushing through time. My spirit intertwines in Soothing and dramatic melodies. My art reflects me And all mankind. A song of the universe Emerges from my magical recorder. W September 2008 11 The Biennial Berkeley Festival or recorder players willing to bounce Savonarola, who caused books and Ffrom one coast to the other each June, music manuscripts to be burned. there is usually plenty to hear and enjoy at Playing the anonymous La giloxia on a summer festival. The 2008 Berkeley pipes in perfect unison, with guitar Festival and Exhibition (BFX) was no and tambourine, Piffaro added exception. The recorder highlight for BFX shawms and Concord voices for an events, held June 1-8 in Berkeley, CA, was exciting close to the first half. Piffaro, The Renaissance Band, in two Resuming, bagpipes for “Entrata BFX performances, plus fringe events degli Sancte” gave way to Piffaro’s involving its members. low-consort “louds” for “Martyre Piffaro as “Pied Pipers” (l to r): Christa Patton, On June 6, on the Festival’s main stage e Exili,” the excommunication and Greg Ingles, Joan Kimball, Priscilla Smith, at the University of California–Berkeley execution of Savonarola, and the Robert Wiemken, Grant Herreid and Tom Zajac. (UC-B) Hertz Hall, Piffaro collaborated in exile of the Medici. an evening event with The Concord Renaissance recorders (STTTB), some- The festival was laced generously with Ensemble, “Trionfo d’Amore e della times with harp and lute, returned for a wide variety of music offered in addition Morte: Florentine Music for a Medici “Trionfo d’Amore,” music of Arcadelt and to main events—the “fringe” concerts, Procession.” Piffaro’s members (Grant Carpentras. In the final set “Musica starting as early as June 3 in the eight Herreid, Greg Ingles, Joan Kimball, Divina,” the rousing grand finale was churches and halls near the UC-B campus Christa Patton, Robert Wiemken, Tom Carpentras’s Servi Dominati/Jerusalem (plus one each in Albany and San Francis- Zajac and young guest Priscilla Smith) convertere ad Dominum—two voices, co). This writing covers (for the most part) played their usual battery of instruments: adding sackbut, tenor shawm, tenor and events featuring or including recorders— recorders, bagpipes, shawms, dulcians, bass dulcian, and finally all voices with with a couple of sidesteps to mention con- sackbuts, pipe & tabor, harp, lute, guitar shawms, sackbuts and dulcians. A certs that recorder players would likely and percussion. well-deserved standing ovation, and an enjoy. To tie together the short pieces typical encore of Torna, Torna, ensued. Piffaro, The June 3 noon fringe concert was of a concert of Renaissance music, the as their name says, is unquestionably Ensemble Vermillion (Frances Blaker, ensembles segmented the “Medici Proces- The Renaissance Band. recorders; Barbara Blaker Krumdieck, sion” music into groupings to place the On the following morning, a Saturday Baroque ’cello; David Wilson, Baroque pieces in context. The opening section’s program aimed at youngsters featured violin; Henry Lebedinsky, harpsichord), works for “Entrata del Principe” focused Piffaro in “The Pied Pipers of the Renais- visiting Henry Purcell’s 17th-century on processions related to the calendimag- sance: A Colorful Tour of Instruments and England. The group emphasizes perform- gio (first day of May) festival and pieces Music.” In the crowd of about 150, at least ing recorder transcriptions of (mostly that would have been sung by laudesi (lay half were adults sans children, making it violin) music; this program was in that religious groups of merchants or guild a “show for the children in all of us.” vein—works by Purcell, Henry Butler (a members). This segment showcased the Less formal than on the previous night, predecessor of Purcell who spent most of shawm and sackbut band alternating with Piffaro introduced the concept of the his life in Spain), Giovanni Battista Draghi voices. “Town Pipers” and their instruments— (an Italian living in England while writing “Lorenzo Innamorata” spotlighted starting with a bagpipe trio processional to in the French style), and another Italian Lorenzo de’ Medici as scholar and patron the anonymous Spanish dance Españoleta. living and working in England, Nicola of the arts. Alexander Agricola’s Cecus non Other instruments were shown, and their Matteis (credited with bringing the Italian judicat de coloribus was played on alto, modern counterparts identified.Wiemken violin school to the British Isles). tenor and basset Renaissance recorders, defined the instrument family or matched Blaker’s soprano recorder (a Terton by with lines acoustically well-differentiated. consort, moving to the mixed or “broken” von Huene) sang out with a lovely clear tone above the ensemble on Matthew Other pieces in the set alternated ATTB consort—ancestor of the modern band. recorders and voices with lute and harp, Wiemken asked how many knew what Locke’s Suite in B Major (For Several then finally in combination for the anony- a recorder was and how many had played Friends), which closes in a lilting Jigg plus mous Or udite el buono horare. the recorder. Hands went up all over the a slow coda. A large and enthusiastic A third set, “Trionfo Della Guerra,” hall. The anonymous Italian Or udite el audience gave the players well-deserved included works (played in various shawm buono horare was played by a consort (alto, applause as the program ended as it had band configurations) of Heinrich Isaac, two tenor, and basset recorders), which begun: with a Purcell trio sonata. who worked for the Medici; and a fourth, expanded for the William Byrd Sermone That evening King’s Trumpetts and “Morte del Principe,” contained a single blando—soprano, two tenors, basset, Shalmes presented a program of “Renais- piece, Isaac’s lament on Lorenzo’s death great bass, and sub contra bass—a rich sance Music for Shawm Band” at Trinity —sung a capella by the six Concord voic- sound akin to that of the hall’s pipe organ. Chapel. The ensemble (Robert Cronin, es, with Paul Flight’s countertenor floating String instruments and capped reeds Jim Kafka, Alan Paul, shawms, above in this plangent, haunting lament. were shown and played, and audience crumhorns, recorders; and David Hogan Piffaro brought out the bagpipes for the members invited on stage to learn to Smith, sackbut, crumhorn and recorder) last set before the intermission, “Trionfo dance a bransle. An energized audience re- were joined by Joanna Bramel Young Della Fede,” commemorating the mes- sponded enthusiastically to the musically and Douglas Mandell on crumhorns and sianic excesses of the Dominican zealot enjoyable and educational presentation. recorders. 12 American Recorder (From top, l to r) David Barnett and Tom Bickley (sporting a tiger’s tail) as Three Trapped Tigers; Recorder players would have enjoyed ARS Administrative Director Kathy Sherrick sells the dark tone of the consort of matching CDs to Kraig Williams at the ARS Booth; in the Prescott Renaissance recorders used by exhibits, recorder maker Ralf Netsch looks on as the whole ensemble in three sections of Rebecca Molinari and Judith Linsenberg try instru- the program, especially the final six-part ments and Gerry Greer lends an ear (Corlu Collier anonymous En quam honesta that met of Lost in Time Press listens in the background); with appreciative applause. bottom, Peter R. Ballinger and Bill Lazar talk St. Mark’s Episcopal Church was the during a quiet moment in the exhibition. site of the evening’s gorgeous concert by WAVE (Women’s Antique Vocal Ensem- de Murica. Turning a musical corner, ble). Director Cindy Beitmen chose Brown was joined for a strong ensem- English music that many recorder players ble piece—Baroque flutist Jennifer would recognize from playing it them- Rhyne matching fingerwork with vio- selves: pieces by Byrd, Dowland, Gibbons, linist Svend Rnning, while Kathryn Philips, Morley, Tallis and Henry VIII, ac- Habedank, harpsichord, supported companied on several by strings, cornetto, the ensemble energy in Trio Sonata in percussion and harpsichord. Cornetto D Major by J. J. Quantz. A foot-stomp- player Joyce Johnson–Hamilton played ing ovation ended the group’s a magnificent version of Susanna Fair, in- travels—but there was no encore, as corporating her own elegant diminutions, two members grabbed a cab to travel and later joined Beitmen to play recorder home by airplane. in Purcell’s Strike the viol, from Come ye Later that evening, six young, sons of art. energetic and remarkably tal- A busy June 4 started with a noon con- ented musicians led a different cert by The Albany Consort. Handel’s tour with “Music from Around opera Clori, Tirsi e Fileno (respectively the World through Time,” sung by Christa Pfeiffer, Kimberly showcasing their virtuosity on Miller and Jerry Hui) incorporated the recorders from sopranino to delicious brightness of an occasional contra bass. Organized by Bay recorder, notably when Marion Rubin- Area native Rebecca Molinari stein and Carol Panofsky accompanied (now studying with Matthias Hui in his aria, Son come quell nocchiero. Maute at McGill University, Later that afternoon, Three Trapped QC), the recital featured her Tigers (recorder duo David Barnett and with friends Ji Sun Kim, Tom Bickley) took their appreciative Alexa Raine–Wright, Andrew audience on an audio roller coaster ride Maruzzella, Andrew Levy of “old” and “new” music, with some of and Morgan Jacobs. Their the latter written by Bickley. They played journey into Baroque, jazz and mostly on Renaissance recorders, with the new music showed how sounds blending superbly. Their final fortunate the recorder is, to be piece was Les Moutons de Panurge—chal- chosen by students whose lenging to keep track of when playing, and professional demeanor professed it as hypnotic in its effect on the audience. It a “serious” instrument. The audience was gratifying to see several non-recorder- demanded an encore; they returned to playing admirers stay afterward to ask tear playfully (and skillfully) through questions about the instruments and the Jan Van Landeghem’s Türkischer program. Hummelflug. The evening brought overlapping A break in recorder events meant concerts. First, the resonant acoustics of Thursday was a perfect time to hit the St. Mark’s Episcopal welcomed a new- Early Music Exhibition, organized by comer to BFX events, the Pacific Luther- Early Music America (EMA) at First O’Donnell, violin and viola; Shira an University Faculty Consort. Baroque Congregational Church—which became Kammen, violin, viola and voice; Bar- music from the north and south of Europe nearly devoid of recorder players later bara Blaker Krumdieck, ’cello; and featured each member in solos and cham- when most trooped to nearby Trinity Henry Lebedinsky, harpsichord and ber works of Bach and Buxtehude to Mon- Chapel for a highlight of the festival bouzouki—a Greek stringed instrument, teverdi and Purcell. The south–north fringe—mostly Scottish music performed surprisingly introduced into Celtic tradi- contrast was nicely exemplified after inter- by Wild Rose. tional music in the late 1960s. mission: first, a set of pieces for Baroque Frances Blaker and Tish Berlin A memorable moment was the tradi- guitar, played by Elizabeth Brown, with added recorder magic (and Berlin’s tional Scottish Tramps and Hawker Lads, the delicate cascades of a Spanish-flavor ukulele licks) to a program spiced played on recorders (by Blaker and Berlin) “Folia” set of variations by Gaspar Sanz with beautiful singing by soprano Leila and on bouzouki by Lebedinsky, also leading to percussive accents of Santiago Lazenby and supported by Joey arranger of the piece. This was sung by September 2008 13 EMA awards ceremony: Robert Cole remembers past Berkeley Festivals; Hank Knox flanked by students (l) Ji Sun Kim and (r) Alexa Raine-Wright and Andrew Maruzzella music of this Medieval master was theatre used by Le Poème Harmonique to apparent in the heart and soul of—and Lully’s multiple talents as a composer, work spent in preparing—the concert. dancer, singer and viol player. An impor- Their physical placement in the intimate tant point for musicians was his assertion room (designed by Julia Morgan for the that he approaches the staging from the Berkeley City Club) was well-considered, standpoint of the music and how it leads standing in order of height and flanking to the collaborative and improvisatory two seated group members at center. outcome. (Some of us may recall scratch- Kit Robberson, ing our