Published by the American Recorder Society, Vol. XLV, No. 4 september 2004
Friedrich von Huene, the well-known recorder maker, was awarded the 2003 Curt-Sachs-Award of the American Musical Instruments Society (AMIS)
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I’ve been a fan of minimalist music since I FEATURES was in music graduate school in the early The Recorder Music of Frans Geysen ...... 10 1980s—a time when anyone studying New research on the music of the Belgian minimalist composer composition could absorb and process by Flanders Recorder Quartet member Bart Spanhove styles from world music of many cultures, easily available through recordings and A Picture is Worth a Thousand Notes ...... 25 live touring performances; to classical 10 Photographing musicians “new music” that included highly expres- Text and photos by William Stickney sionistic performance art with music, im- provisation and minimalism. I found the minimalist music of Philip DEPARTMENTS Glass, Terry Riley and Steve Reich to be straightforward, yet elegantly devised— Advertiser Index ...... 44 music that couldn’t be taken at face value, Chapters & Consorts ...... 40 both to play and to hear. I thought of it as 25 Classified ...... 44 music to listen “through” rather than “to.” Glass started writing music in the Music Reviews...... 31 1970s (and remains very active as a com- On the Cutting Edge...... 30 poser; his most recent commission was President’s Message ...... 3 Orion, a 90-minute work premiered in June at the Cultural Olympiad 2004 in Q&A ...... 32 Athens, Greece). For many, the Glass work Response ...... 16 that made a big impression was his land- 40 mark 1976 opera Einstein on the Beach. Tidings ...... 4 During a 1984 trip to New York City, NY, Steve Reich for recorders; early music played at Ground Zero in I heard the last live performance in a three- New York City, NY; the recorder in bathroom and vest design; month run of Einstein during that year’s ON THE COVER: Photo and the recorder during the EMA conference and fringe Next Wave Festival at the Brooklyn Acade- by my of Music. Lasting nearly five hours, and William Stickney. festival in Berkeley, CA (on page 40) with no intermissions, the performance was enthralling: almost no one in the ©2004 packed house left for any sort of break. This was the work that also influenced Bart Spanhove to embrace minimalism, as he tells in his article on Belgian com- GAIL NICKLESS, Editor poser Frans Geysen (page 10). Geysen Contributing Editors has also composed a new work for ARS FRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews members (placed on page 21 so that you THOMAS CIRTIN, Compact Disc Reviews; JODY L. MILLER, Education can lift it out of this issue; thanks to Anne CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A TIMOTHY BROEGE, 20th-Century Performance Chetham-Strode for typesetting it). LISA SCHMIDT, Design Consultant It’s gratifying that one of Reich’s flute works has been transcribed for recorders Advisory Board by Reine-Marie Verhagen (page 5). New Martha Bixler • Valerie Horst • David Lasocki minimalist works are also being composed Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy specifically for recorders; see Music Re- Kenneth Wollitz views (on page 31, including the review of Copyright © 2004 American Recorder Society, Inc. a minimalist piece by Caldini on page 35). Visit AR On-Line at
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6 American Recorder PRESIDENT’S MESSAGE ______Blogs
ne of the new cultural phenomena Hanneke van Proosdij). The blogger I am grateful that Ospreading through the internet would have been excited to report that all AR appears in my these days is the blog. According to the of the proceeds from the benefit concert mailbox and on my Webopedia,
September 2004 7 TIDINGS ______Arranging Reich, mandolins meet recorders, Bits & Pieces ______and recorder decorating and fashion ideas Ensemble Breve: Good Friday at Ground Zero During April, ONI, The Netherlands’ old- est mandolin orchestra, came to Texas for Ensemble Breve offered a program of The second section of the program concerts. Their trip was arranged by ARS music at St. Paul’s Chapel in lower Man- again featured music from Flanders. member Alice Derbyshire, and spon- hattan of New York City, NY, on April 9. In I especially liked the contrast of move- sored in part by the Texas Toot, Dallas many ways, the program reflected the spir- ments between the Brumel and the Recorder Society, Mesquite Arts Council, it of the location and of the day. Morales versions of Missa L’Homme arme. and Texas Commission on the Arts. St. Paul’s Brumel keeps the theme primarily in the ONI consists of six mandolins, three Chapel and near- cantus firmus, with the other two voices mandolas, a mandocello, three acoustic by Trinity Church rather independent. The Morales version guitars and an upright bass. They concen- are adjacent to seemed more complex, but was equally trate on a repertoire written expressly for the 9/11 ground compelling. the mandolin orchestra. Although this is zero site of the Other composers on this part of the mostly 20th-century music, it is more 2001 terrorist at- program included Agricola, Ghiselin, Bar- Romantic than modern in sound. tack. In addition bireau and Anon. Here I especially liked At two points during the program, the to sharing this the mass movement from Agricola’s Missa orchestra was joined by recorder players. melancholy link, in myne Zyn, lovely writing and playing— Peggy Turner joined ONI on stage as a they also share a a reminder that in the breath and fingers of recorder soloist, playing the Baroque style mid-day concert gifted musicians, vocal music fits well and Concertino Veneziano, by Ralph Paulson- series, hosting a sounds “right” on recorders and viol. Bahnsen. The slow middle movement fea- broad spectrum of performers and The latter part of the program brought tured a particularly haunting melody. performances offered without charge to us musically to Renaissance England, and During the second half of the program, those who care to listen. then to Baroque France. I really loved ONI was joined by a recorder trio— Indeed, the Breve performance was Somewhat musing—a little gem of a piece Turner on soprano, Derbyshire on alto, presented as a “sound installation” for by Robert Fayrfax, tenderly and expertly and Karen Ferrer on bass (l to r in first Good Friday. Numerous hangings along offered. Breve then gave us three elegant row, photo above)—playing Concerto in D the chapel walls and balcony provided an examples of late Renaissance fantasias minor for mandolin orchestra and almost overwhelming visual remem- (White, Tomkins and Lupo) with the col- recorder trio by Hermann Abrosius. It was brance of 9/11. Throngs of people from all oration of each differentiated by choices of the most “modern” sounding piece of the walks of life passed slowly, and mostly instruments as well as of articulations. program, with a decidedly oriental cast to respectfully, around the exhibit in the The segue to J.B. Boismortier and its harmonies and rhythms, writes Ferrer. sanctuary while the music was performed. French Baroque style was not as jarring as L’Ensemble Portique, founded and Breve has reconfigured recently and such a juxtaposition might suggest. The directed by recorderist Lisette Kielson, now includes Deborah Booth, recorders second movement of the Ballet de Village will be in residence at Calvary Presbyter- and flute; Jay Elfenbein, gamba; and the en trio, “Doucement, ” was both sweet and ian Church in Milwaukee, WI, for its redoubtable Morris Newman, recorders a bit sad, and the final movement, a 2004–05 season. Built in 1868, Calvary and rackett. The latter instrument is a chaconne, also conveyed a sense of Presbyterian’s innovative space and wel- “buzzy” double reed, producing a deep melancholy to 21st-century ears. coming ideas will provide a fitting home sound from a narrow tube folded many The St. Paul’s Chapel acoustic swal- for the ensemble’s devotion to a fusion of times to fit in a relatively small cylinder. lowed some bottom notes of the larger early and contemporary repertoire. The group opened the program with a recorders, bass and C bass, although the Kielson will make Calvary her site for set of “golden oldies” from Flanders—an viola da gamba sound was quite clear, per- Milwaukee-area performances, work- anonymous early-16th-century setting of haps because of the spatial orientation of shops, classes and lessons. The chamber Jay pryse amours (I have taken love) and the viol vs. the “big” recorders. But overall group’s season includes three programs several settings of O Venus bant (O shack- the emotional span of music , from Missa of Baroque and contemporary music, fea- les of Venus), including versions by L’Homme armé to Somewhat musing, spoke turing world premieres of works by Wis- Josquin and Isaac. Booth used recorders clearly for itself—and for the emotions of consin composers Julie Brandenburg, and flute in this section, while Newman the day and the site, proving once again Michael M. Bell and David Drexler. played rackett and recorders. Shifts of in- that music can convey to the listener the Seven Times Salt, with recorderist struments afforded differences of col- remembrance of things past, while giving Daniel Meyers, plays English consort oration for the multiple versions, as did us hope for the future. music of the 16th and 17th centuries. Elfenbein’s use of plucked as well as For more information, see Breve’s web Their June live radio performance on bowed strings on the gamba. site,
8 American Recorder trace the footsteps of the original Ply- Dale Higbee was the featured recorder program ended with “Meine Seele hört in mouth Colony Pilgrims—beginning with soloist on March 23 in the monthly con- Sehen,” HWV 207, from Handel’s Neun English consort and theater music, travel- cert series at Catawba College, Salisbury, Deutchen Arien. “The unspecified obbliga- ing to Holland (where many Separatists NC. He was assisted by Adam Ward, to treble instrument in these lovely Nine lived for years before the journey to the organ, and Rosemary Kinard, soprano. German Songs, composed 1724-27 on New World), and ending with music rep- The program opened with the Sonata texts by Barthold Heinrich Brockes about resenting Plymouth daily life, c.1620. The in B minor, Opus 1, No. 9, HWV 367b, the beauties of nature, was probably vio- program included Morley, Simpson, The played on “Sixth Flute” (soprano recorder lin, but they are fine additions to the English Dancing Master, Robert Johnson, in d'', pitched a sixth higher than alto recorder repertory,” said Higbee. ‘t Uitnement Kabinet, Merula and others. recorder in f'). Then followed Andante in C, Among the finalists in Early Music The program was also performed four K.315, by Mozart, originally for flute and America’s Medieval/Renaissance Music times under the auspices of the Boston- orchestra, but performed on alto recorder Competition is Ciaramella with Adam area (MA) Society for Historically in f'; Higbee says, “it suits perfectly.” and Rotem Gilbert, recorders. The six Informed Performance (SoHIP) concert An almost exact contemporary of Han- finalists compete in an October 6 concert series—in Weston, Ipswich and Boston, del, Willem de Fesch (1687-1761) was in New York City’s Corpus Christi Church and at Plimoth Plantation, a recreation of represented by his Sonata in G major, Op. as part of the New York Early Music Cele- the original colony at Plymouth, MA. 8, No. 4, played on soprano recorder bration. The name Seven Times Salt comes (“Fifth Flute” in c''). After this came a See page 40 for coverage of the Early Music from Shakespeare's Hamlet, but refers in a movement from Sonatina for Recorder America conference and fringe festival held broader sense to the "melancholie mu- (1939, originally scored with piano) by in Berkeley, CA, in June. sick" popular in Queen Elizabeth's court. Peggy Glanville-Hicks (1912-1990). The Reich work receives premiere during 2004 Amherst workshop With six ARS Board members present The peaceful rural atmosphere and sion at the Royal Con- during the Amherst Early Music Festi- panoramic vista of Bennington College servatoire at The Hague val 2004, several ARS-sponsored activi- (VT) provided the perfect venue for Steve during the Steve Reich ties took place. A booth with materials, Reich’s expansive work Vermont Counter- Festival. An advance magazines and information about the point. Reine-Marie Verhagen gave the performance provided Society was set up during the instrument U.S. premiere of her recorder transcrip- a unique experience for exhibition July 17 and 18—a perfect tion to a full house during the July 2004 the composer, who up spot for recorder players to gather, join Amherst Early Music Festival . to that point had not the ARS, buy a lapel pin, get a free pencil Vermont Counterpoint was written in heard his work per- and bookmark, and ask questions of the 1982 and scored for flute soloist with pre- formed live. Verhagen board members staffing the booth. recorded 11-part flute “ensemble.” Each reported that Reich An ARS play-in was held on July 18. of the four movements is in a different key, laughed with Furniture was moved to accommodate with the third also in a slower tempo, and delight at the the musicians, stands, and instruments, each movement merges into the next. The spectacular en- plus borrowed folding chairs, in the liv- composition builds canonically, with trance of the ing room of Stokes Dorm as 35 recorder changing tonalities, rapid tempos, and soprano players gathered. Coach Cléa Galhano (a complex rhythmic patterns combining in- recorders. former ARS board member) arrived just to a unified texture. The solo contains the At the Ben- in time, despite a shuttle delay from the same rhythmic and melodic motifs as the nington con- Albany, NY, airport, and enthusiastically ensemble parts, and is amplified by mi- cert, Verhagen led the group through a variety of music, crophone to be heard over the ensemble. performed the including Renaissance double choir In her transcription for recorders, Ver- 10-minute works, Bach, and jazz. Despite the heat hagen replaced the piccolo parts with so- piece, then gave a short explanation of the Reine- and somewhat cramped space (the legal prano recorders, the C flute parts with so- composition and the issues involved in Marie limit for this room is 45), everyone en- prano and tenor recorders, and the alto scoring it for recorders and performing it Verhagen, joyed the reading session. ARS materials flute part with bass recorder. In her Ben- with a live ensemble. She felt that Vermont and a were distributed, and players were en- nington performance, she brought her Counterpoint fit well into an early music shot of couraged to join or renew their member- own recording of the ensemble, against festival, given that it explores counter- the ships. which she played the solo part on point, uses instruments from the same Vermont A July 19 reception honored past and recorders ranging from soprano to bass. family, and continues the tradition of campus. present ARS scholarship recipients, in- The composition alternately shimmered flutes and recorders sharing repertoire. (Photos cluding 2004 recipient, Missouri high and sparkled, as various patterns and mo- “Would you like to hear it again?” she by school student Rachel Siegel, who was tifs emerged from the texture. The asked, and got a resounding, “Yes!” William a first-time Amherst attender. ARS Board recorders provided a greater spectrum of Modern recorder repertoire is enriched Stickney) members provided information about sound colors, which gives a different effect by Verhagen’s transcription. Contact ARS scholarships, including deadlines, than when the piece is performed on Verhagen,
September 2004 9 Department of Curiosities
A Pipe of a Different Color Peknik is an artist himself, and a regular RA. Does the symbolic aspect of the recorder Recently ARS Board member Rebecca Arken- exhibitor in the employee art show at The come into the picture here? berg visited with Joseph Peknik III, Principal Metropolitan Museum, where his multi- JP. No, let’s not go there. Technician of the Department of Musical media and assemblage works explore musical RA. OK, on a practical note, are the recorders Instruments at The Metropolitan Museum and artistic themes, and sometimes incorpo- permanently attached? of Art in New York City, NY. rate actual sound, like the New York-China- JP. No, I can take one down to play in the Those visit- town Bird of Paradise that plays four tunes. shower, if I want to get special water ef- ing Joe Peknik’s Visitors to his bathroom might be sur- fects. New York apart- prised to see a selection of soprano recorders RA. So you play the recorder, too? ment would on the wall. JP. I once had a Moeck Rottenburgh alto, expect to see and when I lived in Chicago I played with musical instru- RA. Is this an extension of the musical instru- a small early music group. We mostly ments—and, in ment installations in the rest of your apart- played Praetorius and Christmas music in fact, his collec- ment? hospitals. tions of rattles, JP. The recorders represent the musical in- RA. What got you interested in the instru- mouth harps, strument section of my bathroom gallery. ment? whistles, tuning I presently display eight recorders; besides JP. When I was living in Chicago, I heard a forks, bells, pitch the blue, pink and green Yamahas, there concert by New York Pro Musica at the pipes, stuffed ex- are brown, black, and white recorders, Howard School Auditorium in Wilmet, IL. otic birds, and and an assortment of reds. This was March 19, 1964, and I still have bird calls cover RA. I’ve been in New York apartment bath- the program. It was LaNoue Davenport, the walls. He rooms, and for the most part they are not ex- Judith Davidoff, Shelley Gruskin, and oth- owns 25 Tarahu- actly spacious. Was it difficult to get this shot ers. Then in 1973, when I was living in mara fiddles of your artwork? Boston, I took a class at the Camerata from Mexico, JP. Yes, I had to balance on the rim of the School of the Boston Museum of Fine Arts. and collects mu- bathtub. I felt it was important to include One of the teachers was Friedrich von sical ephemera, the toilet paper roll to give a sense of the lo- Huene, who taught woodwind history including photo- cation. and construction. It was a bargain at $38 graphs and RA. What about the location? What inspired a course! autographs of you? RA. Do you plan to keep adding colored opera singers JP. A few years ago, when I saw the translu- recorders to the installation? and musicians. cent Yamaha recorders, I had to order one JP. It’s a budding collection; eventually I He even has two in each color. I was inspired by the would like to cover the whole wall. And vintage photos of recorders, but also by the plumbing con- yes, I will accept donations of funky or un- Arnold Dol- figuration in my bathroom. I wanted to ex- usual plastic recorders. metsch, one of plore the motif of pipes—plus, the plastic RA. Is your installation open to the public? which is signed. recorders are impervious to moisture, that JP. Viewing is by appointment only. is a plus. Bloks in Sox Courtly Music In cold weather Unlimited and in air-condi- 800-2-RICHIE tioning, (800 274-2443) recorders play more www.courtlymusic.com effectively when they "Everything for the recorder are warm. enthusiast, or those who What easier source of heat than one’s own would like to be." body? Janice Arrowsmith (shown at right, wearing vest with recorders inside) of Trenton, NJ, hand-sewed four socks Fine wood and plastic recorders, sheet to the inside of a bulky cotton vest so that the entire soprano recorder and the music, method books, play-along CDs, head-joints of the alto, tenor, and bass would stay warm and convenient. accessories, workshops. Close-up shot at left shows the vest wrong-side out.
