may 2007 Published by the American Recorder Society, Vol. XLVIII, No. 3 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825
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Telemann: Complete Original Recorder Sonatas D'Estrees: Tiers Livre de Danseries For alto and Bc, with score and part books. For 4 to 6 recorders or viols. DOL0124 ~ $27.75 LPMDM09 ~ $11.00 VisitusattheBoston Early Music Festival Exhibition! We will be on the Mezzanine level, space 42 and 43. On our left, you will find Collins & Williams Historic Woodwinds andonourrightPeacock Press from England. We look forward to seeing you there June 13th –16th at the Radisson Hotel. EDITOR’S ______NOTE ______Volume XLVIII, Number 3 May 2007 or some years, scientists have studied Fbirds to see how they produced their FEATURES marvelous songs. A while back, several The Second Installment in A History of periodicals reported that X-ray video had the American Recorder Society: A Memoir ...... 14 revealed how birds hit different notes: they by Martha Bixler actively adjust the size of their throats. “Increasing the size of the vocal tract supports a lower pitch, just like a bass The Recorder in Print: 2005 ...... 28 (viol) supports lower frequencies, and 11 The annual look at what’s been written about the recorder violins the higher frequencies,” said veteri- in other publications around the world narian Tobias Riede in the journal Proceed- by David Lasocki ings of the National Academy of Sciences. Having done similar studies with monkeys DEPARTMENTS and dogs, he was able to point out similar- ities to humans as well: of course, we each Advertiser Index ...... 52 vary the size of our throat to produce what Chapters & Consorts ...... 42 someone would recognize as our voice. 14 Likewise we can do the same when Classified ...... 52 producing sound through a recorder. Education ...... 12 X-rays are also being used to examine Music Reviews...... 48 instruments in museums, using 3D-CT (formerly CAT scan) technology to On the Cutting Edge...... 44 measure recorders and perhaps gather President’s Message ...... 3 enough data to reproduce them for actual Q&A ...... 46 playing. This information is part of many 42 writings compiled from all over the world Tidings ...... 4 and described by David Lasocki in his ON THE COVER: Contributions 2006-07; Shirley Robbins to receive Presidential 17th annual report on books and Music of Spring by Special Honor Award; recorders included in John Adams opera articles about the recorder (page 28). Kristina Cicelova Now is a great time to hear birds (pen, watercolor and new concerto by Gerald Plain; Piffaro young artist winner singing, and to learn a new piece of pencil & pastel on paper) music that imitates bird song, as Connie online portfolio: Primus points out in “Music Reviews”
6 American Recorder PRESIDENT’S MESSAGE ______Is offering a good product the same as trying to raise standards?
valued benefit of writing this her students, and one of the best models designed specifically A column is that I get to hear from my for excellence I’ve ever known. She only for classroom teach- fellow ARS members. In my first column accepted our very best, and she never gave ers. This is one pro- in January, I mentioned that the American less than hers. gram I am aware of. If Recorder Society is relatively small Before a student’s recital, she would you know of other compared to similar organizations and come out on to the stage while all was similar programs, asked you to think about our relevance quiet in the hall, take out a polishing cloth, please let me know. within the larger musical world. Following and wipe the piano free of smudges until it If you don’t live this, I received an e-mail from Judy shone in the light. I will never forget that near a teacher and Siegrist, an ARS member in Texas. simple gesture, which told us how much can’t afford the time or cost of a summer “Rather than try to be relevant”, she she cared about us and our performance. workshop, why not consider pooling wrote, “we should focus on quality rather It was also my privilege to recently resources with your fellow ensemble than quantity. I truly believe that if the experience another stunning example members or other players to bring in a ARS (and ARTA to which I also belong) of excellence in music. I was fortunate to teacher for a private workshop? You’ll be continues to set a high standard, others participate as a recorder player in the San amazed at how much fun you can have will be inspired to reach the mark.” Francisco Symphony’s U.S. premiere of while improving your playing. Don’t What a great sentiment! As President The Flowering Tree, an opera by John forget, though, if you’re not having fun and a board member of ARS, my duties Adams (see related story in this issue’s while working to improve, you may want include acting as a representative of the Tidings). Adams lives in Berkeley, CA, to rethink your learning process. organization and recruiting new members. and is best known for his operas Nixon in The ARS board and staff work hard to As Judy expressed in her e-mail, if you China and The Death of Klinghoffer, as increase opportunities for achieving excel- offer a good product that meets the needs well as his orchestral works such as lence in individual and ensemble recorder of the people, you will not have to worry Short Ride in a Fast Machine. playing, and in recorder classroom about drumming up business. As you may know, there aren’t many teaching. We value your input—and who However, any organization would pieces for modern symphony orchestras knows, maybe one day you will be sharing wither and die without new members. that include recorders. Adams uses both your ideas and enthusiasm as a member The ARS exists for a specific audience— soprano and alto recorders in his telling of of a committee or even of the board! people who love to play and teach the a 2000-year-old South Indian folk tale. recorder—and we need to constantly Sitting amidst the members of the San Notes from the Field work at increasing our membership from Francisco Symphony, one of the best Here is an addition to my list of what this group to maintain the health of ARS. orchestras in the world, I was surrounded I hear that chapters are doing to increase or Back to Judy’s e-mail: is offering a by players of the highest quality. I was enhance their membership: The Southern good product the same as trying to raise in awe of these musicians, not only for California Recorder Society’s recent standards? If we focus specifically on stan- their virtuosity, but also their expressive newsletter announces an outing to the dards, will we lose members who aren’t playing. Hollywood Bowl to hear Mozart’s opera necessarily interested in excelling but just As recorder players we can enhance our The Magic Flute. Folks are invited to car- in playing? I personally would not want to musical experience by striving for good pool and meet at the Bowl. Food and drink lose this section of the membership, but tone and intonation, varied and pleasing is mentioned, and the possibility of a 30% an important ARS goal is to aim for excel- articulation, expressive phrasing, and group discount if orders are placed early. lence at all playing levels, a goal that defi- overall sensitivity to both the music and to Now that sounds like fun to me! nitely fits the ARS mission. The better we our fellow players. These skills can be Here's another suggestion for chapters, sound, at all ages and abilities, the greater greatly enhanced by taking lessons with a recently offered by an ARS member: our musical satisfaction, and the more good teacher, attending workshops, and appoint a welcoming committee of at least people will want to join us—but this listening to good performances, both live two people who greet any new player should not be at the expense of those who and recorded. In fact, you can learn from attending meetings, making sure that the play purely for pleasure. almost every musical encounter. new person is comfortable and introduced Talking of excellence, Judy’s e-mail For those of you who teach recorder in to others. The ARS member who e-mailed also made me think of my college piano the classroom, another way to hone your me told me he had gone to a local chapter teacher at University of North Carolina- skills is to attend a program such as Nina meeting where not a single person talked Greensboro, Inga Morgan. Mrs. Morgan Stern’s “Flutes and Drums Around the to him. He's never gone back. was a wonderful pianist, respected by her World” at the Amherst Early Music Festi- Letitia Berlin, ARS President colleagues, loved (and a little feared) by val this summer. Stern’s program is
doing, their ears MUSIC AT NEW YORK’S LIGHTHOUSE SCHOOL are very well devel- Last fall, Leslie Jones, director of the perform music. Children take general oped. (The first day Filomen M. D’Agostino Greenberg Music music classes and a percussion class, sing of class, I played a School at The Lighthouse International in in a youth chorus and have the oppor- few songs for the New York City, NY, asked me if I would be tunity to take private instrumental and children so that interested in starting a recorder program voice lessons. I was enthusiastic about they could hear for the children studying there. Michael the school and was happy to help them what the recorder Zumoff, a supporter of the Lighthouse and include the recorder in their program. is capable of. One executive director of the New York In December 2006, we initiated a six- of the pieces I Recorder Guild (who also took the photo of week course of study for all of the children played was a Greek Nina Stern at right), was familiar with my in the music program. The children were dance in 7/8 meter. work with recorder in public school class- divided (by age) into two groups of At the end of class, I asked the children if rooms and had suggested to Dr. Jones 8-10 students, and each child was given by any chance they could identify that me- that she contact me. a soprano recorder. By the end of our short ter. One 12-year old boy’s hand shot up. When I first visited the music school, I course (a total of six 45-minute classes), “Oh, that was in 7/8,” he remarked easily.) was struck by how lovely the facility is: most of the children had learned the first Gradually I learned how to describe spacious and bright, with many practice octave of notes and were playing tradition- things to the children (how to place their rooms, a piano lab, a large computer al tunes arranged into very simple two- or hands on the recorder, how to hold the capacity, and a library that contains a large three-part harmony. The younger group recorders with their lips). I was helped collection of scores in Braille and large learned at a slightly slower pace—though immeasurably by members of the staff and print formats. The staff is friendly and one third-grader was a real whiz, bringing by a group of dedicated volunteers (in- highly dedicated to helping students who me new tunes that she had learned each cluding Zumoff) who come to the music are blind or partially sighted to enjoy and time we met! school every Saturday morning to help out The challenge for me was to adapt my at the school. The children learned quick- The challenge for me was teaching to a group of children who could ly and were an absolute pleasure to teach. not see what I was doing. Much of the Nina Stern to adapt my teaching to teaching that I do in school classrooms in- This article first appeared in the New York a group of children volves rote learning: I play and then the Recorder Guild Newsletter. On March 23, who could not see ... children imitate me. Though the children Lighthouse recorder students made a special at the Lighthouse could not see what I was appearance on a concert with Stern.
8 American Recorder Bits & Pieces
Christ’s Cross,” said Renais- The Times of London, then The Listener. sonics recorder player and He joined Early Music in 1983, became director John Tyson. “At times music critic of The Observer in 1987, then the cross rhythms bring two was BBC Proms director (1996-2007). Han Tol has left the Flanders Recorder against three against nine. It’s very com- Mr. Bach Comes to Call is available Quartet. His place is filled by Tom Beets plicated, yet as all geniuses manage to on DVD in North America from Koch (at left in photo), a Flemish recorderist do, Morley makes it beautiful as well.” Entertainment. Like the award-winning and student of Pedro Memelsdorff. New England Conservatory (NEC) Classical Kids recording of the same The first North American appearances will have a new president in June. name, the DVD captures a special friend- of FRQ with Beets are in May, starting Anthony Woodcock will leave his post ship between Bach and a young girl. in Mexico and ending at the Texas Toot. as Minnesota Orchestra president/CEO The Discovery Channel’s "How It's Last fall Renaissonics joined vocal to lead NEC. He follows Laurence Lesser, Made" recently showed scenes of mak- early music ensemble Passio to recreate who has served as interim since presi- ing recorders. (Watch for episode 42.) Elizabethan music for audiences at Roger dent Daniel Steiner died in June 2006. The Nordic countries have formed an Williams University, Bristol, RI. The con- In October, former Early Music early music association. Institutions in cert was part of Elizabeth I: Ruler and magazine editor Nicholas Kenyon will Sweden, Finland, Denmark, Norway and Legend, the largest North American become managing director of London's Iceland have joined together under the exhibition commemorating the 400th Barbican Center. He was music critic for name NORDEM (Nordic Early Music anniversary of her death. “The most The New Yorker (1979-82) before return- Federation). Visit
May 2007 9 Eva Legêne Performs New Recorder Concerto The Cleveland (OH) Chamber Sym- His own compositions, some of 40-note ostinato interwoven with phony, an orchestra specializing in which were published by Oxford Uni- smaller, derivative motives. Tenor music by living American composers, versity Press, include orchestral works, a recorder is the solo instrument in the included the world première of Gerald string quartet, songs, and piano music. slow, more vertically structured second Plain’s Concerto for Recorder and Chamber Much of his output is based on American movement. Both tenor and soprano Orchestra in its concert on January 21 at folk idioms. Several of his works have are featured in the energetic finale the Baldwin-Wallace College Conserva- won prizes, and in 2001 he received an (see below left), which uses thematic tory of Music. Internationally renowned Academy Music Award for lifetime material from the second movement. recorderist Eva Legêne was the soloist. achievement from the American I obtained information about the Academy of Arts and Letters. Now retired Plain’s recorder concerto, composer, the work, and the perform- from teaching, he lives in La Grange, ance from the program notes, e-mail KY, and is a full-time composer. correspondence with Legêne, telephone Plain’s recorder concerto, composed composed in 2002, is his conversations with the composer, and a in 2002, is his only work for recorder. review by music critic Donald Rosenberg Although not a recorder player himself, only work for recorder. in the Plain Dealer, Greater Cleveland’s he was introduced to the instrument by leading newspaper. his late wife, Marilyn V. Plain, who was Concerning this work, music critic Composer Gerald Plain, a native a member of the ARS and the Rochester Rosenberg wrote: “Plain has done Kentuckian, was born in 1940. After Chapter. He dedicated the concerto to something novel in this concerto. He receiving a master’s degree in music from her and is also grateful to Piers Adams for has joined several sizes of the dulcet Butler University (IN), he did further editing the recorder part. Baroque instrument with a 21st-century graduate work in composition at the The work is in three movements and ensemble and avoided the potential for University of Michigan with Ross Lee incorporates such contemporary tech- the recorders to be swallowed whole.” Finney and Leslie Bassett and later niques as minimalist-style repetitions, About the soloist, Rosenberg wrote: “Eva studied in Rome, Italy, under a Rome synthetic scales, glissandi, tone bending, Legêne was remarkable, traversing her Prize fellowship. He has taught composi- and free cadenzas that distort the length instruments’ extremes and the work’s tion at DePaul and Roosevelt Universities of the beat. Sopranino recorder is acrobatic and expressive demands.” in Chicago, IL, the University of featured in a horizontally structured Legêne described the concerto as Wisconsin–Stevens Point, and the East- opening movement, which has a neo- intelligently constructed and entertain- man School of Music in Rochester, NY. Baroque flavor. Its unifying element is a ing for the audience, but highly challeng- ing for the soloist, going “beyond what is possible on the recorder.” That being the case, she not only accomplished the impossible but also, Plain later told me, wrote an “absolutely beautiful” cadenza for the first movement. In order to be heard above the modern strings, modern wood- winds, glockenspiel and harpsichord-configured keyboard, she used an Aulos plastic sopranino. It’s not only the loudest ’nino, she explained, but can also play the highest F “if one is courageous enough to learn a whole new set of fingerings for the instrument’s top range.” Since the con- certo’s first movement has an abundance of high F s and G s, the Aulos ’nino functioned very well.
