NOVEMBER 2001 PUBLISHED BY THE AMERICAN RECORDER SOCIETY, VOL. XLII, NO. 5 PUBLISHED BY THE AMERICAN RECORDER SOCIETY, VOL. Baroque Chamber Music Play-Along CDs! with Music and Performance Guides for Recorder Players Hours of playing Pre DiscContinuo and enjoyment Early Intermediate with early music Handel, Lully, Purcell, Corelli, specialists Consort Music of Lassus, Dowland, Arcadelt & more “Seldom will any of us get to be accompanied by such fine players!” The DiscContinuo “This is how practice should be!” Intermediate Telemann, Marais, Handel, Fresco- “...Best of all, they pick the most baldi & even more EXCELLENT music! DiscContinuo II Advanced Intermediate Bach, Philidor, Mancini, Handel Cantata with soprano Susan Rode Morris & even still more!
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Adding Percussion to Medieval and Renaissance Music by Peggy Monroe
Just as you wouldn’t use saxophones to play Medieval music, there are appropriate percussion instruments to use for added color in early music, especially in music for dancing. Monroe suggests how to choose instruments and provides ideas for playing them, caring for them, and using them creatively on your own. Order this information booklet and others in the series: ARS Information Booklets: Recorder Care, by Scott Paterson American Recorder Music, by Constance Primus Music for Mixed Ensembles, by Jennifer W. Lehmann Improve Your Consort Skills, by Susan (Prior) Carduelis Playing Music for the Dance, by Louise Austin The Burgundian Court and Its Music, coordinated by Judith Whaley Adding Percussion to Medieval and Renaissance Music, by Peggy Monroe Members: 1-$13, 2-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1-$18, 2-$33, 3-$44, 4-$55, 5-$66, 6-$76, 7-$86 U.S. Postage and handling included. Canadian and foreign, Add $1 per item.
AMERICAN RECORDER SOCIETY bOX 631, lITTLETON, cO 80160 • 303-347-1120
EDITOR’S NOTE ______Volume XLII, Number 5 November 2001
Sometimes as the urgencies of past ARS FEATURES board meetings were winding down and Play-Along Discs for Recorder Students: there was time to be a little more philo- An Overview...... 9 sophical about things, the attendees Recorder instruction has been greatly enriched by the development would agree that the underlying mission of of play-along materials designed especially for students, the Society would be perfectly achieved by Susan Groskreutz when everyone—everyone—played the re- 6 corder. Realizing that this was an imperfect Arranging String Music for Recorders ...... 16 world, of course, we couldn’t really expect The third in a series of articles by composers and arrangers that to happen. But if it could, if through discussing how they write and arrange music for recorder, the recorder everyone could come to love music, we would say, the world would be by Annette Mondrup free of the “stratagems and spoils” that DEPARTMENTS continually plague our human existence. Unfortunately, history is full of charla- Advertiser Index ...... 36 9 tans, reprobates, demagogues, murderers Book Reviews ...... 29 and worse who were actively and creative- Chapters & Consorts ...... 26 ly involved in making music. Although the Classified ...... 36 Taliban teach that those who listen to mu- sic will have molten lead poured into their Music Reviews ...... 19 ears on Judgment Day, the group of fanat- On the Cutting Edge...... 31 ics engaged in the current terrorism against Opening Measures ...... 33 the United States (as well as others who have used terrorist tactics in pursuit of all 20 President’s Message ...... 3 kinds of causes) may still include some Tidings ...... 4 who love music. ON THE COVER: EMA’s Star-Spangled Season, New York Recorder Orchestra Music has been used as an expression Illustration Bamboo Pipers Go to Belgium, ARS Business Members of intolerance as well as a means for over- by coming it. (Imagine the chilling, self-reve- Adam Niklewicz latory experience of singing “Onward © 2001 Christian Soldiers” during a Sunday ser- vice on September 16.) Like anything else, music can be misused, twisted, politicized, even hijacked for narrow purposes. Even the Taliban allow the performance of cer- BENJAMIN S. DUNHAM, Editor tain patriotic and religious songs. Al- Contributing Editors though it is difficult to find any unpleas- FRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews antness in the comforting voice of the re- CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music Reviews corder, perhaps the real danger for us is to EUGENE REICHENTHAL, Education; PETE ROSE, 20th-Century Performance withdraw into our own world of gentle GILLIAN KAHN, Design Consultant beauty without making the utmost effort to recognize and understand the harsh re- Advisory Board Martha Bixler • Valerie Horst • David Lasocki alities of other cultures and musics, or of Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy even the immediate world around us. Kenneth Wollitz If we could drop sweet flutes from air- planes instead of live ordnance, would this Copyright © 2001 American Recorder Society, Inc. create more harmony on earth? Could we Visit AR On-Line at: www.recorderonline.org American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and be sure that our recorders would be ac- November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine cepted as an offering of peace and not seen does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Word for Windows, or RTF preferred) or as an attachment to an e-mail message. They should be for the exclusive consideration of AR, unless otherwise noted. as the beginning of a musical crusade? Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF format, with fonts embedded. Benjamin Dunham Editorial office: Benjamin S. Dunham, Editor, American Recorder, 472 Point Rd., Marion, MA 02738; 508-748-1750 (business hours), 508-748-1928 (fax); [email protected]. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Scott Paterson, 77 Queensbury Ave., Scarborough, ON M1N 2X8, Canada. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings for review: Editorial office. Cutting Edge: Pete Rose, 13 Rutgers St., Maplewood, NJ 07040; [email protected]. Chapter newsletters and other reports: Editorial office. Advertising: Editorial office. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. ARS Chapters
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2 American Recorder PRESIDENT’S ______MESSAGE ______Building a bridge
ear friends, I am writing these words hatred, let us sow love; Donly a few days after the tragedy that where there is injury, struck New York and Washington. I don’t pardon; where there is think any of us will soon forget the terrible discord, union; where images: the plane crashing into the World there is doubt, faith; Trade Center Tower, the collapse of the where there is despair, hope; where there is towers, the faces of the rescue workers try- darkness, light; where there is sadness, ing so hard to find survivors, the anguish of joy.” people not knowing the fate of loved ones. * * * I wish I could forget the images of people As you read these words, it is mid-No- in the Middle East rejoicing that the “great vember. I wonder what the world will be Satan” had been brought to its knees or the like. Will the memories of the events of letter to the editor of the Atlanta Constitu- September 11 still burn in our memories, tion blaming the “liberal press, liberal con- or will the images have begun to fade as life gress, and the ACLU”—like it’s all our goes on? Only time will tell. A wise man fault that these events happened. I wish I once said that in the midst of death there is could somehow understand the depths of life. Out of tragedy comes a new, firmer re- the hatred that some people feel for the solve to move forward with our lives. Even United States and its institutions. We are as I write these words, airports around the taught to love our enemies and forgive country are opening; financial institu- those that wrong you. After what hap- tions, so badly affected by the destruction pened on this “Black Tuesday,” it’s going to of the World Trade Center, are slowly com- be awfully hard to love or forgive. ing to life; sports and other activities we There have been some tragedies in my once thought were the most important own life but nothing on the scale of the things in our lives are slowly resuming. events of September 11. The one thing that Activities of the American Recorder So- kept me going in my own time of trouble ciety also continue. At least we all hope was the faith that somehow, something they will continue. This is the month for good would come from the annual President’s what at first glance Is it possible that we Appeal. For some of seemed a hopeless situ- you, the timing for the ation. It is only this have at our disposal appeal could not pos- hope that good might sibly be worse. Yet, I come out of the most a tool—our love of think we can all recog- evil of acts that makes music—that could nize that in order for life tolerable. I would the Society to carry also like to think that become a bridge to out the activities that somehow, some way, it will best serve our might be possible to bring the peoples of members, dues alone reach out more effec- will not suffice. As tively to people around the world together your President, I the world. Is it possible in bonds of peace rather would ask you in the that we have at our dis- kindest way that I posal a tool—our love than hatred? know how, to consider of music—that could a contribution to this become a bridge to bring the peoples of the appeal. In so doing, you will be helping us world together in bonds of peace rather build the bridge that I spoke of earlier. Your than hatred? St. Francis of Assisi said it far help is most deeply appreciated. better than I ever could: “Where there is John Nelson
November 2001 3 TIDINGS Bits & Pieces ______The new Aviation Security Act Early Music America has announced the ______does not include language that might have appointment of Kenneth R. Perlow as in- terim executive director, effective Decem- restricted the ability of musicians to fly with ber 1, 2001. He will replace Beverly Sim- valuable instruments as carry-on baggage. mons, who is leaving after seven years as EMA’s executive director. Perlow spent the last 18 years as a computer scientist, quali- Recorder Players and Ensembles ty systems analyst, strategic planner, and organizational design consultant at Bell Part of “Star Spangled Season” Laboratories. A semi-professional gambist, he performs with the group Ars Musica Recorder players and ensembles appear duo from St. Paul, MN, with Cléa Galhano Chicago. Since 1996, he has been treasur- prominently throughout Star Spangled Hesperus, 10th-21st century cross- er and membership secretary of the Viola Season, A Roster of Early Music, a promo- over instrumental ensemble, with Scott da Gamba Society of America. tional publication put together by Early Reiss A von Huene Family Christmas is a Music America and eight early music pre- Música Antigua de Albuquerque, charming, privately issued CD celebrating senters in America with support from the Medieval/Renaissance/Baroque ensemble the Christmas season in words and music. National Endowment for the Arts. The pro- from Albuquerque, NM Readings in German by patriarch Fried- gram, spearheaded by Thallis Hoyt Musica Pacifica, Baroque instrumen- rich von Huene from Martin Luther’s Drake, the executive director of Early Mu- tal ensemble from Oakland, CA, with Ju- translation of the Bible alternate with tra- sic Now in Milwaukee, Wisconsin, invited dith Linsenberg ditional settings of seasonal music played American early music ensembles to be Piffaro: The Renaissance Band, Re- and sung by the whole family. The disc is evaluated for inclusion in the roster publi- naissance instrumental ensemble from available from the Von Huene Workshop, cation, which is being sent to concert pre- Philadelphia, PA 65 Boylston St., Brookline, MA 02445; 617- senters and sponsors throughout the na- Rebel, Baroque instrumental ensemble 277-8690; [email protected]. tion. Judging the applications were Louise from New York, NY, with Matthias Maute As sought by the American Federation Basbas, Music before 1800, August Den- Renaissonics, Renaissance instru- of Musicians, the new Aviation Security hard, Early Music Guild of Seattle, Thallis mental ensemble from Cambridge, MA, Act, passed by the U.S. Senate in mid-Oc- Hoyt Drake, Early Music Now, Polly Mc- with John Tyson tober does not include language that might Queen, Early Music America, and Martha Saltarello, 16th-21st century trio from have restricted the ability of musicians to Salzman, Arizona Early Music. Among the Somerville, MA, with Sarah Cantor fly with valuable instruments as carry-on 62 groups selected to be promoted for Tempeste di Mare, Baroque ensem- baggage. In addition to members of the bookings in the 2002-03 season are: ble/orchestra from Philadelphia, PA, with AFM, a coalition in support of the the Belladonna, Baroque quartet from St. Gwyn Roberts. needs of traveling instrumentalists includ- Paul, MN, with Cléa Galhano The full roster, with descriptions, pho- ed Peter Yarrow of Peter, Paul and Mary; Benevolent Order for Music of the tos, suggested fees, and booking informa- the Recording Industry Association of Baroque, Baroque quartet from Seattle, tion is available from EMA 114211/2 Bell- America (RIAA); the Department for Pro- WA, with Kim Pineda flower Road, Cleveland, OH 44106; 216- fessional Employees (DPE-AFL-CIO); the Galhano/Montgomery Duo, Baroque 229-1685. American Symphony Orchestra League (ASOL); the American Society of Com- posers, Authors, and Publishers (ASCAP); the National Academy of Recording Arts and Sciences (NARAS); and the National Association for Music Education (MENC). Musica Pacifica’s Bach Trio Sonata CD was re-released and is now available through Allegro Imports. The group’s newest CD just came out on Dorian: Tele- mann Chamber Cantatas and Trio Sonatas, with Christine Brandes and Jennifer Lane. The group played on the Seattle Early Mu- sic Guild series in September as a replace- ment for Musica ad Rhenum, who had to cancel because of the travel disruptions caused by the attacks on the World Trade Center and the Pentagon. A musical tribute to the late Bernard Sarah Cantor and Angus Lansing, two members of Saltarello. Continued on page 6
4 American Recorder New York Recorder Orchestra Tours England
The Recorder Orchestra of New York (RONY), the oldest regularly performing recorder orchestra in the United States, re- cently completed its first overseas tour. In July, the group spent ten days at the Benslow Music Trust north of London. The purpose of the trip was three-fold: to re- hearse almost every day; to perform two concerts; and to rendezvous with two Eng- lish recorder orchestras. According to founder and conductor Ken Andresen, “We accomplished all of those objectives. And we had a great time.” Perhaps the most striking aspect of the tour was having the chance to rehearse in- tensely. “Normally, we have rehearsals two weeks apart,” states Andresen. “A lot of the work we do gets lost in the interim and we wind up having to catch up a little each time. In England, everything was fresh in our minds. And when it came time to do our concerts, that made a difference.” zone Terza à 6. They were Andresen, Diana The Recorder Orchestra of New York in The first concert was held in Suffolk at Foster, Marvin Levine, Amanda Pond, Ani- front of Hengrave Hall. Conductor Ken Hengrave Hall, a Tudor mansion where ta Randolfi, and Patsy Rogers. Andresen is in center back, wearing a John Wilbye, the madrigalist, was em- In Bosham, where the cheerful vicar in- bow tie. To his right is soloist Anita ployed as Chief of the Minstrels from 1592 dicated a fondness for Baroque music, Randolfi, in black turtleneck. to 1628. For the second concert, the or- Randolfi and the orchestra also performed chestra traveled to Bosham (pronounced the Badinerie from Bach’s Orchestral Suite Bozzam), a picturesque coastal village No. 2 in B Minor. mentioned in the Bayeux Tapestry. The RONY also enjoyed two sight-reading to Edward MacDowell’s Midsummer, An concert itself was held in Holy Trinity sessions. The first was with members of the Hiawatha Overture by Samuel Coleridge- Church, a stone structure erected over the London Recorder Orchestra and their con- Taylor, and two of Farquhar’s own compo- ruins of a Roman basilica in the 9th centu- ductor Denis Bloodworth, who led the sitions: Symphony No. 1 in C Major and ry and expanded to its current size in the merged orchestras in music by Sir Edward The Steadfast Oak, written in recognition of 13th. Elgar, Ralph Vaughan Williams, and Ickwell’s famous tree. Both concerts began with Sweelinck’s George Butterworth. Once a few basic Another highlight of the trip was a tea- Diligam Domine, an organ motet arranged terms were translated (such as crotchet time lecture by Anthony Rowland-Jones for two choirs of recorders by Norman Luff, and quaver for quarter-note and eighth- on recorder iconography from the fifth a Londoner who joined the orchestra for note), the music soared—though Blood- century onward. Among the artworks he the duration of the tour. The last piece was worth was heard to mutter, “Every note discussed were a series of paintings by Tit- “Chinatown,” a sprightly example of ricky- was not a gem.” ian and a wooden carving in Christ’s Col- ticky jazz written in 1910 and arranged by Afterwards, Ken Andresen conducted lege chapel. A few days later, orchestra Denis Bloodworth. In between, the or- his own composition, The Boxwood members visiting Cambridge viewed the chestra played Peter Warlock’s Capriol Bounce, Grieg’s Jeg Elsker Dig, and a trio by carving, one of the Titians, and an original Suite; Edvard Grieg’s Våren; Wilbye’s Fan- Leroy Anderson. The three soloists were Handel manuscript. tasia à 6; Anatoli Liadov’s Six Russian Folk- Denis Bloodworth; Rich Geisler, founder All in all, the trip was a resounding suc- songs; Sir Malcolm Arnold’s English Dance of the American Recorder Orchestra of cess. “Having seen other orchestras, other #3; and David Hurd’s Suite in Three Move- the West (AROW) and visiting member of directors, other players, a lot of people feel ments (for 14 or more recorders), a piece RONY; and Norbert Kunst, the pony-tailed inspired,” Andresen states. To build on commissioned by composer Patsy Rogers leader of the Dutch group Praetorius. that, he intends to schedule an intensive in honor of her parents and premiered by A few days later, RONY met with the weekend rehearsal for the spring. Looking RONY in Spring, 2001. Peregrine Recorder Orchestra in Ickwell, a further ahead, he foresees a more spectac- As a change of pace, Anita Randolfi per- hamlet made memorable by a striped may- ular event: a conclave of recorder orches- formed two Telemann solos—Fantasia No. pole, a stupendous oak tree on the village tras that Norbert Kunst of Praetorius is 5 in F Major at Hengrave Hall and No. 6 in green, and several roofs in the process of hoping to schedule for 2004 in Holland. If F Minor in Bosham—and six members of being thatched. Under the direction of Ian all goes well, RONY will definitely be there. the orchestra played Giovanni Priuli’s Can- Farquhar, the combined group plunged in- Nancy Hathaway
November 2001 5 Bits & Pieces (cont.)