heads upon hearing the impro- vielle, and director visatory, flamboyant style of Il Giardino Peter Fisher, Harmonico at the 1996 BFX: Le Poème Renaissance tenor Harmonique may be its vocal/theatrical recorder, played on counterpart.) only a few pieces, Although past productions have adding a nice tone included winds, this one showcased four color contrast. The singers and six players of strings and audience sighed percussion. The evening of high- and in satisfaction at low-brow music from Venice of around the close of 1600 was passionately and expertly several songs. performed in semi-staged fashion, with Audience mem- gesture and costumes, to an appreciative bers described audience that called for two encores. themselves as in A leisurely stroll through the exhibits the dark about on Friday morning became the warm-up Lazenby accompanied at first only by Le Poème Har- for the hike up the hill to International bouzouki and alto recorder. A ritornello monique’s performances of “Venezia House (past a pair of black men’s lace-up propelled the voice into the next verse, delle strade ai Palazzi—Monteverdi and shoes, waiting patiently on a Berkeley and so it went until a free-for-all finale full Manelli,” performed in the near-darkness street corner for their owner—a musi- of flips, snaps and trills. of the candelabra-lit stage at the UC-B cian?). It was worth the walk to attend the Other recorder gems were written by Zellerbach Playhouse. Its multiple per- EMA annual meeting/awards ceremony, Blaker: Perotinian, looking back to the ear- formances allowed those who had already preceded by a feast of finger food. ly composer; and New Psalm, inspired by seen and heard the French ensemble to EMA’s Howard Mayer Brown Award for the Shaker hymn Amazing Grace, which forewarn those attending later to peruse lifetime achievement in the field of early was beautifully sung a capella by Lazenby the program before the lights went out. music was given to Robert Cole, soon to between the two instrumental pieces. The Answers were not apparent even to retire from his position since 1986 as refreshing trip to the British Isles ran from those who heard the afternoon talk (in director of Cal Performances at UC-B and wistful and soulful to joyful and exuberant French with forays into English) by artistic founder in 1990 of BFX. Hank Knox music, all performed with high virtuosity. director Vincent Dumestre aided by an received the Thomas Binkley Award for As the dinner hour approached, Coro unidentified cast member and UC-B outstanding achievement in performance Ciconia sang a full program of music by music professor Anthony Newcomb. and scholarship by a university collegium (yes) Johannes Ciconia, 1370-1412. The Dumestre compared the integration of director. The early music program direc- small ensemble’s genuine love of the music, dance, art and improvisatory tor at McGill University was congratulated by some of his students (some of the ones who had played with such promise on Wednesday evening). Piffaro members, despite being only hours away from a concert with the Con- cord Ensemble, showed up to support Tina Chancey, who was honored with the Special Early Music Outreach Award Early Music America Magazine is the quarterly for achievement in early music educa- publication for the Early Music Community in tion—as founder/performer of Hesperus North America: Professionals, Students, and and recorderist with Washington D.C.’s Folger Consort, both with her late hus- Audience members. band Scott Reiss. Piffaro’s Grant Herreid accepted her award in absentia. Articles on performance practice, trends in the Evening became night, as Philharmo- field, recording reviews, and a new book reviews nia Chamber Players offered “Corelli department. by Candlelight” at 10:30 p.m. at First Congregational Church (unfortunately Call 888-722-5288 or email [email protected] without their excellent recorder player, for a FREE sample issue. Hanneke van Proosdij, who was on tour). 14 American Recorder “Next Generation” players Ji Sun Kim, Alexa Raine-Wright and Rebecca Molinari There was much that wind players could Raine-Wright climbed the steps to the enjoy in the flawlessly-played string stage, entering while playing the same Van pieces, motivic cousins to Corelli’s charm- Eyck Preludium—but on a Ganassi-type ing Christmas concerto. alto—and when on stage segued into his June 7 brought a busy Saturday sched- Courante Madamme de la Mountaine. As ule for recorder aficionados. Overlaps in each piece ended, the music drifted from events started after the morning Piffaro stand to floor. Before beginning her final concert, as Alta Sonora offered “Les work, Les Folies d’Espagne by Marin Violes Douces & Singers: Spanish Renais- Marais, she not only changed to a Baroque sance Music” at Trinity Chapel. Five alto, but also changed her scarf. Raine- winds, with four each of strings and voic- Wright has quick, sure fingers, and offered es, swapped louds for recorders, wood for the Marais in a most musical fashion— tions that recorder players and groups try brass in the alternation often heard in using second fingerings to shape phrase to vary programs to embrace styles from cathedrals of Spain’s Golden Age. endings, avoiding dynamic and tonal Medieval to jazz. Recorders offered cascading up-tempo distortions that had crept into her After a break, 17 players remained for a lines in two pieces by Guerrero, bookend- playing early on. play-in under Kimball. Even lacking a bass ing one by Juan Vasquez. Stunning unison Kim also opened with pieces from Van recorder, the group enjoyed Kimball’s singing and duets were heard from sopra- Eyck’s Der Fluyten Lust-hof—this time insightful direction in an hour of Renais- no Alice Benedict and counter-tenor Fantasia & Echo, Phylis schoone Hard- sance music including Simile est regnum Tako Odo in Vivanco’s Caritas pate rest. erinne, then an improvisation using bird cælorum of Francisco Guerrero, which Pif- Around the corner at St. Mark’s Epis- calls to create a bridge to his Engels faro had played on their morning concert. copal, an audience of about 50 landed Nachtegaeltje. Her musical maturity was “Early Music Written Lately: New amid gusts of wind for an afternoon of ARS immediately apparent in her tempos— Music in Old Styles” was the theme of a events, starting with a concert in a constant among variations and state- concert at nearby Trinity Chapel. An en- format changed from its previous Festival ments of the melody—and in her virtuos- thusiastic audience of about 60 heard “Recorder Relays” of established recorder ity and understanding of how divisions composer Glen Shannon perform some artists. Instead, the audience was treated relate to the melodies they embellish. of his compositions, aided by some 16 to “The Next Generation in Concert,” Later Kim strapped on a bass and friends. Old instruments and modern, three mini-recitals given by young players: picked up an alto for Isang Yung’s Chine- recorders to trumpets and clarinets, of- Rebecca Molinari, Alexa Raine-Wright sishe Bilder—scampering through the fast fered tuneful music that left you hum- and Ji Sun Kim, all of whom have studied notes of the second movement, “The ming. It was very gratifying to hear the at Montréal’s McGill University with Actor with the Monkey” on a Kynseker so- complete Little French Sweets, a shortened Matthias Maute. Each soloist was at a prano and ending the event dramatically version of the 2007 Chicago (IL) Compo- different stage in her studies at McGill, with the required foot stamp and shout. sition Competition winner (see Chapters with Raine-Wright having completed her ARS president Tish Berlin remarked & Consorts in this issue)—here Shannon first year, Molinari her second, and Kim at the end, “It looks like the future of our playing traverso in a quintet with oboe having received her Artist Diploma and instrument is in some very good hands.” d’amore, violin, bassoon and harpsichord. moved to Vienna to work on a doctorate . She invited the audience to remain for a As the festival wound down, there was Molinari, known to Bay Area audiences roundtable discussion, “Early Music is yet a pair of notable American premiere who have watched her artistic develop- Hot! How can we make the recorder siz- performances of a recently revived work: ment over some years, opened on a Ganas- zle?”—introducing participants Judith UC-B professor Davitt Moroney’s rare si-type soprano recorder playing Van Linsenberg of Musica Pacifica, Joan production of Alessandro Striggio’s Missa Eyck’s Preludium of Voorspel and segueing Kimball and Robert Wiemken (both of sopra “Ecco si beato giorno” for five chorus- into his Malle Symen—shaping each Piffaro), Mid-Peninsula Recorder Orches- es comprising 40—and, for the last move- phrase beautifully to express its musical tra director Fred Palmer, Ensemble Ver- ment, 60—voices. Each voice had its own meaning, while maintaining a lovely tone. million and Wild Rose member Frances line, which was sung distinctly, creating a Blaker, and East Bay concert rich ocean of sound that enveloped the Festival frequenter Barry Moyer organizer Marilyn Marquis to sold-out audience at First Congregational. talks with Greta Hryciw and a small audience. Concern was The mass employed two harpsichords, Stevie White (r) after hearing voiced that there had been less two organs, two cornetti (Jamie Savan Glen Shannon’s concert recorder on the main BFX and Jeremy West) and seven sackbuts— 2008 schedule, with no the most notable being the contra bass, recorder soloist of “star” status played by Brussels-based Wim Becu. or an associated master class; The piece was such a success that the there seemed to be less on standing ovation on June 7 was sustained the fringe also. for at least a full minute, causing Moroney More discussion touched to return to the stage, saying, “Well, there on Piffaro’s recorder competi- is only one piece written for 60 voices…,” tion for young players (with so they reprised the final Agnus Dei— the winner playing with Piffaro a fitting cadence to the week as a whole. on a concert, much as Priscilla Gail Nickless, with contributions from Smith had at BFX); and sugges- Gerry Greer and Greta Hryciw September 2008 15 An Interview with Shirley Robbins On September 23, 2007, of some three decades, many well-known Martha Bixler conduct- early music teachers and performers served ed a telephone interview on the faculty there, including Carl with Shirley Robbins. Dolmetsch, Joseph Saxby, Murray Lefkowitz, Earlier that September, Grace Feldman, LaNoue Davenport, George at the ARS Board meet- Houle, Friedrich von Huene, Ken Wollitz, ing in Los Angeles, CA, Shelley Gruskin, Martha Bixler, Angene Shirley was awarded the Feves, Bruce Haines, Gloria Ramsey, Shirley ARS Presidential Special Marcus, Jon Bailey and others. Honor Award. The As director of the Idyllwild workshop, award was in recogni- Shirley helped to introduce the singing of ear- tion of her many years of ly music as a regular component of the musi- fostering the education cal studies there. Shirley describes the initial and appreciation of the resistance to and ultimate acceptance of Shirley Robbins (l) in September recorder in North America, and especially in adding voices to the workshop’s collegium 2007 with Mark Davenport and her role—for more than three decades—as repertoire. She fondly recollects the shared Gloria Ramsey, during the ARS a recorder workshop director and teacher. emotional exultation of performing Josquin’s Board meeting at which Robbins Shirley passed away February 22, 2008, at Pange Lingua Mass, conducted for the first received the ARS Presidential the age of 79, after a long battle with cancer. time there in 1971 by LaNoue Davenport. Special Honor Award. (Photo by Shirley Ann Goldman was born in Bay- In 1986, she continued the “Idyllwild Gail Nickless) onne, NJ, and moved to New York with her Experience” when she and Thomas Axworthy By Martha Bixler family when she was 12 years old. In this formed an independent workshop called (Transcribed & edited with an transcript, she talks about her early years in Canto Antiguo. They moved the summer introduction by Mark Davenport) New York, her relationship with the Krainis event to the Thornton School in Ojai, CA. At family, her introduction to the recorder, and Canto, Shirley continued to provide new Martha Bixler has long been active in her first studies on the instrument with the teaching opportunities for young recorder the administration and with various