10 American Recorder Legêne’s tenor was a plastic Yamaha, A recent book, Evening in the Palace of Reason by James R. Gaines (New York: which, she said, is louder than other Harper Perennial, 2006), was the inspiration for a concert at Regis University in tenors and has a beautiful tone for new Denver, CO, by Wieland Kuijken (viola da gamba), Eva Legêne (recorder) and music. Her soprano was a wooden Corey Jamason (harpsichord) on February 9. This concert was co-sponsored by Dolmetsch from the late 1960s, one of Early Music Colorado, the Boulder and Denver ARS Chapters, and Regis University, her favorite instruments for new music. which is home to the Recorder Music Center. According to Legêne, the concerto Titled “J. S. Bach and Friends,” the program featured Legêne on alto recorder or was well received by the orchestra, and voice flute in sonatas and trio sonatas by J. S. Bach, J. B. de Boismortier and G. P. the audience responded enthusiastical- Telemann. She also played the soprano recorder with the ensemble in The Troisième ly. The work was recorded the day after Suitte by Charles Dieupart. the concert as part of a 3-CD set, Kuijken performed unaccompanied on bass viol Five Pieces in D Minor by Carl expected to be released later in 2007. Friedrich Abel, and Jamason’s harpsichord shined in the Sonata in D Minor for viol She also had high praise for the and obbligato harpsichord by J. S. Bach. Cleveland Chamber Symphony and its The audience from the university and all over Colorado’s Front Range seemed conductor, Steven Smith. A former spellbound throughout this elegant concert, which displayed the finest musician- student of Plain’s at Eastman, Smith is ship and scholarship on 18th-century performance style. currently music director of the Santa Fe The following day, Legêne presented a recorder workshop based on Gaines’ (NM) Symphony as well as the Cleveland book, which is subtitled, “Bach meets Frederick the Great in the Age of Enlighten- ensemble. Besides the recorder concer- ment.” Along with lots of historical background and hints on 18th-century wood- to, the group’s concert included Charles wind techniques, Legêne led the group in music by J. S. Bach, Quantz, W. F. E. Bach, Ives’s Third Symphony, Amazonia II by Telemann and Mozart, as well as contemporary pieces by Andrew Challinger and Cleveland-born composer David Taddie Philip Glass (see more detailed list below). (also a world première), and Chinese- Following the workshop, there was a lecture-demonstration for viol players by American composer Tan Dun’s Concerto Kuijken. All of the recorder and viol participants came away from these events very for Orchestra: Yi. enthusiastic and inspired! Carolyn Peskin Connie Primus The Austin (TX) chapter was privileged to of three-against-two host a day-long recorder workshop with figures; Fuge C-Dur Eva Legêne (third from left in front row of ‘Dona nobis pacem’ photo) on February 17. Legêne was on a aus der h-Moll Messe concert tour with viola da gamba player by Johann Sebastian Wieland Kuijken and harpsichordist Bach (SATB, also from Corey Jamason; they came to Austin the Quartett-Spielbuch, at the invitation of Legêne’s friend N3964); the Larghet- Marianne Weiss Kim, who recently to Cantabile from the moved to Austin from New Orleans, LA. beautiful Trio F-Dur Inspired by the book, Evening in the by Wilhelm Friedrich Palace of Reason: Bach Meets Frederick Ernst Bach (ATB, the Great in the Age of Enlightenment arranged by Ulrich by James R. Gaines, the workshop gave Hermann, Noetzel a look at what was happening in music N3919); a Rondo when Bach met his son Carl Philip and from ‘Pantalon und Prussian King Frederick the Great in Columbine’ K.V.446 Potsdam. by Wolfgang Amadeus The successful workshop had 18 par- Mozart (SATB, also in ticipants who played through a variety of the Quartett-Spielbuch, music. In the process, the group received N3964), where Mozart’s puckish sense not only technical tips (tonguing, tone of humor comes out loud and clear; and Christoph Wolff, Johann Sebastian Bach: production, etc.) but also historical, a modern jazzy Spring Dance by Andrew The Learned Musician. cultural and philosophical insights from Challinger (SATB, published by Oriel Legêne is a former student of Frans Legêne. There was a lot of contrast Library OL147). The last was so Brüggen in The Hague, and has been a among the pieces played, which includ- enjoyable that the chapter will use it for faculty member of the Sweelinck Conser- ed: Perpetuum mobile aus der gleichnamige group playing in a future meeting. vatory in Amsterdam and the Danish Suite by Georg Philip Telemann (SATB, For more interesting insight into the Royal Academy of Music in Copenhagen. from the Quartett-Spielbuch published by Enlightenment and the life and times of She served as director of the North Noetzel, N3964), a great warmup piece Bach, Legêne mentioned several books: American Recorder Conference at to get fingers moving and 16th notes Indiana University. She concertizes ex- clicking away; Opening by Philip Glass Peter Gay, The Enlightenment: The Rise tensively as a soloist and in collaboration (transcribed and arranged by Bruce of Modern Paganism and The Enlight- with Brüggen, Wieland and Bart Kuijken, Larkin, raised a step for recorders), also a enment: The Science of Freedom (plus John Gibbons, and the Rosenborg Trio. kind of “perpetuum mobile” with lots his other books on the period). Susan Richter
May 2007 11 A Composer Weighs In: Recorderists Linsenberg and Berlin join Recorders Join the Symphony San Francisco Symphony in Première (at least for one composition) A Flowering Tree by John Adams (right) beautiful, young woman Who says the recorder isn’t a “real” in- was performed March 1-3 at Davies with powers to change at strument? When it’s treated like one, it Symphony Hall in San Francisco, CA. will into a beautiful flower- behaves like one. In March, recorders All three nights were sold out, and ing tree. She and her sister were welcomed into the San Francisco all three performances received stand- sell the flowers to supple- (CA) Symphony as real instruments for ing ovations. It was an awesome event; ment their meager income. the North American debut of A Flowering I would not have wanted to miss it. An arrogant young prince Tree, an opera by American composer Adams is an internationally known falls in love with the young John Adams. Judith Linsenberg composer now residing in the Bay Area. woman, woos and wins her. and Letitia Berlin (l to r below) shared His operatic works Nixon in China, Death The prince’s jealous sister the newsworthy opportunity of playing of Klinghoffer, and Doctor Atomic, created disfigures the woman, and recorders—sopranino, soprano (both in collaboration with stage director Peter the two lovers wander alone Judy) and alto (Tish), nestled among the Sellars, are his most-heard works. for years before a final reconciliation. modern orchestral woodwinds. Adams and Sellars produced A The music beautifully reflects the The use of recorders in a symphonic Flowering Tree in Vienna, Austria, in opera’s philosophy. The performance setting is an exciting and rare treat. 2006. Sellars was the artistic director was semi-staged, with three singers— Adams employed them to symbolize the of Vienna’s “New Crowned Hope a narrator, the prince and the young “simple sweetness” of the opera’s main Festival” to commemorate Mozart’s woman—plus three Javanese dancers character (see concert review at right). 250th birthday. New Crowned Hope who mirror the characters’ activity and Tish mentions her experience with the was the name of Mozart’s Masonic inner psychological states, and the sym- symphony in her “President’s Message” lodge, which he helped start and name. phony orchestra and chorus. in this AR; Judy describes it as “an The festival centered on the last years The orchestra includes many percus- amazing learning experience.” of Mozart’s life, what his concerns sion instruments from a variety of coun- Many of the rhythms were certainly were and what would have been next. tries. What one rarely hears in a work of challenging, even for seasoned virtuosos Sellars derived the festival theme from this magnitude is the use of recorders. like Judy and Tish. Very often the music ideas in three of Mozart’s last major Judith Linsenberg and Letitia Berlin wasn’t melodic, featuring instead lots of works: operas The Magic Flute and La blended well, yet were heard. hocket-like partial triplet figures against Clemenza di Tito, and his Requiem. These From the beginning I wondered why duplets, frequently tied to other similar ideas are: magic and transformation, Adams chose to use recorders. They groupings and syncopations. The tempo truth and reconciliation, and ceremonies seemed the least likely instruments to was very fluid, gradually increasing, and for the dead. Artists from diverse cul- add to a work of such magnitude. My there was no note actually on the beat tures, many continents and a variety conclusion was that the recorder is one throughout much of the music: of arts (dance, of the oldest instruments and one of the not your usual recorder fare! film, music, very few instruments that hasn’t changed With the exception of architecture, over the centuries. It hasn’t evolved “grand consort”-style chapter visual arts) from, or to, anything else; modern day meetings, recorder orchestras were invited recorders still look like the oldest ones. and the occasional big work- to develop Recorders are played all over the shops, most recorder players projects based world. Today the recorder is used as a are probably not accustomed to on the three teaching instrument, and in performanc- being part of such a large en- themes and es of early music, jazz, blues, folk and semble. There are usually only their social very contemporary music. one or two of each woodwind relevance. Not Using the recorder in this work exem- in a modern orchestra, and they a note of plifies to me what Adams is saying: the must prevail against an army of Mozart’s mu- problems of Mozart’s time are similar to strings. The relatively quiet sic was played. the ones of today and are universal; a sound of the recorder had to be “A Flower- 2000-year-old Indian folktale is still rele- considered in the orchestration and per- ing Tree is a story not only of love and vant. For me the recorder plays a signifi- formance, so that it could be heard dis- trust, but also a story about finding eco- cant role in the opera. It is similar to the tinctly. The clear high notes of the so- logical balance and awareness in our trunk of the tree, whose branches pranino and soprano can rise above the everyday lives,” says Adams. “Where embrace all forms and aspects of life. It soundscape more easily than the dulcet Doctor Atomic presented a Faustian has not changed its simple shape, but its tones of the alto, especially in its lower vision of power and aggression, A sound can be transformed into any type register. Fortunately they use conductors Flowering Tree gives us a message of of music—much like the girl changing to keep it all together as an ensemble and hope and reconciliation so much in back and forth from tree to person, balanced as a sound mix. harmony with the visionary spiritual depending upon her financial need. Judy’s overall assessment? “A real world that was Mozart’s last year.” A Flowering Tree is brilliant; I hope it mind-expander!” The plot, based on a 2,000-year-old will be heard in many countries. Glen Shannon Indian folktale, is the story of a poor, Helga Wilking
12 American Recorder Boon Early Music Feival
INTERNATIONAL BAROQUE OPERA • CELEBRATED CONCERTS • WORLD-FAMOUS EXHIBITION
“A weeklong extravaganza of early music.” — The Boston Herald
11-17 June 2007
featuring the North American premiere of Lully’s spectacular 1678 opera
Paul O’Dette Carolyn Sampson as Psyché & Stephen Stubbs, Karina Gauvin as Vénus Musical Directors with the Grammy-nominated Gilbert Blin, Stage Director BEMF Orchestra & Chorus
“Everything operagoers and early-music entusiasts expect in baroque opera.” — The Berkshire Eagle Recorder events at the 2007 Festival:
The Royal Wind Music in concert Sunday, June 17 at 12:30pm Masterclass with Paul Leenhouts on Saturday, June 16 at 4pm American Recorder Society at the Exhibition Plus concerts by 14 preeminent international soloists and ensembles, lectures and symposia, Fringe Concerts, and much more.
Visit WWW.BEMF.ORG for a full schedule of events, complete opera and concert details, Fringe Concert and Masterclass applications and schedules, our Opera Directors Blog, and secure online ticket ordering. To receive a free brochure, please call 617-661-1812. May 2007 13 CONTRIBUTIONS 2006-2007 The Board of Director of the American Recorder Society expresses its sincere appreciation to the following contributors from July 1, 2006, until April 3, 2007. Without your donations to these funds, many ongoing programs could not exist using only membership dues.