Krainis was organized by Seth Lachter- man on September 16 at the First Congre- gational Church in Stockbridge, Massa- chusetts. Performing were Helene Annas, Ed and Virginia Brewer, Jack Brown, Laura Jeppeson, Anne Lêgene, Eva Lêgene, Sonja Lindblad, Madonna Meagher, Deborah Morris, Dan Stepner, Daniel Waitzman, and Larry Wallach. Scott-Martin Kosofsky produced the program booklet. Members of the American Pipers Guild playing in Mechelen, Belgium. The Belgian early music magazine, Mu- sica Antiqua has been replaced by Contra Bamboo Pipers Go to Belgium (“counterpoint”), with an emphasis on discussion and polemic. The historic city of Mechelen, Belgium, was the setting this past summer for the In- Three groups from the Philadelphia ternational Course for Bamboo Pipe Players, sponsored by the Dutch Pipers Guild. area have been in the news. In October, Bamboo pipes are like recorders and are made by the players themselves. Nine National Public Radio’s “Sunday Baroque” members of the American Pipers Guild, including three high school students, program carried Tempesta di Mare’s traveled to Belgium to join over 200 others from twelve countries. Participants March 2001 U.S. premiere performance of chose from diverse offerings, including classes in pipe construction and playing the lute concerti of Silvius Leopold Weiss, technique, ensembles specializing in repertory of many different countries and peri- recorded in concert at Temple University ods, and workshops in Klezmer music, percussion, drama, art, and the history of as part of its Distinguished Artists Series. Mechelen. Everyone participated in one of five different orchestras, playing music Tempesta di Mare’s artistic co-director and composed specially for the occasion by well-known Dutch composers, as well as in lute soloist, Richard Stone, recreated the a choir singing in numerous languages. missing music based on the lute parts, In addition to frequent “fringe” concerts, impromptu performances, and jam which are all that survives of these works. sessions, performances were given each evening by the various country guilds. The The November concerts of Philomel American guild’s program was an “American sampler” of folk music from several re- Baroque Ensemble were headlined “Vir- gions of the U.S., much of it arranged by Charlotte Poletti of Hartford, Connecticut, tuoso Recorders” and involved recorder master teacher of the APG. This was the first time an American group had attended soloists Elissa Berardi and Rachel Begley in an international course, and the audience, who were curious about the Americans, a program of music by Bach, Schmeltzer, responded with enthusiasm, even joining in on the familiar “Oh Susanna.” It is tra- Telemann, and Pez. The current season of ditional at these events for the performing guild to host a reception after their pro- the wind band Piffaro offers collabora- gram featuring foods typical of their country followed by an activity. The Americans tions with three vocal ensembles, the Con- offered popcorn and square dancing! cord Ensemble and In Clara Voce from the Sarah Matthews United States and Capilla Flaminca from Belgium.
On April 19, the Amherst Early Music Players performed two works by Hieronymus Praetorius at The Metro- politan Museum of Art, including Fac- tum Est Silentium. This composition has been identified as the music depict- ed in Hendrick Cornelisz van Vliet’s painting of the van Dussen family, loaned to the Museum for the exhibi- tion “Vermeer and the Delft School.” The eight recorder players were fea- tured as part of a lecture on “Music and Meaning in Vermeer’s Delft” pre- sented by curator Walter Liedtke. The Amherst musicians, shown on the stage of Grace Rainey Rogers Audi- torium, are, from left: Tricia van Oers, Martha Bixler, Wendy Powers, Eric Haas, Morris Newman, Fred Gable, Deborah Booth, and Saskia Coolen.
6 American Recorder FOCUS ON ARS BUSINESS MEMBERS
AMERICAN ORFF-SCHULWERK ASSOC. and Yamaha recorders. Personal service. Free SCHOTT & CO., LTD. Cindi Wobig, Executive Director, P.O.Box pre-sale touch-up tuning/voicing. Instruments Judith Webb, Brunswick Rd., Ashford, Kent 391089, Cleveland, OH 44139; 440/543-5366; sent on approval. Lowest U.S. prices. TN23 1EH, England; 44-1233-628987; 440/543-2687 (fax); [email protected]; [email protected] www.aosa.org MAGNAMUSIC DISTRIBUTORS, INC. AOSA is a professional association of music Madeline Hunter, 74 Amenia Union Rd., SWEET PIPES INC. and movement educators whose purpose is to Sharon, CT 06069; 860/364-5431; 860/364- Laura Bergin, 6722 Brentwood Stair Rd., Fort promote the teachings and philosophy of Carl 5168 (fax); [email protected]; Worth, TX 76112; 800/446-1067 or 817/446- Orff. The association has approximately 5,000 www.magnamusic.com 3299; 800/576-7608 or 817/446-0484 (fax); members and 84 local chapters, holds an annu- Importer/distributor of recorders, historical [email protected]; www.sweetpipes.com al conference each November, and publishes woodwind instruments, shakuhachi, and harp- Publishers of recorder materials for students, The Orff Echo magazine and Reverberations sichords. Magnamusic holds one of the largest teachers, and performers: method books, solos, newsletter quarterly. inventories of early and contemporary sheet ensembles, editions of early music, miscella- music available in the USA & Canada. Free neous recorder items, and Aulos and Yamaha BOULDER EARLY MUSIC SHOP catalogs. Prompt, friendly service. Please refer quality plastic recorders. Ruth L. Harvey, 1822 Powell St., Erie, CO to our ad for a listing of manufacturer/publisher 80516; 800/499-1301; 303/926-4301; information. TOYAMA MUSICAL INSTRUMENT CO., LTD. 303/926-4302 (fax); info@bems; Takamura Toyama, 41, Oharacho, Itabashi-ku, www.bems.com MEL BAY PUBLICATIONS, INC. Tokyo 174, Japan; 81-3-3960-8305 We sell Medieval, Renaissance, Baroque, and William Bay, #4 Industrial Drive, Pacific, MO (U.S. agent: Rhythm Band Instruments, Inc.) folk instruments, and sheet music, gift items, 63069; 636/257-3970; 636/257-5062 (fax); accessories, books, CDs, and tapes. Store [email protected]; www.melbay.com UNIVERSE MUSIC Hours by Appointment, Monday-Friday, 10:00- David Young, 2633 Lincoln Blvd., Suite 328, 5:30. We also offer prompt mail order service. MOECK VERLAG Santa Monica CA 90405; 800/566-2862; +MUSIKINSTRUMENTENWERK 818/766-2862; 818/766-2872 (fax); COLLINS & WILLIAMS Sabine Haase-Moeck, Lückenweg 4, D-29227 [email protected]; HISTORIC WOODWINDS Celle, Germany; 49-05141-88530; 49-05141- www.davidyoungmusic.com Lee Collins, 5 White Hollow Rd., Lakeville, CT 885342 (fax); [email protected].; 06039; 860/435-0051 (phone & fax); www.moeck-music.de VON HUENE WORKSHOP/ EARLY MUSIC (U.S. agent: Magnamusic Distributors, Inc.) [email protected]; www.leecollins.com SHOP OF NEW ENGLAND Restoration, repair, and maintenance of fine in- Nikolaus von Huene, 65 Boylston St., PRB PRODUCTIONS struments. We offer authorized repair service Brookline, MA 02445-7694; 617/277-8690; Peter R. Ballinger or Leslie Gold, 963 Peralta for Moeck, Zen-On, Coolsma, Aura, Dol- 617/277-7217 (fax); [email protected]; Ave., Albany, CA 94706-2144; 510/526-0722; metsch, Mollenhauer, and other makers of www.vonHuene.com 510/527-4763 (fax); [email protected] quality instruments world-wide. The Von Huene Workshop makes and deals in fine Renaissance and Baroque woodwinds. Its PRESCOTT WORKSHOP HOUSE OF PORTER affiliate, the Early Music Shop of New England, Thomas M. & Barbara C. Prescott, 14 Grant Richard Eastman, 961 East Porter Ave., supplies recorders, flutes, reed instruments, Rd., Hanover, NH 03755-6615; 603/643-6442; early keyboards, sheet music, and related items. Naperville, IL 60540-5527; 630/355-0495; 603/643-5219 (fax); [email protected]; [email protected] www.prescottworkshop.com Featuring the compositions of Richard East- Baroque and Renaissance recorders personally WARNER BROS. PUBLICATIONS man, prize-winning contemporary composer. crafted by Thomas M. Prescott. Andrea Nelson, Vice President for Marketing Free sample and catalog on request. 15800 N.W. 48th Avenue, Miami FL 33014; PROVINCETOWN BOOKSHOP 800/327-7643; 305/620-1500; 305/621-1094 JOHN’S MUSIC, INC. Joel Newman, 246 Commercial St., (fax); [email protected]; Margaret Swain, 4501 Interlake N. #9, Seattle, Provincetown, MA 02657; 508/487-0964; http://warnerchappell.com; WA 98103; 800/473-5194; 206/548-0916; 508/487-9651 (fax) www.warnerbrospublications.com 206/548-0422 (fax); [email protected]; Pioneering in recorder and viol music mail www.johnsmusic.com order since the late 1950s. We don’t sell instru- YAMAHA CORPORATION OF AMERICA We feature recorders and recorder music, ments and can concentrate on filling music Michael Schaner, 3445 East Paris SE, Grand stands and accessories, Orff-Schulwerk books orders. Also offer a growing list of recorder Rapids, MI 49512-0899; 616/940-4900; and instruments, teaching resources for pre- editions by Andrew Charlton, David Goldstein, 616/949-7721 (fax); [email protected] senting early music in the classroom, early mu- and Joel Newman. www.yamaha.com/band sic and world music CDs, and hand percussion Markets both wooden and plastic recorders, from around the world. Web and mail orders RHYTHM BAND INSTRUMENTS, INC. along with brass winds, woodwinds, concert welcome. Ask for our free Education Catalog. Bob Bergin, P.O. Box 126, Fort Worth, TX and marching percussion, and all related 76101-0126; 800/424-4724 or 817/335-2561; accessories. LAZAR’S EARLY MUSIC 800/784-9401 or 817/332-5654 (fax); Bill Lazar, 1377 Bluebird Ct., Sunnyvale, CA [email protected]; www.rhythmband.com 94087-3212; 408/737-8228 U.S. distributor of Aulos recorders, plus Sweet Information supplied by [email protected]; http://members.aol.com/ Pipes recorder publications, Chromaharps, business members responding. LazarsEarlyMusic/lazarsearlymusic.htm bell sets, and a wide selection of percussion Importer/distributor of Mollenhauer, Küng, instruments.
November 2001 7
PLAY-ALONG DISCS FOR RECORDER STUDENTS: AN OVERVIEW
by Susan Groskreutz ECAUSE OF THE PLETHORA of available to eight volumes, though there is no pro- The second in a two-part B materials, writing an article about jected date as to when the last four will be play-along materials geared toward chil- completed. examination of play-along dren was a bigger project than I ever imag- This is the only method I know that materials for recorder ined. Thus, sit in a comfortable chair, get does not begin with a B on a soprano re- available on CD and tape. your yellow highlighter, and mark the re- corder. Rather, the thumb-hole as well as leases that interest you, as there is bound the upper six holes of the recorder are to be something here for virtually every temporarily closed with cloth tape, and teaching style imaginable. I had great fun the student begins with the lower notes. playing along with all of these CDs/cas- Tapes are removed as the student pro- settes and have begun to incorporate gresses. The advantage of taping the holes some of them into my teaching. Hopeful- shut is that the student is allowed to focus ly, readers will be able to do the same. (As attention on breathing, tone production, I mentioned in Part I, it is best to contact posture, and articulation. This system al- the producers of these products regard- so results in students who, from the be- ing any copyright restrictions before us- ginning, develop relaxed hand and ing them in performance.) thumb positions. Thus, as the cloth tapes The great majority of these materials are removed, students have already de- are pedagogically oriented, and thus, I veloped aspects of musicianship that can will begin with methods written specifi- be overlooked when students are strug- cally for recorder players. As in Part I of gling for the fingerings in the early stages. this article published in the previous AR, While Suzuki philosophy encourages I only looked at materials that require a beginning students to play without musi- CD or cassette player—no fancy comput- cal notation at lessons, it does not omit er programs are necessary. Since the great the teaching of notation. Intermediate majority of these materials are for sopra- and more advanced students are expect- no recorder, assume this, unless stated ed to both read while playing and to play otherwise. part of their lessons by memory. (A great feature of these Suzuki recorder books are Suzuki the tonguing indications included right An extremely important and fairly re- underneath the notes—and the record- cent addition to the recorder play-along ings are consistent with the indicated ar- repertoire is the Suzuki method. For the ticulations.) Suzuki teachers believe that most part, these are not play-along CDs; students should not read the notation rather, they are full-performance CDs until after they have heard and experi- with some play-along opportunities in- enced the music—just as students learn cluded. But Suzuki students are encour- to read a language after they can speak it. aged to both listen to these recordings Suzuki philosophy also demands some many times every day and to play along parental involvement. Many Suzuki par- with them when it is suitable to do so. ents learn to play the instrument along- The performers include Marion Ver- side their children. Parental involvement bruggen, Mary Springfels, and Arthur may decrease as the student progresses. I Haas. What a boon to young recorder stu- highly encourage those who decide to use dents to be able to play along with such this method to obtain Suzuki Teacher masters! Four volumes of the Suzuki training. Suzuki Volume 1 contains iden- Repertoire are now recorded both for so- tical music in the soprano and alto books, prano and for alto, and a fifth volume is in transposed appropriately. This first book the works. The current plan is to expand also includes beginning work with scales
November 2001 9 and other preparatory studies, tonaliza- WHERE TO FIND THE MATERIALS tion and a fingering chart. After this, the volumes for soprano SUZUKI and alto are not identical, and some se- Suzuki Recorder School, Warner Bros. Publications, 15800 N.W. 48th Avenue lections familiar as alto recorder pieces Miami, Florida 33014; 800-327-7643, ext. 7399 (like the Larghetto from the Handel Sonata in F Major for Alto) may show up Suzuki materials also available at: as soprano pieces if developmentally they Honeysuckle Music, Jean Allison Olsen, 1604 Portland Ave. St. Paul, MN 55104; 651-644-8545; [email protected] fill a niche. Volume 2 also includes begin- ning instructions on trills, mordants, ap- Detailed teacher information about Suzuki recorder is available at poggiaturas, and port de voix plus mor- www.suzukiassociation.org dant; the soprano book concludes with a or, contact certified Suzuki recorder teacher Kathy White at Menuet from Suite No. 4 by Dieupart 415-897-6500 or [email protected] . where students have the opportunity to use all of the ornamentation they have MUSIKit learned. Some major and minor scales Johns Music, 4501 Interlake Ave. N., #9 and arpeggios are included as well as Seattle, WA 98103; 206-548-0916; 800-473-5194; 206-548-0422 (Fax) many preparatory studies. The soprano [email protected]; www.johnsmusic.com/ book includes Bourrée in F Major by Han- GIA PUBLICATIONS, INC. del for soprano and a harmony instru- 7404 S. Mason Ave., Chicago, IL 60638 ment, and only the top part is on the 800-442-1358 or 708-496-3828; 708-496-3828 (Fax) recording, thus providing a play-along [email protected]; www.giamusic.com opportunity. Volume 3 includes articulation exam- MEL BAY PUBLICATIONS, INC. ples from Hotteterre and Quantz. The al- #4 Industrial Dr., Pacific, MO 63069 to book contains a play-along opportuni- 800-863-5229; 636-257-5062 (Fax) ty—“Chaconne” from Dioclesion by Pur- [email protected]; www.melbay.com cell for two altos and continuo is featured MUSIC MINUS ONE on the recording twice, once without the 50 Executive Boulevard, Elmsford, NY 10523-9921 bottom part and once without the top 800-669-7464, or 914-592-1188 part. www.musicminusone.com Along with selected repertoire, the al- to book of Volume 4 contains instruc- NINE-NOTE RECORDER METHOD tions on vibrato, flattement, as well as Penny Gardner, P.O. Box 900983, Sandy, UT 84090 double and triple tonguing. The soprano http://members.aol.com/PG9Note book also contains a Handel “Hornpipe” for soprano and tenor, in which only the SWEET PIPES, INC. soprano part is on the recording; thus, 6722 Brentwood Stair, Fort Worth, TX 76112 800-446-1067; 800-576-7608 (Fax) another play-along opportunity. Volume [email protected]; www.sweetpipes.com 4 contains more instructions on double and triple tonguing, but there is no addi- DON MURO tional technical work such as scales and JD Wall Publishing Co., Box 605, Merrick, NY 11566 arpeggios or other preparatory exercises. Distributed by Magnamusic., 860-364-5431; 860-364-5168 (Fax) All of the Suzuki books can be pur- [email protected] chased with accompaniment books. What you see in the accompaniment DE HASKE PUBLICATIONS books is not what you will hear on the De Haske International AG, P. O. Box 60, CH-6332 Hagendorn, Switzerland recordings. Arthur Haas improvised the 041-785-82 50; 041-785-82 58 (Fax) [email protected]; www.dehaske.com figured bass in his stylish way as he would in any concert. Kathy White then simpli- BEATIN’ PATH fied and thinned out these realizations, as Beatin’ Path Publications, 302 East College Street, Bridgewater, VA 22812 they will most often be played with piano 540-828-6903 rather than with a continuo team, and they can be managed by developing piano JPMC BOOKS INC. students. 80 Pine Street, 33rd Floor, New York, NY 10005-1702 212-344-5588; 212-344-5566 (Fax) MUSIKit [email protected]; www.jpmc.com The Suzuki materials would work best JIM TINTER PRODUCTIONS in a private lesson setting, but MUSIKit is 7777 Westfield Rd., Medina, OH 44256 an excellent method that would work 800-230-3577 (orders); 216-887-5500 (Phone/Fax) very well with groups of children in the schools. This is a very comprehensive