young Bernard (“Bernie”) Krainis in the professionals. For the past decade, the work- committees of the ARS. She has been a 1940s. Bernie’s father, Abe “Papa Krainis,” shop has continued each summer at Chap- member of the Board of Directors and twice gave Shirley and Bernie their first recorders. man College in Orange, CA. been President of the Society. For 10 years Shirley became a close friend of Bernie’s Also in 1986, she became a credentialed she was editor of the ARS Members' sister Esta, who introduced Shirley to her teacher of the Alexander Technique, which Library Editions. Her memoir of the ARS is husband, David Robbins. she taught as a faculty member of Pomona being prepared to appear next year on the In the interview, early impressions of College’s Department of Theatre and Dance ARS web site. She is a teacher/performer on Erich Katz are offered, with insight into the for 18 years. In 2006, she was recognized by recorders, piano, harpsichord, sackbut and initial directions of the ARS. Shirley recalls the American Society of Alexander Technique viola da gamba. Prominent early music vividly Katz’s intentional move away from for her decades of contribution to the devel- ensembles with which she has performed the Germanic classical and romantic musical opment of the Alexander Technique. Shirley include the New York Pro Musica, Musica traditions in favor of earlier Renaissance speaks of the collaborative role she played at Sacra, the Bach Aria Group, and the Berk- composers and musical styles. Pomona College with the training of theater shire Bach Society. She has taught at many In the early 1950s, Shirley moved to Cal- performance students there. early music workshops around the U.S., ifornia where she and David raised their two Shirley concludes the interview with rem- Canada, England, and Ireland. children, Alan and Karen. A brief chronology iniscences of her years in Claremont, CA, of Shirley’s involvement with the recorder how the recorder has helped to keep people Mark Davenport has just begun his second workshop at the mountain campus of the connected there, and how much the Southern four-year term on the ARS Board of University of Southern California Idyllwild California early music community meant to Directors, where he chairs the Education School of Music and the Arts (ISOMATA) is her in both her professional and personal life Committee. He has also served as Book outlined below—first with her attendance experiences. Reviews Editor and contributor of feature as a student, in 1954; then later as a teacher, A memorial service for Shirley was held articles and music reviews for AR. Daven- in 1958; and finally as director of the work- on April 20 at Pomona College, at which the port is director of the Recorder Music Cen- shop, beginning in 1971. This popular week- theater department presented a plaque in ter at Regis University, in Denver, CO, long workshop became known for its her honor, to be placed on the wall of the where he is an Associate Professor of Music breadth of curriculum, including the interdis- studio where she taught. To send a message to and Director of the Music Program. Active ciplinary study of early performance practice her family, e-mail her daughter Karen at as a recorder soloist, he regularly serves on (in recorder, early winds, viols and voice), 16 American Recorder MB: When did you get started playing the discovered on his own, and he shared recorder? some of that with me, and I did my own What started me on the SR: What started me on the recorder was a discovering. friendship with the Krainis family … My first ... instrument was a soprano. recorder was a friendship Bernard Krainis’s family. Esta, his sister, It fascinated me because I actually learned and I were schoolmates, and we became to read music at that time, and I learned to with the Krainis family ... very close friends. I spent an awful lot of read quite well. Bernard was a taskmaster my time at the Krainis household while I and I was very motivated. Bernard Krainis’s family. was in New York. I lived across town and I Eventually an alto came into my pos- would just take the crosstown bus out to session through a cousin wanting to buy We worked very hard on a Beethoven trio school, and the two of us—Esta and my- one for his wife. He wanted an alto, and that he had transcribed because we knew self—would have wonderful adventures. Bernard and I went to Schirmer’s to pick that we would be playing it at one of the She was a dancer … and [the Krainises] out a really good alto—my not really American Recorder Society meetings, and sort of adopted me in a peculiar way. knowing exactly what to look for. Bernard that Erich Katz would be there. I had my own wonderful family, but at this time was sophisticated and we this was a very fun environment because bought an alto—which, at that time, MB: How exciting. You know, Shirley, I had the father—although he didn’t live there seemed so expensive. I think it was $36! no idea you were a New Yorker! I’ve learned because mom and he were separated— But it seemed like a lot of money, and a lot in the last few minutes about you! was one of the people who brought the my cousin kept calling me and asking, SR: Well, let me tell you how wonderful it recorder to New York, to the Dalton “When are you going to deliver?!” Mean- was—but how shocking it was too! School. “Papa Krainis” introduced while I had fallen so much in love with that Bernie, with great anticipation, had recorder to the Dalton School. He was a instrument that I knew I could never give poured a lot into that transcription and violinist, but he was earning his living it up. The months passed and eventually into the conducting of it with the three of doing whatever he could and he also had a my cousin said, “I got the message. You us, and with Erich Katz sitting in the first mandolin orchestra, which was very simply have to have that instrument!” row listening, and anticipating. exciting. Bernard grew up in the midst of Bernard introduced that we were going this beautiful, musical environment. MB: What was the instrument? to do a Beethoven trio and, before we even SR: It was a Koch alto. And so I held onto started playing, Erich got up and walked MB: Excuse me, so you’re saying that that instrument and developed my out of the room and went into the next Bernie’s father started the recorder at the Baroque skills on that Koch until later, room, which was a dining room area—this Dalton School? down the road, I got more sophisticated was a very fancy apartment on Fifth Av- SR: Absolutely! and a little more able to make decisions enue, very large rooms. about buying something, until I worked Poor Bernie almost came apart. He MB: That’s absolutely unknown to me. I’m myself up to all the wonderful instruments said, “Well let’s go on,” and we played fascinated to know that. I own today. But it was a humble start. under very nervous conditions. Why did SR: At any rate I was just a kid, from he leave us? Was he ill? What was wrong? Bernie’s perspective, when he first met MB: You were friends with Bernie’s sister? Everybody was so concerned. me. I was about 12 years old. He was five SR: Bernard’s sister Esta, who was a When we were finished with the years older so was already a grownup guy. classmate or co-college person at Alfred playing, they applauded and there were a Esta and Bernie and I didn’t have much University, introduced me to my husband lot of lovely comments. Then Bernard connection with each other until later David. Esta was going to school there, and walked into the next room, and there was years after he went off to service. He went my husband was just out of the army and Erich standing there. [He] said, “Not to India, etc., and I think he was a radio finishing his Bachelor’s Degree at Alfred Beethoven… Not Beethoven, not Mozart, operator if I’m not mistaken. University, which [includes] the school for not Brahms… Isaac, Josquin, Machaut … When he came back I was a grownup ceramics in New York. Esta was an art that’s our music for developing this young lady and interested in him. “Papa student and he was an engineering organization. This is what we’re bring- Krainis” was very interested in giving us student. My husband was always much ing—an alertness and an awareness of an opportunity to get to know each other more artistic than most engineers, and he early music. We are bringing alive music so he gave us each a recorder. drifted to those people. He and Esta that has not been heard before.” Bernard was already playing saxo- became fast friends. She told him about And I’ll tell you, Martha, that has stuck phone through those growing-up years, this friend in New York who played in my mind as a banner for my work my but he fell in love with the recorder, as did recorder, and when he went home he whole life. I agreed with Erich, and I felt I. He was working on his own and I should look me up. That was the begin- very strongly, through the years, that there worked basically with him as my teacher ning and that was it—we got married! was no future for me to play the recorder if … on and off, not very formal, but we I wasn’t going to be playing really wonder- played together. He gave me pointers and MB: What was the year? ful, exciting music. talked about breathing and what he was SR: That was 1949. But before that we I wasn’t concerning myself with learning. Although I feel self-taught, lived in New York. That was when Bernard whether an audience was going to be Bernie was a very brilliant man and he and my husband and I formed a trio. I unfamiliar with the music. We have to figured lots of stuff out. He did not have a don’t know whether we gave ourselves a educate and expose them to it. So that’s recorder teacher. He discovered what he name but it certainly was Bernard’s trio. where I came from—a very committed September 2008 17 feeling about wanting to expose those wild]. I have restored my connection with A lot of the people who showed up for composers that Erich was so totally the people that I had gone to Idyllwild the recorder workshop had been playing committed to bringing to New York. with, and I was sitting next to and having the Elizabethan and Jacobean music lunch with, and doing music with. Bella books [Elizabethan & Shakespearean MB: That was a very interesting experience. Lewitzky, the great choreographer, moved Musicke for the Recorder and Jacobean & So you really took that to heart, that what into the studio right next to mine. These Restoration Musicke for the Recorder, both we should play on the recorder is early music, were the people that you gathered your arr. Claude Simpson and still available and not Beethoven and Mozart, etc.