PRESIDENT’S APPEAL Miller, Maryann J. Crum, Johnette Hewitt, P. Scott 2007 BOSTON EARLY Newbegin, Corinne Franson, Mary Ann Horwitz, David MUSIC FESTIVAL DONATIONS $1,500+ Rodewald, H. Keith Gamble, Charlie Hull, William R. EXPENSES Karass, Alan Roessel, Susan Gangwisch, John P. Hutchins, Gloria Lee Carbone, Richard Senn, Barbara Grable, Ross Jackson, Bev Karass, Alan M BENEFACTORS ($1,000) Terris, Sally C. Graff, Christiane H. Jaeger, Elise Nelson, John Primus, Connie Timmons, Leslie Green, Judith Jaffe, Mary S. Stickney, Ann B. Waller, Jack & Louise Delano Gruskin, Shelley Janney, Ruthann G. Pond, Amanda SPONSORS ($600) Watkins, Billie Hammer, Wray A. John Hanock Cunningham, Shirley Wilson, Joan B Hanford, Bernadette Financial Services, Inc. IN MEMORY OF Winslow, Priscilla Hollister, Leslie Johnson, Dwight B. MORRIS NEWMAN & Roger Young, Douglas G. Howell, Sharon Kaetzel, R.L. & S.T. Lerse, Ursula Nelson, John & Pat Petersen LaMonte, Connie Kimball, Joan P. Stickney, Ann B. Zukof, Larry Lashinsky, Philip Lapp, Ellin IN MEMORY OF SCOTT Levin, Lia Starer Lincoln, Boz REISS’S BIRTHDAY DONATIONS UP TO $599 SUPPORTERS ($75) Maloney, De Etta E. Lynch, Jeanne D. ON MARCH 25 Faber, Peter L. Bueler, Lois E Marier, Tina Lyons, Dorothy T. Lunbeck, Linda Pond, Amanda Collins & Williams Marks, Adrianne S. Manchester, Ruth H Zumoff, Michael Historic Woodwinds Meyers, Samuel M. McCoy, Barbara IN MEMORY OF Dart, John N. Molinari, Rebecca M. Mendelssohn, Mel EDWIN E. MEADER DONORS ($400) Diegelman, Robert W. Myers, Dan Menten, Elizabeth Whaley, Judith I. Bodman, Robert C. Fischer, David W. Nolan, Kathleen G. Moore, Kelly Perlmutter, Marilyn Friddell, Becky C. Page, Gail A. Moyer, Barry R. UNRESTRICTED Peskin, Carolyn N. Funkhouser, Sara Payne, Martin K. Naylor, Geoffrey C. DONATIONS $100+ Gobstein, Elaine Porter, Gary Newcomb, Margaret & Bingham, Bryan DONATIONS UP TO $300 Grubb, Emmeline A. Richmond, Alberta J. William Lundell, Peter A. Barnert, David M. Harwood, Sally S. Ridley, Jean Nimick, Deborah & George Stickney,William S. Cobb, Nancy G. Heup, James E. Rose, Peter W Ofri, Marcia Tooney, Nancy Comstock, Dr. George W. Heyman, Frances A. Rosenberg, Norman Dr. O’Neill, Jack & Emma Lou Jansson, Richard M. Skeens, Gwendolyn M. Pace, Richard A UNRESTRICTED Davenport, Mark Jones, Courtney P. Steacy, Sandra V. Paterson, Scott DONATIONS UP TO $99 Ernst & Elfriede Muirhead, Alan R. Stearns, Frank B. Patterson, James Baker, Eleanor M. Frank Foundation Oberst, Marilyn T. Taylor, Alan C. Regen, David M. Bogorad, Terry S. Farrell, Ellen A. Rosner, Lee Tebbetts, James E. Rubenstein, Bushman, Laura W. & Tony Rogers, Patsy Silsby, William S. Terry, Barbara E. Herbert & Mollie Carver, Martha J West, Jane & Dobson Stanford, David Von Goeler, Adelheid Silverman, Susan G. Charlton, Philip Stapp, Christa Walker, Gerald B. Smith, Myrna Cope, Debra L. PATRONS ($150) Swartzman, Monte & Patricia L. Snead, Lynne Cordes, Charlotte F. Anderson, Marcia Thornton, Helen R. Wilson, Cynthia S. Stanford, David Engberg, Norma J. Bennett, Mary C. Waldo, Mary Halverson Stout, Kit Forbes, Donn Bixler, Martha Wallace, Carolyn M. DONATIONS UP TO $39 Taylor, Sally L. Grimes, Patricia & Richard Clark, Dorothy A. Wilson, Susan N. Anderson, Hank Veit, Carol A. Cowper Frederick, Nancy Winter, Renate Arkenberg, Rebecca J Wasserman, Rona Hart, Gilbert W. Friedler, Edward M. Ayton, William Wegener, Gerhard Hutton, Allison Gardiner, Martha Jane DONATIONS UP TO $60 Bedford, Charlotte Wilking, Helga Lashinsky, Philip Goldman, Adila S. Barnett, Terry Belongia, Nancy Wills, Beverley & Derek Lunbeck, Linda Jones, Kay C. Betts, L. David Blocher, Mary G Woolsey, Annette B. MacDonald, Kathleen C Leiby, Peggy Dunham, Benjamin S. Bradley, Richard C. MacKenzie, Susan W. Levine, Robin Emptage, Michael & Cathy Brownell, Elizabeth D. SCHOLARSHIP Mitchell, Lola Mohr, Burckhard Feldman, Grace Bulota, Valentina H. DONATION Myers, Dan Moore, James W. Gillmor-Kahn, Mickey Burnett, Karen W. Pond, Amanda O’Neil, Donald R. Powers, Wendy Guiher, Elizabeth Campbell, Cynthia Peterson, Sarah A. Roberts, John Hale, Raymond S. Cantin, Pauline ENDOWMENT IN Sewell, Joy Rudisill III, Hillyer Jones, Leota M Chancey, Tina MEMORY OF Silberman, Marcel J Seely, Neil & Elizabeth Laage, Ruth Cohn, Theodore ANDREW ACS Silsby, William S. Smith, Marie-Louise Larson, Jean Conklin, Bill Acs, George and Hedda Steglich, Carolyn Thompson, Albert V. Loughner, Doris P. Cook, Ron & Janice Wainz, Josef A. Thompson, Patricia L. May, Catherine Coon, Carol KATZ FUND (TO SUP- Walsh, Ernest J. Vellekoop, Lyda McClure, Theron R. Coulthard, Christopher & PORT MEMBERS’ LI- Willis, Martha J. Webb, Garrett Newstrom, Peggy Lori Gayle BRARY) Wright, Dana & William Whitaker, Rosemary O’Connell, Carol Craig, Rose M. Rogers, Patsy Seifert, Donald M. Crotty, Karen A. DONATIONS IN KIND DONATIONS UP TO $149 Shiff, Naomi Crowell, Lesslie A COMPOSITION Kathy Sherrick Ainsfield, Neale Skory, Linda Daw, May B. & Carl P. CONTEST DONATIONS Anonymous Talbott, Helen-Jean Doolittle, Miles (TO SUPPORT JOINT MUSIC DONATED TO Cagin, Harry Williams, Janice H. Ehn, Hope PROJECT WITH RECORDER MUSIC Carmichael, Gerda Elliot, Jan AMSTERDAM LOEKI CENTER THROUGH Consort Anon. FRIENDS ($40) Emerson, Keith STARDUST QUARTET) ARS OFFICE Davis, Mary Jean Barclay Rovner, Ann E. Espenshade, Mary Anne Anonymous Anselone, Joan Doran, Chris & Nancy Bechtel, Daniel R. Ferguson, Suzanne C. Kaplan, Jerome Estate of Mary Abbott Mead Horst, Val Bell, Martha Ford, Joanne B. Karass, Alan M. Estate of Kelly, Bonnie A Brawley, Katherine L. Frisch, Benjamin Kolderie, Alan Q. Raphael (Rafe) R. Ronkin Kielson, Lisette_c Carrigan, Mary Fuller, Jody R. Martz, Douglas G. Lehmann, Nan M. Coon, Shirley Geary, Robert P. Nelson, John The ARS apologizes for any Mandel, Gerry Cox, John W. George, Daniel H. Roessel, Susan inadvertent omissions. Markham, Howard A. Griffin, Elaine H. Stickney, Ann B.
14 American Recorder A 17-year-old high school senior, Young Players in Concert Alexa (right) was Piffaro’s competition for young recorder encourage them to investigate the reper- chosen as the win- players, ages 12 to18, came to a suc- toire from the 15th century to the early ner by judges Nina cessful conclusion February 23-25 with 17th century on recorders, as well as on Stern from New the winner performing alongside Piffaro other early wind instruments. Last fall, York City, NY, and and guests. In three concerts featuring nine players submitted tapes that were Rainer Beckmann recorders and supported by plucked scrutinized by three judges; from nine, from Philadelphia. strings and various double reed and five were chosen to come to Philadelphia, She began recorder brass instruments, Alexa Raine-Wright PA, for a live competition on January 20. at a young age and, of St. Paul, MN, joined Piffaro members Interestingly, three of the finalists in addition to private lessons, attended and guests Daphna Mor, Doug Millikan were from the Twin Cities (MN) area, recorder and early music workshops dur- and Priscilla Smith in a program of Flem- clearly a center of recorder playing with ing the summers after she became a ish, Spanish, German and Italian music of excellent teachers encouraging young teenager. Last year her family moved to the late 15th to the early 17th centuries. talent. The other two were from Washing- Montréal for eight months to allow her to The first of its kind, as far as we know, ton, D.C., and Philadelphia. All are study with Matthias Maute; currently this competition was held to pique the serious recorder players who have studied she is a student of Cléa Galhano in St. interest of young recorder players and to the instrument for at least six years. Paul. Her plan is to attend McGill Univer- sity to continue her studies with Maute, Finalists of the Piffaro competition (l to r): Amalia Maletta, and work toward a degree in early music. Daniel Wilhite, Bryan Duerfeldt, Olivia Sohlen, Alexa Raine-Wright Runner-up in the competition was with Piffaro’s Joan Kimball. (Photo by Wayne Duerfeldt) Olivia Sohlen, age 14, from Minneapolis, a student of Mary Halverson Waldo. Other finalists were Bryan Duerfeldt, age 14, from Bloomington, MN, also a student of Waldo; Amalia Maletta, age 18, from Washington, D.C., student of Carole Rogentine; and Daniel Wilhite, age 12, of Philadelphia, student of Joan Kimball. The success of the competition and the ensuing performances with the winner, as well as the enthusiasm expressed by recorder players, recorder teachers, and members of the early music community, have encouraged the directors of Piffaro to offer a similar event as a part of Piffaro’s 2008-09 concert season. Joan Kimball Students of Cléa Galhano gathered in December 2006 for the annual Recorder Feast at the Schubert Club in St. Paul, MN. Baroque Ensemble performers were Grace Chang, Alexa Raine-Wright and Laurence Ducker, recorders; Sophia Kor, harpsichord; Nik Kor, guitar; Camila Zimmerman, clarinet; Benjamin Lewis and Elwood McCreary, violins; Clara Olson, violin and viola; Jean Allison Olson, violin; Erik Ducker, ’cello. Also playing were Corns and Butts: Scott Hagarty, Matt Henseler, cornetto; Bob Goodale, Andy Newbegin, sackbut; and the Cantabile Ensemble directed by David Moore: Jordan Brunsberg, Nicholas Kor, Sophia Kor, Tristan McCormick, Elwood McCreary, Alena McNamara, Andrew Nachtsheim, Clara Olson, Conrad Olson, Will Robertson. The concert was dedicated to Schubert Club executive director Bruce Carlson, who died last July of leukemia.
May 2007 15 EDUCATION ______Person to Person: the Teacher–Student Relationship n the pages of this magazine, and in valued. A teacher who knows where his or I others devoted to the recorder, there ... there are nearly as her own strengths and interests lie, and occasionally appear descriptions of new who has thought deeply about his or her teaching methods. These methods often many possible scenarios relation to the subject matter, will be in the have a great deal to offer, and it is always best position to pass on not just the facts, interesting to hear of novel ways of as there are individual but a real understanding of the subject, to approaching the challenges of music his or her students. instruction. Readers are, however, less teachers and students. It is also important, of course, that a likely to encounter articles devoted to an teacher give the time and attention even more fundamental issue: the rela- The second point is to realize how necessary to get to know each of his or her tionship between teacher and student. crucial a student’s personal engagement is students as individuals. This may or may There are good reasons why this topic for the learning process. Memorization not extend to the student’s life outside the is not more frequently addressed. From and rote learning can yield good results, classroom or studio, but it should cer- one perspective, the subject seems so especially as a foundation for more tainly encompass as fully as possible the straightforward as hardly to be worth intensive explorations of a subject. How- student’s relation to music and the discussing: a teacher should be sympa- ever, it is a universal aspect of human recorder. Every student will come with a thetic, knowledgeable, and well organ- nature that true understanding— different combination of talent, interest, ized, and a student should be respectful, the highest goal of all learning—can arise and the ability to work, and the more attentive, and ready to work. From only when a myriad of connections are exactly the teacher has measured these another point of view, however, the subject made by the student on many levels at factors, the more surely he or she can seems so dauntingly complex as to be once. These connections come most guide the student. almost unapproachable, since there are quickly and meaningfully when the The act of teaching, then, may be best nearly as many possible scenarios as there student is completely engaged in expressed as a continual assessment by are individual teachers and students. A the learning process. the teacher of the individual needs of the few general observations, however, may be These two ideas lead to the natural student in relation to the student’s poten- of value, even though it would take much conclusion that those teachers who tial. This attentiveness allows the teacher more than the space available here to do are able to make strong personal connec- to give advice that will help the student the topic full justice. tions with their students will be in the to find in him- or herself ever greater The first point is to acknowledge the best position to engage their students’ fulfillment of that potential. While this is importance of the personal relationship interest and so lead them to a full under- to some degree a technical matter— between a teacher and his or her students. standing of the subject being presented. the teacher presenting the subject clearly, Although many of those reading this This is especially true of music, which by and the student devoting the time neces- article will be teachers, all of us have been its nature involves many aspects of the sary to take in the lesson completely— students at one time or another, and we student’s personality: the physical, the it is even more a form of highly developed might agree that the teachers who have intellectual, and the emotional. and continually evolving personal contact been the most effective were those with How can a teacher make this sort of between two people. whom we felt a personal connection. connection with his or her students? As in other areas of life, some indi- This may have been in a very specific While there are no simple answers, the old viduals may not be able to form a fruitful mentoring context, or simply in a class- adage “know thyself” is probably the best relationship as teacher and student. This, room where the teacher was confident and touchstone. In the arts, more than in most too, should be apparent to a good teacher relaxed enough to be able to draw in the other walks of life, individuality and the at a certain point in the process, and he or majority of his or her students. individual’s unique insights are highly she should be able to make it possible for Education Committee Conducts Survey of Recorder Ensembles and Soloists The ARS Education Committee is conducting a survey of recorder players and ensembles (amateurs and professionals) that perform in schools and/or for educational venues. The goal is to compile a list of active ensembles that work in the field of music education and, specifically, introduce the recorder, as well as its history and repertoire, to students. The information gleaned from survey answers is meant to support your activities by making contact information available to schools and colleges, ARS members, and music teachers who are looking for individuals or recorder groups for educational performances and presentations—a valuable service to both recorder ensembles and school educators/administrators alike. The survey can be completed on-line at
16 American Recorder the relationship to end gracefully and with mutual respect. Although it will be more difficult for a student to judge with cer- tainty, he or she, too, should be prepared to act if it becomes clear that an effective teacher-student connection is impossible. It is worth noting that, while some very confident teachers and especially motivated students may relate best in a highly demanding environment, the large majority of students will be wrestling with real or perceived deficiencies in either talent, interest, or the availability of practice time. This majority will feel most engaged, and so make the best progress, when the relationship with the teacher is one of personal challenge, but also continual encouragement. The patience and acumen that this requires are proba- bly the most demanding aspects of the teacher’s calling, but for that reason their presence is usually the mark of the best teachers. Provincetown Bookshop Editions Every teacher of any experience will work to some kind of method, even an “GO FOR NEO-BAROQUE!” informal one built up over several years. Any method, however, will by definition Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) tend to generalize the roles of teacher and [Prelude; Allemande; Courante; Musette— student. The inspiration that can come a neo-baroque epitome!] (Score & Parts, PBE-25) ...... $7.95 from the study of music will be most fully realized when the teacher is able to keep Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) the individual needs of the student most [Baroque shapes but Hindemithian harmony] fully in view. (3 Playing-Scores, PBE-44) ...... $9.95 Scott Paterson has been a member of the Education and Publications Committees of Southwest of Baroque. David Goldstein’s “baroque Suite” the ARS since his time as a Board member in on Cowboy Songs. For 2 Recorders (SA) (PBE-2) ...... $3.50 the early 1990s. He has taught recorder and Baroque flute privately and coached recorder A good source for Recorder & Viol Music of all publishers. and Baroque ensembles at The Royal The Provincetown Bookshop, Inc. Conservatory of Music of Toronto (ON) for 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 27 years. He plays recorder and Baroque flute on a freelance basis in the Toronto area.