10 American Recorder method created between 1983 and 1991, quenced instructions concerning the var- sia, Scotland, Mexico, the West Indies, by Roger and Carol Buckton in New ious dances. Alongside the dance instruc- Greece, and the Cook Islands. The theo- Zealand. To fully describe MUSIKit would tions is historical information concerning ry writing pages, instead of being placed require a separate article. For those who political conflicts of the time. This could in a separate book, are incorporated with- prefer a more historical, interactive, mul- lead to the creation of mini-dramas that in the student book. As in Book 2B, the timedia approach to the teaching of re- include music and dance. A music writ- selections in each of the five units are al- corder (such as Orff teachers), these ma- ing book emphasizing theory concepts so arranged as ensembles (most pieces terials are really wonderful. appropriate to level 2B is also available. using full SATB consort) in the two won- MUSIKit Recorder 1 is for first year MUSIKit Recorder Book 2A is subtitled derful ensemble books that accompany players. Highlights from the student Baroque to Rock, and contains five units book 2A. book include several opportunities to with selections from the 18th to the 20th The recordings for book 2A include combine singing with playing. In the ear- centuries. The first unit contains some fa- voices, synthesizer, clarinet, violin, viola, ly stages, the more difficult parts of a tune miliar popular songs including “I’d Like guitar, electric guitar, synthesized guitar, are sung, and the easier parts are played. to Teach the World to Sing,” “ Sweet Bet- modern flute, Baroque flute, oboe, bas- For example in “Old MacDonald,” the sy from Pike,” “Morning has Broken,” soon, trumpet, organ, harpsichord, syn- student sings “Old MacDonald had a and a lovely recording of “Waltzing Matil- thesized balalaika, various percussion, farm,” and then plays BBAAG. The pro- da” both in simple and compound time. and of course, recorders. Thus, although gression of new notes is as usual, begin- The Second Unit includes selections book 2A is specifically targeted for re- ning with BAG, next going to low E and from Reggae, Blues, and Baroque music. corder players, anyone directing a school D, then F sharp. However, Book One also Baroque composers represented include band might find MUSIKit to be a very covers high E and G, something that is a Vivaldi, Purcell, Rameau, Handel, and valuable tool in giving the recorder equal bit unusual for a first book. Included are Bach. The Third Unit contains contem- status with the other instruments. My two of the pieces from the Big Ben Suite, porary electronic music—“Voyager” by biggest hope is that this material will reprinted from Sweet Pipes. Also includ- John Rimmer (1986), as well as “Recorder eventually be placed on CDs rather than ed is a series of rhythmic variations (Suzu- Rock” by Roger Buckton. The Fourth cassettes so that teachers can maneuver ki style) on “Twinkle, Twinkle, Little Unit, unfortunately, is not recorded on from one piece to another more easily. At Star.” A tune called “Witches Waltz” is the tapes, but includes “March” from the present time, the only US distributor performed entirely on synthesizer with Rossini’s William Tell, Weber’s “Hunts- for the MUSIKit materials is John’s Music some very unusual sounds. All of the men’s Chorus” from Der Freischütz, (see box). MUSIKit cassettes are “pick-a-track” Mozart’s “March” from The Marriage of tapes, in that the pieces have the accom- Figaro, Haydn’s “St. Anthony Chorale,” Other Methods paniment on one track and solo line on Offenbach’s “Can Can” from Orpheus in Besides Suzuki and MUSIKit, there are the other, with full performance in the the Underworld, and the Brahms “Lulla- many other methods with play-along op- middle. The teacher’s manual for the first by.” The decision not to record the fourth portunities. Sweet Pipes has two meth- year provides lesson-by-lesson assistance unit was largely due to the many great ods by Gerald and Sonya Burakoff that regarding teaching techniques for intro- professional recordings of this repertoire come with play-along CDs called Recorder ducing the recorder to beginners, which already available. The Fifth Unit includes Time and Hands on Recorder. Various se- can be very helpful in the all-too-com- tunes from around the world including lections from these books are recorded as mon situation of recorder being taught by music from England, New Zealand, Rus- full performances, but changing the bal- inexperienced players. Second-year students can work in a variety of books. MUSIKit Recorder Book Gerald Burakoff teaching children, as shown on the cover of the Music Minus One 2B, subtitled The First Five Hundred reissue, Let’s Play the Recorder, a method for the young beginner. Years—13th to 17th Centuries, contains a chronological progression of music from a Medieval market to music for Samuel Pepys. Thus, knowledge about historical style is gained alongside the increasing technical demands. A wonderful bonus is that most of the selections in this book are also included as full consort arrange- ments in a separate ensemble book. Thus, while some students are still mas- tering the soprano recorder, others can move on to alto, tenor and bass recorders. Parts for the B flat clarinet are also includ- ed. All types of appropriate historical in- struments are used in the performances (some are sung), and the very compre- hensive teachers’ manual describes them and identifies them verse by verse. The manual also has many carefully se-
November 2001 11 ginning student could zero in on intona- tion because of the lack of any distraction from accompaniment.
Sweet Pipes If you are searching for sheet music type play-along opportunities that are not necessarily methods, you will have plenty of titles to choose from in the Sweet Pipes collection. The CDs use various combi- Jump Right In is the only method combining recorder instruction with the nations of synthesized and acoustic ac- singing of solfège. Here, an example from the 334-page teacher’s manual. companiment. Every piece contains a full performance as well as a play-along ac- companiment. Sweet Pipes also sells the ance on your speakers removes the solo booklet-plus-CD guides students in im- scores in packs of ten at a reduced price. line and allows synthesized accompani- provisation through a variety of scales be- The majority of these pieces are on the ment only. A few tunes are represented in ginning with pentatonic, and progressing jazzy side, and young students would both of these books, but for the most part through blues and modal scales. It culmi- love them. Many of these pieces are writ- the tunes are different. Recorder Time em- nates in more complex improvisational ten for two or three players. If any of the phasizes American, European, Asian, and experiences such as a ii-V7 major/minor pieces are too simple for your more pre- traditional selections, whereas Hands on in several different keys. The final track is cocious students, you can often let them Recorder emphasizes “the musical diver- a blues progression in the key of B . The go off on an improvisational frenzy, using sity of a changing and expanding world.” vibrantly rhythmic accompaniments are the given notes as a framework. Each re- Both CDs were created by Alan Arnold. very easy to stay with, even for beginners. lease is discussed separately. The Music Minus One catalog also has Some of the later improvisations would Plymouth Rock, by Alan Arnold, is for reissued a 1974 method by the Burakoffs challenge high school students as well as two advancing beginners accompanied for the young beginner, Let’s Play the Re- adults. by synthesized rock stage band. The corder. Using the CD, you “hear each se- range is a ninth, from D to E using both F lection performed by the authors and Jump Right In sharp and F natural. The recorders play in then play it yourself with the recorded ac- A complex and comprehensive re- parallel rhythm in the A section, the B companiments.” corder method published by GIA Publi- section features call and response pas- You Can Teach Yourself Recorder, by cations is entitled Jump Right In. This sages, the C section returns to parallel William Bay, is another Mel Bay Publica- consists of two instructional books with rhythm but adds the special effect of flut- tion. It comes with a CD that contains full companion CDs as well as a 334-page ter tonguing, and the concluding D sec- performances of most of the tunes in the teachers’ manual. This is the only meth- tion is an amusing alternation of the two book but no strictly play-along opportu- od I have come across that combines re- players (a little drama could be added nities. However, the melodies chosen for corder instruction with the singing of here). The final note is flutter tongued. this book are very nice, and since the solfège. Interestingly, the CD that accom- The recorder-playing on the CD is syn- printed notation includes chord symbols, panies the first book provides accompa- thesized. students could also use this book for im- niment-only play-along opportunities for Calypso!, also arranged by Alan Ar- provising counter melodies and such. each tune, but the second book does not. nold, is a medley of three songs from the Both CDs teach all songs “by ear” before West Indies, “Tinga Layo,” “Missy Lost Do It! Play the Recorder teaching the reading of the notation. GIA the Gold Ring,” and “Mary Ann,” scored Do it! Play Recorder is a method for also sells a GIA plastic soprano recorder, for two beginning players. The synthe- children by Dr. James O. Froseth. Truly a respectable student instrument. Those sized CD is full of entertaining percussive targeted for beginners, the range begins who are using Orff or Kodaly, and use effects, including a whistle, as well as with BAG and ends with C to D with op- solfège in general music classes should some wild synthesized string passages. tional high E and G. The companion CD pursue this publication, because it clever- With the exception of four measures, the performs each tune at least twice, first ly weaves recorder instruction into the to- recorders parts are in parallel rhythm (of- with the accompanied solo line and sec- tal musical experience ten in parallel thirds). The recorder-play- ond with accompaniment only. The ac- ing on the CD is also synthesized. companiments are all acoustic, histori- Nine-Note Recorder Method Appropriate for third- through sixth- cally appropriate, and often quite delight- Penny Gardner has produced a grade students, A Ram Sam “Jam” Plus ful. As an added bonus, the many method-plus-CD called Nine-Note Re- Three, arranged by Bradley L. Bonner, in- accompaniment styles are defined and corder Method. This consists mostly of cludes four songs for two recorders repre- explained in the student text. This duets, and includes works with the alter- senting polyrhythm, blues, Mariachi, and method was reviewed at length in the Jan- nate fingering for B. The companion CD, jazz, with very rhythmic, percussive, uary 1997 issue of American Recorder. however, includes only the synthesized acoustic full performance and accompa- Instructors who want to emphasize recorder parts, with no accompaniment. niment tracks, with acoustic recorder improvisation could supplement Do It! Every tune in the book is included on the playing by Bradley Bonner. The top re- Play Recorder with another publication of CD, and the tempos are very slow and ap- corder part is for an advancing first year Dr. Froseth’s called Do It! Improvise. This propriate for very young beginners. A be- player, and the bottom part is for a begin-
12 American Recorder ning first-year player. The printed music be able to picture the string bass player ers combined with young voices during also contains a score for pitched and non- plucking away. As is typical in this type of concerts or assemblies. They can be per- pitched percussion instruments. Each music, some of the rhythms are challeng- formed with recorders on both parts, piece is repeated several times on the CD, ing. However, the two recorder players voices on both parts, or with a combina- allowing teachers and students to do are in parallel rhythm throughout. tion of voices and recorders. The three something creative on each repeat. The Swingin’ Recorders for two beginning songs are called “I Hear Music,” “Lift Your tracks on the recording are very helpful; recorder players, also by Ken Harris, con- Voice,” and “Song of Brotherhood.” My the first time through features the top re- tains four original compositions illustrat- favorite is the “Song of Brotherhood,” be- corder part, the second time features the ing swing, waltz, Latin and rock. cause it involves complementary rhythm bottom part, and the third time combines Rhythms are challenging, but the re- and contrary motion between the voices. both parts. corder parts are in parallel rhythm I can hear this song in my mind’s ear be- The Big Easy by Bradley Bonner is a mi- throughout, often in unison. The synthe- ing sung by a fourth or fifth grade choir. ni-method book teaching the notes B, A, sized accompaniment is played by Ken No parent will be able to leave with dry G, E, D, and F to the first-time recorder Harris, with acoustic recorder playing by eyes. player. This publication could really add Bradley Bonner. I especially enjoyed the Adventures in Style contains ten brief excitement to the first few recorder synthesized accompaniment to “Rock,” pieces by Alan Arnold in contrasting lessons of a new student. Each new note which has a swinging eight-measure solo. styles including waltz, polka, cha-cha, gets a separate lesson with its own CD The final Sweet Pipes publication is a and Baroque. My favorite in this collec- track followed by a piece using only the CD entitled Three in One. This contains tion is a “rah rah rah and sis boom bah” notes that have been taught. This piece is piano accompaniments (no complete tune called “The Football Hero.” I also then presented with a synthesized, but performances) played by Sonya Burakoff like “Treble Trouble,” which begins very realistic, accompaniment track. (The for three separate Sweet Pipes publica- sounding like the “Hokey Pokey,” but recorder on the CD is acoustic, played by tions: Big Ben (SP2302), Lift Your Voices then drifts off into its own ideas. Bradley Bonner.) The first note intro- (SP2354), and Adventures in Style duced is “B,” and this lesson is followed (SP2361). Paul Clark wrote his suite of Don Muro by a tune called “Bossanova with a B,” nine Big Ben pieces during his first trip to Don Muro has composed a series of 12 which is sung by Bradley Bonner. Al- the United States in the summer of 1978. packets of original compositions that pro- though students play only the note “B” in These pieces are for beginning recorder vide play-along opportunities. Some this piece, they do so with interesting syn- players and use only the notes of the pen- come with a cassette, others with a CD, copated rhythms. The accompaniment tatonic scale (D, E, G, A, B, D). These are and others with a choice. All contain full doubles the syncopated rhythms to help great pieces with many interesting com- demonstration performances as well as guide the students. The lessons preview plementary rhythms between the re- accompaniment-only play-along oppor- some of the melodic material that stu- corder and the piano, and Sonya plays a tunities. All are performed by Don Muro dents will find in the subsequent pieces. fine accompaniment with slight ritards in on synthesizer and the late Gerald Bu- Masterwork Themes for Three Soprano appropriate places, which will force stu- rakoff on recorder, with the exception of Recorders, arranged by Bradley L. Bonner, dents to listen actively. Tempos are ap- the last publication, 8 More “Easy” Songs, includes longer, well-known themes by propriate for young players. which was performed by Deidre Muro on Haydn, Beethoven, Rossini, and Lift Your Voices by Gwendolyn Skeens, recorder. Tchaikovsky. This could be used by ad- contains three very easy but lovely songs The King’s Highroad was commis- vancing beginners as well as middle for young voices and beginning recorder sioned by the Long Island Recorder Festi- school students. Several levels of skill are players accompanied by piano. These val. As the first commercially published covered in the three parts; the lowest part songs were composed to accommodate piece for recorders and synthesizers, it is designed for the beginner, while the top large groups of beginning recorder play- was the release that began the whole in- part can be a challenge for the junior high dustry of play-alongs for recorder. It is an student, especially the Rossini theme enjoyable melody for an advancing begin- from the William Tell Overture. There are ner or early intermediate player requiring five recorded tracks for each Masterwork Don Muro’s The King’s a range from low C to high G in the first theme. Track one is a live recording of the soprano part. There are optional parts for three soprano parts, unaccompanied. Highroad was a second soprano as well as an alto/tenor Track two is accompaniment. The other part. On the first page, all three recorder three tracks feature each recorder part commissioned by the Long parts are in unison, but they break into separately with the accompaniment. Island Recorder Festival. separate parts on the second page, where Country Swing by Ken Harris is one of the second soprano plays mostly a third my personal favorites in the Sweet Pipes As the first commercially below the first, and the alto/tenor play- collection. This contains four original published piece for er(s) break into tonic and dominant sup- compositions called “Country Swing,” porting harmony. The final section places “Country Ballad,” “Boogie Swing,” and recorders and synthesizers, the tune in canon. This is available on “Jazz Swing,” for two recorders. Playing cassette only, and I would hope that it will level is easy/intermediate with a heavy it was the release that began be available on CD soon. emphasis on the forked F. Although the the whole industry of play- A Touch of Spain is a very nice, rhyth- accompaniment and the recorders are mically interesting, melody for an inter- synthesized, in your mind’s eye, you will alongs for recorder. mediate player accompanied by percus-