… creative senses from. from EC Schirmer] over and over again— SR: Well, you came to the literature that doing library concerts or whatever, and re- you were exposed to from buying music at MB: When I taught at Idyllwild, it was a vealing the recorder in a very limited way. Schirmer’s, but those early books that weeklong workshop. Ken Wollitz was there Dr. Krone decided to bring in Carl Dol- were collections from the 15th and 16th too. I believe it was 1970. That was the first metsch, who was well known and at that centuries intrigued me. time I met you. You were teaching there, time was a prolific performer all over the Then what really took off for me was and so was Shirley Marcus. world—and he was interested in Idyll- that eventually I was invited to Idyllwild. I SR: And Gloria Ramsey? wild, and how it worked. He came, was not the director in 1954. I was a stu- he taught, and Joe Saxby came as his dent. Dr. Max Krone was the [workshop] MB: Yes, I think Gloria too. You know there accompanist. I was his master class director. He and some others from Indiana were 12 ladies who all lived together in one teacher. In other words, I prepared the University, including his wife Bea, were house. I’m not sure whether you were one of students for the master class. very important people in the development them or not? Gloria was, and so was Shirley. of music. I believe that Max was the Now what you are talking about, when MB: Those seven years when Carl came over director of the School of Music at USC. you went there in 1954—you went there as a and taught, was that just a weeklong session? student at the University, right? SR: Yes, it was a weeklong workshop at MB: And Idyllwild was part of USC? SR: Right. that time. Then, after seven years with SR: Not anymore. It was connected to Dolmetsch and the one or two years with USC for many years while Max was alive, MB: How long did you go there? the American Recorder Society, Max asked and for a number of years after he [died] SR: I missed only one summer when my me to be the director. He turned over to me they tried to maintain a relationship, but it daughter was born [laughs]. She was born all of the planning for changes that I had turned out that it wasn’t so successful for in March, and I didn’t think I was ready for wanted to initiate for a long time, and he either side. There was a private board that it so I skipped a year. And one year the ARS was willing to stand by me. I wanted a took over, and USC quietly removed itself. came—I don’t remember the sequence of faculty of about nine, and I wanted to During the years that I was teaching, it this, but they didn’t invite me to come and cover as many of the components of early was part of USC. And they kept having teach, and there was a huge protest at the music that I could, that would be useful new directors after Max died. Some of end of that season to Dr. Krone. to the students. them were good; some of them were terri- I insisted that they gave a vocal class. ble. Nonetheless, the site was such an MB: So in other words there was an They had never had that before, and in fact amazing place of creativity because you established recorder workshop long before I don’t know if they had many of them in had so many dimensions. ARS got involved. Is that right? the United States—a recorder workshop I’ve been looking through this wonder- SR: Right. It wasn’t so established, but we was a recorder workshop—you didn’t go ful book [recently published about Idyll- had people like Murray Lefkowitz. There to sing. But in our collegium that is what were some very significant people we developed. It was a collegium in which who were coming to teach at the half the evening was devoted to instru- workshop. mental music and half was devoted to Idyllwild was an all-summer vocal music program for all the arts, for many ages. It was particularly an envi- MB: Did you have dance too? ronment in which young people SR: And then we had dance—a very could go to a conservatory-level successful dance program. We brought [program while they were] at Angene Feves, from USC, who came for either a junior high level, or high many years. I don’t know if I can give you school or college level ... . They had the exact continuity of these things, but at a very fine choral group that met, the time Angene came we also had George and there was dance with Houle from Stanford. He was the director Lewitzky. Then there was early of the New York Pro Musica for a couple of music with me and eventually with years. Then Friedrich von Huene came Carl Dolmetsch. and was wonderful too. He added so Dolmetsch was the interim per- much to our feeling about the recorder son to come. Carl came for seven and the knowledge of the instrument. Ken Shirley Robbins conducting a group of students at Canto years, and he really brought a lot of Wollitz came back—we had him for a Antiguo in 1977. Historical photos courtesy of Mark sophistication to a very unsophis- while, and Shelley Gruskin came a couple Davenport and the Recorder Music Center. ticated field for us. of years, I think. 18 American Recorder MB: I think I was only there one year, with Ken. And Bruce Haines was there, and Shirley Marcus… SR: Shirley Marcus and Gloria Ramsey came. And then I started thinking about other dimensions, so I brought Jon Bailey from Yale, who eventually became music director here at the Claremont School, Pomona College. But [then] he was at Yale, the director of what they call Sacred Music at Yale. Jon was a phenomenal vocal direc- tor, and he eventually became the director of The Gay Men’s Choir in Los Angeles, which became very famous. He came, and Murray Lefkowitz taught during the years he was here, doing gamba. Grace Feldman also taught gamba—a thrilling teacher! So we expanded to the gamba as well. At Canto Antiguo, c.1971, reprinted from the March 1994 American MB: How long did you stay at Idyllwild? Recorder: (l to r) faculty members Ken Wollitz, Shirley Marcus, SR: Well, we stayed at Idyllwild—meaning Shirley Robbins, Friedrich von Huene and LaNoue Davenport. me as director, and a basic staff, which always included, as often as possible, [Editor’s note: for more about those had edited. He was so touched by that. LaNoue Davenport. And what I wanted to years, see “LaNoue Davenport and the And then one year his students, because of get to, and not overlook in terms of what I ‘Idyllwild Experience,’” AR, May 1978.] the stroke, decided that maybe he could started out with, thematically—with what play a one-handed instrument and so they Erich Katz had to say—was that, when we MB: That’s terrific. Now would you say that went out and bought him a sackbut. One did our first program with LaNoue, I want- was sometime in the early ’70s? of our local members also had an instru- ed to have the Pange Lingua Mass [Josquin SR: The early ’70s. And remember, I kept ment ordered for LaNoue that was a one- Desprès]. We bought the score, and LaNoue coming all through the years, handed recorder. people didn’t want to do it. They said, even after the stroke and him really wear- “I didn’t come here to sing, I came here ing down. He had developed around him MB: And Mark [Davenport] was there too. to play—and I want my money back, a cadre of intense musicians who worked SR: We brought Mark to teach as well. We and I want to leave!” so hard for him and loved him so much. wanted papa and son to experience each We all did. But this intrepid group, I mean, other in a workshop. MB: Oh, Shirley! I knew there was resistance they couldn’t miss a summer without We did that more than once, especially to doing that Pange Lingua Mass, I’d heard LaNoue. after we left Idyllwild in 1986 and became about that. During one of those later years we in residence at the Thatcher School in Ojai SR: Tremendous resistance, but you know decided to have a “LaNoue Festival,” in [with the new name Canto Antiguo Early the amazing breakthrough of it was which we played all of the music LaNoue Music and Dance]. LaNoue said, “If we don’t do it now, we’ll never do it. Tell them if they want to leave, [we’ll] give them their money back.” But Provincetown Bookshop Editions that was USC money, I couldn’t easily do that [laughs]. I didn’t even talk to Dr. Krone about it; “GO FOR NEO-BAROQUE!” I was so scared. And so the performance was held on the Saturday after the Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) beginning of the workshop. Envision an [Prelude; Allemande; Courante; Musette— open-air studio with an open roof—with a neo-baroque epitome!] (Score & Parts, PBE-25) ...... $7.95 a view of the San Jacinto Mountains, the pine trees and big boulders all around— Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) and a wonderful [seated] group of very [Baroque shapes but Hindemithian harmony] intense musicians… and there was (3 Playing-Scores, PBE-44) ...... $9.95 beautiful LaNoue, standing there con- ducting in his inimitable way. Southwest of Baroque. David Goldstein’s “baroque Suite” There was not a dry eye anywhere by on Cowboy Songs. For 2 Recorders (SA) (PBE-2) ...... $3.50 the end of it. People embraced and hugged A good source for Recorder & Viol Music of all publishers. and said, “Oh my God, that was wonder- The Provincetown Bookshop, Inc. ful—what an experience!” So after that 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 we never had another problem! September 2008 19 Shirley Robbins with faculty members at the Canto Antiguo Early Music & Dance Silver Anniversary Workshop, 1994, Ojai, CA (l to r): (back row) LaNoue Davenport, Mark Davenport, David Wilson; (front) Tom Axworthy, Sally Price, Tom’s daughter Dulcie Axworthy, Henrietta Bemus, Shirley Robbins, Peter Farrell. (Other faculty members that year, who are not shown, were Ron Glass, co-director, and Kathy Lear, historical dance.) first time [since we left USC] that I ever did. I had been hos- pitalized, and I didn’t repair fast enough to make it even conceivably possible to go. But everyone was so kind, and the letters came flowing in and the phone calls. And the MB: That’s where you started having an Glen, who is a marvelous lute player, and two guys [Ron and Tom] just pulled it off. Elderhostel? Steve Padilla, who is a wonderful singer. They did a great job. We had a very good SR: That’s right. At Ojai we had our full That was the core group of musicians staff. one-week workshop to ourselves, and we visible throughout the entire play. They Living in Claremont was really lucky were no longer under anybody’s direction. did a beautiful job, and it added so much. for me. When I first moved here, I knew a It became a private recorder workshop I don’t think they’re going to wait too long daughter of a pianist who was head of with three directors—I shared it with Tom to do authentic music again in the future. Scripps [College] Music Department. She Axworthy and Ronald Glass. Ron is an introduced me to her father, and he said, outstanding trombonist, and Tom is now MB: Oh, Shirley, how exciting! “You know, we have never had any early the director of the Los Angeles Recorder SR: And the other thing that was so music at Claremont, and I would like to Orchestra. exciting for me was that all of the prin- see that happen.” So they had a chamber About the time that we moved to the cipals of the play were studying Alexander music society, and Carl Dolmetsch got Thatcher School, I graduated from my Technique with me. I was involved in invited to do concerts at Scripps College. Alexander school. For three years, I stud- their vocal development and their gesture It was a beginning. ied the Alexander Technique at Berkeley work—movement—because that’s what Then I learned there was a woman at and became a licensed teacher. Alexander is all about. I had what I the College with great wealth who taught considered a very major role in the play, the viola, and she wanted to build an early MB: Oh, that’s interesting. and a major role in the construction of music collection. Her name was Peggy SR: I’m now experiencing my 17th year that play. That was a thrill. Smith. Now Honnold Library, in Clare- in the Theater Department at Pomona mont, houses one of the best collections of College, where I have built an Alexander MB: Sounds like it. early music—enviable, anywhere in the program. I’ve been involved in scores of SR: And I’m going back to school, tomor- country—and I have been the beneficiary plays here. We just finished on an exciting row, against all the odds. of this huge collection all through these note. They did Hamlet. Now I had spent an years. All I have to do is walk through the awful lot of time with Elizabethan music. MB: Doing what? stacks, and they fall off and hit me on All the years at Pomona, every time they SR: Teaching my Alexander work. I do one the head and say, “This is what you’re go- did Shakespeare, somebody would write class that is a combined class with dance ing to do this year.” And the librarians over music for it! Or they would use inappro- people, musicians and athletes. In the the years have been so cooperative with priate—to me, inappropriate—music for other part of my program, I do half-hour me whenever I want to find something. it. Sometimes they would even use individual sessions with theater students. I’m not great on the Internet. They all do Brahms. In one performance of Romeo and the research for me, and they’ll find it. Juliet, one of the directors chose Brahms MB: I’m sure it’s very satisfying for you. for the background music—it killed me. SR: So satisfying—after the miserable MB: That’s a private library? The idea of authenticity in music is left summer I have had, with so many ill- SR: It’s the library of the Claremont hanging. nesses. It truly seems like a miracle. Colleges. All the colleges can use it. It’s a But we did Hamlet … with original big library. The stacks aren’t open to every- music, and the stage was built to conform MB: So I hope that means that you are feeling body. But they’re open to me, and I can to Shakespeare’s theater. So [the musi- better? browse these wonderful collections of cians] were up on a platform, as they SR: I am. Otherwise I wouldn’t have been masses. I have done a Mass Workshop would have been in his day. I had three able to do it. You know I missed Canto every year for 17 years, in which I bring a musicians: Tom Axworthy and Richard Antiguo this past summer—that