May 2007 17 The Second Installment in A HISTORY OF THE AMERICAN RECORDER SOCIETY: A MEMOIR by Martha Bixler bi-monthly in New York City, NY. Bernard members of the ARS. Bernie arranged a Krainis was elected second president of meeting with officers of the Boston (MA) The story so far: the ARS in 1961. chapter on October 10, 196l, to discuss In 1959, Dr. Erich Katz—through The number of members increased this question. whose industry and imaginative leader- from 600 in July of 1959 to 2700 in 1970. In the minutes of the Executive Board ship the American Recorder Society was Some membership figures presented by meeting of September 11, 1961, it is transformed from a tiny group of perhaps the Treasurer at Board meetings (they noted that Diana Blair had designed a a dozen adult recorder players into a fluctuated wildly according to the season): charter to be sent to all chapters, on the re- flourishing organization with a membership 858 in 1961; 1,485 as of 4/15/63; 1,645 verse side of which would be printed the of 600, which had chapters in Austin (TX), on 6/1/63; 1,843 on 9/25/64; 1,726 on articles of incorporation of the ARS under Boston (MA), Buffalo (NY), Chicago (IL), 1/15/65; 1,923 on 9/21/65; 2,026 the laws of the State of New York. Since, Philadelphia (PA), Washington (D.C.), on 11/27/66; 2,205 in January 1967; the Board agreed, “the charter will specifi- Chattanooga and Memphis (TN), 2,384 at the end of 1968. cally bind chapters to abide by the Milwaukee (WI), and Phoenix (AZ)— The number of chapters increased By-Laws and Articles of Incorporation of left New York to take up residence in during the decade from 10 to 62. The the ARS, and since, by extension, any act Santa Barbara, CA, where he imagined New York chapter, Recorder Guild (now of a chapter not in accord with either everyone danced the tango. After his retire- New York Recorder Guild), was formed— might jeopardize the Society’s corporate ment, the new leadership had to after a tremendous hue and cry from a status and tax-exempt privilege, it became figure out their own dance steps, and committee of New York recorder players evident that any decision taken by a some of their attempts were faltering at first. for a chapter of their own and many noisy chapter in which non-ARS members are meetings—on October 16, 1960, with permitted to vote would be null and Chapter Four: Soaring Sixties Bernard Krainis as president and Martha void.... The Board ... made its position “I feel lost,” said I to LaNoue Daven- Bixler as vice president. (I was musical perfectly clear; that there can be no port—who was soon to be elected director by 1961.) Besides responding to deviation from its principles which will President at the first meeting of the Board the needs of New York members of the apply without exception to all chapters, of Directors of the ARS, after Erich Katz ARS, who felt they were being ignored by requiring mandatory membership in ARS had deserted us for sunny California. “I the ARS leadership, Recorder Guild was of all voting chapter members.” feel found,” was LaNoue’s rejoinder, and formed, according to a letter from Cook But it wasn’t until the mid-1980s that in that brief exchange lies the essence of Glassgold to Erich dated 12/12/60, the “national ARS” took serious steps what was happening in the ARS and the partly to allay fears of other chapters that to make sure all chapters were “obeying difference between our two personalities. “New York is running the whole show.” the law,” with disastrous consequences We were both “lost” and “found.” From the beginning, there was this (as can be seen later in this history). Erich, the musicologist, teacher, and paradox of discontent: too much/too little The ARS continued to re-invent itself father figure who had ruled the ARS for so is going on in New York! From the begin- during the 1960s. Life membership was long, had left us—his spiritual children— ning also, the chapters of the Society have established at $100 in 1961. In 1961 also, to take care of the ARS by ourselves. He been, like children, a mixed blessing. All legal counsel Ben Arnest worked on a had also left us with a new organization, chapters were founded with the idea that revised charter for the ARS, establishing new bylaws, and a new freedom that they would be chapters of the ARS, with all it as a non-profit and a nation-wide LaNoue found exhilarating and I found their members being by definition mem- organization, not just a New York State scary. bers of the national organization. Within a one. The bylaws were revised in 1961 My fears were, at first, unfounded. short time, however, the Board began to and again in 1962, 1964, and 1969, There was astonishing growth for the discover that this was often not the case. reflecting the growth in size and activity ARS in the 1960s. Vice president A. C. (Cook) Glassgold of the organization. Elections were held every year wrote to a chapter leader, Frank Plachte Annual dues for individuals were throughout the 1960s, with Board mem- in Los Angeles, CA, on April 7, 196l, raised from $2.50 to $3.50 per year bers holding staggered two-year terms. reminding him that all members of the effective September 1, 1962. By the end Board meetings were held monthly or Southern California chapter must be of 1965 dues had risen to $5.00 a year.
18 American Recorder Workshops A teacher-training program was part The first ever ARS Workshop, called an of the curriculum at Interlochen and With the presentation of ARS “seminar” (this somewhat preten- examinations were given. Teachers’ tious name was used in the early years) certificates were presented at the seminar for adults, took place at the end of the to those who had completed the program its first early music National Music Camp season in Inter- and passed the exam. lochen, MI, in August 1961. LaNoue was In the fall of 1961, the Board voted to the director. Bernie initially agreed to be give honorary certificates to past and workshop in August 1961, on the faculty, but chose instead to start future faculty members of the ARS his own school, the Berkshire Recorder seminar at Interlochen (that’s the way I School, at his summer home in Great got mine the next summer). We talked the ARS did get seriously, Barrington, MA—thus continuing the grandly about an expanded program rivalry with LaNoue that had begun in of summer seminars, regional commit- if modestly, into the early 1950s when both were disciples tees, and exams by tape, but what mostly of Erich. came from that discussion was the Bernie held his session earlier in the formation of an education committee the business of the summer than the Interlochen workshop, consisting of the usual suspects— thus enabling him in years afterward to LaNoue, Bernie, Joel and me—to study justifiably claim the “first” recorder sum- the problems of teacher accreditation. education of its members. mer school as his own, beating out the This committee was probably the first ARS. From all reports, Bernie’s school was of a string of special “committees of the every bit as good as LaNoue’s; this healthy Board” that by the 1980s were function- competition harmed nobody. ing as independent study and research At an informal meeting of some ARS groups. Some have not lasted, but the Executive Board members held at the education committee has remained an Krainis school, the idea was presented of important committee of the ARS Board ARS sponsorship of traveling workshops until the present day. Its primary function given by professional teachers visiting in the 1960s was the writing and chapters. Nothing ever came of this idea, re-writing of the teachers’ exams and the but it was an interesting one, reflecting appointment of ARS “examiners” who Bernie’s ever-present hope that the ARS were licensed to give the exam. Seventeen would support professional musicians examiners were appointed. and at the same time improve the level ARS summer schools proliferated. In of playing of American amateurs. the summer of 1962, the second ARS Funding was always a problem! As “seminar” was held at Interlochen. early as the spring of 1960 the ARS had The faculty consisted of LaNoue as started making approaches to foundations director, Martha Bixler (my first ARS for grants to support teaching workshops summer workshop), Kay Bowers, Judith around the country, especially to places Davidoff (viol), Shelley Gruskin and where there were no chapters that might Friedrich von Huene, a young German- be able to help with funding—but it soon American player and teacher becoming became clear that the money would have known as a maker of fine recorders. The Part of the ARS “seminar” to come from the members themselves, curriculum included recorder, Baroque faculty in 1962. and they were unwilling to pay so much for recorder instruction. This was the beginning of Bernie’s long dis- satisfaction with the ARS for “fostering mediocrity,” as he often liked to say. With the presentation of its first early music workshop in August 1961, the ARS did get seriously, if modestly, into the business of the education of its members. Besides appointing itself the judge of who should be teaching the recorder (and other early instruments—study of the viol was an early addition to the curriculum) to vacationing amateur players, and also determining where, the ARS made itself the keeper of the imprimatur, or “teacher’s certificate,” which was to be a license to teach the recorder to anyone anywhere.
May 2007 19 flute, and viola da weeks during the summer, were for adults gamba classes, and past the beginner stage. Recorder recorder pedagogy. technique and repertoire classes were In 1963 Inter- held for small groups divided, as well as lochen was host to an could be determined, into levels of ARS workshop again, proficiency. Often there was singing and and the first two- some massed playing; instruction and week ARS summer coaching in “related instruments” like workshop was held Baroque flute, crumhorn, and other at Goddard College double reeds was added, while viol- in Plainfield, VT. playing had been taught from the Faculty members— beginning. Faculty and student concerts most of whom had were always a part of the schedule. been at either the For exercise, volleyball was popular, Interlochen seminar particularly at Goddard, for both faculty or at the Berkshire and students, who were all roughly the Recorder School, or same age. Later, because so many of the Faculty from the 1963 ARS Workshop both—were the best-known American faculty members enjoyed it, Renaissance at Goddard (l to r): Gian Lyman instructor-performers of the day. and English country dancing were made a Silbiger (gamba teacher, wife of In 1964 LaNoue directed the first west part of the regular schedule. harpsichordist Alex Silbiger), coast ARS workshop at the Mendocino Theory and musicianship classes were Morris Newman, Miriam Samuelson, Arts Center in Mendocino, CA. Kenneth also popular at many of the workshops. Alexander Silbiger, Arnold Grayson, Wollitz and Peter Ballinger directed the At the end of the week, after the faculty Barbara Mueser (gamba teacher), Mendocino Workshop in the summer of concert and a night of revelry, an Friedrich von Huene, Martha Bixler, 1966. And in that year, the ARS sponsored exhausted faculty gave a few brave and Bernard Krainis. its fourth annual Recorder Festival at bleary-eyed students the exam for the Hartt College in Hartford, CT, which ARS teacher’s certificate; gradually the included a recorder seminar. number of certified teachers on the ARS In 1964 also, the ARS started membership list grew. putting big “ads” into AR for its summer One of the grandest of the summer workshops. In that year, the directors of schools presented under ARS sponsorship the workshops received $300 each. The was the “International Recorder School” faculty were paid $200 weekly plus directed by Bernard Krainis at Skidmore 3 cents a mile for travel. The surplus for College in Saratoga Springs, NY, in the Goddard was divided among the faculty. summers of 1965 and 1966. Here for the In August of 1965, a “Meadowbrook first time some of the “stars” of the Festival” was held at Oakland University recorder world from outside the U.S. were in Rochester, MI, with Shelley Gruskin lured to this country for two weeks each as director. In December of 1967 the summer. We Americans hoped to show directors of the ARS summer workshops them how advanced we were in all aspects were announced: LaNoue for Interlochen, of recorder-playing. me for Goddard, Ken for Idyllwild— In this milieu, the sheep began to be all members of our still very in-grown separated from the goats. The European community. In 1967 also, an ARS “stars”—Frans Brüggen from Holland, summer school was begun at the Uni- Hans Martin–Linde from Switzerland, versity of Notre Dame in South Bend, IN. and Hans Ulrich Staeps from Austria— In 1968 another California workshop joined Bernie as the super-faculty at the The formula for was started at the Idyllwild School of Skidmore workshop, along with Barbara Music and the Arts. Mexico City was the Mueser, an American viola da gambist, instruction at all of exotic location for additional ARS summer and Eric Leber, harpsichordist. Bernie workshops in 1966, 1967, and 1968. also invited a host of Americans as “junior these ARS workshops The ARS continued to support sum- faculty” who would teach the consort mer workshops at Interlochen off and on classes and act as foils to the stars. was essentially the same: through the summer of 1970. (Gloria Classes were held in Baroque and con- Ramsey, the director in 1968, invited me temporary solo literature, consort playing, the schools, held for one to teach that year, but I couldn’t afford and pedagogy. Lectures were presented by to go! Transportation was not paid in Joel Newman (by then a professor at or two weeks during the those days.) ARS workshops continued Columbia University in New York) and summer, were for adults at Goddard through 1971. recorder-maker Friedrich von Huene, The formula for instruction at all of Linde and Brüggen. The junior recorder past the beginner stage. these ARS workshops was essentially the faculty consisted of 17 recorder player- same: the schools, held for one or two teachers from points scattered around the
20 American Recorder U.S.—with the notable exceptions of Other Educational Ventures Morris Newman (he thought it didn’t pay In March of 1962, Eric Leber (then Our eyes and ears were enough) and LaNoue. Education Director of the ARS), Bernie, Bernie had expected to dazzle us all, and I were sent to the annual Music including the Europeans, with his superi- Educators National Conference at the opened by the scholarly or playing (he was then being acclaimed as Conrad Hilton Hotel in Chicago, IL, to the greatest recorder player in the world, blow the horn of the ARS. We demon- lectures and sizzling at least on his record jackets), but it soon strated our instruments, discussed the use became clear that Europe was “ahead of” of the recorder in schools, gave a sample America in every aspect of recorder- lesson to local children, gave away litera- playing of the Europeans playing—performance, scholarship and ture, and discussed music for recorder— pedagogy. Our eyes and ears were opened both for teaching and for adult playing. by the scholarly lectures and sizzling We also gave a half-hour performance. —and, with some playing of the Europeans—and, with This was the first of many visits by the some humility, we began to realize that ARS to national and regional meetings of we Americans had a lot to learn from MENC and, later, Orff conferences, in an humility, we began them, particularly in the just-beginning effort to make our presence known to field of historical performance practice, music educators around the country. something most of us had not given much ARS Editions boomed in the 1960s, to realize that we thought to heretofore. It was a sad experi- with a new editor, Joel Newman, and ence for Bernie, one that affected him for a new publisher, Galaxy Music Corpo- Americans had years afterwards. He and LaNoue were ration, who gave the editions a rather the virtuosos of the American recorder more classy look and certainly higher world, but they didn’t hold a candle to the quality. In the three-year agreement a lot to learn Europeans, particularly to the emerging negotiated with the new publisher, one of Dutch school. the six publications per year was to be a Through the 1960s and 1970s and free members’ edition. from them. until well into the 1980s, the workshops The price per edition was higher; were “ARS workshops,” with locale, ARS Edition No. 41, published January 13, director, a good part of the program and, 1962, cost $1.00. By the end of 1969, the above all, the financial arrangements price had doubled to $2.00. Forty ARS tightly managed by the ARS. All were Editions had been published by 1960; by given free publicity in AR. Until the mid- 1970 the number had increased to 73. 1970s, all were advertised in one brochure The ARS Editions were published by mailed from the national office to all Galaxy until 1985 with Joel as General members of the ARS. Fees for students Editor. The free members’ editions were were low (around $100 including tuition tolerated by Galaxy until 1969, when the and room and board). The director of a publishers decreed that the ARS had be- workshop earned $425 per week by the come too large, and they could no longer end of the decade,the faculty $275 each. afford to give away free copies of one of the editions annually to all the members. KEY PLAYERS: THE ARS IN THE 1960S For those less familiar with the persons in this History, it may be helpful to refer to the short alphabetical listings below.