10 American Recorder
Q & A ______Going back to the beginning
uestion: I would like to know when and made of clay, bamboo and wood are found 1300s have been discovered by archeolo- Qwhere the first recorders were made in in many folk cultures scattered through- gists. One, the so-called Dordrecht connection with an article I am writing about out the world, but those instruments are recorder, was found in the 1940s in a moat my Junior Recorder Society students. not recorders. The recorder differs from surrounding a Dutch castle, which had —Sue Roessel, Rogersville, AL other duct flutes in having seven finger been occupied from 1335 until destroyed holes, which make it fully chromatic, and by a flood in 1423. The other was found in nswer: This subject is discussed in a single thumbhole, which allows the 1987 in a deep latrine in the north German Adetail in two articles by Anthony upper registers to be blown gently. city of Göttingen. Both of them are now in Rowland-Jones in AR (November 1999, museum collections and have been stud- pp. 10-14, and November 1997, pp. 7-13) Where and when was the ied and copied by recorder makers. Two and in an article by Nicholas Lander on the years ago, fragments of a third 14th-centu- web site
12 American Recorder ment was not usually shown. If the mouthpiece area is not clearly depicted, a "AROQUE #HAMBER -USIC 0LAY !LONG #$S duct flute cannot be distinguished from a WITH -USIC AND 0ERFORMANCE 'UIDES FOR 2ECORDER 0LAYERS reed pipe, and it is not always possible to determine the number of finger holes or (OURS OF PLAYING 0RE($ISC#ONTINUO ENJOYMENT WITH EARLY %ARLY )NTERMEDIATE discern the presence of a thumbhole. Ac- MUSIC SPECIALISTS (ANDEL ,ULLY 0URCELL #ORELLI cording to Anthony Rowland-Jones, the h3ELDOM WILL ANY OF US GET TO BE CONSORT MUSIC MORE earliest known work of art unambiguous- ACCOMPANIED BY SUCH lNE PLAYERSv ly depicting a recorder is the center panel 4HE $ISC#ONTINUO hx"EST OF ALL THEY PICK THE MOST )NTERMEDIATE in Pere Serra’s Altarpiece of Our Lady of the %8#%,,%.4 MUSICv 4ELEMANN -ARAIS (ANDEL Angels (c.1390), now housed in the Mu- &RESCOBALDI EVEN MORE seum of Catalan Art in Barcelona, Spain. $ISC#ONTINUO )) Further information about the age of !DVANCED )NTERMEDIATE early instruments comes from their men- "ACH 0HILIDOR -ANCINI (ANDEL tion in written accounts. According to CANTATA EVEN STILL MORE Rowland-Jones, the earliest known use of / the word “recorder” to describe our 4O ORDER POSTPAID SEND CHECKS FOR PER ITEM PLUS H = CHARGES FOR lRST ITEM EACH ADDITIONAL instrument occurred in an entry dated ITEM TO @6IAROE=: GECORDS &LORIO 3TREET /AKLAND #! OR CALL 1388 in the household accounts of Henry, 6ISIT OUR WEBSITE AT WWWKATASTROPHEMUSICCOM Earl of Derby (later King Henry IV). Where and when was the first recorder made? All of the current evidence strong- ly suggests that it was made somewhere in western Europe some time during the Beatin’ Path Publications 14th century, but we cannot pinpoint the time and place more accurately than that. Music That Works! Carolyn Peskin Robert Amchin Send questions to Carolyn Peskin, Q&A Editor, Alto Antics ensembles for beginning alto recorder with percussion accompaniment 3559 Strathavon Road, Shaker Heights, OH 44120; Recorder Frolics for beginning C-pipes (Play-along CD available)
See our online catalogue of Church, 302 East College Street choir, Orff and recorder music at: Bridgewater VA22812 www.beatinpathpublications.com 540-478-4833 or visit your favorite music dealer
September 2004 13 although perhaps I should not compare him to American minimalists such as THE RECORDER MUSIC OF Glass, Steve Reich, Terry Riley and La Monte Young. Thanks to his recorder works, Geysen FRANS GEYSEN is known around the world. As a judge at the 1972 Musica Antiqua competition in t was July 1983. I had just finished Bruges, Belgium, Frans Brüggen was Iteaching a weeklong workshop for so taken with Geysen’s recorder young players. Exhausted, I left for a vaca- quartet Periferisch-Diagonaal-Concentrisch tion in Italy with a car full of family and (see below) that he had it published at once friends—an 800-mile trip. About halfway, by Schott in London. The work was per- in the 10-mile Gotthart tunnel in Switzer- formed at the competition by the Huelgas land, my composer friend Peter Pieters Ensemble with Paul Van Nevel, which at played a tape of Philip Glass’s Einstein on that time was still a recorder consort. the Beach for me. At that point, I had nev- Since 1975 Geysen has written com- er heard of American minimalist music. positions for many recorder players, start- As a recorder player, I had been preoccu- ing with commissions by the Amsterdam pied with early music. Loeki Stardust Quartet (ALSQ), the Flan- That introduction to minimalist music ders Recorder Quartet (FRQ) and Geert has stayed in my mind ever since. The Van Gele. Over the last 20 years, other in- Gotthart tunnel—dark, seemingly end- ternationally known recorder ensembles, less, narrow, oppressive, mysterious— including Frullato (Spain), Flautando Frans Geysen combined with the striking, driving (Cologne, Germany), Malle Symen (The sounds of Glass’s music, affected me Netherlands), and Carré (Belgium), have deeply. It was like heaven on earth. I fell performed and loyally supported his hard under the spell of minimalist music. music. His recorder works are now Belgium has a brilliant minimalist deservedly known worldwide. composer, Frans Geysen (born 1936),
by Bart Spanhove
transl. Maria van der Heijde-Zomerdijk
Musical Example 1: Two pages from Geysen’s manuscript for Periferisch–Diagonaal–Concentrisch
14 American Recorder Twenty years ago, Geysen was my mu- A great architect sic theory and harmony professor. I re- Geysen’s acute perceptions of the sounds The centuries-old duality member when he came into the classroom of nature form the basis for his composi- between dissonance and one rainy day, telling us how struck he had tions. His style is not like any other. Start- consonance, alternating been on the way to school by the ratio pro- ing with a striking simplicity and a strong duced by the windshield wipers and the structure, he invents ingenious musical tension and relaxation, turn signals of his van (three to two). schemes that seem unpredictable, creative is no longer present. He is also intrigued by sounds of the and inexhaustible. sea. Rather than hearing just a high- For a performer, a thorough under- them, but independently of them, he pitched shimmer, he hears a simultaneous standing of his ways of thinking and of or- began to use repetitive structures. broad sound spectrum. He can listen for ganizing his ideas is essential to reaching a Beyond this initial similarity, there are hours to the stories the sea tells him. “The well-informed interpretation. He searches many differences in their approaches to screeching of sea gulls is not necessary to for music that does not express anything composition. Geysen is a solitary thinker give meaning to this listening.” and that does not want to express any- who—once the work has been committed He also testifies that “the monotony of thing: sober music that does not try to to paper—leaves everything up to the per- the landscape in Flanders and Limburg charm, impose, convince or affect, but just former. He creates his own idiom, based [where he grew up], with its unvarying wants to exist—without frills or sensa- on a variety of very specific repetition tech- pine forests and row upon row of trees tionalism, avoiding psychological or dra- niques, but often avoiding exact repeti- along canals and rivers, uninterrupted by matic explorations. tions. mountain tops and deep valleys, is incred- According to Geysen, a pursuit of pur- In contrast, the American minimalists ibly fascinating—especially from a speed- posely monotonous music opens fascinat- often are performers as well as composers, ing train, when one sees how these canon- ing aural possibilities. Geysen’s music re- and develop their musical ideas through ic rows of trees in their different arrange- quires a special kind of listening. It is con- improvisation. They work rather intuitive- ments form counterpoints, overlapping structed in an idiosyncratic manner, but ly and compose generally simple, conso- astonishingly, reflected in the bordering can produce pure amazement and enjoy- nant, repetitive music that tries to influ- waters.” ment about what music is, or can be. ence the consciousness of listeners and As a teacher, his motto was: “A power- Geysen was born in almost the same change their state of awareness, very dif- ful concept will always sound good!” year as Glass, Reich, Riley and Young. Like ferent in style and æsthetics from Geysen’s ideas and processes. Some characteristics of Geysen’s music are strongly related to European serialism. Geysen often uses the 12-tone rows found in serial music, although he does not seri- alize all the parameters (rhythm, dynam- ics, etc.) as other serialists have done. Using 12-tone rows, references to a key are generally avoided. Thus intervals such as thirds and perfect fifths are not used, as they could be heard tonally. Minor sec- onds are avoided as well, to avoid suggest- ing a leading tone. There is no mutual attraction between any of the pitches. The centuries-old duality between dissonance and consonance, alternating tension and relaxation, is no longer present. The serialists perceive themselves as architects, or engineers, of sound. Although Geysen doesn’t adhere to the strictest elements of serial music, he is like them in his quest to achieve as much rational control as possible over his compositions. Geysen’s use of structure, together with the way he writes his own exercises as an aid to composing, strike me as his most important qualities. His mental process involves devising schemes and determin- ing the different possible combinations of notes that can be used in his music. (See musical example 2.) Geysen perceives himself also as a remote successor of the Flemish poly-
September 2004 15 phonists in the 15th and 16th centuries, specifically in his music’s strong tendency towards constructivism. He has in fact created a new kind of polyphonic style that harks back to the old polyphonic compositional techniques, such as fugal and canonic structures—but couples them with rhythmic manipulations such as augmentations and diminutions. The way his music tends to be divided into countless small fragments often obscures the canonic structure, creating a purely abstract sound show—almost a form of”inaudible” polyphony. Geysen pays much attention to canon- ic and mirroring structures. The tone row that he uses as the basis for each piece can be changed from its original form in vari- ous ways: · a row can be read backwards (retrograde) · the direction of the movement of intervals can be altered (inversion) · a row can be read backwards and the direction of interval movement altered (retrograde inversion) · the entire row can be transposed Indirectly, Geysen is also influenced by cosmic ideas: music as a reflection of the perfect order of the universe. The composer does not believe in a universe that was created suddenly and evolved in such a way that it will cease to exist at some point, as described in the Big Bang theory. Rather, he subscribes to more re- cent theories: the universe has always ex- isted, but is constantly changing through the movement of its most important com- ponent, “plasma.” The cosmos follows its own, but not a purposeful, direction. This theory is also in line with the an- cient Greek thesis of Heraclite, “Panta Rhei” (everything flows). Visual artists have expressed this in the so-called “Möbius strip” (a curved surface with no beginning and no end, created when a twisted loop is joined after giving one end a 180-degree twist—as made popular in Musical example 2: MAM the art of M.C. Escher). Geysen’s manuscript is in a different key from this teaching version (set with and with- In Geysen’s works, the element of time out bar lines by the author, for use with his students), a key change recommended by the does not create a sense of purpose. Each composer himself: “Transposed a minor third lower, to 2 alto recorders and 2 bass moment is part of the overall structure, recorders.” I find MAM to be a real puzzle; the longer you look at it, the more you see. but is also an independent unit. It is as if Note especially: the music was poured into a mold, but al- · The equal treatment of all 12 tones so exists without the mold; as if it were · The vertical chords created every five pulses sounding before the first note and keeps · Numerous canons and mirror structures going after the last note. On the other · The relationship between the first and the third voice, and also the first and the hand, the music can change or stop at any second voice (e.g., the first voice read backwards is the second voice read forwards) moment. Geysen’s plan in this piece is brilliant, imaginative and incredible. However short, To me, Geysen resembles a great chess MAM is a precious, well-thought-out composition. The idea is to perform it as a loop: master, who carefully thinks through immediately after the last note in the third voice, MAM can be played again. every action in his compositional process
16 American Recorder Musical example 3: Lichtspleten (Cracks of Light), mm.187-192 (Used with kind permission of Mieroprint Musikverlag Münster/Germany) and rationally weighs every move. He says: “For me, creating art remains an awesome business.... Rationally I lay out the textures I want to use, but the order in which they will be strung together is com- pletely random, intuitive, and unpre- dictable. This means that the overall form and structure of a composition is almost never fixed beforehand. As I compose, musical ideas are developed in a strict fashion; this is where different sections originate. Afterwards these are put in a definite order, strictly intuitive and with- out any pre-determination.”
To me, Geysen resembles a great chess master, who carefully thinks through every action in his compositional process...
Another striking characteristic of his music is the creation of palindromes. A palindrome is a word, phrase, verse or sentence that reads the same backward or forward. Every language includes palindromes: “kayak” or “radar” in English; “parterretrap” in Dutch; and “Retrowörter” in German. Palindromes are not limited to words; there are also palindrome sentences. In Dutch, for instance: “Nee, editor, las u dus al rot-ideeën?” (This means in Eng- lish, “No, editor, did you read terrible ideas already?” I hope this article doesn’t fall into that category!) In German, for instance: “Eine treue Familie bei Lima feuerte nie” (in English, “A faithful family in Lima never fired”). I learned an example in English from students that I taught at the Long Island, NY, recorder workshop last spring: “Able was I ere I saw Elba” (Napoleon’s sup- posed lament). There are also palindrome numbers, such as 12321; and palindrome dates, such as 10.11.01. Geysen creates many palindromes, horizontally as well as vertically (where the notes of a chord, read from top to bot- tom or bottom to top, are in the same or- der), and even rhythmically. Musical example 3 shows a horizontal and rhyth- mic palindrome.