was the new work that has come from these 20 American Recorder stacks—a composer that maybe I had not I had on the books 57 people scheduled been aware of. to come to Claremont, and in this case I see the recorder as an also a lunch that was at a Persian MB: What a thrill to be able to get your restaurant—already pre-paid, etc… important ongoing way hands on that stuff! And yet, people couldn’t drive through SR: I’ve fallen in love with the Spanish the city. They didn’t know where they that people can stay Renaissance composers, so we’ve done a might get blocked. They called the police, lot of work with Victoria, for example. and the police said, “We can’t protect you. connected to their If you go anywhere you’re on your own.” MB: And where have you been conducting So I went over to Decker Hall, where we humanity. these masses? were having the event. The chairs were all SR: I did the Mass Workshop as a private in place, and we just sat there and we wait- That’s one of the treasured memories of enterprise. I would solicit among the ed. It took a little while but all 57 people my recorder world. recorder societies—they would know showed up. Isn’t that something? I see the recorder as an important about it in advance, and I live in a It’s because we have had this kind ongoing way that people can stay con- community not far from a retirement of community—a very bonded commu- nected to their humanity. We’re losing community where a number of those nity—in Southern California, and it has that connection—we’re going off and people studied with me for many years. been a beautiful evolution. In some ways, being the spectator and listening to things, They were very gracious and gave me their I worry about the future because there are instead of making the music in the home auditorium and stage as a place to hold not enough young people coming in, and or with friends and having that be the this once-a-year experience. We would we would like to see if there is something continuity of our lives. have a wonderful whole day ... start at we can do to correct that. And the fact is that I do see it as my nine in the morning and not finish until community, and I wanted very much to five o’clock. MB: This was a pretty marvelous thing. Here serve it by bringing the best of what I could it was, just after the Watts Riot, and people find in early music—through my capabili- MB: For the community. might actually have been in danger to get ties, into their sphere of life and their mu- SR: I was depending on the whole recorder to your workshop! sic playing. So I’ve had a good time—a community from all over: from San Diego, SR: One of the members of the group— good run! from Orange County, from LA. In the her name is Nancy Davis, a recorder play- early years, we used to get as many as er, a very, very good recorder player—lived MB: It sounds pretty wonderful. 50-some-odd people to come all the way in the Watts area. Before we started the SR: Pretty wonderful! out here to Claremont for the entire day. music, Nancy said, “I have something I I would make lunch for everybody have to say.” And she talked about her feel- [laughs], crazy me. And we would have a ings about the riot. She wanted to leave wonderful time sitting in my back yard, this group of people sitting there with the JEAN-LUC drinking wine, having lunch, and then knowledge that, you know, when people BOUDREAU going back and trying to get our energies have not learned how to express their pain recorder maker back together to play this wonderful through language, they do it through vio- www.boudreau-flutes.ca music. Then there would be a concert for lence—she talked about it through that the public. The public was invited to come perspective, to try and understand the in. It wasn’t presented as a concert; it depth of this experience, of these people. Partner of was just a “sharing.” She’s not Black. One of the things that I really appreci- Anyhow, it was very moving, and the musical excellence for ated tremendously was being given the music that happened afterwards was just over 25 years… ARS President’s honor. I didn’t sit up at so beautiful for the occasion that everyone night thinking about what I was going to just hugged and kissed afterwards, and say—it just came. I just talked about how said, “Thank you for restoring my inner music had meant so much to me in my feelings.” It was a very frightening experi- 367-b de la Briquade life, and it’s been a huge thing—just huge. ence for the whole city—for the whole Blainville, Québec I can’t imagine my life without it. Can you? area. Canada, J7C 2C7 MB: No! [laughs] MB: You know it makes me think of the Tel: SR: When you go through all the different music-making that went on here in New York +1 450 979-6091 stages of life: loss, birth and death, and all after 9/11—a somewhat similar situation. the shifts and changes in the political SR: Absolutely. The same kind of thing, world and society—all of this—I think to maybe not on the same scale. myself how lucky I am to have music. I wanted to say something also about MB: But the same kind of experience. an event that really meant a lot to me. In SR: It was a restoring of some kind of faith the year of the Watts Riot [1965], I had my in each other, that we have a community. Mass Workshop. It was just three days We’re doing something beautiful, and we before, that the Watts riots took place. came through thick and thin to do it. September 2008 21 COMPACT DISC REVIEWS ______Modal music: exploring borderlands A CELTIC CELEBRATION, in experimental music, exemplified by DA CAMERA (EMMA MURPHY, Pete Rose, Susanna Borsch, Kees Boeke, Going experimental is RECORDERS; SUSANNA PELL, and Rara Avis (Terri Hron and Robbert VIOLS; STEVEN DEVINE, HARP- van Hulzen). This has been my avenue of not the only option. SICHORD). Da Camera DC- engagement as well, via solo work and CD0001, 2004. Magnatunes Three Trapped Tigers (with David Bar- social nature of these pieces comes to the ( 22 American Recorder range of expression in the major and excellent percussion work, but in the On For Fardin, she plays two Ganassi minor tonalities of classical European case of Transcience, the only instruments recorders simultaneously. (See a video of music, the larger sound-world of modal- heard are recorders and percussion. This this at For more than 40 years, the von Huene Workshop has produced some of the finest recorders in the world. Our skilled staff can revoice, retune and repair even the most seriously damaged instruments. All repairs are done right on the premises, and most can be completed within a week. For warranty repairs, please include a copy of your original sales receipt. 65 Boylston Street, Brookline, MA 02445 (617)j 277-8690 Fax (617) 277-7217 [email protected] September 2008 23 CHAPTERS & CONSORTS ______Play-the-Recorder Month 2008 Denver new members Troy Church in the Troy Historic Village. chapter gained during The church was built in 1837 and was member March. Prizes used until 1963, when it was moved to and per- were graciously Troy Historical Village. formance donated, prima- The performers consisted of members organizer rily by ARS Busi- of the MDRS, and three other groups: Elaine ness Members Good Neighbors All, The Festival Granata who show their Recorder Players, and the Pied Pipers of leads continued sup- Mussin, a children’s group who played at chapter port for our different times during the concert. There members goals. were two adults, and most of the 10 in their The top children in the Pied Pipers of Mussin, Play-the- winner was who only have a few years’ experience. Recorder the Greater Money they received in free-will dona- Month Denver (CO) tions by concert attenders was given to event. Chapter, with a support the Troy Historical Society total of 53 play- Heritage Campaign. ers performing The chapter’s prize was a gift certifi- in a shopping cate from Honeysuckle Music in St. mall. This in- Paul, MN. cluded 26 chil- The third prize winner was the dren from two Arizona Central Highlands Recorder This year Play-the-Recorder Month school groups, as well as two novices. It Society (AZCHRS). Two events (PtRM) was celebrated in March, as was the first-time performances of the employed a total of 12 members, plus always, with Recorder Day! happening Denver ARS Jazz Ensemble, playing one player from Eugene, OR. on Saturday, March 15. Small groups in period costume; and the Chapter One event was on Recorder Day! in and chapters all over North America Renaissance Band offered a double-choir the Prescott Samaritan Village Nursing participated in interesting ways to piece, alternating with krumhorns as Home in Prescott, AZ, where they played commemorate it, and many submitted the second choir. Their prize was a gift a selection of familiar tunes and Irish contest forms, including photos, detail- certificate donated by the Von Huene music for 30 residents. The residents ing what they had done. Workshop/Early Music Workshop of sang along, played rhythm instruments, The submissions are judged each year New England in Brookline, MA. wore festive hats and received favors, all by the Chapters & Consorts Committee. Coming in second was the Metropol- adding to their enjoyment (photo below). As has been common in the past, itan Detroit (MI) Recorder Society The second event offered the chapters offered different kinds of per- (MDRS). The group played at the Old Mountain Winds Recorder Ensemble, formances and events, for many types of listeners, through- out the month. Based on submis- sions received by the Committee, the following awards were made. The prizes were given for the most interesting event, for the largest per- centage increase in chapter member- ship, and for the largest number of 24 American Recorder Twin Cities Recorder Guild members play on Recorder Day! in front of Minerva, the goddess of wisdom part of AZCHRS, in a concert of Renais- composed piece, Recorder Rally, togeth- sance music for recorders and voice er (after the Board had played it earlier —playing in full costume at the Prescott by themselves in their business meet- Public Library for a standing–room–only ing) on March 15. Several recorder play- audience of 95 people. They received a ers in the community who have not yet gift certificate from Lazar’s Early Music joined the Society, and spouses of chap- in Sunnyvale, CA. ter members, attended the play-in and For the largest percentage increase potluck. in membership, the prize of a set of The Twin Cities (MN) Recorder soprano and alto woodgrain recorders Guild celebrated Recorder Day! by from Courtly Music Unlimited in giving a concert at the new Minneapolis Warrensburg, NY, went to the Alabama Central Library. They performed in the Recorder Association, which increased busy atrium, playing both last year’s its membership by 100%—going from PtRM selection Deep Blue Sea by Peter three to six members in this new group! Seibert and this year’s Recorder Rally. 