Martha Bixler: singer with the Musicians’ Workshop who took up the recorder, then became involved with the ARS in 1955; first editor of The American Recorder, president 1977-80 and 1989-90 LaNoue Davenport: jazz trumpeter who took up the recorder in the 1940s, professional recorder player and member of New York Pro Musica; first involved in the ARS in 1950s, president 1959-62 and 1966 A. C. (Cook) Glassgold: labor organizer with strong artistic interests, editor of art publications married to a dancer, devoted ama- teur recorder player; helped found and produce The American Recorder; ARS vice president, then later president 1963-65 Winifred (Wini) Jaeger: student of Erich Katz who became very much involved in ARS administration; Erich’s companion in New York and California Erich Katz: “father” of the ARS; Jewish musicologist and inventive educator escaped to New York City from Germany Bernard (Bernie) Krainis: trombonist who was a professional recorder player and member of New York Pro Musica, first involved in the ARS in the 1950s, president 1962-63 Eric Leber: harpsichordist and recorderist, an early Education Director for the ARS Joel Newman: musicologist, second editor of the ARS Editions (after Erich Katz), later proprietor of Provincetown Bookshop Morris Newman: bassoonist who took up the recorder at the urging of his brother Joel; became a professional recorder player Ralph Taylor: second editor of The American Recorder; also “twisted arms” of people with money to support the publication Ken Wollitz: recorder performer and teacher; Californian transplanted to New York; ARS president 1968-1975
May 2007 21 Dr. Newman represented for the ARS and edited for recorder and keyboard by Dr. Newman represented a newer breed of musicologist—one more Alexander Silbiger. Articulation marks are interested in publishing complete works, sparingly applied, and suited to both the for the ARS a newer or at least complete sections of works, recorder and 18th-century performance than Dr. Katz had been. ARS Editions practice, and the continuo part is beauti- began to reflect the musicological fully realized. breed of musicologist— consciousness-raising of the early music Joel not only discovered the musical community in general, and of recorder treasures that appeared in the ARS Edi- one more interested players in particular, during this decade. tions published by Galaxy, but he edited The very beginnings of responsible many of them himself as well. He also musicological editing began with a few introduced quite a few modern works into in publishing complete explanations (and sources) of articulation the canon during this decade—some by marks. Howard Mayer Brown’s arrange- contemporary composers of note, like works, or at least ments of Chansons for Recorders (ARS Katz, Linde, Staeps, Bartók (arranged by Edition No. 52, published in 1964) was David Goldstein), and the American com- the first ARS Edition in which a printed posers Jack Beeson, Seymour Barab and complete sections of preface gave the buyer some information Alvin Etler. (It should be noted, however, concerning the source (Attaignant), and that Erich managed, in the early ARS Edi- works, than Dr. Katz the editing interpolated by the arranger. tions, to get original music and arrange- ARS Edition No. 60, a transcription by ments by both Henry and Sidney Cowell, I. H. Paul of a Bach flute sonata (actually and the ARS published two charming orig- had been. ARS Editions probably by C.P.E. Bach), represents an inals—LaNoue’s A Day in the Park, and early brave attempt, in an ARS publica- Erich’s own Santa Barbara Suite, respec- began to reflect tion, to contribute to the literature of tively in ARS Edition Nos. 17 and 18. Santa the recorder while at the same time Barbara Suite was later republished by the presenting some musicological authentic- ARS during the Katz centenary year.) the musicological ity. Alterations from the Urtext edition (a copy by C.P.E.) are freely acknowledged The American Recorder consciousness-raising in both the recorder (originally flute) and I had been editing the ARS quarterly obbligato keyboard parts. The original Newsletter for a couple of years; during source is given, and, most important, that time we always had barely enough of the early music the editor states that the “phrasing and money to cover the costs of printing and articulation indications in this version mailing to our members. But I will never community ... are the editor’s, and they are meant to forget the meeting of the Executive Board serve merely as suggestions.” in the fall of 1959, when I was told that This is a far cry from recorder editions there was no more money at all. We could of the 1950s, of both the ARS and other not afford to put out the January 1960 publishers, where it is impossible for an issue of the ARS Newsletter. amateur to know how much of the music What in the world to do? In an almost is original and how much is made up by quixotic sort of sort of decision (I don’t the editor. Better versions of this sonata really remember being consulted—only have been published since 1968, the date informed), the Board decided to put out a of I. H. Paul’s, and nobody would even magazine instead. think of using this edition now. Not only The name of the new magazine would are the marks of articulation changed be The American Recorder. The original from the original (and made exceedingly name we picked was The Recorder, but fussy), but ornaments are re-interpreted, that was being used by the Boston not necessarily always correctly. chapter for their newsletter. To my naïve Particularly old-fashioned, in editing surprise the Boston chapter was not the for recorder, are the ubiquitous breath slightest bit interested in relinquishing marks—many of which are placed, in my this title to us! (The name of the opinion, in completely unmusical places. magazine was shortened to American Still, this edition, like others of the 1960s, Recorder in 1990 by Ben Dunham, who was perhaps “halfway there,” in terms of was then the editor. I refer to the authenticity, and it certainly was enjoyed magazine in this history sometimes as by ARS members of the time. The American Recorder, sometimes as More successful was ARS Edition American Recorder, sometimes as AR, and No. 66, a delightful sonata for transverse sometimes simply as “the magazine.”) flute and continuo by John Reid, an 18th- I would be the editor (that would be a century Scottish general who was also a given; I had no choice) and Cook Glass- composer of some repute. It was arranged gold, who had had previous experience as
22 American Recorder a publisher of “little” magazines, agreed to Probably the biggest hero in that extolling the brave new world of the be my managing editor. He would deal endeavor was Ralph, as he evidently really recorder player, and all were hopeful that with layout, paste-ups, and the mechani- twisted some arms. The funny thing was we would draw thousands of new mem- cal aspects of putting out a magazine, that, because he had made such a large bers into the Society in that decade. about which I knew absolutely nothing. contribution (he was well-to-do, and I actually enjoyed editing the first three There were assistant editors, too. undoubtedly contributed some of his own issues of The American Recorder. They Bernie was named publications editor, money as well), Ralph began to think of were handsome (though not very fat) and Joel and LaNoue were welcome early himself as entirely responsible for that first issues, reflecting Cook’s artistic eye. After reviewers of both concerts and music. issue of the magazine. In later years he the first issue, Susan Brailove, a music Marvin Rosenberg agreed to be the editor referred to himself—in print—as the first editor at Oxford University Press, was of record reviews. editor of the AR. This was the source of hired at $100 an issue, to be managing In the second issue of the magazine, some chagrin to me! But by the time I editor of the magazine; I very much Joel started his thinly disguised and interviewed him, elderly and ailing, in enjoyed working with her. We were both delightful column called “Flauto Piccolo’s 1992, there didn’t seem to be much point vastly overworked, but exhilarated by our Corner,” in which he aired “his lively in arguing. It gave him great pleasure to involvement in the new venture. preferences and animadversions on a give himself that distinction. Finally, after three issues, I felt I could variety of musical subjects.” Joel was a Volume I, No. 1 of The American not manage the editing any more so very valuable contributor to the magazine Recorder, a quarterly publication of the handed it to Ralph, who was willing throughout the 1960s, writing scholarly ARS, was issued in the winter of 1960. It and eager to take over. Right away there articles and also a column he called had a newly-designed three-color cover, were problems; the fun of editing went “Roses and Brickbats,” which was a com- with calligraphic-type lettering for the directly to Ralph’s head, and he began pilation of what reviewers were saying name of the magazine and a handsome to do things with the magazine that about the ARS Editions. “ARS” logo, and it was printed on rag others found offensive. Ralph had an un- The task of being editor-in-chief of the paper. The price was 50 cents, but not fortunate predilection for limericks, which magazine seemed to me so monumental many people paid this price; it was sent he used as space-fillers in the magazine. In at the time that I hardly noticed the way gratis to members of the ARS—and in April of 1961, Susan reported to the ARS in which the biggest problem—money!— a frank attempt to advertise the Society Board that the editor-in-chief was not was solved. It wasn’t until I interviewed and woo new members, extra copies were bothering to edit before sending material Ralph Taylor for this history, years later in sent to chapter representatives and promi- to her, nor proofreading afterward. the spring of 1992, that I found out that nent recorder players around the country, But the “professionals” (I put this both Ralph and Cook had hit up friends, hoping they would generate interest in word in quotes because professionalism relatives, business acquaintances, and and bring new members to the ARS, thus was still a new distinction among recorder customers for loans and financial help paying for the cost of printing the new players) really became irritated when with the first magazine. publication. President and editor joined in Ralph began putting musical opinions
A rehearsal of the Manhattan Consort at the headquarters of the New York Pro Musica, sometime during the 1960s (l to r): Sheila Schonbrun (primarily a singer), Don Plesnicar (mostly an oboist), gambist Judith Davidoff, Martha Bixler, Shelley Gruskin and LaNoue Davenport.