September 2004 17 Musical example 4: Lichtspleten (Cracks of Light), mm.144-183 Hats off to Geysen for his strong use of Fibonacci numbers. This is just one of many examples from his recorder works. The rhythmic organization follows the proportional pattern 1-2-3-5. The basic cell of this section is two eighth notes + one eighth rest (first alto, m.144). The factor of augmentation increases with every lower voice (times two in the second voice, times three in the third voice, and times five in the fourth voice). The proportional canon, entirely based on Fibonacci numbers, determines the rhythmic aspect as well as the melodic. The voices move in intervals determined by the same proportions: the first alto descends a minor second (one half step), the second alto descends a major second (two half steps), the first bass descends a minor third (three half steps), and the second bass descends a perfect fourth (five half steps). Geysen proves to be a brilliant architect in the way he has incorporated this material into the entire composition. (Used with kind permission of Mieroprint Musikverlag Münster/Germany) Geysen’s preoccupation with Fibonac- ci numbers as a structural element is also remarkable. Leonardo of Pisa, also known as Fibonacci (literally, “son of Bonacci”), lived from about 1170 to 1250. Besides in- troducing the Arabic numeral system to a Europe that still used Roman numerals, his claim to fame is the number sequence that bears his name, in which every num- ber is the sum of the previous two num- bers. This infinite sequence begins with: 1,1, (1+1=)2, (1+2=)3, (2+3=)5, (3+5=)8, (5+8=)13, (8+13)21, (13+21=)34, (21+34=)55…89, 144, 233, 377, 610, 987, 1597, etc. Performing Geysen’s Recorder Works for performance of his recorder music This sequence was the answer to a The many CD and radio recordings of could include: word problem that Fibonacci posed for Geysen’s works show striking diversity in · Use of sound technology. Geysen’s readers of his 1202 Liber abbaci (Book of the way the compositions are performed. own answer: “The biggest advantage of Calculating): a farmer buys two young rab- As a composer, Geysen leaves a lot of free- electronics is its autonomy: it is what it bits, a male and a female (1 couple). The dom for performers to suggest creative so- is, and the resulting product is irrevoca- first month no offspring are produced, but lutions, with their particular instruments ble, untouchable and everlasting. In- in the second month two rabbits are born: in mind or drawing from their own musi- deed, to me, this seems ideal, provided a male and a female (2 couples). In each of cal sense. that someone knows how electronic the following months, this first pair of rab- It seems like a paradox: music that is equipment actually works. Through dig- bits produces two rabbits, a male and a fe- conceived in such a rational manner but ital, computer-aided conversion of my male (3 couples). But the descendants of performed in such an intuitive way. In fact, written compositions, some people this couple, at one month of age, begin to Geysen indicates only the pitch and dura- achieve a sound reproduction that stim- reproduce (5 couples) and also deliver a tion strictly, but leaves many other param- ulates live performances. This very close- pair of rabbits each month. The problem eters free. For example, some works can be ly approaches the ideal I mentioned.” was to calculate how many pairs there performed at any tempo from very fast to · Combination of Geysen’s music with would be in a year. very slow. Rarely are factors such as dy- poetry reading or visual art (which, as it While somewhat unrealistic as an ex- namics, articulation, tone production or happens, are often his sources of inspi- ample of reproductive science, this prob- phrasing indicated in the score. In short, ration) lem that seems to be only mathematical the score as a source of information has · Use of light effects has many applications in other disciplines been kept to a bare minimum. · Combination of his music with repeti- such as biology, architecture, music and So far, very little has been published tive dance or movement the visual arts. The best-known example is about his compositions. To achieve a true · Addition of avant-garde techniques. the sunflower, whose seeds are arranged in and consistent performance, his music Geysen does not think these techniques the flower in two sets of spirals. These spi- first needs thorough analysis. A clear are a necessity, but he does not reject rals usually contain 34 and 55 seeds—but understanding of his construction— their use. From various recordings, it is sometimes there are 55 and 89, or 89 and including mirror images, palindromes, clear that almost every recorder player 144—all Fibonacci numbers. Fibonacci numbers and canonic struc- uses these techniques, a practice with From my classes with Geysen, I re- tures—is a start towards achieving a con- which I also strongly agree. Such member that Béla Bartók’s music is full of sistent performance. techniques—including flutter tongue, Fibonacci numbers. Geysen also uses I am currently involved in research that sputato, white noise and vibrato—help them frequently (see musical example 4). includes the exchange of ideas among to create an evocative language that adds musicians, musicologists and composers, another dimension to Geysen’s music As a composer, Geysen aiming for a new understanding of, and in- · Use of his music as a source of creased satisfaction in, performing Gey- inspiration for improvisation leaves a lot of freedom sen’s recorder works. Suggestions, cre- · Use of recorder choirs for instrumenta- for performers... ative solutions, and possible innovations tion
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September 2004 19 Geysen wrote his early works in his quite clear. This pulse notation has no Musical example 5: Excerpt from F''; own notation in order to get away from the relation to graphic notation, since the example in Geysen’s hand strict metrical-rhythmical framework that composer does not use aleatory [chance] of his “pulse notation” does not apply in his music. Notes are rep- techniques.” (See musical example 5.) resented without stems or flags, but in- stead as sound impulses that are not arranged in any meter; there are no bar lines. He thinks that the name “pulse notation” best describes this system. His notation is similar to the notation of Renaissance polyphonic music in its lack of bar lines. Dotted lines represent rests, of the same length as the sounding notes. Arches between the different “pulses” indicate notes that are to be held. Geysen makes clear what rhythmic unit he is using as the basis from which all of his values are deduced. In using this notation, he tries to avoid metric accents that might shape the rhythmical layering in his music. About that, Geysen says, “I have al- ways considered this notation to be a more truthful representation of the audi- tory reality than traditional notation. Of course, traditional notation is, for various reasons, more practical, especially for group playing. This pulse notation proved especially fruitful to me, because symmet- rical structures, which are very difficult to indicate in traditional notation, became
20 American Recorder For amateurs, I highly recommend Geproesterol (in English, this might be than I could ever have wished for. At the Groot Kwartetboek (see musical example 6 ), Laughesterol) is dedicated to Geert Van end of the workshop, there were 30 new a set of 15 different character pieces, each Gele. The title also represents an anagram architects. The future looks bright! lasting less than one minute. The rhyth- of “Erop los Geert,” which in Dutch Searching for Geysen’s constructions mic and melodic material is very accessi- means something like, “Geert, go for it.” and thought processes is a true ricercare. I ble, and allows flexible performance. The recorder is very much alive in hope you will enjoy his latest recorder 2004. Never before have we seen so many quartet, Noodzaak van Ommekeer– Revelations continue professional players, and never have tech- Ommekeer van Noodzaak (Necessity of There is still much to be discovered in nical and musical levels been higher. There Reversal–Reversal of Necessity), a composi- Geysen’s music. From a pedagogical and are so many musical styles available to this tion written especially for ARS members artistic viewpoint, the language employed instrument, and so many quality instru- and published in this issue. in his music is fascinating. I find it a never- ments for sale. Numerous competitions, Bart Spanhove is professor of recorder at ending quest in which I continue to find events, festivals, lecture demonstrations the Lemmensinstituut in Louvain, Belgium, new, interesting things. In Op de fles, he and concerts are organized. and a performing member of the Flanders hid part of a Brandenburg Concerto, Never before has there been so much Recorder Quartet. His recent book, divided over four voices! interest in contemporary music. The Web The Finishing Touch of Ensemble Playing, I made a striking discovery by accident site
September 2004 21 Musical example 7: Installation No. 1 Page one is shown full size; the second page (shown smaller at right) is the first one turned upside down. (Used with kind permission of Moeck Musikinstrumente und Verlag e.K. Celle/Germany)
22 American Recorder Installation No. 1, page two ( page one turned upside down)
Honeysuckle Music
Recorders & accessories ... Music for recorders & viols
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September 2004 23 Flanders Recorder Quartet performs Geysen’s Op de fles (On the Bottle, meaning “To be bankrupt, out of business”) List of Frans Geysen’s Two or three recorders Wingerd in een natte zomer (1974) Recorder Works for two recorders As of 2004, Frans Geysen has written De Monte, Belgium, Adrians 250 compositions, of which 30 require Compendium, Volume II one or more recorders. Much of Geysen’s music is published by Vier korte stukken (1976) for Mieroprint, Germany. two recorders Eigentijdse Muziek Op de fles (2001) for four players and Key: Title (year—arranged Kokon (1990) for two recorders 16 bottles (performance also possible chronologically), instrumentation MPO with four players and 16 recorders) Publisher, if known (those MPO; publication in near future by manuscripts that are privately Nevel tot leven (2002) for Heinrichshofen, Germany; commis- owned are designated “MPO”), recorder trio sioned by FRQ publication number; additional Mieroprint, Germany, EM 1097; pertinent information commissioned by Apsara Noodzaak van ommekeer–ommekeer van noodzaak (April 2004) Solo recorder Four recorders Published in American Recorder, Kleine vegetatie (1974) for alto recorder MAM (1972) September 2004; commissioned by Ascolta, The Netherlands, ASC 345 MPO the American Recorder Society Solo (1992) for alto recorder Nonak (1972) Various combinations up to eight Ascolta, The Netherlands, ASC 346 MPO Omtrent ABC (1984) for five recorders MPO; commissioned by Antwerps Geproesterol (Laughesterol) (1994) for Periferisch–Diagonaal–Concentrisch Blokfluitenconsort alto recorder (1972) for recorder quartet Ascolta, The Netherlands, ASC 348; Schott & Co, Ltd., London, The Modern Digitaal–Analoog–Identiek (1986) for commissioned by Geert Van Gele; Recorder Series TMR 4, RMS 1376; recorder duo, trio and quartet recorded on CD by Geert Van Gele, commissioned by Huelgas Ensemble; Stichting SONBU, Utrecht, The Nether- Flemish Contemporary Recorder Music recorded on LP by ALSQ in Muziek voor lands (which also commissioned it); (Vol. II), Vox Temporis Productions CD een piek, BFO 6814-482; recorded on recorded on CD by FRQ, Flemish Con- 92 031 (available through the ARS CD CD by Flautando Köln, La Spiritata, temporary Recorder Music (Vol. I), Vox Club) Ars Musici “Essence” 3027-2, 1996 Temporis Productions “Novecento” CD 92 004; recorded on CD by ALSQ, Time City of Smiles (2001), 20 solos for one De Stockmansinstallaties (1983) and Time Again, SONBU Stemra C 6824 recorder player, playing soprano to bass Moeck Verlag, Germany, Ed. 2806 [pub- MPO; commissioned by Frank Algoedt lished as Installaties]; commissioned by Ottoflotto (1995) for double recorder 2 ALSQ; recorded on CD, Quatrolog by quartet Ehrung an M.C.E. (E=mc ) (2001) for Blockflötenquartett Springflut(e), Midas Mieroprint, Germany, EM 1043; com- alto recorder LC 8230 missioned by FRQ and ALSQ MPO Langs hoeken en kanten / Langs Ecken und Twelve recorders One recorder and keyboard Kanten (1990) F'' (1970) Woekering tot aan de grens (1992) for Mieroprint, Germany, EM 1044; com- MPO recorder and piano or harpsichord missioned by FRQ; recorded on CD by Ascolta, The Netherlands, ASC 347 FRQ, Flemish Contemporary Recorder Met zijn twaalven (2001) Music (Vol. I), Vox Temporis Productions MPO; commissioned by Mechelse Prille ontmoeting (Erste Begegnung) “Novecento” CD 92 004 Blokfluitdagen (Bart Spanhove) (1995) for tenor recorder and piano Mieroprint, Germany, EM 1048 Groot kwartetboek / Das Grosse Quartett- Chamber music buch (1992) Slegov Erar (1972) for recorder, violin, Tijdsrekking (1999) for alto recorder and Mieroprint, Germany, EM 1042; com- piano or harpsichord ’cello and piano missioned by FRQ; recorded on CD, MPO; commissioned by Koen Dieltiens Cebedem, Belgium; commissioned by Kasseler Avantgarde–Reihe II, Mieroprint, Axion Classics (competition for young Germany, EM 6003. DDD LC 4960 Niet elke minuut duurt even lang (1993) musicians in Belgium) (seven of 15 movements recorded); for recorder and marimba Met gekend elan (2002) for tenor recorder recorded on CD by FRQ for recorder MPO; commissioned by Frank Algoedt method Easy Going by Sieglinde Heilig, (or oboe or flute) and organ Energie ter plekke 1 (1997) for four MPO; commissioned by Ben Van Heinrichshofen, Germany N 2551 (three of 15 movements recorded) recorders and string orchestra (or Nespen (Geysen scholar in Belgium string quartet) pre-eminent for his organ compositions) Lichtspleten (1996) MPO; commissioned by FRQ and the Mieroprint, Germany; commissioned by Rubio String Quartet Carré
24 American Recorder Noodzaak van ommekeer-ommekeer van noodzaak
(Necessity of reversal-reversal of necessity) Frans Geysen (born 1936) For the American Recorder Society (2004) Ì ¡ Ì ¡ Recorder 1 E À À
Alto ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Recorder 2 E
Alto
Recorder 3 E
Alto DÌ D¡ ¡ D¡ ¡ DÌ D¡ ¡ D¡ ¡ DÌ D¡ ¡ D¡ Recorder 4 E
Alto (Tenor)
9 Ì Ì ¡ Ì ¡ Ì Ì ¡ Ì ¡ Ì Ì ¡ Ì Rec. 1 À À
¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Rec. 2
Ì Ì ¡ X Rec. 3 À
¡ DÌ D¡ ¡ D¡ ¡ DÌ D¡ ¡ D¡ ¡ DÌ D¡ ¡ D¡ ¡ DÌ D¡ ¡ D¡ Rec. 4
17 ¡ Ì Ì ¡ Ì ¡ Ì Ì ¡ ¡ ¡ ¡ ¡ ¡ , , , , , , Rec. 1 À À ¶ ¶ ¶ ¶ ¶ ¶
¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Rec. 2
D¡ D¡ D¡ Ì Ì Ì Ì ¡ X ¡ , ¡ ¡ Rec. 3 ¶ , ¶
¡ DÌ D¡ ¡ D¡ ¡ DÌ D¡ ¡ D¡ ¡ DÌ D¡ D¡ ¡ D¡ ¡ D¡ ¡ Rec. 4 ¶ , ¶ , ¶ , ¶ , ¶ , ¶ ,
25 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ , , , , , , , , , , , , , , , , Rec. 1 ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶
¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Rec. 2
D¡ ¡ D¡ ¡ D¡ ¡ ¡ ¡ ¡ ¡ , , , Rec. 3 ¶, ¶ ¶ , ¶ ¶ , ¶
D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ Rec. 4 ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ ,
Copyright © 2004 Frans Geysen. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ Rec. 4 ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , Play measure 3X
40 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ , , , , , , , , , , , , , , , , Rec. 1 ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶
¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ , ¡ ¡ ¡ ¡ ¡ ¡ Rec. 2 ¶
¡ ¡ ¡ ¡ ¡ ¡ ¡ , ¡ ¡ , ¡ ¡ , ¡ Rec. 3 ¶ , ¶ ¶, ¶ ¶, ¶ (cO may also replace c in mm.47-53) D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ Rec. 4 ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ ,
48 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ , , , , , , , , , , , , ¡ ¡ ¡ ¡ ¡ ¡ Rec. 1 ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ E À À
¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Rec. 2 E À À
¡ ¡ ¡ ¡ ¡ ¡ , ¡ ¡ , ¡ ¡ , Rec. 3 ¶ , ¶ ¶, ¶ ¶, ¶ E
To Tenor D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ Rec. 4 ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , ¶ , E
To Tenor
56 D¡ D¡ Ì Ì X X Ì ¡ Rec. 1 E E À
Ì Ì Ì D¡ Ì ¡ D¡ D¡ ¡ D¡ Rec. 2 E , ¶ E , À , ¶
¡ ¡D¡ ¡ Rec. 3 E À ¡ ¶ E À ¡ À , ¡D¡ ¶
Rec. 4 E À Ì Ì E À Ì À DÌ ¡ Ì
Copyright © 2004 Frans Geysen. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
¡ ¡ Rec. 4 E À Ì À DÌ À ¡ Ì ¡
72 Rec. 1 ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ 4 4 4 4 4 4 4 4 4 4 4 4
S Rec. 2 ¶¶S ¡ ¶ ¶ ¡ ¶¶ ¡ ¶ ¶ ¡ ¶ ¶¡ ¡ ¡ ¡ ¡ ¡
Rec. 3 ¡ ¡ ¡ ¶ ¶ ¶ ¶ ¶ ¶ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
Rec. 4 ¡ ¡ ¡ ¡ ¡ ¡ ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
80
Rec. 1 ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
S S Rec. 2 ¶¶ ¡ ¶¶¶ ¶¶ D¡ ¶ ¶ D¡ ¶¶ D¡ ¶ ¶ D¡ ¶ ¶D¡ ¡ D¡ D¡ D¡ D¡ D¡
Rec. 3 ¶ ¶ ¡ ¶ ¶ ¶ ¶ ¶ ¶ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
Rec. 4 ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
88
Rec. 1 ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ 4 4 4 4 4 4 4 4 4 4 4 4 4 4 Play measure 3X ¶¶ ¶¶S S ¶ ¶ ¶¶ ¶ ¶ ¶ Rec. 2 D¡ D¡ D¡ ¡ D¡ ¡ D¡ ¡ D¡ ¡ Play measure 3X
Rec. 3 ¶ ¶ ¶ ¡ ¶ ¡ ¶ ¡ ¶ ¡ ¶ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Play measure 3X
Rec. 4 ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Play measure 3X
Copyright © 2004 Frans Geysen. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
Rec. 1 ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ ¶ ¡¡ 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
¶ ¶¶ ¶¶S S ¶ ¶ ¶¶ ¶ ¶ ¶ Rec. 2 D¡ ¡ D¡ ¡ O¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
¶ ¶ ¶ ¶ ¶ ¶ ¶ ¶ Rec. 3 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
Rec. 4 ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¶S S ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
103 ¶ ¡¡ ¶ ¡¡ ¡ ¡ ¡ ¡¶¶¡ ¡ ¡ ¡ ¡¶¶¡ ¡ ¡ ¡ ¡¶¶¡ Rec. 1 4 4 4 4 , , , , , , , , , , , ,
¶ ¶¶ K ¶ Rec. 2 ¡ ¡ ¡ ¡ Ì ¡ ¡ ¡ ¡ ¡ Ì
K ¶ ¶ K ¶ K ¶ K ¶ K ¶ ¶ K ¶ Rec. 3 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
Rec. 4 ¶S S ¶S S K ¶ K K ¶ K ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
111 ¡ ¡ ¡ ¡¶¶¡ ¡ ¡ ¡ ¡¶¶¡ ¡ ¡ ¡ ¡¶¶¡ ¡ ¡ ¡ ¡¶¶¡ Rec. 1 , , , , , , , , , , , , , , , ,
K Rec. 2 ¡ ¡ ¡
K K K K K K K K Rec. 3 ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡
Rec. 4 K ¶ K K ¶ K K ¶ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
119 ¡ ¡ ¡ ¡¶¶¡ ¡ ¡ ¡ ¡¶¶¡ ¡ ¡¶ Rec. 1 , , , , , , , , , (To Alto)
Rec. 2
(To Alto) K K K K K K K Rec. 3 ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡ ¡ ¶ ¡ ¡
Rec. 4 K ¡ ¡ ¡ (To Alto) (Repeat entire piece as desired)
Copyright © 2004 Frans Geysen. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
September 2004 29 Photo showing poor timing, subjects in motion, back of one person’s head.