1999 ARS Distinguished Achievement No matter how one looks at it, that’s ter- When they announced that others across Award recipient, and has had a far reach- rific. We hope they continue to the nation would be playing the latter, ing influence in the recorder world.) grow—and to enjoy their new recorders. there were exclamations and applause. On March 15, seven members of the The Carolina Mountains Recorder The Greater Cleveland (OH) Utah Recorder Society percolated in a Society, headquartered in Brevard, NC, Chapter gave a concert at the Beach- popular coffee shop not far from the recently had its application to become a wood Library on Recorder Day! that in- University of Utah. One member of chapter approved. They are the winners cluded 12 chapter members and friends. the group played the entire concert of the chapter with the most new The four featured ensembles performed of music, ranging from Medieval music members, adding six members to their a mix of Renaissance, Baroque, Classical, to Debussy, even though she had had existing group. For this increase, they folk and contemporary music on surgery the day before. The youngest received a copy of the piece Zara Zote recorders, viola da gamba, Baroque flute member, a college freshman, gained per- (see below for its history), composed and and guitar—including, of course, forming experience through this event. donated by Glen Shannon Music, as Maute’s Recorder Rally. The “Heralds of Spring” recorder well as a gift certificate from Shannon. The Highland Park (NJ) Recorder workshop, led by Deborah Booth, was A number of other groups reported Society (HPRS) collaborated with the held March 2 in a large classroom in activities to the ARS. We salute their Zorzal Music Ensemble in presenting energy and the time that went into plan- two concerts in two different New Jersey ning and executing these events. cities. They tackled a variety of Sephardic CHAPTER NEWS The Sarasota (FL) Chapter celebrat- music, as well as the world premiere Chapter newsletter editors and ed its 25th anniversary and PtRM with of a new composition by conductor– publicity officers should a concert on March 9 at St. Boniface composer Dr. Lynn Gumert, which had send materials for publication in Episcopal Church. The Sarasota Earlye been commissioned by HPRS in celebra- American Recorder to: Musicke Consort and Grande Bande tion of its 21st anniversary. AR, 7770 South High St., (both directed by Lynelle Williams) Up the road, at Brentwood High Centennial, CO 80122-3122, played the first half of the concert, and School in Brentwood, NY, another September 2008 25 S’oSAATTBgB). The afternoon ended Christensen was at the mall playing with a rousing four-part Sollt ich meinem recorders, joined by others who could Gott nicht singen? by Bach. Most partici- either prepare pieces as a group or show pants played SATB; adding sopranino up to play in a pickup ensemble. and two great basses produced a full, rich Seven Dallas (TX) Chapter mem- sound. bers did their part to boost home sales, Booth’s comments included pithy meeting on Recorder Day! for an open tips. “With Baroque music, play long house in a new house—with no furni- notes short and short notes long: play ture, and thus very live acoustics. They Cathedral Village, a retirement center in eighth notes short, 16th notes connect- played Praetorius dances and Recorder north Philadelphia, PA. Thirteen partici- ed.” And “My job is to pester you to play Rally for many guests. (There was no pants—some creeping across the state better than you could on your own— report on whether the house was sold.) line from NJ—encircled the room. After and playing it right is the hard part!” As is made clear by the activities of the articulation and tone exercises, Booth The Hudson Mohawk (NY) reporting chapters, recorder players are (photo above) led four- and five-part Chapter did everything in its power to an inventive group of people. It’s time pieces by Bach, Isaac and Orlando di Las- “Drive the Cold Winter Away” with an now to put on your own thinking cap and so plus La Prima Vera, arr. Erich Katz. energized push toward spring. Gathering find some interesting things to do for After lunch, she conducted large at Colonie Center Mall, the chapter tried Play-the-Recorder Month and Recorder ensemble pieces by Bach and Scheidt a new PtRM venue and format. From Day! in 2009. Have fun and be creative! plus Golliwogg’s Cake-Walk by Claude 11:30 a.m. to 3 p.m. on March 7, March Marilyn Perlmutter Debussy (arr. Alyson Lewin for 15 and March 19, chapter president Ole Chair, Chapters & Consorts Committee Chapter leaders! On April 20, the Chicago (IL) Chapter contrasting We know you’re out there presented the winning compositions of sections with its 2007 biennial recorder composition more modern and that you want to share contest. They also honored contest cre- harmonies at your plans, concerns, ator Hilde Staniulis (at right in photo, times, and solutions and ideas with with head contest judge Lisette Kielson). challenging other chapter leaders. Visit Six past and present winning com- virtuoso pas- 26 American Recorder ON THE CUTTING EDGE ______Hail Matthias! ongratulations to composer and being-with and being-next-to come into play: Crecorder virtuoso Matthias Maute the fast unison of the beginning soon When I asked his for his piece Rush, the winning entry in the disperses and spreads into a whirling fabric ARS Composition Competition. You in which the frenetic rhythms are woven reaction to learning can read about the contest in Tidings on together in ever new and different ways. that his piece had won page 4 of this issue. The melancholy slow sections gaze back to I contacted Maute to learn more about the Old World through the technique of the ARS competition, his winning entry. He was gracious partially employed contrapuntal canon. Maute replied, enough to provide answers to all my I was curious about any influences or questions and to share his insights regard- prior musics that affected the creation of “I was very happy!” ing this exciting new composition. Rush. In Maute’s words, Rush was composed in 2007 and is ... Short, almost inaudible quotations future. We will have to await the live per- scored for four alto recorders. It is a one- (B–A–C–H) and references to Sitting Ducks formances by Amsterdam Loeki Stardust movement work with differing sections by the Dutch composer Chiel Meijerink let a Quartet to gauge the effectiveness of the and lasts about eight minutes. Maute glimpse of distant Europe shine through, to music. describes the music as containing motoric which ragtime and jazz associations are set Meanwhile, for those who are interest- parts that alternate with some lyrical up in contrast. ed in playing already published composi- sections employing canonic structure. When I asked his reaction to learning tions by Matthias Maute, a good starting To answer my question regarding his that his piece had won the ARS competi- point might be Six Solos in 18th Century inspiration for the piece, Maute provided tion, Maute replied, “I was very happy!” Style, for solo alto recorder (Amadeus Ver- the text that accompanies the score. Here At this time, there are no immediate lag Edition #BP 812); or Indian Summer, are some excerpts: plans for publication of Rush, but no for SATB recorder quartet (Moeck Verlag). American history is full of dynamic doubt it will become available in the Tim Broege September 2008 27 ______EDUCATION ______Working with blind recorder students, in Colombia and at home nother trip to South America? I the Blind Institute. My A had to think twice about this one. Canadian colleague, Just mention the word “Colombia” to Kelly Williamson, friends and family, and a cloud of reported after a visit to concern comes over their faces. the Institute that it However, when I was invited to teach is operated on a thin at the June 2008 X Festival Interna- “shoestring”; its facili- cional Suzuki de Colombia, I had ties, while clean, are already met several incredible music spartan out of financial teachers from Bogotá, and I had a gut necessity. The children feeling that they would take good care all come from impover- of me; and so they did—with unbeliev- ished families, so this is able hospitality. a great gift for them. While there, I discovered the con- Some also have more se- trasts of beautiful early-17th-century vere disabilities. Some colonial buildings surrounded by the come from abusive or growing, modern city of Bogotá. Perched exploitative situations, and the state has ing vegetables and flowers, and raising as the city is, among several mountain stepped in to have these children live at chickens, rabbits and even a pig ranges, I was surprised at how cool and the Institute on weekdays, to provide for (although Tarcicio said, “If you don’t see invigorating the temperatures were, their well-being. the pig, we ate it!”). and how lush and green the landscape. Generally, impoverished blind chil- Working with visually impaired or But the most unexpected surprise dren in Bogotá have no future. They are blind folks was not totally new to me. At upon my arrival was that—among the put out to beg in the streets. It is hoped a teacher training session in Tennessee a group of 12 wonderfully savvy adult that the kids at the Institute will have a few years back, I had been a “buddy” to a recorder teachers, and the large group of better future. For now, they are happy in blind adult flutist and her seeing-eye dog. children attending the Festival—there this caring environment, and the resi- She had devised methods for memoriz- was a group from the local Institute for dents at the Institute are their family. ing music (even complex repertoire), and Blind Children. for taking notes in the class. All the children attending the Festival The music program And then there was Joey, a lively little were students of my good friend visually impaired boy, who had been my Gustavo Velandia, a dynamic, multi- has become a key factor student at the MacPhail Center for Music talented young music educator who is in the existence of the in Minneapolis, MN. Even with other equally at ease using Orff, Kodály and physical disabilities (fine motor delay Suzuki methods in his classrooms. Blind Institute. and chronically weak fingers), Joey made Velandia had been working diligently to slow but steady progress over the years in teach recorder using the Suzuki Method The blind adults working there have learning to play the recorder, to the point for over a year in several Bogotá schools, been studying various musical instru- of performing pieces by Bach, Handel, including the Blind Institute, since ments—with Colombian and visiting Dieupart, etc.—all with surprisingly attending the Lima Festival teacher North American Suzuki teachers— good tone, expression and ornamenta- training classes in January 2007. in order to be able to teach the children. tion. His students (ages 4 through 15) who The director, a gentle, smiling man I’m convinced that Joey’s success was attended the Festival Colombia repre- named Tarcicio, attended my week-long due to starting recorder study at a young sented a wide range of socio-economic recorder teacher training class in June, age (five years), when all children are like backgrounds. All of them reflected along with two of the other blind adults. “sponges” in their learning. He also had Velandia’s high standards for beautiful They are extremely grateful for the dona- the advantage of a program of daily tone and musicianship. The blind tions of various instruments, from North listening, and good help from his mother students had actually been taking America and beyond. (Currently, they are with home practicing (always in a posi- recorder lessons for only three months, in need of alto, tenor and bass recorders.) tive spirit!). Joey even got to the point of but the combination of a strong musical Local donors to the Blind Institute beginning musical literacy along with his environment at the Blind Institute, and have been impressed by the fruits of this peers, but only by having his musical the students’ highly developed ability music program in the few years of its ex- scores enlarged by 250%. His parents to listen, had made for rapid progress. istence, and they drop by frequently to were deeply dedicated to their son’s In fact, the music program has hear the children play. The children also confidence-building experience of learn- become a key factor in the existence of learn to help with bread-baking, garden- ing to play the recorder well. 28 American Recorder To enable Joey’s success in ensemble experiences, as well as in solo perform- ances, he listened daily to recorded repertoire and memorized it. During group rehearsals and performances, I kept Joey in close proximity to make subtle communication easier. Learning from Joey, I have often asked all the students in a recorder class to perform a piece together with their eyes shut, making for a new way of listening to the ensemble. The group sound invariably improves! Working with blind children and adults in Colombia has deepened my understanding and my commitment to making the joy of recorder-playing acces- sible to folks with visual as well as other disabilities. Visiting that beautiful coun- try, and getting to know people there who share my love of music and music education, has confirmed for me a state- SWEETHEART ment by Albert Einstein that “people are the same everywhere.” The universal FLUTE CO. language of music, combined with love, Baroque Flutes: our own hope and respect, can conquer the great- “Sweetheart” model est barriers. Fifes, Flageolettes Mary Halverson Waldo “Irish” Flutes & Whistles. Send for brochure and/or antique flute list. For other thoughts about helping people with low vision to play the recorder, see Tom 32 South Maple Street Green’s article in the January 2007 AR, Enfield, CT 06082 “How I Play Music While Using (860) 749-4494 [email protected] Technology to Help Low Vision, ” and see www.sweetheartflute.com September 2008 29 MUSIC REVIEWS ______An international selection of ______music