May 2007 23 into his editorials. They didn’t think There are profiles of celebrities in the Erich was an energetic letter-writer and he had the right or the musical savvy to do recorder world. There are minutes of very demanding of replies. Few of his let- it, and of course this attitude offended Board meetings, chapter news, and cheer- ters to us, his ex-disciples, are preserved, him. leading columns from the president of the but ours to him are safe and sound. In the same 1992 interview, Ralph ARS. In every issue there are reviews of Most of our letters begin with a pitiful complained bitterly to me about the music, books and recordings of music of apology for being so late in answering “censorship” he felt he was getting from interest to recorder players (a regular his, and a plea for forgiveness. Our early both LaNoue and Bernie. It was the column on recordings was begun in the messages were enthusiastic; Rhoda Weber beginning of Ralph’s lifelong hatred December 1990 issue of AR). wrote to Erich on March 1, 1961: “We (after early hero-worship) of LaNoue. There is news of important recorder now have close to 1000 members— After a committee on educational happenings—performances, conferences double the amount we had last year at policy reported to the October 10, 1961, and contests. The AR advertises early this time.” Vice president Glassgold notes Board meeting that “AR editorials should music workshops, those brought into the a “remarkable improvement in the level of not contain personal opinions of the world by the ARS and others as well. From amateur playing in New York. Where editor on topics requiring musical time to time, there has been free music formerly it was like descending into judgment,” Ralph Taylor, much insulted, published in the magazine, both original Dante’s Inferno to attend an ARS meeting resigned. (some avant-garde) and arrangements for with a hundred eager beavers blowing in Donna Hill was appointed editor of AR recorder. a dozen sundry keys, now it’s generally in October 1961. The magazine was Styles in both appearance and content endurable and at times even pleasant to a classy one under her ægis, full of inter- have changed over time with the various hear.” (12/19/61). esting material and carefully edited. editors of the magazine, but its The letters reflect, also, some of our She relinquished this post because of ill- essential mission has remained the same: problems without our mentor. Interest- ness in the fall of 1963. as the primary organ of communication ingly our problems—like those of a small Elloyd Hanson, appointed editor- it keeps the members of the ARS abreast of “developing” country ruled first by a in-chief in November 1963, was the first the events of the recorder world, it edu- strong dictatorship and then with power paid editor. He received $250 an issue. cates and entertains them, and it attracts distributed among tribal chiefs— AR has been a show publication of the new members into the Society. were mainly political. From me to Erich, Society since its inception, something we Since its inception the magazine has 6/10/61: “The problems seem to multiply have been able to point to with pride in been a quarterly; in 1994, under editor instead of resolving themselves. Marvin all the decades since. The ARS has Benjamin S. Dunham, the ARS began Rosenberg did such a miserable job as published, through its magazine, articles putting it out five times a year. The editor Treasurer he was replaced by Rhoda on technique, ornamentation, literature, since 2002 has been Gail Nickless. Weber.” And again, 9/12/61: “The and the history of the recorder. There national Exec Board has actually little to have been translations of important Administration do now except fight, and we’ve had treatises, such as that of Etienne Loulié’s Letters written to Erich in the years some lulus.” LaNoue to Erich, 9/13/61: Method for Learning How to Play the following his retirement to Santa Barbara, “I had a terrific, name-calling fight with Recorder. There have been articles about CA (now in the Katz Archives at the Ralph Taylor at last Exec. Bd. meeting over recorder makers, performing groups— Recorder Music Center at Regis University the editing of the AR.” and, of course, pedagogy, including in Denver, CO) are a rich source of In the 1960s, the administrative bibliographies of method books. information about the ARS in the 1960s. apparatus of the ARS was called the Executive Board. This consisted of the ARS officers, the Board of Directors, and chapter representatives, many of whom lived near New York City and could get to the bi-monthly Board meetings. One of the ARS heroes of the early 1960s was A. C. (Cook) Glassgold, a labor organizer with strong artistic interests, an editor of art publications married to a dancer, and a devoted amateur recorder player. He was one of the founders and producers of the new AR, as noted above. In 1961, he was appointed vice president (Bernie was president). Although modestly reluctant to take this high office, Cook was also president from 1963 to 1965. Cook’s labors for the ARS were inces- sant. From me to Erich in Santa Barbara, 2/14/60: “The people who run ARS now are Cook and Rhoda. Another Erich and
24 American Recorder Wini.” Joel to Erich 1/23/60: “Cook What a mess! Two days after the Glassgold has been a marvel....” The Cook wrote a rather January Board meeting, Cook wrote a Board meeting minutes for September 11, rather despairing letter to Erich: “The lid 1961, show that Cook tried for grants is just ready to blow off the Society, or from four foundations: the Arthur Jordan despairing letter to Erich: perhaps it already has” (1/19/64). Foundation, the Martha Baird Rockefeller We eventually solved the financial Foundation, the Mary Louise Curtis problem (and I wasn’t fired from the Bok Foundation, and the Fairfield “The lid is just ready Pro Musica!). Shelley (he was another Foundation. He never gave up trying “non-greedy one”—or “cheapskate,” for grant money during his tenures as depending upon how you looked at it) vice president and president of the ARS, to blow off the Society, or accepted the job of directing Interlochen but he never succeeded in raising any. for $300. New arrangements were finally In 1962 Cook set up an orderly made in March for Goddard that summer: procedure for elections to the Board of perhaps it already has.” the college was no longer to be involved in Directors of the ARS, arranging for ballots any financial arrangement except for being to be sent first-class to all the members. College and the ARS—to the teachers paid a $50 fee per student—and presum- About 300 members voted in the 1962 alone. It was not enough. ably per faculty member—for room and election. As the first “non-professional” LaNoue, then “Director of Summer board. The ARS would receive $50 for president of the ARS, Cook bore the brunt Seminars,” would have none of the tuition per student per week. All other of the growing antagonism of the so-called “professionals’” ultimatum. LaNoue income would be shared by the director “professionals” toward amateur recorder always had a quite different attitude: in ($410 guaranteed plus room and board players. This was unfortunate, because the fall of 1964 he returned to the ARS and travel) and the faculty ($260 each plus not only was Cook a much better the remuneration for one-half his travel room and board and travel). administrator than those who came costs to the Mendocino seminar because, (This was quite a change from the before him, but he was conscientious in as he wrote, his “income from the seminar early Interlochen days, not so long before. trying to save money for the forever covered this amount. I see no reason why I remember earning $75 for that week, struggling organization. the ARS should spend this money.” and being paid nothing for travel, which Those ARS members who gave of their Bernie refused to direct the Interlochen meant driving to Michigan in a borrowed professional musical services, particularly seminar for the pittance offered. car!) at workshops, caused him many difficul- I immediately regretted my own part in So Goddard went on as usual in 1964, ties. In January of 1964, the regular teach- the “ultimatum.” I was easily swayed! but there were more snafus concerning ers at the Goddard summer workshop, I was at first on the side of the exploita- reimbursement from the ARS for expen- myself included, signed an “ultimatum” tive members of the ARS administration— ditures made by the faculty. Probably stating that they (we) wouldn’t teach there those with the attitude: get as much as Cook’s worst moment came when he or anywhere the following summer for you can out of anyone and everyone for received a letter from one of the “‘profes- less than $350 a week, and the director free. Then I was sympathetic to the sionals” accusing him of conducting must receive $580. But there was no way economic needs of my colleagues, both ARS’s affairs “like a pushcart peddler” the ARS could afford what were—in those imagined and real. Then I was influenced (September 14, 1964). This to a man who days—seemingly astronomical fees. once more by the opinions of those, like had been donating his own professional We were clearly at an impasse, and an LaNoue, who thought the professionals skills to the administration of the ARS emergency meeting was held at Cook’s were simply too greedy. for years! I don’t think Cook ever quite apartment on January 17, one of the Indeed, my own relationship with recovered from this terrible letter. stormiest of the stormy meetings we used LaNoue was seriously jeopardized at that In the mid-1960s, Cook was getting to have. Cook offered the ARS share of a meeting, and in retribution I was nearly flak from other quarters as well. Rhoda possible surplus under the existing set-up dropped from the New York Pro Musica Weber quit her monumental efforts as at Goddard—which was supposed to have Renaissance Band, of which he was the membership chair and treasurer of the been shared equally between Goddard director. ARS in the summer of 1964 because SWEETHEART Donna M. Hill, a librarian, writer, artist, and skilled recorder player, died January 29, 2007, at age 85. She was a well known figure in the recorder community in the early FLUTE CO. days. Working as a librarian at Hunter College in 1959 she found a copy of the American Recorder Society Newsletter in the New York Public Library and offered to Baroque Flutes: our own make an index of it. Soon she found herself not only the secretary of the Society but “Sweetheart” model Fifes, Flageolettes taking lessons with LaNoue Davenport. From 1961 until 1963 she was the editor of “Irish” Flutes & Whistles. AR. In 1970 she was ARS archivist. During the 1960s Donna worked indefatigably, Send for brochure and/or with Rhoda Weber, the membership secretary and treasurer, and Clara Whittaker, antique flute list. secretary of the Society, keeping and maintaining records of Society activity. 32 South Maple Street Donna was also an accomplished recorder player. She participated enthusiastically Enfield, CT 06082 in all playing sessions of the ARS, then held in New York. Those who were her friends (860) 749-4494 in those long-ago days will miss her very much. [email protected] www.sweetheartflute.com Martha Bixler
May 2007 25 she was paid too little ($250 annually) and “professionals” but the burgeoning After Cook Glassgold, for her work. She thought Cook was battle between East and West. From the unresponsive to her needs, and quite moment that the first chapter of the ARS the ARS took its possibly he was. was chartered, members from the “hinter- Letter from Rhoda to Erich, 8/1/64: land” complained of feeling shut out first step in “I suppose you have heard by now that of the organization and that the I have quit my job with the ARS. It national headquarters was not doing was a sad moment, but I had really enough for them. (Chapters continued to “nationalizing” reached the end of the rope with Cook. spring into being, however, and there We had worked together peacefully for were 48 by the end of 1965!) its administration. three years, but the moment he became Cook Glassgold retired, thoroughly president he was a different man— embittered, from the presidency and The Board of Directors increasingly difficult to get along with from active participation in ARS affairs. and driving a wedge between the Execu- He died in February of 1985, and his New tive Board and the musicians.” (In her York Times obituary makes no mention of selected the interview with Ken and me much later, his work with the ARS in its account Rhoda stated that her problem with Cook of the life of this distinguished man— busy musicologist was that she wanted a raise, since the ARS a member of the art faculty of the City had 11 chapters and 600-odd members, College of New York in the 1920s, a Howard Mayer Brown ... and Cook had said, ”Don’t be greedy.” museum curator, a government housing A remark like this would have been official, a director of international refugee very much out of character for him.) and relief operations, and a trade union as president in the Saviors appear when they are most administrator. Although he died feeling needed. In September 1964, Clara little love for us, I was thankful that we summer of 1965. Whittaker—a retired secretary with had finally pulled ourselves together to impeccable writing, accounting and present him with a life membership in the organizing skills, who had been doing ARS a few years before his death. clerical work since 1961 (for a pittance) After Cook Glassgold, the ARS took its as secretary of the ARS—was named first step in “nationalizing” its administra- secretary-treasurer and membership sec- tion. The Board of Directors selected the retary of the organization. She was work- busy musicologist Howard Mayer Brown, ing part-time (and presumably avoiding a professor at the University of Chicago, as any danger to her social security income) president in the summer of 1965. Cook and her salary, in combining these jobs, had been certain this would never work must have been around $750 annually. out, and he was absolutely right. Elloyd Hanson, editor of AR, was Dr. Brown tried to keep the wheels being paid $250 per quarterly issue. The rolling in an orderly fashion. One of his managing editor, Susan Brailove, made first presidential acts was to write to the $100 per issue. members of the administrative board, all In 1965 Clara’s friend Bob Rhodes, of whom lived in the New York area a printer and an amateur recorder player, (although vice president Colin Sterne took over the job of membership secre- lived in Pittsburgh, PA, and other tary of the ARS. Bob also gave the ARS members of the Board of Directors were office space in his print shop, the Ameri- scattered around the country), asking can Name Printing Company, for $25 a them to keep in touch (by mail!) with month. Clara and Bob did all the adminis- him and with the other members of the trative work of the Society until September Board of Directors. He planned for five 1971. They were the administrative glue meetings of the combined boards that that held the ARS together in the 1960s. made up the Executive Board, in fiscal On July 1, 1965, Cook wearily gave up year 1965-1966—in New York City, the reins of the ARS as president. Letter to Chicago and San Francisco. Erich, 6/15/65: “In a week I hand over Meetings were indeed held in Chicago all official documents, signs, seals and (2/20/66, with very few attending) and perquisites to the new administration and the San Francisco area (6/19/66 at Lake may I add, with a heavy heart for I fear for Arrowhead, where ballots were counted ARS’s future. Thanks to the hostility creat- and three new members of the Board ed by some of our supercilious Easterners elected; of course only westerners— and to the childish regional chauvinism Californians Shirley Marcus and Leo of some of our insecure Westerners the Christiansen—could attend). He also ARS is now about to reap a bitter harvest.” proposed, and got the Board to agree to, a What Cook is referring to here is not raise in national dues to $5.00. This raise the continuing battle between “amateurs” did not take effect until 1969, however.
26 American Recorder A large issue faced by Dr. Brown was and taped lessons would be paid for by Bernie’s “Proposal for the Reorganization increasing the annual dues of the 2,000 In July 1966, Time of the ARS”—which was discussed members of the ARS to $10.00. seriously by the education committee of From this distance, this seems a Magazine had printed the ARS, approved (by a small margin) modest proposal indeed—and President by the executive committee, then sent to Brown, in his letter to the membership a two-column article, the entire membership as a proposal to be describing it, did his best to present it “Pipe with a Pedigree,” approved or disapproved. In essence, fairly—but the membership was up in what Bernie wanted was for the ARS to arms. Their ire was compounded by the on recorders and appoint a program director (himself) fact that a third-class mailing and for a “first term” of a minimum of five the Christmas rush delayed some ballots recorder-playing years, who would “plan and administer containing the proposal, which was to a stepped-up instructional program, a be voted on—yea or nay— before Decem- in the U.S. secretary to deal with membership and ber 1. Many members, particularly those administrative details, and a regular part- on the west coast, received their ballots able, although some members thought time treasurer or controller, to manage after the deadline had passed. much of the proposal was commendable. its finances.... The program director In a fit of paranoia, the members “were But ARS members were not ready to pay would be responsible for planning and convinced,” as Howard wrote in a letter to for, nor did they want, so much instruc- organizing all ARS activities except the the ARS Executive Board, that “ballots had tion—and they did not want to put so ARS Editions and the magazine. He would, been sent them purposely late so that much power into the hands of one indi- however, work closely with the editor their vote could not be counted. Indeed, vidual. of ARS Editions ... and ... with the editor of the vicious personal tone of many of the Despite its political troubles, the ARS the American Recorder.” ballots has distressed me a good deal, for was in pretty good shape in the fall of Bernie’s proposal goes on to suggest it shows that there has been a serious lack 1966. We had nearly 3,000 members and annual workshops for chapters, taped of communication between the national 53 chapters. In July 1966, Time Magazine lessons, recordings, a teacher’s manual, organization and the membership.” had printed a two-column article, and other goodies for the members. The In spite of the fact that the ballots were “Pipe with a Pedigree,” on recorders and salaries of the program director ($5,000), late in some areas, or perhaps because of recorder-playing in the U.S. The writer secretary ($1,200), controller ($1,000), it, the membership of the ARS would have claimed the existence of some 750,000 AR editor and managing editor ($1,400), none of Bernie’s proposal. The possibility players in the U.S. and gave some free and expenses of the traveling workshops of a raise in dues to $10.00 was unthink- publicity to the ARS.