Technical Factors image has a lot to do with how it will re- What do editors and publication de- produce. This could spin off into a whole signers need? Some basic technical criteria separate article, but setting the camera to must be met in an effective photograph. produce a high quality JPEG file is a good It seems almost too obvious to men- starting point. tion, but photographs submitted for pub- Photos for inclusion on the interior lication must be in focus. A classic exam- pages of American Recorder generally need ple of this is when two subjects are pho- to be 3”x4”x300dpi or greater. Check with tographed side by side, and the camera your local media to find out their specifi- automatically focuses on the wall behind cations (JPEG or TIF format), and how the two people. To get around this, focus they prefer to receive photos (by e-mail, on one of the people, hold that focus (usu- CD or diskette, as hard copy, etc.). ally by partially depressing the shutter but- ton), move the camera back so that the Know your subject shot includes both subjects (“recompose Once past the technical issues, we candid and documentary situations, take the shot”), and take the picture. Read the enter the realm of creativity—the eye a bit of time to observe the subject and camera manual and practice this one—it’s behind the camera, of which I wrote learn that person’s characteristic gestures a very useful trick. earlier. Images with dynamic visual inter- and expressions. This helps to capture a The photographs should be exposed est are the most effective for grabbing a bit of the subject’s personality or energy, properly—they should be neither too dark reader’s interest. Think National Geo- and makes the photo more interesting. If nor too light. In many situations, this re- graphic, and trust your own knowledge of photography during a performance is pos- quires setting the exposure manually music and the recorder. Interesting com- sible, listen to the music, watch how the rather than using an automatic setting. positions that combine creative arrange- performers move, and take the picture at This is necessary when the subject is lit ments of the subjects in the photo with ef- the end of a phrase or when there is a long very differently from the background—for fective use of lighting and contrast are an held note. instance, a spot-lit subject on an otherwise editor’s dream. Good action, expressions Photography can be highly distracting dark stage, or a person in front of a bright and gestures add greatly to the visual im- to participants and the audience in some window. pact and the message being communicat- situations. During events (the “grip and If your camera has a date stamp fea- ed. Try to avoid shots of the backs of grins”), scheduled “photo-ops,” and ture, turn it off so that this doesn’t require heads—faces are far more interesting. casual musical get-togethers, the photog- your photographs to be cropped. What can you do, then, when reality rapher can be fairly conspicuous—even With digital photos, the file size of the rears its ugly head? Many chapter meet- downright pushy—in moments when the ings are held in relatively dim living rooms photography is expected. Examples of photos using selective focus. and church basements. Workshops and Other situations must be handled with master classes are frequently held in fluo- varying degrees of tact and discretion. rescent-lit classrooms. Early music per- Workshops, master classes and perform- formances, even on a professional level, ances fall into this category. In addition to are often in abysmally lit churches—lots the technical and creative aspects, the of atmosphere, and maybe good acoustics, photographer must be constantly aware of but very little light with which to work. the impact his or her presence is having on This is where one must be both techni- the situation being photographed. The cally and aesthetically creative. Using a first rule is never to use flash—it’s too camera with a “fast” lens and a high ISO distracting in candid situations. This is setting—and then finding creative ways to another reason for a fast lens and a high hold it still enough for a crisp image, while ISO setting. paying attention to interesting composi- tions—is a juggling act that only gets easi- er with patience and practice. A trick of the trade is A trick of the trade is to take lots of to take lots of shots of shots of every situation, deleting the bad ones later. People are very unpredictable, every situation. and, the more people in the shot the greater the degree of unpredictability. Take It’s important to check with workshop as many shots as circumstances permit. faculty and participants to make sure you Try for many similar shots of each scene— have their consent to photograph them— wide angle shots and close-ups, changing and then to be subtle, courteous, and, composition, taking both horizontal and above all, inconspicuous while taking vertical versions of the shot. There’s no photos. Get the shots needed, and then “wasting film” in the digital world! leave quietly . Another trick of the trade is to learn to Performances are an even more deli- anticipate what’s going to happen. With cate situation. Most professional musi-
30 American Recorder cians with whom I’ve spoken have told me that photography during a performance is simply not appropriate. Permission must be obtained from the performers, and often also the venue manage- ment—any photography during the performance will be highly restricted, if it’s permitted at all. It may be necessary to do the photography during a rehearsal or warm-up. If a couple of shots must be taken during a performance, they should be done in a manner that won’t disturb either the musicians or the audience—shoot from the back of the hall or a balcony, where there are few people; time shots for the loud moments, ca- dences, or the bows; and make sure any camera sounds are turned off. And, as mentioned, never use flash. In the end, there are other considera- tions that are far more important than the technical issues. How one approaches the situations and subjects is really where the true art of editorial and documentary pho- tography comes into play.
Four photos (above) of Charles Coldwell (left) and Rachel Berkowitz, showing different angles, selective focus, and horizontal and vertical shooting.
Vertical and horizontal photos of Han Tol (standing) conducting the 2004 Amherst Early Music Festival recorder orchestra.
September 2004 31 Look for a photo Stickney is ac- composition that In the end, there are other tive in several early includes interesting music ensembles in considerations that are angles, as in the top the Seattle, WA, photo of flutists far more important than area and has per- Rebecca Arkenberg formed with the technical issues. and Abe Santiago, Baroque North- and the lower photo west. He has played of the gesturing All of this can be summarized as in recorder master Michael McCraw. follows: classes with Peter The top photo is also · Use a digital camera with more than van Heygen, Eva an example requiring “point and shoot” capabilities and an Legêne and Vicki compensation for a image size of at least four megapixels. Boeckman, and bright window in · Read the manual; become completely studies Baroque the background. familiar with the camera before going flute and recorder on assignment. Educate yourself with Kim Pineda. through photography books and A current board courses. member of several · Take lots of shots, both for insurance Seattle early music and for variety. Learn how to anticipate organizations, he the action. has also served as · Learn how to use the camera effectively president of the Seattle Recorder Society. noon light. without using flash. Ambient light may He has been a professional photographer Recorders be more difficult to work with, but the for 35 years, including serving as staff pho- by Ture results are often more rewarding. tographer at the Morton Arboretum and at Bergstrøm · And, above all, be a thoughtful, consid- Tellabs, both in Lisle, IL. He is currently self- and Tom erate and inconspicuous photographer. employed, doing commercial and editorial Prescott, William Stickney started playing the photography in Seattle. His images have provided recorder at age eight. Over the years, he has appeared in numerous issues of American courtesy accumulated a collection of Medieval, Recorder, including the cover of this issue. of Wood’N Renaissance, Baroque and modern recorders Stickney shot the September AR cover Flutes from sopranino through contra bass. He with his Nikon D1x with a Nikkor (Vicki played the clarinet and the saxophone in 28-105 zoom lens (exact exposure data not Boeckman, concert bands, orchestras and various rock recorded). It was photographed in the Gertie bands in high school and college. He also Gribskov Forest, Denmark, in overcast after- Johnsson and Pia Brinch Jensen). plays Renaissance and Baroque flutes. “slower” lenses. There is a tradeoff, how- Response Time Simplifying the Terms ever. A higher ISO setting will result in a A reference to the time between pressing lower quality photograph, usually seen as the shutter button and when the camera F stop, or lens “speed” a grainy effect. actually takes the picture. In less expen- This is a mathematically derived number sive cameras, this can be a significant that represents how big an opening the JPEG (or TIF) amount of time; that expression or ges- lens has to let light in. This opening is ad- Joint Photographic Experts Group (JPEG) ture you were trying to capture is long justable in order to let just the right or Tagged Image File Format (TIF) refer to gone. amount of light into the camera for a standard formats used in digital photogra- “good” exposure. F2.0 is a wide opening phy, as well as in other computer images. Shutter Speed which will let through a lot of light; f8.0 is A JPEG (or JPG, using the file extension This refers to how long the shutter is open a small opening. Lens “speed” is photo acronym) employs a file compression when a picture is taken. If the shutter is jargon for the size of this opening; f2.0 is method that tends to make the file size open too long and either the camera or the a “fast” lens, and f8.0 is a “slow” lens. smaller, so is often desirable both for stor- subject move (or both), the picture will be With the low light levels that we usually ing and e-mailing photos. Check your blurry. For example, 1/125 second is com- have in musical situations a “fast” lens is camera’s manual to set the parameters for fortably short enough to minimize the a good thing. file type, resolution and size. effects of motion; 1/8 second, on the other hand, will usually result in blurry or ISO Megapixel shaky photos unless the camera is held A standardized representation of how A pixel is the basic unit of a digital image. very still and the subject doesn’t move sensitive the image sensor in the camera In simple terms, the more pixels, the bet- much. Unfortunately, we must often work is. The higher the number (ISO400, for ter an image will be. A four-megapixel with fairly long exposures, like the 1/8 example), the more sensitive it is and less camera produces images made up of second example, so a lot of care must be light is required to make a photograph. about four million pixels and is quite ad- used. Learn to brace yourself (against a A high ISO setting will allow shorter shut- equate for the purpose described here. wall, if possible) and hold your breath. ter speeds, or will let us get away with
32 American Recorder RESPONSE ______Correction and clarification, ______and do-it-yourself thumb-rests
Reconstructed Flute Concerto they can be moved up or down the barrel ment, the height of your music stand be- I was pleased that you mentioned the of the recorder, or pulled off altogether. Al- comes critical. “new” Tchaikovsky flute concerto in the though not particularly comfortable, they But whatever the means of support, the May issue of AR. You were quite correct in may serve as permanent thumb-rests. exact placing of the right thumb remains saying that I was the one who reconstruct- They are a great deal less unsightly than a crucial to good recorder playing. ed Vivaldi’s RV312r flautino concerto in lump of Blutack or whatsoever. These Anthony Rowland-Jones, Cambridge, UK the 1990s. But the sketches for the thumb-rests are distributed in America by Tchaikovsky flute concerto were in fact dis- Rhythm Band. Responses from our readers are welcomed and may be sent to American Recorder, 7770 South High St., covered by the flutist James Strauss, who Centennial, CO 80122. will give the first performance of his own Blutack is a malleable Letters may be edited for length and consistency. reconstruction of the work. Yours sincerely, Jean Cassignol plastic adhesive that can Keeping up with Thalheimer May I correct an error in David Lasocki’s be rolled into any shape... “The Recorder in Print 2002” (AR, May 2004, p.11)? Reviewing my article, “The Bass recorders are of course mainly Hindemith Trio – Seventy Years On,” supported with an [easily adjusted] sling, David states I “was apparently unaware of [which is some players’] preferred method Peter Thalheimer’s pathbreaking arti- for supporting even a tenor or alto. Large cle...”. I can assure readers I was and am basses rest on the floor. Some basset bass- aware of the article referred to by David es have spikes so that they too can rest on Lasocki. the floor. As there is then little adjust- Yours, Alec V Loretto, Auckland, NZ
Moveable Thumb-Rests In my recent book Introduction to the Recorder (Ruxbury Publications/Magna- music), on p.65, I advocated the use of a molded piece of “Blutack” as a temporary thumb-rest, to be taken off and replaced with a permanent thumb-rest when the player has had enough experience to know for certain exactly where he wants to posi- tion his right thumb for accurate and com- fortable finger-hole covering. I did not re- alize that Blutack is not known by that name in America, although it is in Aus- tralia. Blutack is a malleable plastic adhesive that can be rolled into any shape and sticks on to almost anything (except your fingers!), but it does not completely hard- en as a permanent fix. I am told that the American version of this product is col- ored pink, and is known under another name. I had foolishly overlooked that there is another alternative. A Japanese firm called FCN make plastic thumb-rests in three sizes, to fit soprano, alto and tenor recorders. They are very cheap, and are simply clipped on to the recorder. At risk of some very slight scratching of the wood,
September 2004 33 ON THE CUTTING EDGE ______Exploring Antarctica
have received some additional news per- moved upwards on the order of a semitone each part mirrors a particular geographic Itaining to my January 2004 column, to resemble the situation in a baroque diagram of the 5250 kilometer journey of where I mentioned a new type of recorder recorder. the Scott expedition. During interviews designed by Ragnar Arvidsson. He has “The highest tones in the second oc- that occur from time to time, the recorder been kind enough to send along the fol- tave on a Baroque recorder are produced duo explains that both quarter-tone (24 lowing information: by a resonance phenomenon in the whole notes to the octave) and eighth-tone (48 “This new recorder is fundamentally of length of the instrument, where the sec- notes to the octave) scales are used. Renaissance type; it has a rather wide, al- ond and third harmonics of the lowest The recorder duet is essentially a series most cylindrical bore, and the finger-hole tone play an important role. By achieving of long tones, interrupted by quick spacing conforms to that of a renaissance the same harmonic situation, but in a dif- breaths (circular breathing does not seem recorder. The sound is close to the renais- ferent way, the high-end Baroque fingering to be employed) that accompanies the sance recorder. My invention is to intro- will apply on this modified Renaissance narration of the Scott expedition. Other duce a sharp step reduction of the bore di- recorder. The instrument still has a reso- music in the work includes an introducto- ameter at a special point in the low end of nant first harmonic on the lowest tone ry chorus and, in a scene set in a pub, the instrument. This arrangement makes which makes it stronger and more stable a punkish rock band. the lowest tone and its first harmonic flat, than on a Baroque recorder.” Included in the cast are the so to counter that the low end of the in- From Arvidsson’s description, it is evi- recorderists’ son Tim Bowman. What the strument must be shorter compared to a dent that he has sought the ideal of a pow- recorders depict is an actual (or perhaps a corresponding Renaissance type. erful low end (Renaissance recorder) and a virtual) journey, and the son increasingly “For the second and all higher har- responsive and in-tune high end (Baroque worries about his parents’ safety. monics of the lowest tone the step in the recorder). There is German narration, but as bore acts as a mirror or end stop of the Recordings that feature these instru- mentioned, a large chunk of text is in Eng- pipe. With the step at the right point, the ments (soprano and alto) played by lish. Reports of the progress of the jour- pitch of the higher harmonics will be Swedish professional recorderists include ney—both Scott’s expedition and the Kerstin Froedin continua, a solo CD re- recorderists’—occur throughout the leased by dB Productions Sweden, opera, and are also literal descriptions of Küng
34 American Recorder MUSIC REVIEWS ______Planning ahead for Christmas, an FRQ arrangement, ______and modern music of Braun, Dorwarth, Caldini and Blom