for young players (and young-at-heart players) DER FLÖTENKÖNIG (THE could be performed by a more advanced visions of a mysterious presence. Clearly RECORDER KING), BY THEODOR student or teacher. notated contemporary techniques include KÖHLER. Moeck 2210, ISMN Titles are all in German. Illustrations glissandi, flutter-tonguing, sputato, M-2006-2210-2 (Magnamusic), 2006. by Nanari Keller are suitable for coloring. singing while playing, clapping, and SA. Sc 15 pp. $ 21. producing piercing high pitches. Born in 1974 in Capetown, South GESPENSTERSCHLOSS FÜR ZWEI A frantic chase ensues in the Vivace Africa, Theodor Köhler resides in Frank- BLOCKFLÖTEN (PHANTOM CASTLE section, with the composer giving free furt, Germany, where he composes FOR TWO RECORDERS), BY GRAHAM license for performers to enhance the lieder, chamber music and large sym- WATERHOUSE. Zimmermann ZM 35500, ghostly scenario with their own imagina- phonic works. ISMN M-010-35500-9 (C. F. Peters), tive interpretation. The Recorder King is a collection of 16 2002. S+S/A. 2 Sc, 4 pp ea. $14.95. While intended for young players, the newly composed, very easy short pieces Graham Waterhouse was born in Lon- demands of precise rhythmic accuracy, ex- (12-28 measures each) for beginners on don in 1962, but has resided in Munich, tended range and excellent breath control soprano. They are in progressive order Germany, since 1992 as a free-lance from both musicians place it firmly in the with limited ranges and simple rhythms composer and ’cellist. His compositions advanced intermediate category. in 2/4, 3/4, and 6/8 meters. The final include chamber music, concerti and Inside the beautifully illustrated cover piece begins in 3+3+2/8. several commissions. are two full four-page scores, each with a The accompanying second part for Phantom Castle had its debut at the brief composer biography, preface, techni- alto recorder adds interest with a slightly 2002 Young Musicians Competition in cal remarks and explanation of notation wider range and a few accidentals; it Munich. The opening Adagio is punctuat- symbols. All text is in German, English ed with “unexpected” sounds that evoke and French. ... are also available at The Early Music Shop of New England, Brookline, MA AESTHÉ 367-b de la Briquade Blainville, Québec Canada J7C 2C7 tel: (450) 979-6091 www.boudreau-flutes.ca 30 American Recorder OSKAR UND DIE COOLEN KOALAS (OSCAR AND THE COOL KOALAS), ARS Membership Enrollment and Renewal BY MATTHIAS MAUTE. Heinrichshofen I am a new member I am or have been a member N 2615, ISMN M-2044-2615-7 (C. F. Peters), 2004. SATB. Sc 24 pp, 4 pts U.S./Canadian Memberships Foreign Memberships 11 pp ea. $25. $45 One Year $55 Foreign One Year OSKAR UND DIE COOLEN KOALAS $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years AUF TOURNEE (OSCAR AND THE $80 Two Years LIFETIME MEMBERSHIP COOL KOALAS ON TOUR), BY Single Dual MATTHIAS MAUTE. Heinrichshofen Regular Lifetime Member $1,000 (2) $1,500 (4) N 2616, ISMN M- 2044-2616-4 (C. F. 4 installments of $250 available) Peters), 2006. S’oSATB, perc ad lib. Sc 30 Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4) pp, 5 pts 12 pp ea, perc ad lib 8 pp. $29. 4 installments of $200 available (1) For members who have maintained membership for five consecutive years. OSKAR, DIE COOLEN KOALAS UND (2) $750 is Tax Deductible DER DIEB (OSCAR, THE COOL (3) $600 is Tax Deductible KOALAS AND THE THIEF), BY (4) Installments available MATTHIAS MAUTE. Heinrichshofen N 2617, ISMN M-2004-2617-1 (C. F. Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership Peters), 2006. SATB. Sc 24 pp, 4 pts $25 U.S./Canadian One Year $125 One Year Business Membership 12 pp ea. $32.50. $45 U.S./Canadian Two Years Matthias Maute is certainly regarded as $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name one of the leading recorder performers of our time, but his compositions are as ap- Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory pealing as his prowess on recorder. These Do not release my name for recorder related mailings three volumes of the adventures of Oscar, Do not contact me via email. a 12-year old German recorder player, are an example of his clever and uniquely My address, telephone and email address are the same as last time. inclusive style that encourages joyful par- ______ticipation, diligent practice and excellent Name Phone Number musicianship from performers, without ______requiring fiendishly advanced technique. Address/City/State/Postal Code Email Address Oscar and the Cool Koalas introduces Oscar, who has a problem with his cat Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover Nero. Poor Nero has nightmares that CC#:______Expiration Date: ______cause him to have panic attacks. The only reprieve is for Oscar to play his recorder. Signature of cardholder:______Since Oscar doesn’t enjoy playing alone, his Australian pen pal Lisa suggests form- Clearly Print Name as it appears on Card:______Renew by Mail, Online, By Phone or by Fax ing a band with his friends. A storyteller recites the included text Demographic Information (all in German!) that links the 13 short (optional information collected only to enhance ARS services and provide statistics to grant makers): movements of this volume. Movement 5 is for soprano solo, but the remainder is I am a member of ARS Chapter or Consort______ I am the Chapter Contact scored for SATB ensemble. The writing Your age: Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) varies from easy to intermediate in diffi- culty, and it invites interaction among Please check all that apply: the performers and between the ensemble I am a Professional Recorder Performer. and the audience. I wish to be included in the list of Recorder Teachers in the ARS Directory and website. Volume two, Oscar and the Cool Koalas I Teach: (circle your choices) on Tour, is perhaps the most musically Children High School Youth College Students Adults challenging of this set, with 12 move- Beginner Intermediate Advanced Pre-Professional ments that include additional parts for Individuals Children’s Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly sopranino and percussion. Australian pen pal Lisa accompanies Oscar’s ensemble Where I Teach: : (circle your choices) as they go on tour. They select repertoire Music Studio Public or private school Community Music School appropriate for each venue: an African cel- College Other : ______ebration, a Turkish tavern and a swimming Phone: 314-966-4082 pool disco. Their theme song, “Let’s Go!” American Recorder Society Fax: 314-966-4649 is a tour hit, so they play it everywhere. 1129 Ruth Dr. TollFree: 800-491-9588 Audience interaction is an important St. Louis MO 63122-1019 [email protected] requirement of performing these pieces, www.AmericanRecorder.org September 2008 31 American Recorder Society Publications an appealing aspect for the teen audience Erich Katz Contemporary Music Series Members Non-Members for which they are intended. A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 Carolyn Peskin gave a vivid description Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 of the experience of being coached in this Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 work by Maute himself at a Cleveland Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 Chapter workshop (AR, May 2008). In- (SATB) (Level II) (2 scores & 4 recorder parts) spired by the experience, she has recently Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 undertaken the project of translating the (3 scores) Vaclav Nelhybel (AA/TT) (Level II) Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 narration (really a children’s book) for (Level II) (2 scores) each Oscar piece. She has completed the Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 first two volumes, and plans to tackle the translation of the third book as she can. Musical Editions from the Members’ Library: Having the English translations for these ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 works will make them more attractive to The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” American audiences. Arioso and Jazzy Rondo (AB) Carolyn Peskin New Rounds on Old Rhymes (4 var.) Erich Katz The third volume of these adven- Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler tures—Oscar, the Cool Koalas and the Jennifer W. Lehmann, arr. Poinciana Rag (SATB) Laurie G. Alberts Canon for 4 Basses (BBBB) David P. Ruhl Santa Barbara Suite (SS/AA/T) Erich Katz Thief—uses the same story format and is Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. scored for SATB. Oscar confides his bore- Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA) Frederic Palmer Elegy for Recorder Quartet (SATB) Carolyn Peskin Slow Dance with Doubles (2 x SATB) Colin Sterne dom to his e-mail companion in Australia. Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley When she responds that he needs some- Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley thing exciting in his life, he suddenly hears Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin suspicious noises in his house. Lisa Gloria in Excelsis (TTTB) Robert Cowper Three in Five (AAB) Karl A. Stetson Idyll (ATB) Stan McDaniel Tracings in the Snow in Central Park (SAT) responds via e-mail from Australia that Imitations (AA) Laurie G. Alberts Robert W. Butts it must be a thief, and that Oscar should In Memory of Andrew (ATB) David Goldstein Trios for Recorders (var.) George T. Bachmann Lay Your Shadow on the Sundials (TBgB) Triptych (AAT/B) Peter A. Ramsey investigate immediately! Terry Winter Owens Two Bach Trios (SAB) William Long, arr. After 14 engaging movements and a LeClercq’s Air (SATB) Richard E. Wood Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. Little Girl Skipping and Alouette et al (SATBCb) Variations on “Drmeš” (SATB) Martha Bishop uniquely Maute scenario involving the Timothy R. Walsh Vintage Burgundy (S/AS/ATT) now infamous cat, Nero, the mystery is Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. Jennifer W. Lehmann, arr. ARS Information Booklets: solved. ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 The orchestrations (SATB or S’oSATB Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 with optional percussion) include snip- Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann pets of audience participation, special American Recorder Music Constance Primus Playing Music for the Dance Louise Austin effects, body gestures, rhythmic speech The Burgundian Court and Its Music Recorder Care Scott Paterson Judith Whaley, coord. and even a bit of singing. All three works hold broad appeal for Education Publications The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). the intended young adult performers, but First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. many young-at-heart consorts would find Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. them useful for young audience programs ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. as well. Members $9; non-members, $15. Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. Leslie Timmons Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). $5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+). Videos Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending $5 to the ARS office along with the address to which the tape should be shipped. Courtly Music Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. Unlimited Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). One free copy sent to 800-2-RICHIE each ARS chapter with 10 members or more. Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. (800 274-2443) ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. Discography of the Recorder, Vol. I (1989) . Compiled by Scott Paterson and David Lasocki. www.courtlymusic.com Discography of the Recorder, Vol. II (1990-1994) . Compiled by Scott Paterson. Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40. "Everything for the recorder American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. enthusiast, or those who would like to be." 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 and actual postage is charged. Fine wood and plastic recorders, sheet Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. music, method books, play-along CDs, ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. accessories, workshops. 