November 2001 13 sive Latin rhythms (available only on cas- running mostly in parallel thirds and/or rhythms become slightly more complex sette). Optional parts include a second fourths. as the notes are added. soprano recorder, an alto/tenor recorder, Rockin’ Easy is, as its title suggests, is Friends are Always There is a lovely and a nice, rhythmic piano part. If you an easy piece for beginners. With the ex- melody for one or two beginning players. have a good pianist and a bit of percus- ception of four measures, the two re- For the first 72 measures, the two re- sion, you won’t need the tape. Some- corder parts are in parallel rhythm and corder players are in unison. On the last times, all recorder parts are in unison, have no difficult or syncopated rhythms. page, there are 24 measures where the and sometimes they break into separate The recorded accompaniment is quite two recorder parts break apart, to return parts, again with the soprano recorders lively. Again, the two recorder parts are of- to unison for the final eight measures. running primarily in parallel thirds with ten in unison or running in parallel This is indeed a captivating melody with supporting harmony in the alto/tenor thirds, but this piece does have a few a wonderful synthesized accompaniment part. spots with contrary motion between the that starts out subdued with mostly pi- Capriol’s Caper is a medley of three recorder players. ano, adds lovely touches along the way dances from Arbeau’s Orchésographie— Swingin’ Easy, for one or two beginning (synthesized oboe solos that sound so re- the Tordion, Pavan, and Bouffon. These recorder players, differs from Rockin’ Easy al), and builds to quite a grand accompa- are scored for SATB recorders and are ap- in that it is accompanied by a “big niment near the end. And, Mr. Muro has propriate for intermediate players. These band”sound. There are some difficult also given this song a text, and a singer are refreshingly different, as the Renais- rhythms; however, the accompaniment could have as much fun with this accom- sance rhythms combine with contempo- jumps onto the melody and doubles it, so paniment as a recorder player. rary synthesized sounds on the tape. At these rhythms should be easily accessible Introducing B-A-G consists of six very the end of the Tordion is, for lack of bet- to beginners. Again, the two recorder easy pieces for the absolute beginner. The ter words, a descending electronic glis- players are in unison much of the time first piece uses only a B, then the A is sando leading right into the Pavan. Dur- except at the end, where the second play- added, and then a piece called “GA - GA” ing the Pavan, the tape accompanies the er takes the main theme and the first play- comes in using, you guessed it, only the melody with “whisping” synthesized er plays a counter melody above. notes G and A. Finally, “Land’s End,” us- sounds. There is some doubling of Easy Eight and 8 More Easy 8 Songs are es all three notes. Rhythms are also very melodies by the synthesizer on the ac- two sets of add-a-note pieces for one be- elementary. How many ways can we companiment side of the tape, especially ginning recorder player. The pieces begin teach BAG on a soprano recorder, year af- on repeats. This is an excellent way to with the note B and work into an eight ter year, without driving ourselves in- bridge the gap between Renaissance mu- note D Mixolydian scale (F and C are sane? Recordings such as this are certain- sic and modern synthesized music. not used). These are all nice pieces with ly a help. If you need to listen to a class- Recorder Rock is a great piece, and active accompaniments. The ultimate room full of students blowing away at youngsters will love it! This is for inter- challenge is to create a piece that uses on- nothing but a B on a soprano recorder, mediate recorder with optional second ly the note B on a soprano recorder that you might as well use the “Queen B” soprano and alto/tenor. While the two so- does not drive both teacher and student piece with its lively accompaniment! prano recorders are often in thirds, and to distraction. And the first piece in Easy Soon to be released by Don Muro is the first soprano and alto/tenor are often Eight, appropriately named “All Alone,” another title—Give Me Five! (which I have in unison (or octaves), there is an inter- does seem to accomplish this. In both of not yet heard) for the beginning soprano esting counter-melody in the second so- these publications, the rhythms become player. It contains five add-a-note pieces, prano part that is played against a sus- slightly more complex as the notes are starting with the note B. Each new piece tained G. The cassette tape also features added, so they might make great supple- adds one note at a time—A, G, E, and D. interesting counter melodies as well as ments to your standard method book. In This includes one score with an accom- amusing synthesized horn-honking 8 More Easy 8 Songs, I especially enjoyed paniment CD. sounds during rests. The rock rhythms a piece called “Sanctuary” with its East- are great, both in the score and on the ern sounding accompaniment, as well as De Haske Publications tape, and the synthesized accompani- “Island Dance” with its Latin rhythms. Similar to the Don Muro publications, ment is a real attention-getter. Don Muro Six for Two is very similar to Easy Eight De Haske Publications in Holland has re- is considering producing CDs for these in that it consists of add-a-note pieces for leased seven play-along CDs for children. first four titles (RM1, 2, 3, and 4), but a fi- beginners, but this time, two beginners. Merry Christmas, #1002059, produced nal decision has not yet been made. The first piece uses the notes BAG, and by Jaap Kastelein, consists of 16 familiar Simple Serenade was recorded in 1988, each subsequent piece adds one more Christmas songs for the advancing begin- and thus is available on cassette or CD. I note, again spreading out to a D Mixoly- ner (considered grade 2 out of 5) with a only tried out the CD. A gentler composi- dian scale. I have two favorites in this CD containing very pleasant synthesized tion with no syncopated rhythms in the book. The first, a tune called “Big Sky” performances played by Peter van der recorder parts, Simple Serenade can be has a “big” accompaniment—sounding Zwaag. This particular CD is not really a played by one or two beginning soprano almost as if it could be used as a sound- play-along, since it includes full perfor- recorder players. In fact, the two recorder track to an adventure movie. A piece mances only with no separate accompa- players are in parallel rhythm through- called “What’s That” has some amusing niment tracks. The melodies are played out, making this a good choice for a first sounds going on during rests, including by various synthesized instruments such experience playing with a recorded ac- whistles, coughs, chicken clucking, and as strings (sometimes with choir), bells, companiment. Playing in unison alter- numerous sounds for which I have no piano, and guitar. Occasionally, a lovely nates with breaking into separate parts, words! Like the Easy Eight series, the sounding oboe (synthesized, but sound-
14 American Recorder ing quite real) sneaks in. The orchestra- song—the tracks are mostly accompani- Play Back Festival is an tion for some of the pieces is really grand, ment with occasional doubling of the with a large full orchestral sound. “Silent melodic line, and lots of “hints” thrown enjoyable collection of 37 Night” has some great passagework for in by various instruments when there is the piano with arpeggiation running up no strict doubling. New in this publica- familiar traditional tunes and down the piano. tion are three pieces with accompanied that become progressively A Song for You consists of ten newly improvisation in the middle of the song. composed and traditional songs for the A bell sound alerts the soloist that the im- more difficult for the beginner (considered grade 1 out of 5). provisation is in its last measure. Curi- The CD contains full performances and ously, the printed music does not state advancing beginner. accompaniment tracks. The background the number of measures of improvisation This is a “kinder, gentler” accompaniment is synthesized, but the that there will be—something that would recorder on the full performance tracks is definitely be of help to young students. introduction to the acoustic, nicely performed by the com- The Sound of Pop, Rock & Blues consists poser—Otto M. Schwarz. The songs are of ten newly composed tunes for the ad- technique of playing with cute and sound like their titles—oinking vancing beginner (considered grade 2 out a CD, because the in “Pig’s Song,” quacking in “Duck’s of 5) by Michiel Merkies. The songs illus- Dance.” trate rock, reggae, ballad, blues, rock accompaniment will Play Back Festival, produced by shuffle, motown/gospel, and pop. The occasionally jump onto Michiel Oldenkamp and Jaap Kastelein, CD contains both full-performance and is an enjoyable collection of 37 familiar accompaniment-only tracks, and synthe- the melodic line and traditional tunes that become progres- sized accompaniment is again graced sively more difficult for the advancing be- with acoustic recorder playing by Jeroen throw little hints. ginner (considered grade 2 out of 5). The van Lexmond. Included is one duet called CD is accompaniment only—no com- “Having a Good Time” where both sopra- plete performances are included. Howev- no recorder parts are omitted on the ac- er, this is a “kinder, gentler” introduction companiment track. “Banana Blues” has to the technique of playing with a CD, be- a 12-measure improv section in which the cause the accompaniment will occasion- printed music supplies suggested notes ally jump onto the melodic line and as well as chord symbols. The selection throw little hints. Some of the songs are that really woke me up is called “Talk of very short—eight measures—and most the Town.” I can just picture the guitar are not repeated on the CD. Thus, just players all over the stage producing their when you get into the song, it’s over. Of wild “acidy” sound. And then, I thought, course, you can hit your “repeat” func- “You want me to play a soprano recorder tion on your CD player, but then you get with this?” But, I have to admit, it didn’t the introductory tempo taps again as sound half bad. well. Tempos are slow and appropriate for Romantic Latin is a rare publication— young beginners. Continued on page 35 First Swing & Pop consists of ten origi- nal composition by Fons van Gorp for the beginner (considered grade 1 out of 5). The beginning of Robert Amchin’s “Dance in Seven” from Beatin’ Path The CD has both full performance tracks Productions. The recorder parts contain some challenging rhythms. The and acoustic accompaniment tracks per- pitched and non-pitched percussion parts are well within the performing range formed by Jeroen van Lexmond on re- of middle school students. corder, Fons van Gorp on piano, Richard Hallebeek on guitar, Willo de Bildt on bass, and Andre Maes on drums. My fa- vorite is “There’s Always Hope,” a sooth- ing song with accompaniment that could conceivably be performed during a wor- ship service. The songs range in length from approximately 40 to 60 measures, and the recorder parts are all two pages long. Funny Tunes consists of 30 traditional, folk, and Classical tunes for the beginner (considered grade 1 out of 5) arranged by Jaap Kastelein. The accompaniment is synthesized, but the acoustic recorder is performed by Jeroen van Lexmond. The CD contains only one track for each
November 2001 15 Composers/Arrangers Arranging String Music for S A RECORDER TEACHER at a played but would probably not sound es- A Danish music school, I am always pecially beautiful. The high C on the des- Recorders looking for material to play with my con- cant recorder is mostly not in tune and re- sort. We prefer to play early music from quires a very good player, and the suite by Annette Mondrup the Renaissance and Baroque periods, was arranged for students and amateurs. and for that purpose the Internet is per- Similarly, in the third section of the fect. With a little help from my friends, I gigue, the original upper voice is general- have found some very interesting sites, ly very high. This caused us to inter- for example, Johan Tufvesson’s site, change treble 1 in a couple of places: (www.lysator.liu.se/~tuben/scores/) where from bar 45 to bar 48, and bars 56 and 57, I found Suite à 5 composed by Johann after which the descant takes over in bar Wilhelm Furchheim. It looked interest- 58 as an echo. In bars 60-62, the melody ing but unfortunately was written for line is too low for the descant, which strings, so I had to do something about it. again led us to interchange descant and As usual, I made the recorder arrange- treble 1. When moving the melody line ment of this suite in cooperation with my we are careful to not break up any theme brother, Christian Mondrup. unit. As the gigue is made up of short sim- At first we had to decide which re- ple themes of from two to four bars, it is corders to use and in which key to play. easy to move passages around. The suite, originally in B minor, was When the consort plays the suite, I transposed a whole tone down to A minor take care to double the two treble re- to make it more playable for recorders. corder and the tenor recorder parts. Because the range of recorders is limited When the descant does not play the lead- compared to that of the string instru- ing voice, it must be as soft as possible, so ments, we had to move some passages the descant part should not be doubled from one part to another. This was true or else it can easily drown the melody. Be- especially for the gigue. Below, I will try to sides that, a single descant recorder is describe how we worked out our arrange- easier to keep in tune. I do not have to ment of that movement. worry about the bass because the harpsi- We arranged the whole suite for des- chord (and possibly an additional basso This is the third in a series of arti- cant recorder, two treble recorders, tenor part) will amplify it. cles featuring the works of com- recorder, and F bass recorder. Below the I have only tried to describe how we bass recorder part, we added the original, arranged the gigue, because in this move- posers and arrangers who write for unfigured basso part with a realization for ment we had to make the most changes the recorder. Each installment will harpsichord (not showing in the excerpt compared to the original composition. be accompanied by discussion of the printed here). In bars 1-5, we transposed You can find the whole suite, score and the composer’s own working meth- the bass recorder part one octave up be- parts, including the basso continuo part, ods, including performance consid- cause it is inconvenient for a bass re- at www.saers.com/recorder/mondrup. I erations that went into creating the corder to play a low G . (Many bass re- highly recommend playing it. Furchheim corders do not have double holes to facil- is early Baroque and his music goes well selected piece of music. It is hoped itate low G and F .) From the two last with the recorder sound. Besides that, it that the considerations that com- notes of bar 70 until bar 72, we again is a beautiful piece! posers and arrangers have to keep transposed the bass one octave up be- in mind will be of general interest to cause the F bass cannot play low D and E. Annette Mondrup studied recorder at the all AR readers, who will also be able Instead of just transposing single un- Music Conservatory in Aalborg, from which playable notes, we will often octave the she graduated in 1979. For the past 25 years to add to their music collection a entire phrase rather than possibly spoil she has been a recorder teacher at a music series of performable short pieces or the melodic continuity of the part. school in Aalborg. She and her brother, excerpts. From bar 31 to the first note of bar 37, Christian Mondrup, have been responsible Stan McDaniel, Series Editor we interchanged the descant and treble 1 for creating many recorder arrangements of parts, because the original upper part is early music and making them available on too high for the descant. It could be the Internet free of charge for all to enjoy.
16 American Recorder From Suite à 5
A MIDI playback of this piece is available in AR On-Line at
Mollenhauer, MUSIC Yamaha, REVIEWS Kung ______Recorders ______Patriotic medleys and marches, early ______music from England, France, and Italy, Free presale and a version of Gershwin’s Rhapsody in Blue tuning/voicing Sent on approval ELIZABETHTOWNE SUITE, BY WAYNE L. nally returns to 4/4 in a polyphonic quar- WOLD. Arcadian Press AP127, 2000. SATB, tet setting. Movement 3, “Spiritual,” is my sc 8 pp, pts 4 pp each. $5.95. favorite. Its syncopated blues-like melody Lowest US Prices YOU’RE A GRAND OLD FLAG, BY is first played by the solo tenor and later GEORGE M. COHAN, arr. Stan Davis. Arca- broken up and tossed between parts like Quality instruments dian Press AP 115, 2000. AATB, sc 3 pp, pts motifs in early Baroque music. The jolly 1 p each. $4.95. melody of the last movement, “Pipings” Individual, SEMPER FIDELIS MARCH, BY JOHN (“a foot-stomping, fast-fiddling, colonial- courteous, custom PHILIP SOUSA, arr. Stan Davis. Arcadian era barn dance”), is introduced by the solo service Press AP 116, 2000. SATTB, sc 4 pp, pts1 alto; then the other parts join in with p. each. $4.95. rhythmic, hocket-like accompaniments, These four editions can provide a patri- culminating with a flurry of Scottish snaps Bill Lazar otic sparkle to performances and recre- in a surprise ending. It is obvious that the [email protected] ational playing, particularly around Amer- composer is a recorder player and skillful (408) 737-8228 ican holidays such as Presidents’ Day, composer because each part fits well, has a http://members.aol.com/ Memorial Day, and the Fourth of July. The variety of challenges, and has an opportu- LazarsEarlyMusic/ players who tried them out with me were nity to shine. lazarsearlymusic.htm very enthusiastic and intend to introduce The familiar “You’re a Grand Old Flag” them to their own groups. The scores and practically plays itself and is an instant suc- parts are clearly printed on cream-colored cess. Alto players will enjoy having the top- paper and inserted in an attractive folder of part melody, which shifts for a few mea- the same paper, but the print on the scores sures to the tenor, and those playing the ac- is too small for playing from and almost too companiment parts will be challenged small to conduct from. with interesting rhythms. In “Semper Fi- Elizabethtowne Suite “pays tribute” to delis,” the melody is shared between the the 18th-century founders of Elizabeth- soprano and alto. The other parts are a lit- towne (the original name of Hagerstown, tle more difficult than those in “Grand Old Maryland) with music in the style and spir- Flag,” and work will be needed to achieve it of early America. It was dedicated to the ensemble precision. Although this piece is Elizabethtowne Consort, a recorder group listed as a recorder quartet, the tenor part founded in Hagerstown in the 1970s, and divides in one section, requiring at least to the memory of its founder, Louise B. He- witt. The composer, Wayne Wold, is assis- tant professor of music at Hood College in “You’re a Grand Old Frederick, Maryland, director of chapel Flag” practically plays music at Camp David, and composer of over 100 published works. itself and is an instant The first of the suite’s four movements, success. Alto players will “Voluntary,” was inspired by the improvi- sational-style keyboard works of that enjoy having the top-part name. It is a set of variations on a sixteen- measure melody that each of the four re- melody, which shifts for a corders has an opportunity to play, some- few measures to the tenor, times in duet, sometimes with the other three parts. The second movement, and those playing the “Chorale,” is not, as its title suggests, a ho- accompaniment parts will mophonic setting of a sturdy melody but is more like a chorale prelude. The tune, in be challenged with 4/4, is introduced by the solo soprano, la- interesting rhythms. ter transformed into a trio in 6/8, and fi-
November 2001 19 MUSIC REVIEWS (cont.)
five players. Extensive and interesting notes about the composer and piece are in- cluded with this arrangement of “Semper Fidelis,” which “is considered by many musicians to be Sousa’s most musical and inspired march.” Fifteen other arrange- ments of marches for recorder ensembles are listed in the Arcadian Press catalog. A recorder group playing marching band music that is well arranged, as are the two pieces reviewed here, with precise articula- tion and good intonation, can sound re- markably like a calliope!