May 2007 27 The problems of Dr. Brown, the first This was really the crux of the problem. The rapid expansion “out-of-town” president, and of Elloyd There was always a lot of pressure from Hanson, the first “out-of-town” editor of members of the Society not in New York of the 1960s really AR, were similar in that each was trying to City to have Board members and officers gave us growing pains.... serve a national constituency—in the days from “out-of-town,” but the Society was before faxes and e-mail—on a budget that just too small to function over long There was always a lot of was not of national proportions. (Now, in distances properly. pressure from members the 21st century, the ARS—with no more Peter Ballinger resigned on April 29, members on its rolls but quadruple the 1968, somehow forgetting to appoint a of the Society not in dues of 20 years ago—is able to float an nominating committee (which should international Board and paid administra- have been hard at work since March) for New York City ... but tive staff. Electronic mail brings any one the Board elections that were still being the Society was just too member in touch with any other at negli- held annually by the ARS. Vice president gible cost; our president in Albany, CA, Gerhart Niemeyer, the acting president, small to function over our administrative director in St. Louis, made me chair of the nominating commit- MO, our magazine editor near Denver, tee (by telephone! it was an emergency). long distances properly. CO, and our scattered Board members are I was on the ballot—it’s amazing how in constant communication without the frequently, in the old days, we made this Back issues of the AR were now being cost of airfares.) illegal mistake! sent to University Microfilms in Ann But the rapid expansion of the 1960s We hastily put together a slate of seven Arbor, MI, so they could be put on really gave us growing pains. candidates for the ARS Board. We man- microfilm and preserved for eternity. By the summer of 1966, Howard had aged to get the ballots out to the member- There were 86 “starred” names in the decided, wisely, that he no longer had the ship by third-class mail (with $4.00 na- ARS Directory, meaning that the members time or inclination to be president of tional dues still in effect, we decided that listed had either passed the ARS Teachers the ARS. LaNoue was made president we couldn’t afford first-class) on May 25, Exam or been approved as a teacher by pro tempore in the fall. with a deadline date for return of June 22. fiat; 18 of these were examiners as well. In the spring of 1967, Peter Ballinger— Most of the membership had time to vote, The examiners had all been approved a Californian and a new member of the but the ballots didn’t arrive on the west by fiat, except for Daniel Waitzman, who ARS Board—was elected president of coast until June 25! paid $25 to apply for and pass the the ARS by the Board of Directors and, like Rage and consternation! It seems that, “examiners’ exam.” Howard Mayer Brown, he tried to do the in those days, nobody ever gave anyone Bernie, who never approved of the right things. In a letter of August 17 to the else the benefit of any doubt. The worst appointments by fiat, had applied to take new Board, he admits that “quite frankly, I possible motives were immediately sus- the exam as well, but the Board refused to am very much in the dark as far as running pected. take him seriously, leaving him willy-nilly the organisation [sic] is concerned, at least Erich in Santa Barbara was irate. In a as an honorary examiner. by mail, and I rely on your help and advice June 25, 1968, letter to “the election com- There were some difficulties at the to a large extent.” Poor Peter was immedi- mittee” (me—his old friend), he wrote: American Recorder. Questions arose as to ately accused by a member of the east “I don’t know who is responsible for the how scholarly a magazine it should be. coast hierarchy of appointing Gloria stupid mishandling of this matter.... It Erich, always a maverick when it came to Ramsey, from Los Angeles, CA, as educa- should be obvious to anybody that such scholarship, started complaining in letters tion director only to spite the east coast (!), important mail must be sent first class.... to Joel about the abundance of footnotes which must surely have been dishear- A large section of ARS members has been in the magazine. Worse, there were prob- tening—but the real problem, as always, disenfranchised, which should make this lems with production. Minutes of the was communication between him and election automatically invalid.” A letter California Board meeting show members the chief administrator, Clara Whittaker. from Frank Plachte—a west coast dentist worrying over the fact that the ad for a In our interview of July 27, 1988, Clara who soon became known as a persistent recorder weekend at the UCLA conference states, gently, her complaints about both gadfly tormenting the administration of center did not appear in AR until after the of the “out-of-town” presidents of 1967. the ARS—to Clara, the long-suffering weekend. Complaints began appearing “That’s when it [running the ARS] started secretary, rants of “preposterous manage- from the general membership about the slipping away ... Howard Brown didn’t rial incompetency,” and “grotesque lack of lateness of AR, particularly for westerners; help a lot. I never understood why. They communication between the Administra- the tardiness of the editor in answering were both quite capable.... He was always tive Board and Board of Directors and the letters; and articles that were either too somewhere else ... I could never pin him membership at large, the ruling clique.” scholarly or not scholarly enough. down.... I know that it got away. You see, Even the members of the “ruling Correspondence between Erich and everything was so convenient, with Cook clique” itself were disgusted, blaming Joel in 1967 reflects Erich’s dissatisfac- being across the street, and with Bob each other for the disaster. LaNoue to tions with the magazine and Joel’s dissat- having the shop on 20th Street. It was so Erich, 6/17/68: “We are having a meeting isfactions with the various presidents: handy and we had everything just at our of the ARS ex. bd. here this evening to try Cook (non-musician), LaNoue (didn’t fingertips. Then when there was a new and pick up some of the shambles left by work hard enough), and Howard (a non- president [Ballinger], he had a new wife our ill fated attempt to have presidents member until he was elected). and a baby and he was on the west coast; outside New York. Things are in a mess at you couldn’t function.” the moment, and I can’t say as I can get
28 American Recorder very excited about it. Clara Whittaker is Cover of a 1960s a notoriously difficult person....” album by Bernie The Administrative Board rushed Krainis—released around to make amends. The terms of during a period the existing Board of Directors were when LPs of recorder extended to September 3. Elections were music became held all over again and a new Board was very popular. elected, properly, by secret ballot, and the Board gratefully selected Ken Wollitz— a talented performer, teacher, and trans- planted Californian now firmly ensconced in New York—as president, and a new, more efficient era seemed to have dawned. Ken assumed the ARS presidency on September 3, 1968. One of his early tasks was to find a new editor for AR. There had been trouble brewing for some time. In the spring of 1966, the UCLA conference center placed an ad for a recorder weekend in AR, but AR did not come out until after the weekend was over. Letter from Erich to Joel in 1967: “I know that scholars love footnotes, but everybody, absolutely every else hates them, and I must say that of late we have had too many...in the magazine.” July 10, 1967, letter from Joel to Erich: “The pending issue of A.R. [sic] is going to be scandalously late....” Elloyd resigned just before the embar- rassing appearance, on the front cover of the Summer ’68 issue of the magazine, of the table of contents from the Spring ’68 issue as well as the wrong volume number. Although this was a printer’s error, it reflected some other inefficiencies and deficiencies plaguing us in the publication of this increasingly important symbol of the usefulness of the ARS. In the same issue of AR, in a gracefully- written editorial on the first page, Ken announced the appointment of John Koch, son of the recorder maker William Koch, as the new editor of the magazine. 1969 was a good year for the ARS. I was on the Board again—and I made sure, by means of a post card campaign to other members of the Board, that Ken was re-elected president for a full term of two years. In May of that year, new bylaws were sent to and voted upon by the members. They included a change to four- year terms for the members of the Board of Directors, with elections held (after the first two years) every four years. This Cover of an album by The Medieval Jazz Quartet, c.1965 (l to r): LaNoue Davenport, Martha Bixler, Bob Dorough (who is still active as a jazz pianist all over the world), and Shelley Gruskin
May 2007 29 excellent measure saved a great deal of time and money for the administration of the ARS. The new bylaws provided that all ARS EVENTS ballots were to be sent to the members of the Society by first-class mail. At the same time, national dues were raised to $5.00. AT THE A letter from me to Erich on September 11, 1969, is joyous: “Ken is doing a very good job with the ARS.” 2007 BOSTON But membership was beginning to drop. There were 572 lapsed member- ships in fiscal year 1967-68, but we still EARLY MUSIC had 2,384. By December 1969, we were down to 2,270. Still, new chapters and new work- FESTIVAL shops (one-day, weekend and week-long) continued to form and flourish. The Friday, June 15: administration was on an even keel again, 9 a.m.-12 noon, 15th Annual Great Recorder Relay, St. Paul's Cathedral, 138 Tremont St. and the ARS Editions were going 12 noon, Awards Ceremonies & Reception honoring Joel Newman and well. Galaxy Music, the publisher, Anthony Rowland–Jones, St. Paul's Cathedral, 138 Tremont St. announced that, because of the increasing size of the membership, no more free 3:30 p.m., lecture by Anthony Rowland–Jones, City Room, Radisson Hotel members’ issues would be distributed Sunday, June 17: after 1969, but bigger discounts (up to 9:30-10:30 a.m. Town Hall Meeting, Keller Room, Jordan Hall, New England Conservatory 25%) would be given to ARS members 10:30-11:45 a.m. Play-In led by Tom Zajac, Keller Room, Jordan Hall, NEC who purchased them in the future. The future of the ARS did indeed look For more information about ARS-sponsored activities, call 800-491-9588 or bright. see
30 American Recorder *EFB 4UBSUXJUISFDPSEFST .LGVZLOOORYHWKHJUHDWUHFRUGHUVDFFHVVRULHVDQGUHFRUGHUDQGERRN SDFNDJHVIURP:HVW0XVLF %XQGOHDQGVDYH&KRRVHIURPUHFRUGHUSDFNDJHVZLWKJUHDWERRNV VXFKDV´0\5HFRUGHU%RRNµ QRZZLWK&' ´'R,W3OD\5HFRUGHUµ ERRNZ&' ´5HFRUGHU([SUHVVµDQG´&RPSOHWH5HFRUGHU%RRNµ 0RUHPDWHULDOVDYDLODEOHRQOLQH $FFHVVRUL]HIRUVXFFHVV+HOS\RXUVWXGHQWVSOD\WKHLUEHVWZLWK WKXPEUHVWVEDJVFOHDQLQJURGVDQGQHFNVWUDSV 0DNH\RXUMREHDVLHU$OOWKHFODVVURRPWRROV\RXQHHGOLNHVWHULVRO DZDUGFHUWLÀFDWHVVWDQGVDQGÁDVKFDUGV )UHHVKLSSLQJDYDLODEOHRQPRVWUHFRUGHUVDQGSDFNDJHV WK6WUHHW&RUDOYLOOH,$ $UHFRUGHUPD\EH\RXUVWXGHQW·VÀUVWUHDOLQVWUXPHQWJLYHWKHPWKH WHO ID[ EHVWIURP:HVW0XVLF VHUYLFH#ZHVWPXVLFFRP ZZZZHVWPXVLFFRPUHFRUGHUV THE RECORDER IN PRINT: 2005 WHAT’S BEEN WRITTEN ABOUT THE RECORDER IN OTHER PUBLICATIONS AROUND THE WORLD by David Lasocki 2003 Utrecht Symposium sort principle was already “well rooted.” Pride of place must go to the proceedings The recorder took part in both kinds of The author, music reference librarian of the 2003 Utrecht symposium on the consort: “whole” (from the same family at Indiana University, writes about Renaissance flute and recorder consort: of instruments) and “mixed” (different woodwind instruments, their history, a milestone in the history of research on families and types). He argues that the repertory, and performance practices. both instruments. I must immediately recorder was “a favored alternative He is preparing a history of the recorder confess that I was the editor of these color” for players of both bas and haut for Yale University Press. For his proceedings, but my responsibility was instruments as well as wealthy amateurs, complete list of publications, see confined to editing the existing papers and thus in a sense it “had a universality 32 American Recorder takes a close look at some of the Renais- were like in the period 1470-1520, she sance recorders in the museum’s collec- looked at visual representations of the Does this mean that tion. First, she discusses the inventory of instrument in four geographic areas. the collection made by Carlo Santyan y Generally, recorders in German- the soprano existed Velasco when it was brought to Vienna influenced areas were wider (as reflected from Castle Catajo near Padua in 1870. in the later extant instruments by the 15 years before Second, she considers the six Rauchs and Schnitzers); those from recorders marked HIERS (SAM 132, Flanders and France narrower (as reflect- 142-144, 159-160) and the six marked ed in instruments by Rafi); and those it was documented HIES (SAM 161-162, 166-169), encom- from northern Italy mixed: narrow and passing five sizes of instrument. Were slightly wider, in keeping with “the by Girolamo Cardano, they originally arranged in one or more appearance of many German instrumen- consorts? She shows that, despite the talists and Flemish musicians in the and that such a high wishful results of earlier scholars, Italian cultural centers.” Treatises there is only one consort—that of the six “appear from the middle of the fifteenth HIERS recorders in a case made for century, mentioning the recorder, consort existed so early eight instruments (SAM 170). explaining the consort idea, expressing Third, she looks at some “interesting the new concept of instrumental music, in the 16th century? details” of six other recorders in the col- and finally describing the sizes of the lection. The most interesting instrument recorder family....” is a basset (SAM 624) marked “HD” as Since no repertoire is indicated as well as “1503,” which may well have being for recorders in the period in been the date it was made. It formed question, she comes up with possible part of a group of recorders mentioned answers to what recorder consorts would in an inventory of the Vienna Court have played from the Glogau manu- Chapel in 1706. “New Light on the script, the Casanatense manuscript, and Early Recorders in the Sammlung Fridolin Sicher’s songbook, then alter Musikinstrumente of the Kunst- presents a case study of Brussels II 270 historisches Museum, Vienna, and (a songbook originating in the Northern their Provenance,” pp. 99-115. Netherlands). “The Recorder Consort Marco Tiella presents his preliminary ca. 1500: Pictures, Extant Instruments, conclusions about the surviving and Repertoire,” pp. 203-25. recorders of the Accademia Filarmonica The recorder player Peter Van in Bologna, which was founded in the Heyghen and the recorder maker Adrian mid-17th century. In the past, the Brown, who have been collaborating for recorders by the well-known Claude Rafi eight years, contribute complementary (Lyons, d. 1553) and the unknown articles with some striking conclusions. P. Grece have been considered almost (Some of these conclusions have already identical in construction, leading one been summarized in an article by Brown researcher to conclude that the Rafi and myself, “Renaissance Recorder family must have spread to northern Makers,” in the January 2006 AR.) Italy in the 17th century—a theory that Brown has been studying the is discredited by archival records. surviving Renaissance recorders: no Tiella shows that the type of wood fewer than 196 of them. Based on their used for both Rafi and Grece recorders speaking length and the presence of was employed by makers from Lyons keys and crooks, he classifies them into rather than northern Italy; the respective soprano, alto, tenor, basset, bass, and tenors and bassets were at least drilled on great bass sizes. the basis of common designs; Grece’s Based on their bore, he classifies workmanship is sometimes cruder; and them into (1) “conical” (cylindrical “we cannot exclude the possibility that head, conical middle, bell-shaped end— Grece’s recorders were copied from previously called “choke” bore); Rafi’s, not necessarily with understand- (2) “step” (cylindrical head and middle, ing.” “The Recorders of the Accademia slightly cylindrical bell with an abruptly Filarmonica di Bologna,” pp. 117-63. smaller diameter); and (3) cylindrical or Ita Hijmans begins by reminding us near-cylindrical. “... these three types of that “Very few recorders from the first bore were used in parallel throughout decades of the sixteenth century still the period in which Renaissance-type exist, and none survive from the fifteenth recorders were made. Furthermore, century” (except for the “archeological examples of all three types of bore can be finds from around 1400”). So to gather found with most of the main makers’ information about what recorders marks.” In contrast to the copies that May 2007 33 most makers produce today, surviving Kunstkammer (an encyclopedic art and sets of Renaissance recorders tend to be “The repertoire of treasure chamber that also included in tuned in fifths. Although the surviving instruments). She laments that such instruments seem to represent almost great Renaissance and Baroque collec- every