800-491-9588 [email protected] 32 American Recorder Music Medals Recorder Ensembles examiner, or an official examination may able playing and excellent sight-reading be arranged with a certified representative opportunities for any level player at a COPPER RECORDER ENSEMBLE of the ABRSM. consort gathering. PIECES FOR SOPRANO RECORDER. The ensembles in this series are duets, Music Medals Recorder Options Practice ABRSM, ISBN 1-86096-602-0 (C. F. trios and quartets representing various Book is a collection of practice examples Peters), 2005. SS/SSS. Sc 19 pp. $8.25. composers, many of whom have pub- for the third section of the Music Medals BRONZE RECORDER ENSEMBLE lished other works for recorder. Each exam. Designed for teachers, this book PIECES FOR SOPRANO/ALTO volume includes a title page that lists provides detailed assistance on how to RECORDER. ABRSM, ISBN 1-86096- the name of the work, the composer, include development of musicianship, 603-9, 2005. SS/SA/SSS/SSA. Sc 23 pp. and an indication of the playing level for improvisation and sight-reading skills in a $9.25. each line of music in that work. group instruction setting. Activities in- SILVER RECORDER ENSEMBLE Copper Recorder Ensemble Pieces for clude rhythm games, scale practice, and PIECES FOR SOPRANO/ALTO Soprano Recorder includes 18 selections developing awareness of aural and written RECORDER. ABRSM, ISBN 1-86096- for two or three sopranos by 12 different harmony. Sample exercises for each level 604-7, 2005. SS/SA/AA/SSS/SSA/SSSA. composers. These are divided into two of Music Medals Options are included: Sc 31 pp. $9.25. groups according to the tone set used— Call & Response, Make a Tune, Question GOLD RECORDER ENSEMBLE reflecting the preference of some teachers & Answer, Sight-reading. Verbatim PIECES FOR SOPRANO/ALTO to begin instruction with G, A, B, C, D, spoken directions are included for the RECORDER. ABRSM, ISBN 1-86096- as opposed to B, A, G, low E, low D. teacher for each category. 605-5, 2005. SS/SA/AA/SSS/SSA/AAA/ Every piece in this collection is written SSSA/SSAA. Sc 40 pp. $ 11.50. in 4/4 with the rhythm predominantly PLATINUM RECORDER ENSEMBLE quarter and eighth notes and rests. This is an excellent PIECES FOR SOPRANO/ALTO Melodies tend to move stepwise for the resource for new or RECORDER. ABRSM, ISBN 1-86096- lines that are indicated as exam material. inexperienced teachers. 606-3, 2005. SS/SA/AA/SSS/SSA/SAA/ If a beat is subdivided, the pitch remains SSSS/SSSA. Sc 36 pp. $ 13.95. the same. There are no slurs, but staccato It would also serve MUSIC MEDALS RECORDER articulation is frequently indicated. well any novice players OPTIONS PRACTICE BOOK FOR Titles are generally reflective of the SOPRANO/ALTO RECORDER. style of the piece. Some pieces are duos or interested in ABRSM, ISBN 1-86096-517-2, 2004. SA. trios all at the “Copper” level, but others improving their Teacher manual 58 pp, student book have lines that are labeled as appropriate 10 pp. $17.25. for a teacher or the next (“Bronze”) level. overall musicianship. The Associated Board of the Royal Difficulty increases incrementally Schools of Music (ABRSM) in London through the Bronze, Silver, Gold and A separate student practice book of publishes a series of individual assess- Platinum designations. Platinum Recorder sample test questions (which can also ments for all instruments that is designed Ensemble Pieces for Soprano and Alto be downloaded from the web site) is specifically for students who receive Recorders features six duets, seven trios included with the teacher manual. instruction in group classes. Detailed and four quartets. Key signatures are The examples provided in this book information on the entire series is avail- generally favorable for recorder (D to F are progressive, beginning with three able at KEY: rec=recorder; S’o=sopranino; S=soprano; The A=alto; T=tenor; B=bass; gB=great bass; Recorder Magazine cB= contra bass; Tr=treble; qrt=quartet; we invite you to visit the site pf=piano; fwd=foreword; opt=optional; perc=percussion; pp=pages; sc=score; www.recordermail.demon.co.uk pt(s)=part(s); kbd=keyboard; bc=basso con- tinuo; hc=harpsichord; P&H=postage and handling. Multiple reviews by one reviewer are Please change your browser’s favorites list: American Recorder online is now followed by that reviewer’s name. Please submit at September 2008 33 Q & A ______Recorder vibrato uestion: Please advise what the usually best for slow, serious pieces, and Q consensus is regarding recorder Recorderists today use faster, narrower vibrato for lively pieces. vibrato. Are there certain genres where He discourages applying vibrato to notes vibrato is appropriate and others where it is vibrato to enliven their too short for four pulses. Therefore, you taboo? —Jim Sitton, Banning, CA would use very little if any vibrato in a fast nswer: Vibrato refers to a regular tone and help them play country dance tune or in a Jacob van Eyck Apulsing of a musical tone’s pitch and variation consisting mostly of eighth and intensity. There are various ways of pro- more expressively. 16th notes. ducing vibrato on the recorder. Only the According to Wollitz, vibrato can also two traditional kinds will be discussed ing the pressure of the breath and shading be applied to consort music, but much here: breath vibrato, which involves the tone by means of suitable fingering.” more sparingly. In consort playing, vibrato alternately increasing and decreasing the From the above discussion, we can “must be used very discreetly if at all, pressure or speed of air entering the wind- conclude that vibrato was part of Renais- and only at those moments when your line way, and finger vibrato (flattement), sance and Baroque performance practice, has genuine melodic importance. Even which involves alternately uncovering but the kind of vibrato used seems to have then it must be delicate and not too wide. and partially covering a tone hole. Exer- varied from one country to another. In … If all lines of a consort piece are cises in producing and controlling those playing French music of the late 17th and played with vibrato, the texture gets types of vibrato can be found in the early 18th centuries, we should definitely muddy, and perfection of intonation modern recorder method books included use flattement. The treatises are vague on becomes an impossibility.” in my reference list (on page 32). what kind of vibrato to use in early music As an example of a place in a Renais- There are a few brief references to of other countries and periods. sance quartet where vibrato can be used breath vibrato in historical treatises on Recorderists today use vibrato to enliv- effectively, Wollitz mentions a sustained musical instruments. Publications by en their tone and help them play more top-line note over moving chords in the Martin Agricola (1529 and 1545) and expressively. Since control of dynamics, four closing bars of Diego Ortiz’s second J.J. Quantz (1752) both noted that breath on which players of modern orchestral recercada on the 16th-century chanson vibrato improves the tone obtainable on woodwinds strongly rely for expressive- Doulce Memoire. Daniel Brüggen, a mem- the transverse flute. Therefore, we know ness, is very limited on the recorder, the ber of the Amsterdam Loeki Stardust that some Renaissance and Baroque recorder player must rely mainly on varied Quartet, cites a similar place in a motet by woodwind players in Germany used it. articulation and, to a lesser extent, on the 16th-century Spanish composer Jacques Hotteterre’s treatise on flute, vibrato. By varying the speed and inten- Tomás Luis de Victoria (see reference list), recorder and oboe playing (1707) made sity of the vibrations, the performer can ac- where he suggests applying breath vibrato no mention of breath vibrato, but recom- cent the most important notes in a melody to sustained notes in the upper voices over mended frequent use of flattement on long line, alter tone color, suggest dynamics, a straight tone in the bass line. notes (i.e., whole, half and dotted-quarter and reinforce the mood of a piece. Contemporary composers may call for notes). He provided specific fingerings for When to use vibrato, and how wide vibrato on certain notes in a consort piece. the effect, and noted that the speed of the and fast to make the vibrations are largely For example, in Indian Summer (2004), vibrato should depend upon the tempo subject to personal interpretation, but for SATB recorders, Matthias Maute and character of the piece. some general guidelines can be found in asks for finger vibrato on specific notes. Quantz, too, mentioned finger vibrato The Recorder Book by Kenneth Wollitz Continuous vibrato, although often in connection with what Italians called (included in my reference list). He states used by modern orchestral musicians, messa di voce, a gradual crescendo and that vibrato can be used quite freely should be avoided in recorder playing. diminuendo on a single long tone, pro- “when the recorder is functioning as a Brüggen feels that continuous vibrato has duced by combining finger vibrato with a solo instrument, in sonatas, trio sonatas, some advantage in masking intonation gradual increase and subsequent decrease and the like.” That would include Baroque problems, which is, however, outweighed in breath pressure. Sylvestro Ganassi, in solo works, either unaccompanied or with by its diminishing effect on flexibility of the earliest known recorder method book basso continuo accompaniment, as well interpretation. Wollitz, too, notes that (Venice, 1535), might also have been as conservative pieces composed in the vibrato, “if constantly present, diminishes referring to messa di voce technique when 20th and 21st centuries. (In contempo- its expressive force.” Frances Blaker, in The he wrote that “an instrument can imitate rary avant-garde music, the composer Recorder Player’s Companion (see reference the expression in the human voice by vary- often specifies where to use vibrato and list on page 32), especially discourages what kind to use, including some uncon- the “involuntary, tight and ugly vibrato … Send questions to Carolyn Peskin, Q&A Editor, ventional types such as labium, lip, particularly common among recorder 3559 Strathavon Road, Shaker Heights, OH 44120; tongue, and knee vibrato.) players with a lot of singing experience.” 34 American Recorder Order your recorder discs through the ARS CD Club! The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). All CDs are $15 ARS members/$17 Others unless marked otherwise. Two-CD sets are $24 ARS members/$28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site: NEW! ____BURIED TREASURE: TOPAZ & SAPPHIRE ____RENAISSANCE GLORY CHRISTMAS WITH Ensemble Vermillian. Frances Blaker, recorders; THE FESTIVAL CONSORT The Festival Consort: Barbara Blaker Krumdieck, Baroque ’cello; ____SWEET Douglas Mandell, tenor, recorder, crumhorn, sack- Elisabeth Reed, viola da gamba; Katherine Heater, FOLLIA, THE but, gittern, lute; Carol Menke, soprano; Alan Paul, harpsichord & organ.Transcriptions from Dietrich RECORDER ON TWO shawm, recorder, crumhorn; David Hogan Smith, Buxtehude’s Opus 1, additional pieces by CONTINENTS Ensemble Caprice. Matthias Maute shawm, recorder, crumhorn, sackbut; Joanna Buxtehude, and works by Heinrich Ignaz Franz von & Sophie Larivière, recorders. Purcell, Morley, Van Bramel Young, shawm, recorder, crumhorn, curtal; Biber, Johann Schop, and Johann Heinrich Eyck, Maute, Couperin, others. Atma Classique. Lyn Elder, bass, recorder, sackbut, hurdy-gurdy; Schmelzer. Fafarela, 2007. Jonathan Harris, cornett; Kristine Holmes, cornett, ____DOLCE MUSICA: A CONTEMPLATIVE ____TELEMANN ALLA POLACCA recorder; Suzanne Elder Wallace, alto. Christmas JOURNEY Eileen Hadidian, flutes & recorders; REBEL– Matthias Maute, recorders & traverso– music featuring voices, recorders, crumhorns. 2006. Natalie Cox, harps. Celtic, Renaissance & Medieval plays concerti and suites by G.P. Telemann. Dorian. ____WINDFIRE Charmaine: Charmaine Delmatier, melodies for recorder & flute with Celtic harp. ____TELEMANN: DUOS POUR FLUTES alto recorder; Steve Kostelnik, classical guitar; Terry Healing Muses. Ensemble Caprice. Matthias Maute & Sophie Hale, bass; Erik Hokkanen, violin. A refreshing mix- ____EAST OF THE RIVER Daphna Mor, Nina Larivière, recorders & transverse flute, Alexander ture of Andrew Lloyd Weber, American blues, fla- Stern, recorders; Omer Avital, bass & oud; Uri Weimann, clavichord. Six Telemann duos & sonatas menco, Celtic, and one original piece. Sarlin, accordion; Tomer Tzur, percussion. Haunting alternate with five fantasies for clavichord by Maute. 36 American Recorder