ENGLISCHE VIRGINAL MUSIC, ARR. RONALD J. AUTENRIETH. Moeck 719 (Mag- namusic), 1999. SATB, sc 6 pp. $5.00. THE FOUR SECULAR SONGS, BY THOMAS TALLIS. London Pro Musica EML 367 (Magnamusic), n.d. 4 voices or instru- ments, 4 sc 8 pp ea. $7.50. THE PURCELL COLLECTION, ED. LAR- RY BERNSTEIN. Dolce DOL 121 (Magnamu- sic), 2000. SATB, sc 31 pp. $9.50. Write or call for free catalogs HENRY PURCELL’S BRASS MUSIC and specify areas of interest. FOR QUEEN MARY’S FUNERAL, ED. DALE TAYLOR. Dragon Run Press DRP-RC2 Boulder Early Music Shop (P.O. Box 2430 Pensacola, Fl 32513-2430; 888-422-7675 x1079#), 2000. SATB, 4 sc P.O. Box 428 1 p each (plus 1 p each in original key). Lafayette, CO 80026 $8.00. VARIATIONS ON MAGGIE LAUDER Monday through Friday: FROM ROBERT BREMNER’S HARPSI- CHORD AND SPINET MISCELLANY, 10:00 am - 5:30 pm ARR. DALE TAYLOR. Dragon Run Press DRP- R01, 2000. S’oSSATB recorder orchestra, 1822 Powell Street sc 10 pp, pts 1 p each. $12.00. For his collection of Englische Virginal Erie, CO 80516 Music, arranged for recorder quartet, Aut- enreith has selected four pieces from vari- 800.499.1301 ous periods when the virginal and harpsi- 303.926.4301 chord were popular in England. The Eliza- bethan period is represented by two pieces Fax: 303.926.4302 by William Byrd: “The Earl of Salisbury Pa- E-mail: [email protected] vane” and “Carman’s Whistle” (titled Web: www.bems.com “Fuhrmannsweise” in this German edi- tion). The late 17th-century example is Je- remiah Clarke’s “Ayre,” and that from the 18th century is Thomas Arne’s “Siciliano.” Since the Preface (which is poorly translat- ed—“piano” is used rather than “key- board”) describes the historical relation- The ship of the pieces in this collection, it is Recorder Magazine surprising to me that they aren’t presented we invite you to visit the site in chronological order. Nor are they in or- www.recordermail.demon.co.uk der of difficulty. The first piece, Clarke’s “Ayre,” will challenge some players with its
20 American Recorder key signature of two flats, but it is a delight and within easy ranges for recorders, so original key on one side of the page and to play and hear. According to New Grove, they would make excellent study pieces for transposed to A minor for SATB recorders 2nd ed., “Clarke had a gift for melodious lower level ensemble groups. I would hesi- on the other side. The publication is beau- writing and for clean and direct instru- tate to perform them in public, however, tifully produced on very heavy paper and mental music, which accounts for…the without the addition of a singer because includes useful historical notes and sug- appeal of his harpsichord music.” This is the words are as important as the music. gestions for performance. Les Trouvères, well demonstrated in this piece, which is The Purcell Collection contains 25 short who read through this music for me, liked light and airy with all parts independently pieces, mostly from the composer’s theater it so much that they requested it for a Den- interesting. Thomas Arne’s “Siciliano” is music, arranged for recorder quartet and ver Chapter meeting next year. It should an example of the Italian influence in Eng- grouped by keys into four suites. The first sound wonderful played by a large group of lish Baroque music. In this piece, all parts three of these suites (in A minor, F major, recorders! engage in the typical 6/4 rhythm of the si- and G minor) begins with a French over- The Variations on Maggie Lauder, from ciliano in their own way, resulting in inter- ture followed by a variety of airs, Baroque the same publisher, are arranged from a esting combinations of the four recorders. dances, and instrumental pieces. The last harpsichord piece in an 18th-century Scot- With its descending eighth-note figures “suite,” in C major, contains only three tish method book. The words to the origi- rippling between the parts, Byrd’s “Pa- lively pieces: “Scotch Tune,” “Jig,” and nal song, “Bonnie Maggie Lauder,” and al- vane” is fun to play. His “Carman’s Whis- “Hornpipe.” Probably intended for inter- so maybe its melody, were written by Fran- tle” is the last piece in the book but the eas- mediate ensembles, some of these pieces cis Semple around 1640. In the 18th iest to play, particularly if the tenor part, are relatively easy, but others require some century, the American composer and dele- which shines with a bit of figuration, is technical skill and a lot of musicianship. gate to the Continental Congress, Francis played instead on an alto. This is an excel- The overtures, particularly, will need some Hopkinson, wrote a poem, “The Battle of lent collection for intermediate consorts decisions made about double dotting, the Kegs,” which was set to this melody. for study and performance. More ad- notes inégales, and synchronization of Hopkinson’s poem and its historical back- vanced groups should experiment, adding parts. In two of the pieces, the bass part ex- ground are included in this edition. The some appropriate ornamentation. For this tends below the range of the bass recorder, tune is introduced by the top soprano, reason it would be helpful if the editor had but these notes can easily be played an oc- which carries the most elaborate varia- listed the sources for the pieces in modern tave higher. This book is excellent for tions. The other parts often join it in uni- harpsichord editions for consultation. Be- study, and many of the pieces are appro- son or octaves, presumably for dynamic ef- cause of the delicate texture of the music priate for performance. fects, in a descending series of 16th notes. and ranges of some of the parts, I prefer Henry Purcell’s Brass Music for Queen Sometimes the 16th-note patterns are bro- them played one-on-a-part. Furthermore, Mary’s Funeral contains two very short ken up and tossed between the parts. The the arranger suggests, “Since this music pieces, “March” and “Canzona for the In- sopranino enters in the fourth section, was conceived originally for one instru- terment,” which were composed soon af- adding sparkle to the end of the piece. Al- ment, it is of vital importance to play on re- ter the death of Queen Mary from small- though this piece may look intimidating corders of the same type, in order to attain pox in 1695. They are as interesting musi- with all of its 16th notes, it fits recorders a genuinely homogenous sound.” cally as well as historically. The “March” well and the advanced group who tried it The four Tallis songs are important his- has five three-measure phrases, each re- for me played it easily. It sounds spectacu- torically in that hardly any secular music peated. It is completely homophonic, con- lar one-on-a-part but would take a lot of re- by this important 16th-century composer sisting only of whole and half notes, but hearsing for a “recorder orchestra” to pull has survived. Their texts are far from light- the harmonies are very rich. The canzona, it off. For those who wish to use it with a hearted, however: “Like as the doleful which is entirely in quarter notes except for large group, suggestions on how to balance dove delights alone to be…,” “O ye tender the final whole note, begins in four-part the parts would have been useful. babes of England, Shake off slothful- imitation but then divides into upper and ness…,” “When shall my sorrowful sigh- lower choirs that echo two-note motifs, EASY QUARTETS, VOL. 1: 21 DANCES ing slake,” and “Fond youth is a bubble seeming, according to the editor, “to sob OF THE 16TH CENTURY, ARR. LARRY blown up with breath, whose wit is weak- out ‘Mary!’” These pieces were originally BERNSTEIN. Dolce DOL 117 (Magnamu- ness, whose wage is death….” All except in C minor and intended for English slide sic), 2000. SAAT or SSAT, sc 21 pp. $6.50. one of the pieces are largely homophonic trumpets. In this edition, they are in the CLASSICAL TRIOS, ARR. ALYSON LEWIN. Hawthorns Music (Magnamusic), 1999. Good collections of music for beginning ensembles SAT, sc 8 pp, pts 4 pp each. $9.50. Good collections of music for begin- can be hard to find. Usually these groups have no ning ensembles can be hard to find. (My definition of a “beginning ensemble” is a bass player. For this reason, Larry Bernstein has group of players who know the rudiments of playing one size of recorder, may be transposed the pieces in his Easy Quartets so that they learning another size, and are new to en- semble playing. Usually these groups fit SAAT or SSAT, yet the parts remain mostly in their have no bass player.) Both of the editions reviewed here are recommended for such intermediate ranges—an important consideration groups. when there is more than one player on a part. Dance music from the 16th century is ideal as an introduction to Renaissance
November 2001 21 to, but there are no performance notes pro- MUSIC REVIEWS (cont.) vided. “Sanguinisch” is the most techni- cally challenging, combining accidentals with speed, but the rhythm itself is straightforward. Advanced intermediate players should enjoy this piece, and it consort repertoire, but the original set- pieces. Typically, the melody is in the so- would certainly work in a concert. The edi- tings usually require a bass instrument. prano in all of these pieces, therefore re- tion is clear and easy to read. For this reason, Larry Bernstein has trans- quiring more skill than the other parts. posed the pieces in his Easy Quartets so The accompanying alto parts provide MINIATURE SUITE IN THE OLDEN that they fit SAAT or SSAT, yet the parts re- some challenges for those new to the in- STYLE, BY SEFTON COTTOM. Moeck ZfS main mostly in their intermediate strument, whereas the tenor parts are the 737 (Magnamusic), 2000. SB, sc 4 pp. ranges—an important consideration easiest. All of the pieces are good for de- $5.00. when there is more than one player on a veloping ensemble skills, and the editor’s This composition by the English com- part. In some pieces, however, the tenor markings for phrasing and articulation poser Sefton Cottom is a pleasant piece for part is so low that it is better played on a are very tasteful. Both teachers and stu- students. Cottom worked most of his life bass “reading up.” The editor has sug- dents will appreciate having separate as a school music director, and this piece gested tempos according to an expert on parts, not often offered for trios, as well as was probably intended as an educational historical dance, so when played at ap- an easy-to-play-from score. tool. An Intrada is followed by three dance propriate tempos many of the dances are Constance M. Primus movements: Gavotta, Siciliana, and Giga. not all that easy. Furthermore, beginning The piece stays comfortably in the key of G groups should consult a teacher or DIE VIER TEMPERAMENTE, BY major, with only a few accidentals (C and knowledgeable player for advice on RONALD J. AUTENRIETH. Moeck ZfS 736 D ) in the soprano part. The bass recorder phrasing and articulation, because there (Magnamusic), 2000. SS, sc 4 pp. $5.00. range is from bottom of the staff G up to A, are no markings for these. Brief notes are Ronald Autenrieth’s biography de- plus a few high Ds, while the soprano plays given about each dance as well as general scribes a well-rounded musician: church from D up to high G. Rhythms are straight- suggestions for performance, although musician, critic, teacher, and self-taught forward and simple. Since most players readers may be confused with the erro- composer. His compositions include don’t take up the bass recorder until they neous definition of the English term works for recorder, such as the arrange- are pretty advanced, they might find this “crotchet” as a “half note.” This is collec- ment of Three Songs from Latvia which was music too sugary sweet, especially the first tion is well recommended for chapter reviewed in the November 2000 American two movements. However, Miniature Suite meetings, workshops, ensemble classes, Recorder. Die vier Temperamente is a well- would be good for a student to play while and recreational playing. crafted programmatic duet that sits com- accompanied by the teacher on the bass re- Many of us shun recorder arrange- fortably on the recorder. While Moeck put corder, or for lower intermediate students ments of music from the Classical and SS on the cover, the subtitle of this piece is working on ensemble skills and learning Romantic periods—for good reason. Vari- “Sketches for two recorders in C,” which the characteristic rhythms of typical dance ety in dynamics, which is difficult for am- leaves open the possibility of performance movements. The long slurs probably indi- ateurs to produce on recorders, is an im- on two tenors. Each of the four pages of the cate legato articulation, and the staccato portant means of expression in music of score paints one of the four temperaments, and accent markings make a lot of sense. the late 18th and 19th centuries. But the creating a slow-fast-slow-fast sonata da Each movement takes up one page of the eight pieces in Lewin’s Classical Trios are chiesa structure. The preface gives a brief attractive score. This suite lies well on the so carefully chosen and arranged that description of the concept of tempera- recorder and is a nice student piece. they can be effective for light, informal ments. “Phlegmatisch” introduces inter- performances, as well as for teaching pur- esting harmonies. Although the piece is BLOW IN’DA FUNK, BY BENOIT SCHLOS- poses. Joseph Haydn is represented here deceptively simple, performers can do a lot BERG. Editions Combre C06025 (Theo- by two German dances; Ludwig van with it in performance. “Cholerish” is live- dore Presser), 1999. AA (or BB), sc 4 pp, Beethoven by an Ecossaise (a contredanse, ly, with a moderate amount of accidentals plus additional sc in bass clef, 4 pp. possibly of Scottish origins), a minuet, and counting challenges. “Melancholisch” $12.95. and a theme from a set of variations; and is surprisingly pretty—dreamy rather than ARABESQUES, BY MALCOLM TATTERSALL. Anton Diabelli by three of his easy piano sad. The long slurs probably indicate lega- Orpheus Music OMP 033, 1999. AT, sc 6 pp. $14.00. Malcolm Tattersall’s Arabesques demonstrates how Benoit Schlosberg has a background in guitar and composition. This explains the positive and negative aspects of Blow in’da understanding an instrument can help a composer Funk, an interesting but non-idiomatic composition that advanced recorder play- create a gem. This duet for alto and tenor recorders ers will have to digest and make their own. Two scores (in treble and bass clefs) allow does not ask for what the recorder does not want to performance on either two altos or two basses. The aggressive articulations and give: extremely high or low notes or wide dynamics. wide range make it nearly impossible on basses. There is a lot of rhythmic interest,
22 American Recorder and short motives do repeat frequently. Players alternate melody and rhythmic ac- companiment. The short preface provides ARS Membership Enrollment and Renewal almost no help in interpretation; a page is Please enroll/renew me as a member of the Society. I’m looking forward to: provided that names the four special nota- ✰ American Recorder, ARS Newsletter, and the Members’ Directory tions, though explanations would have ✰ Members’ Library musical editions been helpful. The fingering suggested for ✰ Eligibility for the ARS Education Program examinations high F-sharp (Ø1346) does not work un- ✰ Discounts to some recorder workshops and on ARS publications less the bell is covered. The score is clear ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made enough, but the one page-turn comes dur- available only to purveyors of goods and services for recorder players.) ✰ Information on all aspects of playing the recorder ing a very brief rest between two sections of extended flatterzung in the top part. An- U.S./Canadian membership: ❏ one year $40, ❏ two years $75 other problem spot is a two-measure riff Foreign membership: ❏ one year $50, ❏ two years $95 marked “8va si possible.” If played up, one U.S./Canadian Student* membership: ❏ one year $20 ❏ two years $40 has high F and G to contend with; if ❏ ❏ played loco, it goes below the range of the Foreign Student* membership: one year $25 two years $50 instrument, with no “Plan B” offered. Workshop membership: ❏ one year $60 Business membership: ❏ one year $120 s There are many dynamic markings ( , ❏ Address and/or phone information has changed in past year. quasi s , ) in the score, all of which will ❏ Do not list my name in Directory. require judicious decisions on the part of *Enclose proof of full-time enrollment. the performers. It’s an enjoyable piece, but it certainly won’t play itself. All dues paid in U.S. funds by check on U.S. bank, or by international money order. Arabesques demonstrates how under- Family members residing at the same address may share a membership. However, the standing an instrument can help a com- student rate is not applicable to a shared family membership. For an additional listing in the ARS Directory under different surnames at the same address, add $5. poser create a gem. Malcolm Tattersall studied recorder and composition at Mel- Please check to be included on the ARS list of ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activities bourne University and has remained very may change, you must indicate on each renewal if you want to continue to be listed.) active in the Australian recorder communi- ty. His two-movement duet for alto and ❏ I wish to contribute $______to help sustain the work of the Society. tenor recorders does not ask for what the Please charge to my VISA/MASTERCARD: recorder does not want to give: extremely #______Exp. Date: ______high or low notes or wide dynamics. In Cardholder’s signature______fact, there are no dynamic indications at NAME______PHONE (______) ______all. Instead, time is delicately juggled in ADDRESS ______E-MAIL ______two different ways that will be familiar to CITY______STATE ____ ZIP ______many early music fans. The first movement is a written-out improvisation, like a tocca- CHAPTER/CONSORT AFFILIATION, IF ANY: ______ta. The quicker notes should feel ornamen- OPTIONAL INFORMATION: tal—the composer calls them “melis- Chapter officer or committee member? ❏ Yes (officer/committee: ______) mas”—with a gentle rubato throughout. ❏ No ❏ Have served chapter in the past The second movement, “Allegro vivace, rit- Age: _____ For how many years have you played the recorder? _____ mico,” is quite lively, with five, six, or sev- ❏ ❏ ❏ en eighth notes per measure. This would Level of recorder playing: Amateur Semi-professional Professional be challenging, but not impossible, for an Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 ❏ ❏ ❏ intermediate player. Anyone familiar with $50,000-75,000 $75,000-100,000 Over $100,000 emphasizing groupings of two or three Portion of your income derived from music: ❏ All ❏ Some ❏ None notes in Medieval or Renaissance music Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None will have no trouble with this. The score is If all or some, what kind of recorder activities are involved? (Check all that apply.) clearly laid out, with one manageable page turn following a rallentando. The intro- ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music ❏ Performance ❏ Recorder maker ❏ Musical director/coach duction explains that Greek and Indian ❏ Other ______music were the inspiration for Arabesques (meaning “patterns” in a general sense). What type of recorder music do you play? (Check all that apply.) ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo Tattersall has composed in a mode built up ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as of alternating whole and half steps, so play- trio sonatas) ❏ Broken consort with other instruments (such as a collegium) ers will have accidentals to face in addition ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort to the complex rhythms. The piece could (format used in many chapter meetings, with several recorders playing on each part) be very effective in performance by ad- vanced intermediate players. AMERICAN RECORDER SOCIETY Patrick O’Malley P. O. Box 631, Littleton, CO 80160-0631, U.S.A. Fax (with handset down) or call in credit card renewals to 303-347-1181 Continued on page 24