CAROLS FOR RECORDER OR VIOLS, the tune and are not the words we have work. My group, the Trinity Consort, is ARR. WILL AYTON. Self-published come to know in the English-speaking associated with a church, and I am always AWP0003 (Magnamusic), 2002. SATB world. on the lookout for music that can be (or viols). Sc 87 pp. $25. While this is a good book for beginners offered during the Advent and Christmas This collection is dedicated to the who need to have four parts written out on Seasons. This work appears to be about Rhode Island Recorder Society, of which individual lines, it would also be a good 25 minutes long, and I had hoped it would compiler Will Ayton is a member. It is a book for a more advanced group called be perfect for a Christmas Eve service. straightforward collection of mostly upon to provide music at a holiday event, However, in attempting to not be Christmas carols, though it includes two either as background music or to accom- “bound by time, culture or tradition,” for Advent (O Come, O Come, Emmanuel, pany group carol singing. No words are some very odd things have been done to and Nun komm der Heiden Heiland provided so those would need to be found the text. For one thing, the words, except [Savior of the Nations Come]) and two separately. for the traditional Latin texts of the more general carols, Lord of the Dance and I recommend this if you are looking for “Magnificat” and “Ave Maria,” are not ter- Tomorrow Shall Be My Dancing Day. an extensive, easy collection of carols in ribly inspiring. If one remembers that, traditionally, a four-part harmony for a group of recorders Most problematical, however, the work carol was a kind of circle dance and that its and/or viols. has the Wise Men (or Three Kings) show- themes were not restricted to Christmas, ing up before the shepherds’s arrival. The then these latter two pieces fit the collec- MARY DANCED: A CHRISTMAS Biblical record indicates that these sages tion. In the Oxford Book of Carols, edited CANTATA, MUSIC BY WILL AYTON, LYRICS appeared in Jerusalem (and later in Beth- by Percy Dearmer, R. Vaughan Williams, BY MARCIA ANDERSON. Mariwill Publ. lehem) up to two years after Christ’s birth, and Martin Shaw in 1928, Tomorrow Shall AWPMW01 (Magnamusic), 2001. SATB whereas the shepherds came within Be My Dancing Day is a three-part carol with T & B viols (or viol ensemble) and hours. Also in this composition, the mas- with the text of the first part considered solo voice (mezzo soprano suggested). sacre of the children of Bethlehem (com- “General,” the second part considered ap- Sc. 59 pp, pts for narrator, vocal score, and memorated by the Church on December propriate for “Lent: Passiontide,” and the instruments with various no. pp. $40. 28) comes before the shepherds’ arrival. third part appropriate for “Passiontide, To quote from the introduction, It is one thing to take textual liberties Easter, and Ascension.” Lord of the Dance “…this Cantata, for solo voice, and early where an account is based largely on oral is not in the 1972 edition of the Oxford instruments, explores the familiar story tradition, as has been done with the tradi- Book of Carols, and is a general carol surrounding the nativity in an unfamiliar tional story of Mary’s birth to Joachim and recalling all of the events of Christ’s life. way. For most of my adult life, I have been Anna, and her dedication to the Temple in Ayton has done a good job of collecting fascinated by the person of Mary, the Jerusalem at age three. It is another thing a broad range of pieces in standard four- mother of Jesus. From the beginning of my to completely change an accepted order of part harmony: carols both ancient and involvement with the music of the Middle events. This is a major reason I would modern, sacred and secular, familiar and Ages and the Renaissance, I have been im- probably not program the work. Revising less familiar, American and foreign; pressed by the volume of music devoted to history makes people uncomfortable, and, with In dulci jubilo and Ein Kind Mary…I am always brought back to the even taking into account various faith geborn, multiple settings by Bach and verse in the book of St. Luke, ‘But Mary orientations. Praetorius. There are several tunes kept all of these things, and pondered The music is mostly interesting and from shape-note hymnals like The Sacred them in her heart.’ I have always asked my- easily attainable for an intermediate to ad- Harp and Southern Harmony, and both self, ‘what did Mary think of all of this?’” vanced group. As the introduction men- the modern and the original versions are Ayton goes on to say that this cantata tions, “This cantata was written for a included of Coventry Carol (written as part was written for the early music group [mixed] consort of early music instru- of the Medieval Latin liturgical drama Amici Musicae. In adapting the narration ments and Mezzo Soprano voice.” There for the Feast of the Holy Innocents on from both the gospels and the Christian are purely instrumental pieces like the Pre- December 28). Apocrypha, lyricist Marcia Anderson lude and Postlude, “Mary’s Dance,” and A question I had was about the carol on wanted to “reflect universal humanistic the “Shepherd’s Song” that can be used page 32, which is entitled here, He is Born, sentiments, not bound by time, culture or independently. The “Song of the Wise- The Holy Child. I believe that it should be tradition. The instrumental settings are in- men,” also an instrumental piece, has a titled, instead, He is Born, the Divine Christ tended as aural visualizations of the vari- wonderful exotic flavor, as one might Child. Ayton’s words, which may be a di- ous situations associated with this story.” hope. The “Magnificat” and the “Ave rect translation from the French, do not fit I was initially very excited to see this Maria” could also be used on their own in
September 2004 35 other settings, though the step-wise mo- TWO CHRISTMAS PASTORALES, Gospel readings for Trinity Sunday are Ro- tion of the vocal line is not memorable. BY J. S. BACH, ARR. CHARLES NAGEL. Cheap mans 11:33-36 and John 3:1-15. Again I applaud Ayton and Anderson for Trills TR39 (Magnamusic), 2002. SATB. quoting from Nagel’s introduction: “Simi- offering such a work, even as I wish I had Sc 7 pp, 4 pts 2 pp ea, $5. larly, the sweet aria for alto voice and oboe found it more appealing. There is a need Arranger Charles Nagel writes in the in- d’amore…would not be out of place as the for larger works like this, as can be attest- troduction to these two delightful pieces, final movement of a ‘Christmas Concer- ed by those of us who offer our gifts in “Given the popularity of the genre of to.’” This too is a lilting 6/8 piece that churches and/or do seasonal concerts. ‘Christmas’ concerti in Italy during the flows nicely and fairly generically. If nothing else, I hope this work inspires period in which J. S. Bach was composing, These are good pieces to have for gen- others to tackle such a project. and his interest in Italian models, it has al- eral use for an intermediate-level group. ways been surprising to me that a Christ- My consort played “O Wohl Uns” in HIMNOS, BY ANTONIO DE CABEZON, mas Concerto has not been found among church after last Christmas. TRANSCR. BY CHARLES NAGEL. Cheap Trills, his vast oeuvre. Not surprisingly, however, TR 42 (Magnamusic), 2003. ATTB or a typical ‘Pastorale for the night of the na- VOX IN RAMA, BY CLEMENS NON PAPA. TrTnTnB/TrTnBB viols. Sc 8 pp, pts 2 pp tivity’ is found as a terzetto in one of his Hawthorns Music RS 105 (Magnamusic), each (Note: viol parts are printed in cantatas for Christmas day, BWV 122. In 2001. STTB. Sc 4 pp, 4 pts 1 p ea, $8. appropriate clefs on the back of the that section, the hymn tune, ‘das neuge- Commonly known as “Clemens non corresponding recorder parts.) $5.50. borne Kindelien [sic]’ (‘The newborn Papa,” Jacob Clement (c.1512-c.1556) Organists are familiar with Antonio de child’) appears as a cantus firmus....” wrote this piece for the Feast of the Holy Cabezon (1510-1566). Blind from infan- Although Nagel says that this Cantata, Innocents (December 28), which com- cy, he was organist to Queen Isabella of BWV 122, was written for Christmas Day, memorates the murder of all boys age two Spain and later to her son, King Philip II. my understanding is that it was written for and under in Bethlehem by King Herod While he composed a large amount of mu- the Sunday after Christmas, for which the (enraged that the Wise Men were looking sic, it was his son Hernando who pub- Epistle lesson is Galatians 4:1-7 and the for another king). The prophecy for this lished most of it in 1557. Gospel is Luke 2:33-40. Bach is presumed event is found in Jeremiah 31:15 and is al- Nagel has given us transcriptions for a to have written the libretto, but it is not so quoted in Matthew 2:18: “A voice is recorder or viol quartet of four himnos, what you expect to sing nowadays in heard in Rama, weeping and wailing; which are keyboard fantasias on sacred church. This cantata deals with Christ’s Rachel crying for her children. She does tunes: Himno XV (Christe Redemptor I), birth as the way to save our souls from not wish to be comforted, because they are Himno XVI (Ut Queant Laxis), Himno XII damnation. (Merry Christmas, everyone!) no more” (quoted from the music). (Ave Maria Stellis IX), Himno XIII (Ave This particular movement—originally As a lamentation, this piece has lots of Maria Stellis X). scored with alto soloist singing the chorale half-note sections, making it good for less The sonority is rich, and while the melody, and the tenor and soprano experienced players—but it is not boring, abundance of half and quarter notes make soloists singing an aria around that cantus due to the contrapuntal writing in other the pieces look easy, one must remember firmus—focuses on deriding Satan: places. While there is Latin text through- that much improvisation by the player was “If God is reconciled and our friend, out, with short instrumental interludes in expected. The reason some may find early happy for us [O wohl uns] who believe in between, this can be performed purely as music boring is that they don’t realize that him: what can the evil enemy do to us? His an instrumental piece with the players composers gave a melodic, rhythmic, rage cannot rob us of our consolation. using the text for phrasing. and/or harmonic outline, upon which per- Despite the devil and the gates of hell, The next time December 28 falls on a formers displayed their musical knowl- their fury will be of little use to them, the Sunday, I will look forward to my consort edge, sensitivity and prowess with added little Jesus is our stronghold. God is with group playing this during the service. ornamentation and rhythmic inequality. us and wants to protect us.” Valerie E. Hess Organists will know that embellishments such as quiebros and redoubles were com- Nagel has done a nice job ESTAMPIE, ANON., ARR. BY JORIS VAN monly added to Spanish Renaissance GOETHEM. Heinrichshofen (C. F. Peters) music, depending on whether the line is N2593, 2003. SATB or ATB. Sc 19 pp, ascending or descending. For example, a of arranging “O Wohl 5 pts (additional alto part for trio version) step-wise passage from G-A-B -C-D and 4 pp each. $22. back down may have been played as G(F- Uns” for four recorders... The title of this publication, Estampie, G)-A-B (A-B )-C-D(E-D)-C-B (C-B )-A-G. brings to mind the monophonic pieces of This is a lovely set and would be a good Nagel has done a nice job of arranging that name from late 13th-century French initial foray into Spanish Renaissance “O Wohl Uns” for four recorders, and the and Italian manuscripts, which are often ornamentation for a group. The basic lilting 6/8 rhythm leads one to feel it is a performed by solo recorderists. This new piece can be learned first, and then mem- nice pastorale for the Christmas season Heinrichshofen edition, however, is based bers of the group can experiment orna- (especially if you don’t mention the on a keyboard piece found in the Roberts- menting on longer notes or simple scale- text)—or for any season, for that matter. bridge Codex, c.1320 [modern transcrip- wise passages. However, ornamenting as a The second piece in the set is from the tion in Timothy J. McGee’s Medieval group brings about challenges different Cantata for the Feast of the Holy Trinity [the Instrumental Dances, 1989]. from the challenges when ornamenting as Sunday after Pentecost in the Western Originally in two basic voices with a solo organist. Maybe this could be a Church], BWV 129, “Gelobet sei der Herr” occasional three-voice chords, here it has topic for a chapter meeting! (“Praised be the Lord”). The Epistle and been cleverly arranged for three or four
36 American Recorder recorders by a member of the Flanders Recorder Quartet. The pieces in this early ARS Membership Enrollment and Renewal manuscript were undoubtedly intended Please enroll/renew me as a member of the Society. I’m looking forward to: for organ, so the transcription to recorders ✰ American Recorder, ARS Newsletter, and the ARS Members’ Directory is quite appropriate soundwise. I had the ✰ Members’ Library musical editions privilege of hearing this Estampie read ✰ Eligibility for the ARS Education Program examinations through by a quartet from Ft. Collins, CO, ✰ Discounts to some recorder workshops and on ARS publications who played it an octave lower on tenor, ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made bass, great bass, and contra bass available only to purveyors of goods and services for recorder players.) recorders—what a wonderful sound! ✰ Information on all aspects of playing the recorder
This piece follows the usual estampie U.S./Canadian membership: form: AXYAXZ, BXYBXZ, etc. It has four ❏ one year $40; ❏ one year sustaining $70; ❏ two years $75 puncta (A, B, C and D). The refrains (X) are Foreign membership: ❏ one year $50; ❏ two years $95 marked “return,” and the first and second endings (Y and Z) are marked “overt” and U.S./Canadian Student* membership: ❏ one year $20; ❏ two years $40 “clos.” All four recorders play the primus Foreign Student* membership: ❏ one year $25; ❏ two years $50 punctus; alto and bass play the secundus *Enclose proof of full-time enrollment. punctus; soprano, tenor and bass (which Workshop membership: ❏ one year $60; Business membership: ❏ one year $120 has a very long held note) play the tertius ❏ Address and/or phone information has changed in past year. punctus; and alto, tenor and bass play the ❏ Do not list my name in Directory. quartus punctus. All join in on the refrains All dues paid in U.S. funds by check on U.S. bank, or by international money order. and the first and second endings. Family members residing at the same address may share a membership. However, the student rate is not applicable to a shared family membership. For an additional If you are looking for listing in the ARS Directory under different surnames at the same address, add $5. something Medieval Please check to be included on the ARS list of ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activi- to play, try this ties may change, you must indicate on each renewal if you want to continue to be interesting piece. listed.) ❏ I wish to contribute $______to help sustain the work of the Society. Therefore this four-part arrangement Please charge my dues/donation to my VISA/MASTERCARD: relieves the repetition by using a variety of #______Exp. Date: ______forces. For the trio version, the soprano Cardholder’s signature______part is omitted, and the alto plays all the NAME______PHONE (______)______way through, so there is less variety. ADDRESS ______The publication is enclosed in an at- ______E-MAIL ______tractive, heavy glossy cover, and both the CITY______STATE ____ ZIP/POSTAL ______score and parts are printed in large enough CHAPTER/CONSORT AFFILIATION, IF ANY:______notes to be read, if need be, two players on OPTIONAL INFORMATION: a stand. There is a short preface in three Chapter officer or committee member? languages and a description of the Flan- ❏ Yes (officer/committee: ______) ❏ No ❏ Have served chapter in past ders Recorder Quartet, along with its pic- ture, on the back cover. Age: _____ For how many years have you played the recorder? _____ If you are looking for something Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional Medieval to play, try this interesting piece. Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 It is not difficult, but the frequent perfect ❏ $50,000-75,000 ❏ $75,000-100,000 ❏ Over $100,000 intervals require perfect intonation! Portion of your income derived from music: ❏ All ❏ Some ❏ None Constance M. Primus Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None
KEY: rec=recorder; S’o=sopranino; S=soprano; If all or some, what kind of recorder activities are involved? (Check all that apply.) A=alto; T=tenor; B=bass; gB=great bass; cB= contra ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- ❏ Performance ❏ Recorder maker ❏ Musical director/coach word; opt=optional; perc=percussion; pp= pages; ❏ sc=score; pt(s)=part(s); kbd=keyboard; bc=basso Other ______continuo; hc=harpsichord; P/H=postage and han- What type of recorder music do you play? (Check all that apply.) dling. Multiple reviews by one reviewer are followed by ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo that reviewer’s name. ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as trio sonatas) ❏ Broken consort with other instruments (such as a collegium) ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort (format used in many chapter meetings, with several recorders playing on each part) AMERICAN RECORDER SOCIETY 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
September 2004 37 HEXENTANZ, BY GERHARD BRAUN. ARS PUBLICATIONS Edition Gravis EG 870 (
38 American Recorder Braun’s Hexentanz was written for a one eighth note later, and the tenor is next In the final section, with all six pitches student ensemble when he taught at the in the same key as the soprano. On the introduced, Caldini has the four players Hochschüle in Karlsruhe. It is suitable for next eighth, the bass starts in the same key play different even-beat rhythms against a professional group or pre-professional as the alto. It is a one-measure-long canon each other (at one point the players are conservatory ensemble. Dorwarth’s Krimi at the fifth repeated over and over. Here performing four beats against five against was composed with her young students at and there a part drops out to play a sus- six against seven!). The piece ends with all the Academy in Freiburg in mind. She sug- tained note or two, but then falls back in- players performing the same slow rhythm gests that it be used “in a creative manner” to the canon. Long notes occur with on a single chord. and that it may be changed in order to greater frequency until the long notes Both editions are very good, though adapt it to the playing level of the student. dominate and the canon is reduced to an Bebopaloobopawopbamboom has a few dot- The editions are excellent, but three occasional remnant, then disappears. ted eighths that are missing their dots. copies of Hexentanz are needed for a Most of Fade-Control is based on a pen- Fade-Control contains a long introductory performance. Both works are interesting, tatonic scale (C D E G A), each note being note in English, German and French using entertaining, and definitely worth trying. gradually introduced as the piece a somewhat confusing pedantic tone progresses—until measure 152, when the (at one point the composer delves into BEBOPALOOBOPAWOPBAMBOOM, tenor recorder introduces the note F. metaphysics). BY DIANA BLOM. Orpheus Music OMP 098 One would expect the note B to follow at The Blom piece could be successfully (