November 2001 23 MUSIC REVIEWS ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members YOU MADE ME LOVE YOU, BY JAMES Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 ONACO AND OS C ARTHY Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 M J M C . Arcadian Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Press, AP 109, 2000. AATB, sc 2 pp, pts 4 Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 pp. $4.95. Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 SECOND HAND ROSE, BY JAMES F. Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 HANLEY AND GRANT CLARKE. Arcadian Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) Press, AP 12, 2000. AATB, sc 3 pp, pts 4 edited by Alan Drake (3 scores) $8 $14 Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders pp. $5.95. (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 SWEET GEORGIA BROWN, BY BEN Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 BERNIE, MACCO PINKARD, AND KENNETH Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 CASEY. Arcadian Press, AP 108, 2000. Musical Editions from the Members’ Library: SATB, sc 2 pp, pts 4 pp. $4.95. ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 FASCINATING RHYTHM, BY GEORGE Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 GERSHWIN. Arcadian Press, AP 112, 2000. The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. SATB, sc 3 pp, pts 4 pp. $4.95. BY Après Paul (David W. Solomons) Serie for Two Alto Recorders (Frederic Palmer) LITTLE RHAPSODY IN BLUE, Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Slow Dance with Doubles (Colin Sterne) GEORGE GERSHWIN. Arcadian Press, AP Dancers (Richard Eastman) Sonata da Chiesa (Ann McKinley) 094, 1999. SATB or TBGbCb, sc 3 pp, pts Different Quips (Stephan Chandler) Three Bantam Ballads (Ann McKinley) Elegy for Recorder Quartet (Carolyn Peskin) Three Cleveland Scenes (Carolyn Peskin) 4 pp. $4.95. Elizabethan Delights Tracings in the Snow Of these five recent publications from Los Pastores (arr. Virginia N. Ebinger) in Central Park (Robert W. Butts) Arcadian Press, four were popular song New Rounds on Old Rhymes (Erich Katz) Trios for Recorders (George T. Bachmann) Other Quips (Stephan Chandler) *Triptych (Peter A. Ramsey) hits of the early 20th century and can still Poinciana Rag (Laurie G. Alberts) Two Bach Trios (arr. William Long) be considered standards of the genre. As *Santa Barbara Suite (Erich Katz) Two Brahms Lieder (arr. Thomas E. Van Dahm) Sentimental Songs (arr. David Goldstein) Vintage Burgundy with music of any period, some acquain- tance should be made with how these Other Materials from ARS songs were played. So when using them ARS Information Booklets: for a recorder chapter meeting or suggest- ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 ing them for a concert, I would first play Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86 various recordings of them to demon- Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) American Recorder Music (Constance Primus) strate the special conventions and idioms The Burgundian Court and Its Music (Judith Whaley, coord.) of the period, especially the syncopations Improve Your Consort Skills (Susan Carduelis) Music for Mixed Ensembles (Jennifer W. Lehmann) of the faster, jumpier pieces. Surprisingly, Playing Music for the Dance (Louise Austin) there are many choices to be made. For Recorder Care (Scott Paterson) example, recordings of “Stardust” played Education Publications by Louis Armstrong, Glenn Miller, Bing The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). Crosby, and Artie Shaw show what First copy free to ARS members, replacement copies for members or non-members, $3. tremendous varieties and effects can be 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. used based on the same melody. ARS Music Lists (1996). Graded list of solos, ensembles, and method books. You Made Me Love You is the easiest of Members $8; non-members, $14. Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. these pieces. Set for AATB, it has a Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 straightforward, strong melody, and, al- (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class though written here in cut time, it works Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. just as well with four beats to the mea- Other Publications sure. In the review copy, a one-beat rest was missing in measure 50 of the tenor 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). part. Also set for AATB is Second Hand One free copy sent to each ARS chapter with 10 members or more. Rose, which is full of very nice ensemble Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. passages varied with solo breaks. The Either single volume: ARS members $23; non-members, $28. melody is shared among all the parts, and Both Discography volumes together: ARS members only, $40. it ends with everyone whispering the 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. questioning sound, “Noo?” before a final All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, clipped F-major chord. I would start the please add an additional $1 per item; for Canadian or foreign air mail, please add an additional last two pop numbers, Sweet Georgia $3 per item. When ordering five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the discounted members' price. Please make checks payable to the ARS. Brown, and Fascinating Rhythm, which are VISA/MasterCard also accepted. both set for SATB, at slower tempos to ac- American Recorder Society quaint everyone with the syncopated P.O. Box 631, Littleton, CO 80160-0631, U.S.A. runs that give these pieces their special 303-347-1120 flavor. The review copy of Second Hand Rose came with a set of lyrics. I would sug-
24 American Recorder gest that the publisher provide them for all of these pieces. And now, to twist the old Monty Python catchphrase a little, for something wonderful. To have a version of Rhapsody in Blue for recorders, the piece many peo- ple would contend is the greatest Ameri- can piece of the last century, is a delight! It would be a real adornment to any pro- gram. Stan Davis’s title for his arrange- ment is Little Rhapsody in Blue, but at our Rhode Island Recorder Society tryout of it, one of our players suggested a better name would be “The Rhapsody in Blue’s Greatest Hits.” Davis’s tempo recom- mendations range from 92-136 for the various sections, but I feel Gershwin’s melodies are so strong that the whole composition can be just as fulfilling and dramatic using slower pacing. In a Bradenton, Florida, tryout, with a string section joining the recorder players, we utilized slower tempi for the moderato and andante moderato sections. This cre- The Gift of a Recorder... ated richer contrasts between the parts means even more when accompanied by a gift membership and contributed romantic effects to our in the American Recorder Society. performance of the whole piece, which This coming season, make certain your gift of music is then ran for four minutes. Two sugges- enjoyed to the fullest by sending along a membership tions: the famous opening clarinet glis- that entitles your friend, spouse, parent, or child to sando is not here, but it might be fun if an receive five issues of American Recorder, a directory of recorder players throughout the U.S. and the world, ambitious player were to try it as a special discounts on CDs, music, and some summer work- introduction. Secondly, there are two- shops, mailings about events and products of special measure introductions to the A and C interest, and much more. sections where I would have the bottom Include name, address, and phone number of both re- two lines double the top two lines. cipient and donor along with your check for U.S. $40 Stan Davis’s Arcadian Press has issued (U.S./Canadian membership) made out to “ARS” an amazing variety of music in recent and send to ARS Gift Membership, Box 631, years, from Sousa marches to ragtime Littleton, CO 80160-0631. pieces by women composers, as well as A signed card will accompany your gift. many selections from the Renaissance, the Baroque, and beyond. The five new pieces reviewed here are worthy addi- tions to the Arcadian catalog and will be a credit to anyone’s music library. Richard Carbone
Richard Carbone is a retired middle school English teacher and supervisor. He played his first pop/jazz gig at age thirteen on clarinet and last year performed on re- corder at the French Quarter Jazz Festival in New Orleans. He is the music director of the Bradenton (FL) Early Music Society and di- vides his time between Rhode Island and Florida.
KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contra bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- word; opt=optional; perc=percussion; pp= pages; sc=score; pt(s)=part(s); kbd=keyboard; bc=basso continuo; hc=harpsichord; P/H=postage and han- dling. Multiple reviews by one reviewer are followed by that reviewer’s name.
November 2001 25 CHAPTERS
______& CONSORTS ______Scholarships awarded, workshops held, winners announced, JRS club formed, school concerts given
At the first meeting of the Seattle Re- Nevada, for Play the Recorder Month and corder Society’s 2001-2002 season, new for the annual statewide meeting of the SRS (and ARS) member Elyse Belanger ex- Nevada Republican Party. The Society has pressed her gratitude for the SRS’s gift of a also sponsored a workshop presented by scholarship to the Port Townsend Early John Tyson, taking advantage of his pres- Music Workshop this past July. “You have ence at the Sierra Nevada chapter of the no idea how much effect this has had in American Orff-Schulwerk Association. such a short time,” she said. Using funds The First Annual Omaha Recorder Fes- from a bequest from Doris Borrusch, who tival was held June 24, hosted by the Flat- had taught beginning recorder players and water Recorder Society and led by Richie served as SRS hospitality chair, the chapter and Elaine Henzler of Courtly Music Un- awarded a full scholarship to Port Towns- limited. Participating groups included the end to a Washington State music teacher Bethesda Recorder Consort, Heartland who uses the recorder in teaching. Consort, Cantare Consort, St. Michael Molly Warner reports: Elyse teaches Recorders, and the Flatwater Recorder So- music at Sheridan Elementary School in ciety. Twenty-seven recorder players partic- Tacoma. The school is organized as an im- ipated from Nebraska, Iowa, and Kansas. mersion program where classes are taught Highlights included two original pieces by in four languages, and Elyse teaches in all Festival participants—Little Suite in A Mi- four. “Last year we had just a handful of re- nor and Fantasy by Susan Geist and Spider corder players,” she said, “and now our Dreams, for soprano and guitar, by Ben Left to right: Julia Amadee, historian, ‘Orffestra’ has 53 members who come ear- Dehner—and Rubber Duckie for soprano Megan Lordi, president and librarian, ly to school to rehearse! All the ideas I recorder, piano, and duck call. and Jessica Lordi, secretary/treasurer, picked up at Port Townsend and all the The Chicago Chapter has announced founding members of the year-old music I bought at John’s Music, have been the winners of its seventh biennial recorder Appalachian Recorder Club, Latrobe, put to good use. Some of the faculty and contest, held in 2001. First prize of $150 Pennsylvania, a Junior Recorder parents have also joined in, and I have sold went to Glen Shannon of El Cerrito, Cali- Society affiliate sponsored by ARS more than 90 plastic recorders. One young fornia, for his composition titled Wander- member Aimee Kratofil. Along with man who was a bit of a trouble-maker is lust. Second prize of $75 went to Suan newest member Liz Brickley, they playing, as is his teacher, and their new re- Guess Hanson of Bloomington, Illinois, played recorders at their junior lationship as budding musicians together for her composition titled Moon’s Mystery. high school choir’s spring concert. has erased the discipline problems in that Honorable Mention went to Dick Eastman classroom. That makes school better for his 23 classmates. Your gift has had a ripple effect that spreads and spreads, like the pebble thrown into the lake.” Elyse pre- sented the members of SRS with a thank- you poster, complete with photos of her pupils and their signatures. The Sierra Early Music Society, orga- nized in the spring of 2000, has grown from a small group of five or six to over 20 members coming from Reno and Carson City, Nevada, Bishop, California, and the Lake Tahoe area. Since its establishment, the Society has given four public perfor- mances: at a Reno shopping mall, at the Living History Festival in Fernley, Nevada, at the Brewery Arts Center in Carson City, The Sierra Early Music Society performing at a shopping mall in Reno, Nevada.
26 American Recorder From left: David Goings, of Naperville, Illinois, for his composition Marilyn Perlmutter, and titled A Masque. Judges for the contest Hiroji Ishihara, members of were Patrick O’Malley, Lisette Kielson, and the Ann Arbor Recorder Kim Katulka. Richard Adams assisted as Society Small Ensemble, the fourth player for the quartets. The win- perform Japanese music for ning compositions will be presented to a special school event chapter members in a special program in in Toledo, Ohio. the spring of 2002. For the second year, the Ann Arbor Re- corder Society Small Ensemble per- formed at a middle school in Ann Arbor, Michigan, for the annual Japanese Cultur- al Day. Two hundred eighth-graders heard On October 21, the Early Music Consort of El Paso, our music, participated in a tea ceremony, Texas, presented “Douce Dame Jolie: Medieval and saw some Japanese dances. Three Music from France and Italy” at the El members of this small ensemble, David Paso Museum of Art. Left to right: Goings, Marilyn Perlmutter, and Hiroji Barbara Hyland, Robert Hyland, Ishihara, also performed Japanese reper- Marcia Fountain, George toire at a special event for Maumee Valley Wheeler, Joyce Henry and Country Day School in Toledo, Ohio. This Kathy Massello. was to introduce interested parties to as- pects of Japanese culture, including a tea ceremony, calligraphy, origami, wearing ki- monos, and Hina dolls (Girls Day).The trio played the first two movements of Y. Kiyose’s Trio for Recorders, two very tradi- tional songs, Kojo-no-tsuki (Moon Over Ruined Castle) by Rentaro Taki and At The Seashore, and Water Colored Waltz. The group’s repertoire also include three series of songs composed by H. Fujikake (used as theme music on Japanese television).
Funds Sought by Oregon Coast Recorder Society To Endow Residency at Sitka Center
The Oregon Coast Recorder Society is on its way to raising $10,000 for the pur- pose of endowing a recorder residency at the Sitka Center for Art and Ecology. The inspiration for this effort came from the chapter’s experience at this year’s annual OCRS “Winds and Waves” Recorder Workshop, held at the Sitka Center in April, with Frances Blaker and Letitia Berlin, presenters. Similar to the well-known MacDowell Colony in New Hampshire, Sitka Center has a residency program that serves approximately eighteen artists, writers, natural- ists—and now musicians. The Center’s mission is to provide the opportunity for individual research in the beautiful natural setting at Cascade Head on the Oregon coast. Sitka gives the resident a studio and a dwelling, but does not manage what the resident does or produces. Sitka encourages residents to interact with the com- munity in some way, such as having an open house or visiting a local school. The recorder resident, for instance, would have uninterrupted time to finish a composi- tion, learn new repertoire, or complete some writing, and may be willing to play a concert for the community or give a workshop. To endow the recorder residency, a minimum of $10,000 is required. A member of the Oregon Coast Recorder Society has generously offered to match the first $5,000 donated towards this effort. Pledges and contributions since June are within $1,500 of the minimum goal. The greater the amount raised, the more liberal Sitka can be with the recorder residency. The residency would be for two weeks to a month, averaging two weeks a year over time. Applications from the international recorder community are anticipated. More information about the fund-raising effort is available from the Sitka Center for Art and Ecology, P. O. Box 65, Otis, OR 97368.