September 2004 39 day—the war in Iraq, all kinds of drug abuse problems, fatal car accidents on lo- CHAPTERS cal roads—and then see a group of people making such beautiful music just for the pleasure it gives them, you have a feeling ______& CONSORTS about the goodness of people.” ______The Baton Rouge (LA) Recorder So- ______Play-the-Recorder Month 2004, ciety held a “Play-Along” at a local library ______plus a “Fun to Listen, Fun to Play” con- music theory in practice cert, also using the event to promote up- ARS chapters and individual members Eastern Connecticut received a coming free recorder classes. Selections from California to Canada joined to sopranino recorder from Lazar’s Early included English country dance, and observe Play-the-Recorder Month Music for their work with the Connecticut works by Purcell, Morley and Susato. (PtRM) last March. Hundreds of recorder Forest and Parks Association of Middle- The Greater Denver (CO) Chapter players entertained thousands of listeners field, CT, and the Cheshire (CT) Public Li- coordinated a Recorder Faire at Tamarac at creative concerts, workshops and brary, where they put together an exhibit Square Mall, which happily was also host- demonstrations designed to educate and of recorders, pictures from meetings and ing a children’s art show. Performing were inform the public about the recorder and events, examples of music including early a Renaissance band, some nine recorder its music. notation, a photo of a recorder group from ensembles, and a crumhorn quartet, with Congratulations go to the winners of the 1960s, and information sheets. They sackbut, percussion, harp, dulcimer, ARS competitions for the most imagina- also presented a play-in at the Neighbor- glockenspiel and gamba in some groups. A tive events, and for the largest percentage hood Music School, a concert by Cléa “Give a Toot” table was set up with increase in chapter membership. The Galhano and Baroque group Belladon- recorders of all sizes to try out. Coffee Chapters & Consorts Committee chose na, and individual recitals by chapter drinkers outside a nearby store were heard the winners from many event reports. members Bruce Larkin in Yalesville and to pause in their conversations to listen to Co-winners of the grand prize for the Barbara Duey in Middletown. the music wafting through the mall. Most Imaginative Event were the Tucson Courtly Music Unlimited donated a The Metropolitan Detroit (MI) (AZ) Recorder Society and the Ann Ar- soprano/alto recorder set that was award- Recorder Society gave its concert at the bor (MI) Recorder Society, each receiv- ed to The Claremont School for their sev- Rochester Hills Public Library—joined by ing a packet of recorder music from the eral PtRM events. At the Folk Music Cen- the Festival Players recorder quintet and Boulder Early Music Shop. ter, a Claremont (CA) store and instru- Good Neighbors All, which includes The Ann Arbor Chapter presented ment museum, 14 recorder students, ages recorders, cornett, drum and gamba. The five concerts: a worship service including seven through adult, performed a two- concert was videotaped for middle school Buxtehude and Bach at an Episcopal hour program. An ensemble of students class use. Church; a largely English Renaissance ages 12-16 played recorder quartets, and The Navesink (NJ) Chapter offered concert at a Farmers’ Market, where the over 40 younger students performed at the an all-Irish program to celebrate St. players sat near the fresh muffins and Dan- music school’s pizza party. Over $300 was Patrick’s Day for PtRM at Seabrook Vil- ish; Japanese music at NSK–Motion and raised for student scholarships. lage, a large retirement community. Per- Control; a demonstration, history discus- The Central Coast (CA) Chapter had formers dressed in green and played selec- sion and concert of a wide range of music the largest percentage increase in mem- tions including Galway Piper, Danny Boy, at Ardis Elementary School, for over 250 bership during PtRM, and received a and The Road to Lizdoonvarna. first- to fifth-grade students; and a varied selection of recorder music provided by Martha Bixler came to Little Rock, program at Brookhaven Manor Senior Res- Magnamusic Distributors, Inc. AR, for the third year to lead an early idence for 40 residents ages 70 to 101. Many others reported events to the March workshop. The 22 participants in- The Tucson Chapter’s busy March in- ARS and deserve mention for the energy cluded members of two ARS chapters in cluded 10 concerts in elementary schools and time that went into planning and pre- Arkansas, the Bella Vista Recorder Con- for over 1600 children. With a theme of “A senting these activities. sort and the Aeolus Recorder Konsort, Trip Around the World and Back in Time,” A concert conducted by John Eisen- plus others from Texas and Missouri. the concerts included music of many eras hauer of Telemann, Hilling, Pärt and oth- Bixler conducted a master class on Friday on all sizes of recorders, plus presenta- ers—“Soft and Suite: Baroque and Mod- evening for 10 players and five auditors. tions about the recorder’s musical and ern Music for Recorders and Strings”— historical background. Flags for all coun- was played by the Highland Park (NJ) tries represented in the music were dis- Recorder Society and guests at the Unit- played. The young audiences were en- ed Methodist Church of New Brunswick. couraged to participate by beating rhyth- Selections from Praetorius to Cohan mical hoofbeats and singing along with were presented by 22 players from the rounds and other songs. Princeton (NJ) Recorder Society (photo Receiving Honorable Mention awards at right) in the sunny atrium of the Prince- for their activities during March were the ton MarketFair, reported Janice Arrow- Eastern Connecticut Recorder Society smith. “It was truly a spiritual experi- and the Claremont (CA) Community ence,” said bystander Florence Johnson. School of Music. “When you look at the newspaper to-
40 American Recorder On Saturday morning, her their stud- went down 20 points when she workshop fare included varia- ies. The stepped in and heard the beautiful tions on L’homme armé in both chapter was music!” secular and sacred settings. pleased that During PtRM, the Atlanta After lunch she led the group in the library (GA) Recorder Society holds its Claude le Jeune’s Revecy venir staff prepared a flyer that was sent to all li- annual Consort Day featuring many indi- du Printans and two springtime braries in the county system, and also con- viduals and small groups. It is publicized madrigals by Morley. The workshop ended tacted the media. As a result, a reporter in the Atlanta Journal Constitution and with Adam Knight Gilbert’s new piece and photographer attended the event, and the Newsletter of the Unitarian Universal- from the January AR. an article with large photos and quotes ist Congregation of Atlanta, the venue. The day’s events also included presen- from participants was run in several Lia Starer Levin of Los Angeles, CA, tation of an Arkansas Traveler certificate, widely-read Cleveland-area newspapers. reports that March had to be stretched by signed by Governor Mike Huckabee and Young recorder students of Mary one day, as her student group Sempre Secretary of State Gus Wingfield, to Halverson Waldo, ranging in age from 5 Dolce was invited to perform a public Bixler (above). Following the presentation, to 15 years, performed at the March 20 concert at Valley College on April 1. The Bella Vista Consort member Hildegarde Minnesota Suzuki Association Gradua- six members played all sizes of recorders Erle led that group in her own special tion concert at Orchestra Hall in Min- in music from the Renaissance to con- arrangement of the Arkansas Traveler, re- neapolis (above). The large audience in- temporary. The college presented them port ARK members Don and Shelley Wold. cluded families of children playing other with a CD of the performance. The St. Louis (MO) Recorder Soci- Suzuki instruments. ety’s concert at St. Mark’s Episcopal “Sharing Music with Shut-ins” was the Church included repertoire from Bach theme for the East Bay (CA) Recorder and Telemann to Tchaikovsky and Britten, Society. Different ensembles played at the and closed with “We’re goin’ round” from Matilda Brown Home of Oakland, Ban- Scott Joplin’s Treemonisha, performed by croft Convalescent Hospital in San Lean- the massed SLURS Recorder Band. dro, Sunrise Senior Living in Oakland, and Inga Funck conducted “a potpourri of the El Cerrito Royale Retirement Home. recorder music” when members of the Repertoire included quartets, trios, duets Southern California Recorder Society and solos; one group was joined by ’cello, gave concerts at Mt. Washington Elemen- crumhorn and percussion. The EBRS also tary School, Encino-Tarzana Library, and hosted a workshop led by Pat Petersen, the Woodland Hills Library. attended by more than 40 recorders along On March 21, 12 members of the Consorts from the Northwinds with viols and louds—on March 13, Play- Kalamazoo (MI) Recorder Players pro- Recorder Society performed at book- the-Recorder Day. Players included mem- vided music for a Sunday service at the stores around the Petoskey, MI, area. bers of the local Junior Recorder Society. Second Reformed Church in appreciation North Country Consort played at Hori- The Wireless Consort (l to r below: for the chapter’s use of their community zon Books, Little Bay Baroque appeared Lee Lattimore, Sara Funkhouser, Susan room for monthly meetings. Part of the at McLean & Eakin Booksellers, and the Richter, Cornell Kinderknecht) performed program was ARS Fantasia by Adam Sweetwood Recorder Ensemble played March 28 in their home town, Dallas, TX. Gilbert, which Richard Johnson says was at Between the Covers of Harbor Springs. Their "Chamber Music for Recorder “especially effective in the bright acoustic The Montréal (PQ) Recorder Society Quartet and Other Instruments" fea- of the large church sanctuary.” sponsored 12 mini-concerts collectively tured recorder works by Telemann, Byrd, Folks from the Southern region find- titled “La Fête des flûtes,” which included Sweelinck, Boismortier, Frescobaldi and ing their way to Chapel Hill, NC, on adult recorder class ensembles and the Poser, plus music for Baroque oboe, March 20 heard a lot more than the large ensemble Flutissimo, directed by Baroque flute and harpsichord. springtime serenade of songbirds. The Sophie Larivière. Also performing were Sharon Howell reports that the Jasmin Triangle Recorder Society met for its groups from a music-core primary school Recorder Consort entertained shoppers popular annual one-day early music and a private music school. The concert at The Fresh Market in Greenville, SC. workshop, which began as a weekend was held at a public library, after 11 years They played a program of early music in a workshop more than 25 years ago, and of shopping mall events. Organizers were colorful location amidst the flowers and has strongly continued ever since under “happy to find a librarian who believes produce. One audience member told the co-directors Patricia Petersen and that music belongs alongside books.” store manager that “her blood pressure Kathy Schenley. Guest leaders were The Cleveland (OH) Chapter also Valerie Horst and Jack Ashcroft. The had a positive experience at the public li- group of 70 students and enthusiasts brary where they hold monthly meetings. from four states sang or played recorder, The chapter planned a Play-the-Recorder viol and pennywhistle in music from Day event in the library after the reference the British Isles. For the final tutti, Horst librarian asked them to give a concert led the entire group in Adam Gilbert's there—saying that library patrons enjoy specially-commissioned ARS Fantasia. hearing the soft music of the chapter meet- What better way to celebrate Play-the- ings in the background, and that it also Recorder Day than with good friends and helps noisier young patrons settle down to good music on a beautiful spring day?
September 2004 41 NOTES FROM LATITUDE NORTH 53 about our recorder playing, on the weekend before that, we had Edmonton may have had a break from the Canadian tundra’s icy had a workshop with Michael Schneider of Camerata Köln, winds in March, but the Edmonton (AB) Recorder Society who had stopped in Edmonton on a concert tour. It was Schnei- (ERS) blew up a storm for Play-the-Recorder Month. The climax der’s second visit to the ERS, and his gentle encouragement and of activities was a March 21 concert of Iberian music. David Wil- marvelous example were again an inspiration. son—associate conductor of Edmonton’s largest choral society, The ERS has been in existence since the early 1970s, when a the Richard Eaton Singers—chose music for recorder and voices, Faculty Wives group of the University answered Louise Dawson’s including Morales’ Circumdederunt me and the rhythmically chal- summons to toot around her kitchen table. For the society to lenging La Guerra by Mateo La Flecha. There was enthusiastic au- reach its current level and intensity of activity required some spe- dience response both for the music and for the readings of Span- cial chemistry. The magician who waved the wand (or recorder) ish poetry by Edmonton poet E.D.Blodgett. was Herb Taylor, who came to Edmonton as a soil scientist in the This was the third annual concert of the Edmonton Recorder early 1980s. Whilst plumbing the earth beneath our feet, Taylor Orchestra, whose first concert was conducted by Rachel Jean in got ERS to sound the echoing air by expanding horizons and dar- Edmonton City Hall. ing to invite in visiting recorder players including Amsterdam The first weekend of March had seen frantic tooting at a three- Loeki Stardust Quartet, Michala Petri, Marion Verbruggen, Piers day workshop by Verboden Vrucht, a recorder trio based in Am- Adams of Red Priest, Francis Colpron of Les Boréades de Mon- sterdam. One of the trio members , Terri Hron, is an Edmon- tréal and The Plumbers’ Union, plus Edmonton’s Rachel Jean. tonian whom some remember when she was a child student of Taylor, with ERS past president Janet Couch, has also organ- Rachel Jean. She has been in ized an annual recorder retreat—for the last three years held in The Netherlands for some idyllic surroundings in a lodge in the Rockies. When Taylor mar- years studying with Paul ried Astrid Blodgett five years ago (a marriage of true recorderists, Leenhouts and others. She if ever there was one), they built a house specifically with recorder and fellow Netherlands- playing in mind. Rehearsals and workshops take place on the based Laoise O’Brien and ground floor; the main floor can accommodate small recitals, and Anita Orme coached small a library on the top floor provides a third space during work- groups and gave master class- shops. Recorder players from all over Alberta attend. es. They are born teachers Many ERS members bring back music and expertise from and make insightful com- workshops in Colorado; Montréal, PQ; and Port Townsend, WA. ments about performance. Several have taken conducting lessons from Wilson, so there’s During the workshop, been a lot of bootstrap activity. Annual events include a Christ- Verboden Vrucht plus lutenist Golani they were joined by lutenist mas Toot ’n Food, a Toot ’n Canoe, a New Year’s get-together, plus Israel Golani and soprano frequent small-group performances in churches, galleries, Casey Peden in a concert of British music (British, rather then theaters, etc. ERS is nearly ready to become an ARS chapter. English, because it included some unusual songs by a Scotsman Those people who think that Edmonton is a place of hockey called John Mure). They went on to give workshops and concerts players and shopping malls should know that Arctic blizzards are in Calgary, Victoria and Vancouver. not the only winds blowing in Canada’s most northerly large city. As if that weren’t enough to prove that the ERS is in earnest Vivien Bosley Music Language and Theory Workshop at Princeton Recorder Society A group of players from the Princeton musical language adds enjoyment to play- chords on the recorder—unlike key- (NJ) Recorder Society completed a six- ing and to musical expressiveness. boards or even fretted string instruments, part workshop in April on the language of After the first two weeks—which where the visual element is helpful. While music for recorders, presented by mem- focused on playing and hearing basic mu- the terminology the group used was pri- ber Judith Klotz. The classes emphasized sic theory elements such as scales, inter- marily that of the Baroque era and “com- that an awareness of the components of vals and triads—the group explored con- mon practice” of the 18th and19th cen- sonances and dissonances, modes, sus- turies, the class also covered recorder lit- CHAPTER NEWS pensions, chromaticism, modulation and erature and musical styles, and featured Chapter newsletter editors and publicity cadences. elements of music theory that are men- officers should send materials for The group played Renaissance, tioned by conductors visiting monthly publication in American Recorder to : American Recorder, 7770 South High St., Baroque and Medieval pieces in two to PRS meetings. Centennial, CO 80122-3122, four parts, including a Bach chorale and (front row, from left): by e-mail
42 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher), postage and handling included. An updated listing of all available CDs may be found at the ARS web site:
NEW LISTINGS ____FRUIT OF A DIFFERENT VINE Alison Melville, Natalie Michaud & Colin Savage, recorders; A. Hall, ____LES SEPT SAUTS: Baroque Chamber Music piano. Works by Hindemith, Berkeley, Leigh, at the Stuttgart Court. Matthias Maute & Sophie Staeps. 1994 ARS Professional Recording Grant Larivière, recorders and transverse flute; Ensemble CD. S.R.I. $17 ARS/$20 others. ____ Caprice. Charming repertoire by Schwartzkopff, ____THE GREAT EMU WAR Batalla Famossa, a Bodino, Detri. Atma Classique. $17 ARS/$20 others. SACRED & young ensemble, with first CD of Australian recorder ____TELEMANN: DUOS POUR FL TES, SECULAR CANTATAS OF J. S. BACH. music. Orpheus Music. $17 ARS/$20 others. Ensemble Caprice. Matthias Maute & Sophie Carolina Baroque. Dale Higbee, recorders. Live ____THE GREAT MR. HANDEL Carolina Baroque, Larivière, recorders & transverse flute, Alexander performances of three cantatas, BWV 82a, BWV Dale Higbee, recorders. Sacred and secular music Weimann, clavichord. Six Telemann duos & sonatas 202, BWV 209. $17 ARS/$20 others. by Handel. Live recording. $17 ARS/$20 others. ____A. SCARLATTI: CONCERTI DI CAMERA Judith alternate with five fantasies for clavichord by Maute. ____HANDEL: THE ITALIAN YEARS Elissa Linsenberg, recorders; Musica Pacifica. Seven sona- Atma Classique. $17 ARS/$20 others. Berardi, recorder & Baroque flute; Philomel tas, various instrumentations. $17 ARS/$20 others. IN STOCK (Partial listing) Baroque Orchestra. Handel, Nel dolce dell’oblio & ____SOLO, DOUBLE & TRIPLE CONCERTOS OF Tra le fiamme, two important pieces for obbligato ____THE AGE OF JOSQUIN: THE GRAND TOUR BACH & TELEMANN Carolina Baroque, Dale recorder & soprano; Telemann, Trio in F; Vivaldi, Highland Park Recorder Society & Chamber Higbee, recorders. 2-CD set, recorded live. All’ombra di sospetto. Dorian. $17 ARS/$20 others. Orchestra, Robert W. Butts, conductor. $24 ARS/$28 others. ____IMAGINE II David Young, recorders. More con- RWB Productions. $17 ARS/$20 others. ____SOMETHING OLD, SOMETHING NEW John temporary interpretations of classic songs from the ____AIRES AND DUETS FOR TWO FLUTES AND Tyson, recorders, with Renaissonics. Baroque & 1970s by Neil Young, Jim Croce, Carole King, and BASS Vicki Boeckman & Dorte Lester Nauta, recorder; contemporary music. Titanic. $17 ARS/$20 others. Moody Blues. Universe Music. $17 ARS/$20 others. Mogens Rasmussen, gamba; Viggo Mangor, archlute ____SONGS IN THE GROUND Cléa Galhano, ____JOURNEY Wood’N Flutes, Vicki Boeckman, & chamber organ. Trio sonatas by Handel, Telemann, recorder, Vivian Montgomery, harpsichord. Songs Gertie Johnsson & Pia Brinch Jensen, recorders. Braun, Merula, Rossi. Primavera. $17 ARS/$20 others. based on grounds by Pandolfi, Belanzanni, Vitali, Works by Dufay, Machaut, Henry VIII, Mogens ____ ARIAS, DUETS & BALLET MUSIC FROM Bach, others. 10,000 Lakes. $17 ARS/$20 others. Pederson, W.W. Van Nieuwkerk & Maute—seven HANDEL OPERAS Carolina Baroque. Dale SUZUKI RECORDER SCHOOL (Four vols.) centuries. Kadanza Classics. $17 ARS/$20 others. ¨ Higbee, recorders. Live recording of a variety of Recordings to accompany the Suzuki Recorder ____A JOURNEY AMONG TRAVELLERS excerpts from operas of Handel, including Alcina School method books, with Marion Verbruggen, (CD SHORT) Peter Bowman & Kathryn Bennetts and Giulio Cesare in Egitto. $17 ARS/$20 others. recorders. $17 ARS/$20 others, for each single CD, or perform Donald Bousted’s 26-minute quarter-tonal $33 ARS/$40 others for any two Suzuki¨ CDs: ____ARCHIPELAGO Alison Melville, recorder & piece for two alto recorders, which had its U.S. ____Vols. 1 & 2 for Soprano or ____Vols. 1 & 2 for Alto traverso. Sonatas & concerti by Hotteterre, Stanley, premiere at the 1998 Berkeley Festival. Bach, Boismortier and others. $17 ARS/$20 others. (Vols. 1 & 2: folk & children’s songs, Baroque dances) $12 ARS/$14 others. ____ BACH & HANDEL: BAROQUE MASTERS ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others ____LANDSCAPES David Bellugi, recorders; Ali Carolina Baroque. Dale Higbee, recorders. Excerpts ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others Tajbakhsh & Chris Hayward, percussion. “Virtual” from several of the masters' operas and cantatas, recorder orchestra created by Bellugi. Three centuries ____TELEMANN ALLA POLACCA REBEL, with recorded in 2002 concert. $17 ARS/$20 others. of ethnic music by Encina, Brouwer, Ortiz, Bartok. Matthias Maute, recorders & traverso, play concerti ____BLOCKFLOETENENSEMBLE WIEN Frame. $17 ARS/$20 others. and suites by G.P. Telemann. . $17 ARS/$20 others. Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, ____LES AMIS DU BAROQUE Paul Nauta, recorder ____TELEMANN: CHAMBER CANTATAS AND TRIO Eva Maria Kaukal & Prisca Loeffler, recorders. & Baroque flute; Koen Dieltiens, recorder. Music by SONATAS Judith Linsenberg, recorders; Musica Ensemble works by Demantius, Monteverdi, Morley, Bassani, Corelli, Vivaldi, etc. Highlight Intl. $17 Pacifica. Five cantatas of Harmonischer Gottes- Mozart, Schermann, Kaeser, W. W. van Nieuwkerk, ARS/$20 others. dienst, two trio sonatas from Sonatas Corellisantes. Pachelbel, Reichard. $17 ARS/$20 others. ____MANCINI: CONCERTI DI CAMERA Judith 2003 Chamber Music America/ WQXR Record ____CHARLESTON PRO MUSICA ON TOUR Linsenberg, recorders; Musica Pacifica. Seven Award. Dorian. $17 ARS/$20 others. Marsha Evans, Lewis Fitch & others, recorders, Mancini sonatas, plus works of Durante, D. Scarlatti. ____TRIO ATLANTICA Lisette Kielson, recorders. gemshorns, guitar and voice. Medieval and “Highly recommended” citation, 2000 Vivaldi Prize, Works by Bach, Telemann, Montéclair, Leclair. Trio Renaissance music with consort and singers. Giorgio Cini Foundation. Dorian. $17 ARS/$20 others. Atlantica. $17 ARS/$20 others. Millennium Music/ Charleston SC. $17 ARS/$20 others. ____MIDNIGHT SUN Alison Melville & Colin Savage, ____20TH CENTURY MUSIC FOR RECORDER & ____CONCERTI DI NAPOLI Matthias Maute, recorders; Ensemble Polaris. New arrangements of PIANO Anita Randolfi, recorders. Music by Jacob, recorders, and REBEL. Sonatas by Mancini, Roberto traditional music of Norway, Finland, Estonia, Sweden, Bartok, Leigh, others for recorder & piano. $17 Valentini, A. Scarlatti. Dorian. $17 ARS/$20 others. Scotland. Classic CD Disc of the Month, August 2000. ARS/$20 others. ____DREAMS INSIDE THE AIR TUNNEL Dorian. $17 ARS/$20 others. ____ VIVALDI: LA NOTTE Concerti per strumenti Zana Clarke, recorder & composer. “Drawing on the ____MY THING IS MY OWN: BAWDY MUSIC OF diversi. Judith Linsenberg, recorder; Musica Pacif- music of the didjeridu & shakuhachi...beautiful & THOMAS D URFEY Tina Chancey, Grant Herreid & ica. Award-winning CD, featuring five Vivaldi con- hypnotic...”—American Recorder. Orpheus Music. Scott Reiss, recorders & other early instruments; certi, two sonatas. Dorian. $17 ARS/$20 others. $17 ARS/$20 others. Rosa Lamoreaux, soprano. Improvisations on tunes ____ENSEMBLE PIACERE 2002 Ensemble Please indicate above the CDs you wish to order, of love, sex & seduction in 18th-century England. Piacere, Irmtraut Freiberg, Eva Maria Kaukel, and print clearly the following: Koch Int’l. $17 ARS/$20 others. recorders. Sparkling performances of works from Name ______PRIEST ON THE RUN Piers Adams, recorders. the Renaissance to the 20th century by Frescobaldi, Daytime phone: (_____) ______Concerti composed by the ensemble’s namesake, Ortiz, Telemann, Fux, Keil and many others. flame-haired Vivaldi. Upbeat. $17 ARS/$20 others. Address: ______Ensemble Piacere. $17 ARS/$20 others. ____RECORDER JAZZ Warren Kime, recorder. ____FLEMISH CONTEMPORARY RECORDER City/State/Zip: ______Original jazz charts with a great groove. MUSIC Geert Van Gele, Former Flanders Quartet Check enclosed for $17 ARS/$20 others. member records his first solo CD “live,” with support _____ single CDs x $___ = $______from the Flemish Government. Works by JanPieter REFLECTIONSÐ Music to Soothe and Uplift _____ 2-CD sets x $____ = $______TOTAL $_____ Biesemans, Frans Geysen & Jan Van Landeghem. the Spirit. Eileen Hadidian, recorder & Baroque Please charge the above amount to my MasterCard or Qualiton. $17 ARS/$20 others. flute, with Celtic harp and ’cello. Celtic, traditional, Visa:#______Exp. Date: ______FOLIAS FESTIVAS Cléa Galhano, recorders; Renaissance & Medieval melodies. Healing Muses Recordings. $17 ARS/$20 others. Cardholder’s signature: ______Belladonna. 16-17th-century music by Falconieri, de Mail to: ARS,Box 631, Littleton CO 80160-0631, USA. Tafalla, Merula, others. Dorian. $17 ARS/$20 others. You may fax or call in your credit card order to 303-347-1181. The Marilyns: Marilyn Perlmutter (left) of Toledo, OH, and Marilyn Marquis of Danville, CA
The temporary de- mise of the summer It All Happened This Summer 2004 Berkeley Fes- tival and Exhibi- in Berkeley, CA tion (BFX), canceled Sonata in D minor, with its embellished er, there was a representative number of last fall by CalPerfor- rising chromatic scale, set a rising tone past ARS scholarship recipients: Rotem PHOTOS: mances due to fund- for the evening. Gilbert and Tish Berlin among the pro- GAIL NICKLESS ing shortfalls, spawned two simultane- Joined by percussionist Kay Stone- fessional recorderists, ARS President ous events held in Berkeley, CA, during felt, Frances Feldon offered Music for Alan Karass, and young audience mem- the time when patrons might have been Remy by Lou Harrison. As with some of bers Morgan Jacob and Andrew Levy looking for BFX events: a conference the pieces heard at the fund-raiser, this (l to r in photo below). sponsored by Early Music America one also appeared in a performance later (EMA), June 10-12, and Berkeley Early in the fringe festival—and it was well- Music on the Fringe, June 9-13. (See played in both venues. Written in a har- page 43 for conference coverage.) monic minor key, the recorder part’s Ori- Either the conference or the fringe ental mode was enhanced by Stonefelt’s events would have kept one person busy, sensitive playing on cymbals, tom toms, although those seeking recorder events tambourine and suspended cymbal. found them to be mostly in the day and Announcing the set that she played early evening, making possible atten- with recorderist Adam Knight Gilbert dance at evening non-recorder concerts. and harpsichordist Mahan Esfahani, The American Recorder Society Rotem Gilbert declared Pierre Danican (ARS) held its opening event before the Philidor to be her “favorite French com- Performances on June 10, during activity level picked up, on June 9 at Far poser.” Playing his Cínquíème Suítte en EMA pre-conference workshops, includ- Leaves Tea House in Emeryville, CA. The Trio, Op. 1, the trio were obviously having ed “Celtic Spirit” presented by Healing warehouse of a tea room in Berkeley, the fun. The two altos, scored in sonorous Muses, and trio sonatas of the 17th and room was festooned with purple, red and thirds, occasionally broke into short seg- 18th century featuring recorderists yellow cloth hangings and lanterns. Its ments of counterpoint in the chaconne Geert Van Gele and Letitia Berlin. acoustics were good for the 30 audience movement, showing off both players as Playing in a full ensemble configura- members to hear the professionals who they traded upper and lower voicing. tion, Healing Muses offered traditional played to benefit ARS scholarships. Tibia (Tish Berlin and Frances Blaker) Celtic and world music played by Eileen With eight recorderists performing in played three duets: two written by Blaker Hadidian, recorder and Baroque flute; various combinations, the evening was during their 2003 Sitka Center (OR) res- Maureen Brennan, Celtic harp; pleasant in its variety. Judith Linsen- idency, then the familiar Sonata in F Natalie Cox, Celtic harp; and Dan Reiter, berg opened, with harpsichordist major by Telemann. The bouncy charac- ’cello. Their various combinations relied Charles Sherman (playing on the Ital- ter of Telemann’s allegro movement con- less on formula than on how best to ex- ian instrument loaned by John Phillips trasted nicely with the moto perpetuo press the music. The group was success- Harpsichords). The interesting chro- modernity of Blaker’s duet Rain (“it ful in pairings, from Hadidian’s playing matics of Giovanni Antonio Leoni’s rained a lot” in Sitka, she explained). on recorders with Cox of the familiar At evening’s end, Daphne of Playford and the more lively Farallon Quartet traditional Childgrove, to full ensemble (Berlin, Blaker, Louise renditions such as the traditional Scot- Carslake, Hanneke tish Mary young and fair. In the latter, the van Proosdij) offered flute and ’cello unison melody was nice- a nicely matched and ly in tune with both harps, no mean feat. balanced playing of The crowd packed Trinity Chapel to Contrapunctus I and hear the early evening concert of trio XVIII of J. S. Bach. sonatas, especially liking Berlin and They showed their Van Gele’s rendition of Sybrand van sense of ensemble af- Noordt’s Sonata in a. Its ultra-high, qua- ter a loose footjoint si-fantasia first movement was gave way fell from Berlin’s alto to a fugue-like movement that built ex- (twice—the first time citement to almost delirious Vivaldi-like being turned into a arpeggios in the last movement. joke, while, after the Van Gele was again in the spotlight second time, the con- for the June 11 master class (like the pre- sort waited briefly vious evening’s performance, co-spon- Professional recorderists and friends pose in front of a rosewood and then continued sored by Bay Area Recorder Series and panel that served as the stage backdrop at Far Leaves Tea House: (l to as if nothing had oc- ARS). He worked flexibly with a wide r) Frances Blaker, Louise Carslake, Kay Stonefelt, Frances Feldon, curred). range of music, which was unknown to Charles Sherman, Judy Linsenberg, Adam Gilbert, Rotem Gilbert, Among those at- him before arriving at the class, played by Mahan Esfahani, Hanneke van Proosdij, John Phillips, Tish Berlin. tending the fund-rais- well-prepared participants: Jack O’Neill
44 American Recorder musical contrasts, even while recorder— maintaining the idea of playing all exciting Dana Vinicoff (right) with a serene quality—“like a without be- and Jack O’Neill (below) slide show with different sub- coming were two of the jects” within a serene whole. “furious.” participants in the There was fine recorder play- The per- master class with ing in the fringe concert present- formance Geert Van Gele. ed twice by the University of was met North Texas (UNT) Baroque with hoots, Ensemble—first on June 8 and cheers and then on June 11. The program, featuring two bows. music from 17th-century Venice and A Rome, was directed by Lyle Nordstrom recorder of (also accompanying on Baroque guitar a different nature emerged in a cabaret- and theorbo) and assistant director style program, “Wild Thing, You Make Lenora McCroskey (providing continuo my Heart Sing,” offered in the early accompaniment on harpsichord and or- evening by Frances Feldon and an as- gan). This ensemble of highly-capable sembled multitude: Kay Stonefelt, multi- graduate and undergraduate students ple percussion; Karen Clark, contralto; presented an exciting and entertaining Christy Dana, flügelhorn; Dean Lobovits, and Dana Vinicoff, both of San Francis- performance at a truly professional level. bass guitar; David Morris, ’cello; and co; Wendy Oser of Berkeley; and Helga It was obvious that the directors worked Katherine Westine, piano. Ranging from Wilking of San Rafael. He found the best not on just the music, but also on creat- jazz to contemporary (Pete Rose to part of each person’s playing and built ing an exceptional performance, includ- Claude Debussy), and in various group- from there, often singing or whistling as ing stage presence and, for the “operatic” ings, the program ended in Feldon’s full- well as playing along. works, dramatic presentation. ensemble arrangements of two 1960s With O’Neill, playing soprano The ensemble’s recorder player, grad- rock tunes: White Rabbit by Grace Slick recorder on Van Eyck’s variations on uate student Jennifer Carpenter, was (the “go ask Alice” tune made popular by Onse Vader in Hemelryck, Van Gele sug- heard in two of the extended vocal works: Jefferson Airplane, photo above) and the gested that it is necessary only to think of in the ritornelli of an excerpt from Rossi’s familiar three-chord Wild Thing by Chip the main theme’s notes during varia- L’Orfeo, and in Monteverdi’s ballo, Vol- Taylor, with recorder playing the tions—the theme will emerge without gendo il ciel per l’immortal sentiero. In the ocarina break heard on the version by being accented. For faster variations, dare latter, Carpenter provided a dizzying The Troggs. To bring the enthusiastic to double-tongue. First try double- stream of divisions on a volta and canaire crowd down, an encore was offered: tonguing with your voice—in the car, (both of Praetorius), and a bergamesca Dana whistled one part of a Telemann when you are bored—then try double- (from Zaconni) that were interpolated Canonic Sonata while Feldon played the tonguing on only one note. If the sylla- within the ballo as per Monteverdi’s in- same on alto. bles “duh-guh” don’t work, try “diddle.” struction in the score. Visiting after the Across town, the audience filled the To Oser, playing alto on the Serial performance, she noted the great re- intimate chapel at St. Joseph of Arimath- Theme and Variations by Arnold Cooke, source of early instruments (over 200!) ea to hear an overlapping event, “A Due Van Gele said to “sing and enjoy” the that UNT provides to students, including Canti.” They were rewarded with a con- melody, even though it is composed in a the Von Huene sopranino and soprano cert of seamless playing by Rotem structured manner with even the dynam- recorders she played on these concerts. Gilbert and Adam Gilbert, recorders, ics dictated. “At a certain point, the piece again with Mahan Esfahani on keyboard. becomes your piece—but never skip the Carpenter provided The venue allowed the use of organ on first part where you obey the composer.” the first four pieces, played on two sopra- Wilking’s playing on alto, bass and no recorders. The first of these was Gio- soprano of two short works by Agnes a dizzying stream vanni Battista Vitali’s Prima partita, Op. Dorwarth (born 1953) was “far along” 7, No. 2, where the playing was delicate technically and in evoking atmosphere, of divisions... and light in feeling, leading to equally he said. Each work represented a bird, pleasant performance on the others. It and he asked that she “use the silences to Letitia Berlin returned to perform was a joy to watch the pleasure the per- lengthen the piece, but stay in the char- again that afternoon, playing with John formers got from playing, as they often acter of the bird” even during silences. Dornenberg, gamba, and Katherine seemed to be aspects of one whole or- Vinicoff and Van Gele spent a few Heater, harpsichord, as Blue Castello. ganism. Later pieces with alto recorders minutes discussing the character of G. F. The crowd of over 50 heard good ensem- and harpsichord were by P. D. Philidor , Handel’s Sonata in C major, Op. 1, No. 7: ble playing of Telemann, Louis de Caix including a suite played earlier during he found the piece to be jubilant, she d’Hervelois, Nicolao a Kempis and espe- the ARS scholarship fund-raiser. With en- more serene. “Being flexible helps you cially G. F. Handel. The Handel “Furioso” thusiastic playing, clear tone and perfect play with other ideas and people,” he movement sported difficult scales played balance between the instruments, the told her as he followed her idea rather at a riproaring tempo by the continuo, al- concert and day were brought to a rous- than his own. They searched together for ternated with similar motives on alto ing and rhythmic conclusion.