November 2001 27 Order your recorder discs through the ARS CD Club! The ARS CD Club makes hard-to-find or lim- ____ENGLISH CONSORT MUSIC: ited release CDs by ARS members available BROWNING MY DERE Marion Verbruggen to ARS members at the special price listed and Flanders Recorder Quartet (Bart (non-members slightly higher), postage and Spanhove, Paul Van Loey, Joris Van handling included. An updated listing of all Goethem, Geert Van Gele). Subtitled work available CDs may be found at the ARS web by Henry Stonings, “The leaves be greene” site: www.americanrecorder.org. by William Byrd, other 16-17th century con- sort works. Qualiton. $17 ARS/$20 others. ____THE FOOD OF LOVE Tina Chancey, Grant FOR THE HOLIDAYS! Herreid and Scott Reiss, recorders and other early ____CHRISTMAS AT THE CASTLE Blue Oak Consort instruments. Early instrumental music of the British and guests, Richard Geisler, director. Five centuries Isles, with works by Byrd, Gibbons and Simpson of holiday music from many lands; a Christmas con- through Dowland, Playford and Coperario. Dorian. cert set in a castle, played and sung by 17 musicians $17 ARS/$20 others. on recorders, strings, percussion and voice. $17 ____IMAGINE II David Young, recorders. More con- ARS/$20 others. temporary interpretations of classic songs from the _____CHRISTMAS MORNING David Young, re- 1970s by Neil Young, Jim Croce, Carole King, and corders; Lisa Franco, celtic harp. Well-known Christ- Moody Blues. Universe Music. $17 ARS/$20 others. mas music played on recorders and harp with other ____A JOURNEY AMONG TRAVELLERS (CD ____POPULAR MUSIC OF THE RENAISSANCE, Renaissance instruments, recorded in 3D Surround SHORT) Peter Bowman and Kathryn Bennetts per- Anne & Rob Burns (A Reasonable Facsimile) play re- Sound. #2 Christmas recording in Canada in 1994. form Donald Bousted’s 26-minute quarter-tonal corders, shawm, cittern, Renaissance guitar, straw Universe Music. $17 ARS/$20 others. piece for two alto recorders. $12 ARS/$14 others fiddle, and a variety of drums, whistles, and pipes. ____DANCING DAY Scott Reiss, Tina Chancey, and ____LANDSCAPES David Bellugi, recorders; Ali Second From the Bottom. $17 ARS/$20 others. Jane Hershey, recorders and other early instruments; Tajbakhsh and Chris Hayward, percussion. “Virtual” ____A. SCARLATTI: CONCERTI DI CAMERA Rosa Lamoreaux, soprano; Mark Cudek, lute & cit- orchestra of recorders created single-handedly by Judith Linsenberg, recorders; with other members tern; Joshua Lee and Daniel Rippe, bass viol & per- Bellugi. Three centuries of ethnic music, including of Musica Pacifica. Seven sonatas for various cussion. Medieval, Renaissance and traditional works by Encina, Brouwer, Ortiz, Bartok. Frame. instrumentations.. $17 ARS/$20 others. Christmas music spanning about 500 years—from $17 ARS/$20 others. ____SHINE AND SHADE Piers Adams, recorder; the British Isles, Italy, France, Spain, Germany and ____LES AMIS DU BAROQUE Paul Nauta, Julian Rhodes, harpsichord. Works of Norman America. Koch International. $17 ARS/$20 others. recorder/Baroque flute; Koen Dieltiens, recorder; Fulton, Edmund Rubbra, York Bowen, Lennox _____MERRY CHRISTMAS David Young, recorders. Jan de Winne, Baroque flute; Christina Mahler, Berkeley, Edward Gregson, Stephen Dodgson, Full symphonic sound on John Lennon’s “Happy cello; Shalev Ad-El, harpsichord/organ. Ensemble in Donald Swann. $17 ARS/$20 others. Christmas,” Irving Berlin’s “White Christmas,” and CD title plays music by Bassani, Corelli, Vivaldi, etc. ____SONGS IN THE GROUND Cléa Galhano, other favorites such as “Jesu, Joy of Man’s Desiring,” Highlight Intl. $17 ARS/$20 others.. recorder, and Vivian Montgomery, harpsichord. “Away In a Manger” and “What Child is This.” Uni- ____MANCINI: CONCERTI DI CAMERA Judith Works by Pandolfi, Belanzanni, Vitali, Bach and con- verse Music. $17 ARS/$20 others. Linsenberg, recorders; Elizabeth Blumenstock and temporaries Thomas, Morrison and Setti, featuring Lisa Weiss, violin; George Thomson, viola; David songs based on grounds. Ten Thousand Lakes. IN STOCK Morris, ‘cello; John Schneiderman, archlute & $17 ARS/$20 others. ____AIRES AND DUETS FOR TWO FLUTES AND baroque guitar; Charles Sherman, harpsichord & ____TELEMANN: TRIO SONATAS WITH RECORDER BASS Vicki Boeckman and Dorte Lester Nauta, re- organ. Seven sonatas by Francesco Mancini, plus Vicki Boeckman, recorder; John Holloway, violin; one work each from his contemporaries Francesco corder; Mogens Rasmussen, viola da gamba; Viggo Jaap ter Linden, cello/gamba; Lars Ulrik Mortensen, Durante and Domenico Scarlatti. “Highly recom- Mangor, archlute and chamber organ. Trio sonatas harpsichord; Aloysia Assenbaum, chamber organ. mended”citation from the 2000 Vivaldi Prize for for two recorders and continuo by Handel, Tele- Trio sonatas for recorder and violin, recorder and Recordings of Italian Early Music—Giorgio Cini mann, G. B. Braun, T. Merula, S. Rossi. Primavera. gamba, recorder, and harpsichord. “Expertly played Foundation, Venice. Dorian. $17 ARS/$20 others. $17 ARS/$20 others. collection of chamber music...”—Early Music Ameri- ____MIDNIGHT SUN Alison Melville and Colin Sav- ____J.S. BACH: TRIO SONATAS Judith Linsenberg, ca Magazine. Qualiton. $17 ARS/$20 others. age, recorders; with other members of Ensemble recorders; Elizabeth Blumenstock, violin; Elisabeth Polaris playing flute, clarinet, guitar, ‘cello, hurdy- Le Guin, ‘cello; Edward Parmentier, harpsichord. Six gurdy, percussion. Traditional music from Sweden, Please indicate above the CDs you wish to order, works arranged by Linsenberg from trio sonatas for Finland, Estonia, Norway and Scotland in new organ, BWV 525-530. Supported by the 1992 ARS arrangements. A Classic CD Disc of the Month, Au- and print clearly the following: Professional Recording Grant. Virgin Veritas. gust 2000. Dorian. $17 ARS/$20 others. Name ______$17 ARS/$20 others. ____MUSICK FYNE PLAYS MUSIC OF THE ITALIAN ____CELESTIAL WINDS I David Young, recorders; BAROQUE Alison Melville and Colin Savage, Daytime phone: (_____) ______Lisa Franco, celtic harp. Relaxing recorders accom- recorders; with other members of Musick Fyne. Address: ______panied by gentle harp. Universe Music. $17 ARS/$20 17th- and 18th-century duos, trio sonatas, arias, others. diminutions. Upbeat Classics. $17 ARS/$20 others. City/State/Zip: ______CHARLESTON PRO MUSICA Marsha Evans, ____MY THING IS MY OWN: BAWDY MUSIC OF Lewis Fitch and others, recorders, gemshorns, guitar THOMAS D’URFEY Tina Chancey, Grant Herreid Check enclosed for and voice. Medieval and Renaissance music. Mille- and Scott Reiss, recorders and other early instru- _____ single CDs x $____ = $______nium Music/Charleston SC. $17ARS/$20 others. ments; Rosa Lamoreaux, soprano. Common tunes ____CHARLESTON PRO MUSICA ON TOUR of love, sex and seduction in 18th-century England, _____ 2-CD sets x $____ = $______Marsha Evans, Lewis Fitch and others, recorders, collected by D’Urfey in his “Pills to Purge TOTAL = $______gemshorns, guitar and voice. Medieval and Renais- Melancholy,” used as vehicles for improvisation. sance music with consort and singers. Millenium Koch International. $17 ARS/$20 others. Please charge the above amount to my MasterCard Music/ Charleston SC. $17 ARS/$20 others. ____NEO-MEDIEVAL Tina Chancey, Grant Herreid, or Visa: ____DANCE! RENAISSONICS John Tyson, recorder, and Scott Reiss. Medieval improvs for a postmodern pipe & tabor; James Johnston, violin; Reinmar age. Dorian Discovery. $17 ARS/$20 others. #______Exp. Date: ______Seidler, cello; Douglas Freundlich, lute; Jacqueline ____PERGOLESI: LA SERVA PADRONA Elissa Schwab, virginials. Renaissance dances and Berardi, recorder; Julianne Baird, soprano; John Cardholder’s signature: ______improvisations. Titanic. $17 ARS/$20 others. Ostendorf, bass-baritone; Philomel Baroque ____DISTRIBUTION OF FLOWERS Cléa Galhano, Chamber Orchestra. Title work, an opera buffa from recorder; Tony Hauser, guitar. Latin CD featuring 1733, with Vivaldi, “Recorder Concerto in A,” nes- Mail to: AMERICAN RECORDER SOCIETY,Box 631, works by Argentinian accordion virtuoso Astor tled as an entr’acte between the two comic opera Littleton, CO 80160-0631, U.S.A. You may fax Piazzolla. Ten Thousand Lakes. $17 ARS/$20 others. acts. Omega. $17 ARS/$20 others. or call in your credit card order to 303-347-1181. BOOK
______REVIEWS ______Christoph Wolff’s recent book on Bach, a paperback edition of Meter in Music, and an overview of recorded music
JOHANN SEBASTIAN BACH: THE losophy of composing and how Bach un- niment as a series of tremolo figures. LEARNED MUSICIAN. BY CHRISTOPH derstood music. Wolff attaches new im- Part of the pleasure in reading Wolff’s WOLFF. W.W. Norton, 2000. 544 pp. Hard- portance and novelty to Bach’s earliest elegant prose derives from the new insights cover, $39.95; Paperback, $18.95. ISBN: works from his Ohrdruf years (1695- and reinterpretations of historical docu- 0-393-04825-X. 1700), arguing that his chorale preludes ments. For example, Bach’s early keyboard Elias Gottlob Haußmann’s famous por- modelled on Pachelbel go beyond their piece entitled Capriccio on the Departure of trait of Bach as a mature musician on the model in the use of a migrating choral tune the Beloved Brother (BWV 992) was proba- jacket and frontispiece of this new biogra- and in their rich palette of harmonies. bly not intended for his brother but more phy aptly illustrates the book’s subtitle, In the chapters on Leipzig, there are likely for his schoolmate, Georg Erdmann, “the learned musician.” This book is much several references to Bach’s interest in new with whom he travelled the 200 miles from more than a study of Bach at the height of instrumental sonorities. At this time, he Ohrdruff to Lüneburg when he was 15 his career, however; it is a fascinating ex- made use of the new lower-register oboes years old. ploration into all of the various stages of his (oboe d’amore and oboe da caccia), and In his earlier collection of essays enti- life. The result is a major addition to our beginning in the spring of 1724, he began tled Bach: Essays on his Life and Music (Har- knowledge about Bach as both composer to use transverse flute. Later on, his inter- vard University Press, 1991), Wolff con- and performer, as well as his relationship est in novel instruments can be traced to centrated largely on specific issues in with other composers. As the author or ed- his relationships with instrument builders. Bach’s music. The present work therefore itor of at least ten books on Bach, Only a few musical works are discussed in rounds out the picture and helps to give Christoph Wolff writes with a depth of detail, but there are some references that the reader a fuller understanding of the knowledge and insight that makes this a can lead the reader to further investigation. events that shaped Bach’s career. In his particularly valuable contribution to the Wolff mentions Cantata 46 as an example earlier work, Wolff described the study of literature on the Baroque master. of unusual instrumental color, where Bach Bach as a task of “uncovering the manifold Wolff’s view of Bach as the “learned uses oboe da caccia in combination with layers and dimensions” of his life and musician” is woven throughout this bio- two recorders, trumpet, strings, choir, and works. This engaging book offers the read- graphical essay. The descriptor was used continuo. Wolff includes a more detailed er an opportunity to examine many of by Prince Leopold of Anhalt-Cöthen in a discussion of Bach’s layering of musical those layers and to reach a new under- letter of dismissal written in April 1723, imagery to illustrate a text in Cantata 105, standing of some of the dimensions of this and the word “learned” also relates to the where he sets musical figures to imitate the great composer’s contributions. It is also a notion of “musical science” and the tradi- images of “trembling and wavering” simul- book that can be read for pleasure and tional relationship between mathematics taneously. The wavering thoughts are illus- savoured for its profound insights and and music. The theorist Johann Friedrich trated in the melody, while trembling sense of human understanding. Agricola was the first writer to draw a com- thoughts are heard in the string accompa- Mary Cyr parison between Bach as musician and Newton as scientist. Wolff argues that both METER IN MUSIC, 1600-1800: PER- of these men can best be appreciated by George Houle’s Meter FORMANCE, PERCEPTION, AND NO- those who understand them deeply. This TATION. BY GEORGE HOULE. Indiana thought permeates the entire book and al- in Music, 1600-1800, is University Press, 2000. 192 pp. Paperback, so provides some insight into Wolff’s own $16.95. ISBN: 0-253-21391-6. motivation for pursuing his work on Bach. still perhaps the clearest This softcover edition of Meter in Music, New interpretations and insights turn and most practical 1600-1800 makes easily available a volume up frequently as Wolff traces the familiar that was originally published in 1987 but outline of Bach’s life. He uses quotations presentation of the which is still perhaps the clearest and most from primary documents as a backdrop to practical presentation of the complex but his interpretations and places new impor- complex but vitally vitally important subject of meter and tance on the early stages of Bach’s career, rhythm in the Baroque. including some music written before 1705. important subject of meter From a purely musicological perspec- Although the focus is primarily biographi- tive, the period is one of immense interest cal, Wolff discusses a few of Bach’s com- and rhythm in the Baroque. and importance, containing as it does the positions in the context of shaping his phi- transition from the decline of the ancient
November 2001 29 BOOK REVIEWS (cont.)
notions of the tactus and proportional GRAMOPHONE CLASSICAL GOOD mensural signs to the dawning of the mod- CD GUIDE. 2001. Omnibus Press/ ern conception of the bar primarily as a Schirmer, 2000. 1332 pp. Paperback, simple time-keeper. The challenges to the $25.95. ISBN: 0-86024-982-4. researcher lie principally in describing the Gramophone magazine has been re- sophistication of the late mensural system viewing new recordings since the days of and in identifying the subtle shift in the 78’s. More recently, its publishers have be- conceptions of musical time and meter gun issuing an annual guide to classical that took place in the minds of musicians recordings.The ambitious aim of the 2001 of the era as the new system took hold. edition is evidently to discuss all the im- It is Houle’s achievement to have been portant recordings of classical music cur- able to elucidate both issues by drawing on rently available and, amazingly, this goal theoretical treatises of the period. Like appears to have been achieved with a large Robert Donington in his seminal work, The degree of success. While there is a bit of a Interpretation of the Early Music, Houle pre- bias toward mid-century recordings in sents quotations from literally dozens of reissue, there is good coverage of newer original sources while providing a context recordings released up to 1999. The pri- and summary of the information to sup- mary focus of the book is on the standard port his own sensible and well-balanced operatic, orchestral, and chamber music interpretations of the evidence. repertoire, but recordings of contempo- While the topic of meter in the Baroque rary music and early music are given their is of great musicological interest, it also fair share of attention and a special symbol poses substantial challenges for the per- marks the use of period instruments. Each former, and Houle is equally able to ad- recording is reviewed individually and Honeysuckle Music dress those practical concerns. Again, highly recommended recordings are spe- without being dogmatic, he draws useful cially marked. conclusions from the mass of sometimes Recorder enthusiasts will perhaps find Recorders & accessories conflicting information concerning the that they have been given short shrift. On- ... “time signatures” of the early Baroque to ly a handful of recorder players are listed in Music for recorders & viols allow for intelligent choices on the part of the index, and even such a prolific record- performing musicians. He is also able to ing artist as Michala Petri is only represent- Jean Allison Olson draw thoughtful conclusions about impor- ed by one disc. However, careful browsing 1604 Portland Ave. tant topics such as notes inégales and will also turn up works such as the Bran- St. Paul, MN 55104 phrase shaping by relating the advice denburgs which feature recorder within 651.644.8545 found in the treatises to broader concep- the orchestra. The main area of interest [email protected] tions of metrical and rhythmic usage. Most perhaps for recorder players will be the ex- importantly, he is able to draw a clear dis- tensive and knowledgeable reviews of col- tinction between the use of weight and the lections of Medieval, Renaissance, and ear- use of length as purveyors of accent in a ly Baroque music which, taken together, way that goes to the very heart of Baroque virtually encapsulate the history of this style. This is a point that is not always suf- repertoire on disc. ficiently appreciated by musicians at all The book is rounded out by indices of Courtly Music levels and it is one of the book’s greatest works discussed and performers repre- contributions to the area of performance sented as well as lists of a recommended Unlimited practice. basic library, 100 great recordings, and 800-2-RICHIE Of course, with a topic as complicated Gramophone award winners since 1977. as this, the reader may quibble with certain Recorder players searching for recorder (800 274-2443) of Houle’s conclusions (his example 1.3, recordings would do better with more spe-
for instance, seems not to make the point cialized listings such as the ARS’s recorder www.courtlymusic.com intended), and the book’s closing chapter, discographies or the discography posted at "Everything for the recorder devoted to mechanical organs, contains www.iinet.net.au/~nickl/recorder.htm (the enthusiast, or those who reference to an accompanying cassette Recorder Home Page), but recorder players tape which is no longer available, but these who are also general collectors of classical would like to be." are minor problems in a book of such im- music will find themselves spending many Fine wood and plastic recorders, sheet portance. Anyone involved with the music happy hours with the book searching out music, method books, play-along CDs, of the Baroque will have a much richer un- favorite recordings or researching intrigu- accessories, workshops. derstanding of the period for having read ing new recommendations. this book. Scott Paterson
30 American Recorder ______ON THE CUTTING EDGE ______
Daniel Koschitzki Tomorrow’s stars today
One never knows where tomorrow’s star This is done in front of performers will come from. As far as re- the audience as part of the corder players are concerned, it’s a sure bet performance. The player that most will emanate from European must then realize countries where there are many fine young the score, at once players. European conservatories turn out adhering as much as good recorderists in approximately the possible to same quantity and quality that American the nota- colleges produce highly competent jazz tion, while musicians. expressing it But that also means that competition at fancifully and the very top is extremely rough. musically. One such up-and-coming star is the Koschitzki’s per- German recorderist Daniel Koschitzki, formance had a who has permanently replaced Paul Leen- thrilling “of the mo- hauts in the Amsterdam Loeki Stardust ment” quality and yet Quartet. I first met Daniel at the Amherst projected a sense of Early Music Festival in August 1996. He formal balance. was a member of my class in the Virtuoso Daniel grew up in a highly Recorder Program and, along with three supportive environment from other classmates, brilliantly performed the start. While his parents were Stan Davis’ arrangement of Take Five on the not musicians, they nevertheless student recital. He later recorded this piece encouraged his interest in music. on CD with the group Sadastan, a collec- He began playing recorder at age five tive ensemble that he helped found (for and started taking piano lessons as more on the Sadastan CD, see Cutting well two years later. The recorder Edge, May 1999). Koschitzki returned to was his primary focus until he was 17, at corder as a serious musical instrument has Amherst the following year, participating which time his interest in the piano in- been increasing, and I believe its role in the in another stellar quartet performance— creased. After graduating gymnasium, he general musical culture will therefore also in- this time of the adventurous and difficult entered the Hochschule at Karlsruhe, ini- crease in time. avant-garde work Spectra by Argentinean tially as a piano major, but after six months What about its potential as an instru- composer Eduardo Alemann. The title of of study there, he added the recorder as a ment for the performance of modern mu- this fascinating work is the plural of both second major instrument. It was through sic? “spectrum” (the series of colored bands Karel van Steenhoven, his teacher at the That’s also being increasingly realized. that occurs when light is passed through a Hochschule, that the connection to Loeki The contemporary repertoire for recorder has prism) and “specter” (ghost), and both Stardust materialized. grown exponentially in the last ten years, meanings were apparent in the group’s su- While we were at Amherst, I conducted which clearly demonstrates the recognition — perb performance. a brief, informal interview with Daniel at least among musicians—that the recorder This year, Daniel returned once again to Koschitzki. As you will see, his answers to is an instrument of tremendous expressive Amherst (now at the University of Con- my off-handed questions were articulate, possibilities. necticut at Storrs) and this time gave a brief intelligent, modest, and to the point. By musicians. But what about the gen- but powerful solo performance of Philip PR: You have just become a member of eral public? Corner’s Sprouting. This unusual work, the world’s greatest recorder ensemble. I Well, if you mean the average person on written in the 1960s, requires the per- am curious to know how you think people the street, he or she probably still stereotypes former to place pieces of transparency with view the recorder today and in what way the recorder as a starting instrument. Japanese-styled brush strokes painted on that view may be changing. Even in Europe? them onto blank manuscript paper. DK: I feel that the acceptance of the re- Sure. And that’s unfortunate, but, in a