September 2004 45 they match the music to the anxiety level offered a nicely-contrasted program of of the people in the room, then gradually music by Friedrich Kuhlau (1786-1832) try to create a more calm state—in this and Ernesto Köhler (1849-1907). Made program, going down, then back up from 1820 to 1915, the eight flutes ARS Great again. The harp shimmered on Robert played came from Germany, Austria and Recorder Relay Burns’s Her bright smile haunts me still, Russia, and have between four and 15 participants while the tenor recorder shone on the tra- keys. Unlike recorders and Baroque from top left ditional Scottish Mary young and fair. flutes, these later wooden, multi-keyed (l to r): Tom Adam and Rotem Gilbert, in their flutes produce some dynamics, and have Bickley and David third performance over several days, a character that can only be described as Barnett; Rotem closed the morning with more Philidor— Romantic—and the music was fittingly and Adam plus two pieces by Adam, including their poignant. Bower and Wilson were well- Gilbert; opening set of variations on “Mein junges matched, playing with sweet sound and harpist leben hat ein end.” Written in the style of with runs nicely dovetailed on the famil- Maureen Van Eyck, and played on two sopranos, iar twelfth duo from Köhler’s Op. 55. Brennan the piece included divisions and florid and lines. An audience member asked, Eileen “Where can we buy a copy?” Hadidian; About 90 people heard an afternoon Tish performance by Farallon Recorder Berlin Quartet (at right: Frances Blaker, and Hanneke van Proosdij, Louise Carslake and Frances the inexhaustible Tish Berlin). The rich Blaker. acoustics of St. Mark’s Episcopal Church were perfect for the works by Ludwig The ARS Twelfth Senfl, J. S. Bach and Josquin Deprès. Great Recorder Relay Mixed in was another successful piece by consumed the morning of Blaker, Southern Nights, inspired by her June 12, as about 20 gath- experiences when visiting in the south Musica Pacifica’s “Baroque Hits ered early to hear Tibia and southeast: frogs and insects, a porch with a Twist” program was a hit that (Frances Blaker and swing, fireflies. The crowd particularly evening. The use of two harpsichords Tish Berlin). In addition liked its jazzy rhythms, shifting har- allowed both solo and continuo harpsi- to Blaker’s well-com- monies, and, in the final movement, ris- chord to play on some pieces. Doubled posed duets heard at the ing chromatic fragments that built to a harpsichords were used for the continuo ARS fund-raiser (which high crescendo. Ending with an almost of Canzona “La Lusignuola” by Tarquinio stand up well to a second barbershop-style Someone to Watch Over Merula, which particularly pleased the hearing), they offered pieces originally for Me by George Gershwin, they were called crowd of 200 in St. Mark’s. It sparkled, bass viols by John Hingston. The florid back by the audience for three bows. especially in the opening and closing sec- lines worked well on bass recorders, and The afternoon of June 12 included tions consisting of rapid-fire repeated were smoothly played by Tibia. dashing by two ARS events (a round table notes (first on alto recorder, then violin, Three Trapped Tigers, an ensemble and the later play-in), with other fringe then gamba, then harpsichords). comprising recorder players David Bar- events sandwiched in between. A well-done arrangement of Vivaldi’s nett and Tom Bickley, offered Landini to In an exciting concert of 16th- and Concerto in G major, RV 435, officially Bohuslav Martinu. In the Landini Fa met- 17th-century Spanish music, “Across the ended the program (and for some, the ter bando it was nice to hear the sonorous Pyrenees and Back: All’s Fair in Love and fringe festival), with each soloist having open fifths, plus the resonance of the last War,” graduate students from Indiana time in the spotlight. In a well-earned unison note, held fearlessly longer than University’s early music program en- encore, also by Vivaldi, the ensemble many recorderists tend to do. Bickley has livened Berkeley’s International House showed jigsaw precision, and main- wowed past Relay crowds with convinc- auditorium with high-energy music for tained its energy right up to the last note. ing performances of contemporary mixed ensemble and voice. The treble Gail Nickless with contributions from recorder music. This was no exception, cast featured a powerful tenor, a demure Charles Coldwell, Thallis Hoyt Drake, as they played a duo improvisation based soprano and two Baroque violins, while Alan Karass, Marilyn Perlmutter, and on Machaut entitled Relais (appropriate the large continuo had two dueling dul- Glen Shannon on a Relay event) that included amazing cians, bass gamba, violone, theorbo and June 12: multiphonics produced by Bickley harpsichord. Their promising perform- Happy singing while playing tenor recorder. ance was invigorating and confident, Birthday A duo version of Healing Muses well-rehearsed yet spontaneous. to both (Eileen Hadidian, recorder and flute, While not as polished as other groups Charles with Maureen Brennan, Celtic harp) of- and occasionally guilty of rushing, Sherman fered “Reflections.” Hadidian explained Ensemble KrazyKat (Harry Bower and and Judy the process they follow when playing in Rick Wilson, 19th-century flutes; Alan Linsenberg hospitals and similar facilities, where Bostrom, 1857 Streicher grand piano) (of Musica Pacifica). 46 American Recorder EMA executive director Maria Coldwell (left) and EMA president Valerie Horst gave an award to Peggy Monroe.
“The Future of Early Music in America” ery; today performers receive a worked- food and was the theme of the conference spon- over body of knowledge. There now operat- sored by Early Music America at the seems to be a careerism aspect of early ing with- Berkeley (CA) City Club in June. Unoffi- music, although it is still a new experi- in a bal- cial attendance, not confirmed at press ence for the audience. He noted a Cleve- anced time, was 120-150 plus those who land, OH, study showing that the eco- budget. browsed in the free exhibition. nomic impact of the arts is greater than Van The opening session was appropri- that of professional sports—an upbeat Proosdij ately titled, “The Current State and ending to the discussion! recom- Future Prospects of Early Music in Amer- A highlight of the conference was the mended ica.” To discuss this important topic, a presentation of several awards at the EMA that the panel of people from various organiza- Annual Meeting: to Laurette Goldberg of workshop experience include formal tions was assembled. Maria Coldwell, the Bay Area, the Howard Mayer Brown and informal elements—for example, EMA, was moderator, and participants Award for lifetime achievement; to Har- adding casual gatherings to complement were Robert Cole, CalPerformances, vard Baroque Chamber Orchestra and classes and lectures. She also said that it presenter of the Berkeley Festival that Yale Collegium Players director Robert helps to provide alternative food options was canceled for 2004; Kathy Fay, Mealy, the Thomas Binkley Award for out- if the venue’s choices are limited. Boston (MA) Early Music Festival; New standing achievement by the director of a Horst suggested that the “faculty ex- York Early Music Celebration director university/college collegium musicum; perience” should also be considered Gene Murrow, who is also a past presi- and, to former ARS Board member Peggy when organizing a workshop. In many dent of the ARS; Alan Karass, current Monroe, the “Early Music Brings His- cases, the faculty members are not paid president of the ARS; and Benjamin tory Alive” Award that honors ensem- much. In order to make the workshop Dunham, editor of Early Music America bles or individual artists for excellence in enjoyable for them, they should be given and past editor of AR. educational outreach, as demonstrated in choices about what they teach and how The general tenor of the discussion early music school programs at the ele- they can participate in the overall event. was that, although the last three years mentary/secondary level. All offered guidelines based on their have been challenging for early music or- Monroe’s early music activities began experience. Honestly discussing expec- ganizations due to the general economic in the early 1970s, when she started tations with administration and faculty downturn, the future is looking better. teaching recorder privately, mostly to chil- is critical to running an effective work- Cole felt that we need to create insti- dren. She also began doing demonstra- shop, especially when dealing with diffi- tutions and groups for making contribu- tions and mini-concerts in schools, al- cult students. Teachers need to discuss tions, pointing out that Europeans sup- ways with the idea of stimulating interest problems with workshop administra- port artists in ways that Americans do in early music and history. Her education- tors, who can take appropriate action. It not. Since we rely on individual rather al projects evolved from one-time school- is important to remember that teachers than state support, it is imperative to room appearances into two-week-long and administrators are paid by the stu- build up philanthropy. residencies involving entire elementary dents to provide a service. Fay was optimistic about the situa- schools in Medieval, Renaissance and Class placement for lower groups can tion in Boston. Since the 1980s there colonial period studies. Her “Medieval be especially difficult to manage. In have been good changes, so that early Experience” residency has been offered at these groups, each student has different music is alive there. She and her board dozens of schools in the Seattle/King needs; thus the range of ability levels in raised $1.3 million for the 2003 BEMF County (WA) area over the past 20 years. the lower groups can be greater than that and have cultivated future pledges. She In addition to recorder, her principal in more advanced groups. An effective felt it is important to keep our spirits up. emphasis is historical percussion, which instructor must be able to creatively Murrow expressed ambivalence. He is reflected in the publication she manage these differences while teaching sees struggling musicians and graying authored for the ARS, Adding Percussion to good technique and musicianship. audiences, and thinks we haven’t done a Medieval and Renaissance Music. At the session’s end, the presenters good job of informing people about ear- Concurrent break-out sessions on offered some other issues to consider. It ly music. He feels we need to raise various topics were held during the rest is important to explore wheel chair ac- awareness, which is the mission of the of the conference, with some of more in- cess at workshop sites, especially as New York Early Music Celebration—55 terest to recorder players than others. more mature players attend workshops. concerts by 40 groups during October. A break-out session titled “Present- The “summer workshop market” is We need to try to get large audiences, ing Successful Workshops for Adult Am- growing, even beyond music work- make the press aware of the movement, ateurs” was led by Hanneke van Proos- shops. College facilities are becoming and help players earn a living wage. dij, San Francisco Early Music Society. more competitive; directors should dis- Karass urged more education in aca- She was joined by Valerie Horst, cuss a workshop’s expectations with the demia about early music. He also Amherst Early Music Festival, retired; college. European workshops are grow- stressed supporting amateurs, as they and Ken Perlow, Viola da Gamba Soci- ing in popularity. Exotic overseas venues are important as audience members, ety of America. Each participant had sev- appeal to many, but poor exchange rates class takers, instrument buyers, and eral initial suggestions for presenting a and costs can be prohibitive. donors. Marketing our product is vital. successful workshop. While scholarships are important to Dunham pointed out that, in the Perlow stressed the importance of us- some students, it can be difficult to de- past, everything appeared to be a discov- ing good facilities, offering high-quality termine who genuinely needs financial
September 2004 47 aid. One method for funding scholar- CONSIDER ADVERTISING IN ships is to ask for additional money ______CLASSIFIED from attenders who can afford to give. ______Speakers for “Creating Early Music ______Programs for Children” were Mary Ann ______Hagan, Seattle (WA) Baroque educa- Full page ...... $540 tion program; Joan Kimball, early mu- 2/3 page ...... $400 1/2 page ...... $330 sic band Piffaro; and John Mark and 1/3 page ...... $255 Ron McKean, the Bay Area’s Junior 1/4 page ...... $200 Where the haves 1/6 page ...... $155 Bach Festival. 1/8 page ...... $115 Seattle Baroque targets middle and have-nots 1/12 page...... $ 85 school orchestras, where violinists and of the recorder world 1 column inch ...... $ 50 ’cellists demonstrate their instruments can find each other Prices include web site/e-mail link directly from and give coaching sessions. Students your ad in AR On-line (www.recorderonline.org). attend a Seattle Baroque rehearsal, and Circulation: Includes the membership of the can ask questions of the orchestra. Par- American Recorder Society, libraries, and music organizations. ents and students are also invited to A CHEERFULL NOYSE. Selling recorders, other instru- attend a performance. The orchestra ments, sheet music and accessories for early music. Be Published five times a year: January, March, May, September, November. has found that students ask more sure to read “Playing The Recorder Only Seems Easy” sophisticated questions as their expo- online, each month. Customer service is our Reservation Deadlines: December 1, February 1, April 1, August 1, October 1. sure multiplies. middle name. www.acheerfullnoyse.com, Kimball reported that plastic [email protected]. Rates good through November 2004. Please inquire about discounts on multiple-issue contracts, inserts, recorders are introduced in the third to THE AMERICAN RECORDER TEACHERS' or other special requests. Extra charges for fifth grades as a “pre-band” instrument. ASSOCIATION (ARTA) invites you to view our web typesetting, layout, halftones, and size alterations. Piffaro musicians go into schools to site at
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48 American Recorder