November 2001 31 CUTTING EDGE OYEUX OËL (cont.) FOR INFORMATION ON: J N •More than 2,000 reviews of music 12 French Christmas Carols new and old, printed and recorded for 2 Alto Recorders •Articles on the recorder in history, its Arranged by Jonathan DeLoach small way, I feel it’s also to our advantage. players, and What do you mean? performance “Playing these duets is like Well, it enables us to deliberately surprise practice opening a Christmas present. people with what the recorder can do. To me …We highly recommend this collection that’s one of the really fun things about being •Teaching for those who wish a new approach to old ideas and holiday music.” a recorder player. practice tips —American Recorder, September 1999 That is fun. I’m sure that many others take pleasure from that but would never “The novel idea of enclosing duet- admit it. Let me ask another “crystal ball” settings of well-known French carols within excerpts of duets by Loeillet de question. Do you have any ideas about the LOOK IN Gant or E.P. Chédeville is brilliantly car- direction that modern recorder music will ried out in these entertaining mélanges….” THE INDEXES FOR —The Recorder Magazine, Winter 2000 take in the coming years? Right now, modern recorder music is ex- AMERICAN RECORDER tremely eclectic. I don’t foresee that it’s going CUMULATIVE INDEX FOR VOLS. I - Boulder Early Music Shop to change anytime soon. It will probably re- 800-499-1301 XXXX. Compiled by Scott Paterson. main multidirectional unless some extraordi- ARS members, $20 per copy Courtly Music Unlimited nary new fad really catches on. 800-274-2443 non-members, $32 per copy. One thing that seems to be catching on Early Music Shop of New England INDEX SUPPLEMENT, VOLS. XXXIV - 617-277-8690 in Europe right now is the so-called “elec- tro-acoustical recorder.” I know that you XXXX. Compiled by Scott Paterson. Provincetown Bookshop 508-487-0964 have experimented in this direction with (for those who own the Cumulative an improvised piece you call Phoenix. Index for Vols. I - XXXIII). I’ve played around with it but my opinion ARS members, $8 per copy DELOACH EDITIONS is mixed. I think that, on the one hand, live non-members, $14 per copy. Atlanta • [email protected] electronics expands the possibilities for re- corder, but, on the other hand, I also believe Back Issues are available at the following that the recorder looses much of its essence prices (including postage). when it is electronically modified. VOLS. V-XXVI (1964-1985): In the three years that you attended the 1 copy-$5; 2 copies-$8; 3-$11; 4-$14 Virtuoso Program at Amherst, I heard you VOLS. XXVII XLI (1986-2000): play quite a bit of modern music in many 1 copy-$6; 2 copies-$10; 3-$14; 4-$18 styles. You seem to enjoy it very much. Is Please inquire regarding availability of contemporary music your favorite to play? specific issues (including Vols. I-IV). Generally speaking, I like Baroque music Please do not order issues not yet the best, but I enjoy playing modern stuff, too. published. Prices include postage. For Are there any modern works that you Canadian or foreign surface postage, especially like, or perhaps I should ask if please add an additional $1 per item. there is a particular type of piece you might For Canadian or foreign air mail, please generally be interested in playing? add an additional $3 per item. When My taste in modern repertoire is fairly ordering five or more items to be wide ranging. I think I perhaps have a special shipped to the same address at the same affinity for music that tells a story. time, ARS members may deduct a Can you give an example? further discount of $2 from the total. Meditation by Hirose would be typical and is one of my favorites. Another “story piece” that I like is Ofrenda by Mario Lavista. Need a copy of just one article? I haven’t played it yet, but I’d like to someday. Articles in American Recorder since Well, you’re at a very important point in 1988 may be ordered through the fax- your career right now, and I guess the obvi- back service of The Uncover Company ous windup question would be to ask how (http://uncweb.carl.org/). you feel about being a member of the Am- sterdam Loeki Stardust Quartet. It’s a great honor, of course. And it’s a AMERICAN privilege to play with such fantastic musicians RECORDER in an ensemble that, coincidentally, was SOCIETY formed during the year of my birth. Box 631, Littleton, CO 80160• 303-347-1120 Pete Rose
32 American Recorder ______OPENING MEASURES ______
How to count
Keep reading! Even advanced players often Now lets try something more fun and Time for sixteenth-notes. They are even have a rather vague rhythmic understand- move on to eighth-notes! Eighth-notes are tinier than eighth-notes. There are two six- ing. Being able to play rhythms exactly is a smaller than quarter-notes. It takes two teenth-notes to an eighth-note, four six- valuable skill. eighth-notes to fill one quarter-note, so teenth-notes to a quarter note. Tap your How does one learn to count in music? there will be two eighth-notes per beat. steady stream of quarter-note beats (not Usually, a person learns to count rhy- Can you continue to tap your steady too fast!) while you play four sixteenth- thms when first learning to read music. Of- stream of quarter-note beats while you play notes against each tap. If you are not ab- ten, that training in counting rhythms does two eighth-notes per beat? solutely certain that you are playing four not go very far, and later, when you are try- At this point I think I can safely say that, sixteenth-notes per beat, slow your beat ing to play Josquin’s Ave Maria in an ARS regardless of your playing level, if you do down so that you can really hear and keep chapter meeting, you may find yourself the above exercises once a day for a week, track of your sixteenth-notes. You can al- just “kind of” getting the rhythms right. your playing of rhythms will improve. Even ways speed up later. Let’s backtrack to the beginning and find if you thought you were pretty good, I It is all very well to be able to tap and out what it takes to develop a strong and think you will find that doing these exer- play the above patterns, but how about thoroughly grounded ability to count and cises hones and refines your sense of an in- playing some actual music? I want you to play rhythms correctly. ner beat and its subdivision and augmen- play the following tunes while keeping a The most simple time signature to be- tation, and you will find yourself playing steady beat. You won’t be able to tap your gin with is 4/4 time. A 4/4 time signature better! finger and play at the same time, so I will means that the quarter-note gets the beat and you will have four quarter-notes (or Examples the equivalent) to the measure. A 3/4 means that the quarter-note gets the beat and you will have three of them per mea- sure. Tap your finger (right hand) on a table in a steady stream of leisurely beats. These will be our quarter-notes. With your left hand, play a matching steady stream of notes, one to the beat, on your recorder. Use just one pitch — A on soprano and D on alto work very well with one hand. Keep both your tapping finger and your playing of the As or Ds as steady as you can. When you are good at this, you can choose a dif- ferent speed for your quarter-note beats and try the same exercise. (Simple as this exercise is, it is very good for even advanced players since it strengthens the sense of inner pulse, and the ability to play a steady beat. Please do it.) One half-note is equivalent to two quar- ter-notes, therefore, in 4/4 time, a half-note will get two beats. Continue to tap your steady stream of beats, but now play half- notes against it. Now you will be playing one note for every two taps. Can you do this steadily? One whole-note is equivalent to four- quarter notes, so a whole-note will get four beats. Play whole-notes while tapping quarter-note beats.
November 2001 33 OPENING MEASURES (cont.)
ask you to tap your feet. Not your foot. of a beat. It sounds difficult to keep track of Your feet. Tap with alternate feet, left, right, when playing, but is actually easy, once left, right .... (or right, left, right, left....). you get the knack. You might need to try this alone first to get If you have a tune in 4/4 with dotted the feel of keeping a very steady beat with quarter-notes, each of them will almost alternate feet. certainly be followed by a single eighth- Why alternate feet instead of one sim- note—worth half a beat. One and a half ple foot? You may notice from musicians beats plus a half beat equals two beats. playing around you who tap their feet (or Tapping a steady quarter note beat with from yourself), that a) their tapping does alternate feet, play Exercise 2. The arrows not remain steady when a bit of a challenge mark the beats, making it easier to place comes along, and b) tapping becomes such the single eighth-notes correctly. a habit that they don’t even know they are One of the great things about tapping doing it, and can’t stop doing it! Tapping your feet is that, for each beat, your foot two feet lets you tap a steadier beat because comes down to the floor and then Must it is a natural movement, like walking (just Rise Again to prepare for the next beat, think — if you walk with an unsteady beat which gives us an automatic division of the you end up going in circles!); yet tapping beat into even eighth-notes. When tapping two feet alternately requires more atten- alternate feet, one foot comes down for the tion so it is less likely to become a subcon- beat and the other foot then rises in prepa- scious habit. Let it keep you on your toes! ration for the next beat. Back to the matter at hand: while tap- Exercise 3 is a tune you on which you ping alternate feet in a steady quarter-note can test your dotted quarter-note playing. beat, play Exercises 1a - 1e. Draw arrows where the beats are. Once you are certain that you keep a Dotted eighth-notes are almost always steady beat while playing these tunes, you found paired with a sixteenth-note. A dot- should also play them without tapping in ted eighth-note gets 3/4 of a beat and a six- any way — but continue to feel a sense of teenth-note gets 1/4 of a beat (there are the beat within yourself. four sixteenth-notes in one quarter-note Another way to improve your sense of beat), so a dotted eighth-note and a six- inner beat is to put on a recording of some teenth-note together fit in one quarter-note of your favorite music and tap the beat with beat. Try playing Exercise 4. hands or feet. Any style will do, and in fact, Make sure that you place your six- the more varieties of music you try this teenth-note just before your next beat. In with, the better for you. It’s a lot of fun, and order to be certain you are really giving you can do it with other people to. Have a each note its exact value, practice the fol- music party! lowing rhythm. In Exercise 5, downward OK, this is so much fun that I keep get- arrows show the beats and upward arrows ting off the track. It is time to learn to play show the half beats—the downward and dotted notes exactly right. Most people upward movement of your feet. learn about dotted notes but learn to play Marking beats in the music can be a dotted rhythms only approximately. That very helpful way to make sure you are plac- is simply not good enough. ing notes between beats correctly. You can A dot after a note increases the value of figure out how any rhythm should go this that note by one half. Therefore, a dotted way. For more complex rhythms add an- half-note will be equivalent to a half-note other mark for half beats. Mark the beats plus half a half-note (a quarter note). In 4/4 (and half beats if it is helpful) in Exercise 6, a dotted half-note gets three beats. and then try to play it while tapping the Test: 1) What is the equivalent of a dot- beat with alternate feet. Once you can do ted quarter-note? A ___note plus a ___ this correctly, play the tune without beat- note. ing time at all. Three cheers for you! 2) What is the equivalent of a dotted Frances Blaker eighth-note? A ___note plus a ___ note.
(See the end of this column to check
note. note. a plus note 2) Answer: a a Answer: 2)
your answers.)
note. a plus note a Answer: 1)
A dotted quarter-note will get one and a half beats. A dotted-eighth note will get 3/4
34 American Recorder makes it more difficult to use these tracks PLAY-ALONG CDS FOR RECORDER in a performance situation. Regardless, STUDENTS (cont.) Boogie Blues will give you and your stu- dents many hours of big fun. If you have a student who is on the verge of losing in- terest in favor of various organized school a play-along CD for young developing percussion parts are well within the per- activities, these entertaining pieces might students on alto recorder, (considered forming range of middle school students. be a good way to motivate the student to grade 2 out of 5). This publication con- Recorder Frolics is an add-a-note book stay at it for a while. The boogies become sists of ten arrangements of Latin tunes containing 11 selections beginning with progressively more difficult, and toward by various composers arranged by Peter the notes BAG and expanding to the the end of the book are downright chal- Linx (the last two are his original compo- range of a tenth including F and C . Most lenging, sometimes involving fast chro- sitions). The CD includes both full per- interesting is “What to Do with 3 and 2,” matic passages. “Syncopation Boogie” is formances and accompaniment tracks. a tune that alternates between 6/8 and accompanied by some wild glissandos on Most of this CD is synthesized, including 3/4. The tracks for this piece have various the piano. This is another one of those the melody line, but the strings and the calls during the interludes that include publications that adults might enjoy as guitar are acoustic. These tunes have some really wild laughing. Robert Am- much or more than children. some very challenging rhythms and key chin is currently working on two more signatures. My take on this publication is books— Recorder Frolics 2, and Moods Jim Tinter Productions that adults would enjoy it as much, if not and Meters for beginning alto recorder The following two Jim Tinter publica- more, than children. The soothing with intermediate soprano recorder. I tions were reviewed in the November 1996 melodies have gentle, rhythmic accompa- hope for many more titles to follow! American Recorder; thus, a brief mention. niments with a luring Latin swing “A Minor Melody” can be played by very throughout. JPMC Books new recorder players and enjoyed by more JPMC Books publishes three play- advanced players as well. The CD/cassette Beatin’ Path along titles—Soprano Recorder Multi- has the full performance as well as accom- Beatin’ Path Publications produces sound, Alto Recorder Multisound, and Boo- paniment. The main theme uses only four two splendid books with with Orff or- gie Blues Inspiration, all arranged by Her- notes, G through C, and features much chestrations and play-along CDs by wig Peychär. The Multisound books are practice for alternating between B and C. Robert Amchin, an internationally two delightful collections of melodies The second section is improvised; stu- known Orff pedagogue—Moods and coming from many walks of musical life, dents can progress through three levels of Modes and Recorder Frolics. This first including melodies from operas and ora- difficulty. The recording as well as the book is targeted for the intermediate be- torios, folksongs from various countries, printed music includes practice in ginner and for those experienced in Orff marches, hymns, spirituals, waltzes, clas- solo/echo patterns that gradually become ensembles; the second book is aimed at sical melodies, sea shanties, and tradi- melodically and rhythmically more com- beginning players/ensembles. Both syn- tional tunes. These two books contain ex- plex. The score features parts for three re- thesized CDs have complete performance actly the same material, transposed ap- corder players as well as a part for bass xy- tracks as well as accompaniment-only propriately for soprano or alto. The CDs lophone. tracks. The composer suggests that the contain synthesized accompaniment on- Jim Tinter’s Big Mouth Blues contains CDs be used primarily as springboards ly, without full performances. The accom- five tunes for two or three beginners with for creative ideas and encourages impro- paniment will sometimes jump onto the full performance and play-along accom- visation as well as expansion into larger melodic line but then leave it for the re- paniments. My favorite is “Big Mouth arrangements. The complete scores as peat. Although the front cover of the book Blues,” where Jim is playing a “hot” ac- well as student scores are published. The says “Easy pieces,” I would be more like- companiment on his synthesizer. The play-alongs could be performed with one, ly to use this with an intermediate stu- piece is not for the absolute beginner, two, or sometimes three soprano and/or dent. One piece definitely requires dou- since it requires moving back and forth tenor recorders, all playing separate ble tonguing. “Rolling Home,” a sea between C and C . However, a mini-les- parts. Moods and Modes is an absolutely shanty, is enriched with bird calls. These son on the recording practices this skill. delightful collection of 11 original com- are longer arrangements with da capos The B section in this piece is, again, guid- positions with titles such as “Modal and key changes. ed improv; the composer suggests using Morning” (composed in G Mixolydian), Boogie Blues Inspiration is a collection only five notes. As in “A Minor Melody,” “Pipe and Drum,” and “Canon after of 11 original compositions for an inter- the printed music and the recording in- Two.” The CD is enriched with a myriad mediate-level soprano recorder player. clude echo patterns to help students with variety of percussion including the de- Unlike the Multisound CDs, the Boogie tonal memory and improvisation. lightful sound of temple blocks. A couple Blues CD contains both full performance Susan Groskreutz reviews music for of the pieces open up with birds singing, tracks as well as accompaniment tracks. American Recorder and serves as president and some have the sound of wind and/or Boogie Blues (as well as the Multisound of the American Recorder Teachers Associa- waves in the background. The recorder books) begins each track with the page tion. She encourages producers of play- parts fit well within the range of the inter- number and the title spoken both in Ger- alongs for recorder at any level to contact her mediate beginner and contain some chal- man and English. Since the printed music about materials not mentioned in these arti- lenging rhythms—“Dance in Seven” uses indicates the proper track numbers, this cles ([email protected]) so they may 7/8 time. The pitched and non-pitched speaking is really not necessary and be brought to the attention of AR readers.
November 2001 35 SWEETHEART CONSIDER ADVERTISING IN FLUTE CO. ______CLASSIFIED ______Baroque Flutes: our own ______“Sweetheart” model ______Fifes, Flageolettes Full page ...... $540 2/3 page ...... $400 “Irish” Flutes & Whistles. 1/2 page ...... $330 Send for brochure and/or 1/3 page ...... $255 antique flute list. 1/4 page ...... $200 Where the haves 1/6 page ...... $155 32 South Maple Street and have-nots 1/8 page ...... $115 Enfield, CT 06082 1/12 page ...... $ 85 (860) 749-4494 of the recorder world 1 column inch ...... $ 50 [email protected] can find each other Prices include web site/e-mail link directly from www.sweetheartflute.com your ad in AR On-line (www.recorderonline.org). Circulation: Includes the membership of the American Recorder Society, libraries, and FOR SALE: ARS logo mugs. 16 oz. foam-insulated music organizations. mug fits most drink holders. Ambidextrous drink- Published five times a year: January, March, May, ing through The Closer™ 100% spill-proof lid. 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36 American Recorder