note of the gamut, Brown’s analysis the recorder consort tions of instruments were largely dis- shows that most consorts (HIES, Rauch, persed, and only small parts of them Schnitzer) constitute a consistent passed into their successors, museums. schema of five sizes, tuned F–c–g–d´–a´ To tantalize us we have the surviving (at A = 466 Hz). Brown, “An Overview in the sixteenth century inventories of such collections. After pre- of the Surviving Renaissance Recorders,” senting some inspiring stories of collec- pp. 77-98. An appendix (pp. 533-37) tions, collectors, and agents, Legêne handily reproduces a then-current ver- consisted mainly enumerates two dozen important les- sion of his “A List of Surviving Renais- sons that can be drawn from inventories, sance Recorders,” which is kept updated including the identity of the columnar at 34 American Recorder Iconography History and General “How was it that the recorder How were instruments ordered from [survived] and emerged from an another country in the Renaissance? apparent period of doldrums in the mid- One instance is provided by a recently seventeenth century into a ‘golden age’ discovered invoice from Girolamo della in late Baroque music?” Anthony Row- Casa, maestro de’ concerti at St. Mark’s, land–Jones asks this question and sug- Venice, dating from 1572. He had gests three possible reasons: ]“(1) The been commissioned by Diego Guzmán continued cultivation of the recorder by de Silva, the Spanish ambassador in upper-class amateur players... (2) Its re- Venice, to purchase some instruments modeling by the Hotteterres and others and printed music for the benefit of to meet the changing musical require- Don Juan de Austria, military hero and ments of the late Baroque period. (3) Its brother of King Philip II of Spain. In unusually wide range of associations, other words, the instruments were both symbolic and other, which are well ordered through diplomatic channels illustrated in iconographic sources.” and a knowledgeable intermediary. The associations in question should Both instruments and music were be well known to readers of these pages: probably intended for the court that Don primarily, the pastoral, love, sleep Juan had set up temporarily in Messina, and the supernatural. Rowland–Jones Sicily. The invoice includes a cassa di flau- reports that of 58 works of art ti grossi (case of large recorders), which at he studied, mainly from the 17th 56 gold scudi were by far the most expen- century, depicting Mercury playing a sive instruments listed. The price there- recognizable instrument to lull Argus fore suggests a large set of instruments. to sleep, 34 (60%) include a recorder. As a standard of comparison, a case of “This in spite of the fact that Ovid’s 22 recorders, including at least one great account clearly states that Mercury’s bass, purchased by the Accademia newly invented instrument is a syrinx.... Filarmonica in Verona in 1548 cost This instrumental metamorphosis 40 gold scudi. But “a consort of sixteen confirms how strongly perceived the recorders with their great basses ... with recorder had become as a prime attribute their lidless case, but with their crooks,” of a shepherd, and it also establishes the ordered from Jacomo and Santo Bassano link between the recorder and sleep.” by three Venetian musicians as part of a “The fashion for pastoral pretense ... distribution contract in 1559, cost only induced artists themselves to pose as 24 ducati, equivalent to around 19 scudi shepherds with recorders to indicate —evidently a good deal. Michael J. Levin their social status. Rembrandt had both and Steven Zohn, “Don Juan de Austria himself and his wife portrayed by his and the Venetian Music Trade,” Early pupil Govert Flinck in the guise of a Music 33, no. 3 (August 2005): 439-46. shepherd and a shepherdess, although Thiemo Wind successfully defended there is no evidence to suggest that his dissertation on Jacob van Eyck in May Wind rightly asks how Rembrandt actually played the recorder 2006 at the University of Utrecht, and himself.” it will be published in an English trans- Rowland–Jones attributes the lation in 2007. Dr. Wind’s imaginative “other-worldly” association to the online Jacob van Eyck Quarterly has Van Eyck’s recorder could “sound of recorders in ensemble, an consisted of little subjects that all effect partly caused by the ghostly dif- found their way into the dissertation, so ference tones created by higher-pitched I suppose that before long the periodical have been heard well recorders playing together.” Evidence? may no longer have a purpose. An interesting speculation, anyway. “The Meanwhile, the 2005 issues con- Iconographic Background to the Seven- tained some stimulating articles. (1) In outdoors, suggesting: teenth-Century Recorder,” in From 1649, Van Eyck’s salary was raised Renaissance to Baroque: Change in Instru- “provided that he occasionally in the ments and Instrumental Music in the evening entertain the people in the Seventeenth Century: Proceedings of the churchyard with the sound of his little “He may have used the National Early Music Association Confer- recorder,” and he had in fact already ence Held, in Asscoiation [sic] with the been doing just that for at least nine Department of Music, University of York years. The Janskerk (St. John’s) church- church walls as an and the York Early Music Festival, at the yard in question was a popular park with University College of Ripon and York pathways and trees. Wind rightly asks St John, York, 2-4 July 1999 (Aldershot & how Van Eyck’s recorder could have acoustic soundboard.... Brookfield, VT: Ashgate, 2005), 86-111. been heard well outdoors, suggesting: May 2007 35 “He may have used the church walls as it extensively. The key sentences in the Astonishingly, Ecochard an acoustic soundboard; it is quite easy document for our purposes are: to draw people’s attention there with a modest recorder sound.” [ Lully’s] promotion meant the downfall takes this statement as (2) Wind makes a plea for leaving of all the old instruments except the Van Eyck’s music as monophony, not hautboy, thanks to the Philidors and arranging it into multi-part versions as Hotteterres, who spoiled so much wood evidence that “the only some modern performers have done. In and played so much music that they support of monophony he cites Johann finally succeeded in rendering it useable Mattheson: “Pure melody, with its noble in ensembles. From that time on, old woodwind instrument simplicity, clarity, and distinctness, musettes were left to shepherds; and moves hearts in such a way that it often violins, recorders, theorbos, and viols surpasses all harmonic arts.” took their place, for the transverse flute that, through adaptation, (3) Although Van Eyck was probably did not arrive until later. Philibert was an expert improviser, Wind has been the first to play it in France, and almost arguing for years that Der Fluyten immediately afterwards, Descoteaux. was able to survive was Lust-hof “first and foremost seems to The instrument was a great success with reflect a composer’s world of thought.” the king and indeed everyone at court, Here he discusses the piece “Van and His Majesty caused two new posi- Goosen,” which “demonstrates how tions to be created in the Musettes de the hautbois [shawm].” meticulously Van Eyck could conceive Poitou and conferred them on Philibert and plan his sets of variations.” and Descoteaux, and they told me (4) Wind notes how Van Eyck several times that the king had told Hey, what about de-ornamented the contemporary them as he conferred these positions melody of “Rosemont” for his theme, on them that he firmly wished the six then used the ornamented version as musette positions would be transformed the recorder? the basis of his first variation. “... after into transverse flute positions. pulling down, he started building up in an efficient way, making use of what Astonishingly, Ecochard takes this the song offered.” “Van Eyck’s Outdoor statement as evidence that “the only Performance as a Reference: Mind the old woodwind instrument that, Pitfalls,” Jacob Van Eyck Quarterly 2005, through adaptation, was able to survive no. 1 (January); “Plea for a Monophonic was the hautbois [shawm].” Hey, what Van Eyck,” 2005, no. 2 (April); “Compo- about the recorder? sition or Improvisation: What ‘Van La Barre did not mean that the Goosen’ Reveals,” 2005, no. 3 (July); recorder was suddenly invented to “‘Rosemont’: Pulling down, Building replace the musette, only that the up,” 2005, no. 4 (October); available at recorder was one of the existing 36 American Recorder Ecochard is on firmer ground when de la Chambre du Roy” (player of oboe Albanius (1685), an entertainment for he notes that “During the same year, and recorder of the King’s Chamber). James II with words by John Dryden and 1667, ‘le sieur Philibert’ ... is cited I look forward to more research on music by Louis Grabu, “Venus ... is used as ‘Joueur de flutte ordinaire du this subject. Ecochard, “A Commentary to symbolize Stuart legitimacy.... She Cabinet’....” That is confirmed in on the Letter by Michel de La Barre rises from the sea with Albanius Marcelle Benoit’s collection of musical Concerning the History of Musettes (James II), restoring the rightful line of documents from the Court. and Hautboys,” in From Renaissance to succession in England.... In Venus’s The editors of the conference pro- Baroque, 47-61; Oleskiewicz, “The music legitimate rule and pleasure are ceedings where Ecochard’s article Flute at Dresden: Ramifications for connected.... Venus’s sensuality is cele- appears should have asked him to take a Eighteenth-Century Woodwind Perfor- brated in the [recorder]-filled ‘Concert look at another article there, by Mary mance in Germany,” in From Renaissance of Venus’ which precedes her entry.” Oleskiewicz, who wrote on the same to Baroque, 145-65; Benoit, Musiques In John Blow’s Venus and Adonis subject: “It has been suggested that, de cour: Chapelle, Chambre, Ecurie: (1682), “the monarch’s sexual based on La Barre’s testimony, we can fix Recueil de documents, 1661-1733 adventures literally take center stage.... the date by which the transverse flute (Paris: A. & J. Picard, 1971). this masque was designed to show- made its debut at the French court as the Amanda Eubanks Winkler discusses case the talents of Charles II’s year in which Rebillé was appointed to some of the music associated with Venus, former mistress and retired stage actress the King’s ensemble, the Hautbois et the goddess of love, on the English stage ... Moll Davis (Venus) and her daughter musettes de Poitou—that is, by 1667. But in the late 16th and 17th centuries. by Charles, Lady Mary Tudor (Cupid).” La Barre clearly exaggerated, because Winkler notes that “the connection “Blow’s music presents a Venus who Philibert’s post was not newly created between beautiful women and wind is both beautiful and dangerously per- for him; rather, he was hired to fill the instruments, particularly the ... recorder suasive. Recorders in the act 1 prelude post hautbois, musette, flutte du Poitou had already been forged in the visual impose her presence, even before her ordinaire de la Grande Ecurie that had arts.” Titian had already depicted Venus first appearance.... In her opening duet been left vacant by Jean–Louis Brunet. holding a small recorder (in Venus and with Adonis, she shows herself to be a Further, Philibert was called ‘joueur the Lute Player, c.1565-70). In Robert powerful musical temptress. Recorders de flutte ordinaire du cabinet du Roy’ Greene’s play The Comicall History of accompany only her vocal line....” or ‘flutte,’ a designation that normally Alphonsus (c.1587-88), Venus takes pity Incidentally, Davis later married meant recorder and thus in no way on Calliope, who has been shunned James Paisible, the most celebrated specifies when he began to play the by her fellow Muses, and asks her to recorder player of the age. transverse instrument.” Amen to that! “entertain Dame Venus in her school” Finally, in the prize contest settings As always, we need to get our termi- by playing her pipe. In Albion and from 1701 by John Eccles, Daniel Purcell nology about flutes and recorders straight. In France the recorder had been called flute since at least 1426, and that term continued into the early 18th century, alongside a new term, flute douce, first documented in Mersenne (1636). The Renaissance French name for the transverse flute, flute d’Allemagne, persisted into the 17th century, where it is found in an inventory of 1640; Lully used the same term in 1681 in his ballet Le Triomphe de l’Amour, LWV59 (perhaps the first documenta- tion of the Baroque type of flute). In short, the archival and musical evidence strongly suggests that Philibert and Descoteaux were hired as recorder players, then later—after the invention of the Baroque flute—began to concentrate on that. This is not the place to lay out all the research, but I do want to say that archival research demands becom- ing intimately familiar with all the records from a period and place, in order to understand the significance of any single document. I went quickly through the records for Descoteaux collected by Benoit and was rewarded with a docu- ment from 1688, naming him specifical- ly as “joueur de hautbois et fluste douce May 2007 37 concerto is that in B for two recorders, Nikolaj Tarasov, who has rapidly become The English flageolet two oboes, strings and basso continuo, a leading researcher in our field (see TWV54:B2. She could also have cited the also the four other contributions by him famous trio sonata by Quantz for reviewed in this compilation). Although began in the late recorder, flute and basso continuo, several earlier researchers—including QV2: Anh.3; or Johann Fischer’s Marianne Betz, David Blanchfield, Musikalisch Divertissement, for “Violen / Dietz Degen, Denise Feider, Douglas 18th century with Hautbois oder Fleutes douces,” MacMillan, Hermann Moeck, Richard published in the city in 1699/1700. Thompson and Martin Wenner— But perhaps Dresden had recorder have looked at aspects of the 19th six finger holes, then players after all. The court employed century before, it has remained a murky a group of Hautboisten who arrived cave in which exotic duct flutes such as from Vienna in 1696 that included five czakans and various types of flageolet, developed a seventh finger musicians actually called Hautboist and a handful of allegedly anachronistic six called Flutti or Flautenisten (four of recorders, and a torrent of little-explored them with French names). By 1698, compositions created a mud bath. hole and a thumb hole. only two Flautisten were left, and in 1709 Tarasov cleans out the cave and shows they were named Hautbois. how orderly the history of that century Oleskiewicz goes on to say that “in was in a magisterial two-part survey Anyone say “recorder”? court pay lists, the term Flautenist article, written for a general early-music continued to denote certain other magazine in Germany. Indeed, he and John Weldon—Gottfried Finger’s players in the Dresden Hofkapelle bravely begins by declaring: “around does not survive—of William Congreve’s through the first two decades of the 1750 begins an especially rich chapter The Judgment of Paris, “Venus has no eighteenth century, where, in every case, in the history of the recorder.” Bravo! trouble communicating her merits to the the Flautisten are named alongside His conclusions, briefly. What we amorous shepherd. She employs musical players specified as Hautbois or Flute would recognize as a recorder, a duct gestures marked as seductive through allemande. It is clear, however, that the flute with an octaving thumb hole and years of use—minor keys, recorders and Flautenisten must have been of lower seven finger holes, was performed right transverse flutes, balanced phrases, stature, for they are consistently kept through the 19th century and over- ground basses, running eighth-note bass distinct from and are considerably less lapped with the 20th century “revival.” lines, chromaticism—to sway the heart well paid than players of the transverse The czakan was simply a recorder in of her ‘gentle Swain.’” “From Whore to flute and first oboe.... Whether recorders the unusual key of A , originally with Stuart Ally: Musical Venuses on the Early or transverse flutes, the instruments walking-stick attachment, and associ- Modern English Stage,” in Musical Voices that the Flautenisten in the court’s ated primarily with the Austro- of Early Modern Women: Many-Headed ensemble played at this time were Hungarian Empire. The English flageolet Melodies, ed. Thomasin LaMay, Women presumably the types developed during began in the late 18th century with and Gender in the Early Modern World the late seventeenth century....” six finger holes, then developed a (Aldershot & Brookfield, VT: Ashgate, Oleskiewicz, “The Flute at Dresden.” seventh finger hole and a thumb hole. 2005), 171-85. Erich Tremmel devotes a long and Anyone say “recorder”? In the late Baroque era, the Saxon closely argued article to the question The most successful instrument— court at Dresden became a leading center of what Telemann meant by the term mostly because it was louder—was the of music-making, featuring some of the Quartflöte. If Quart = fourth can be taken French flageolet, which retained its finest performers in Europe, including for granted—in one case he deduces that earlier arrangement of two thumb holes the flutists Pierre Gabriel Buffardin and it should really be a third—then we have, and four finger holes. All these instru- Johann Joachim Quantz. So prominent appropriately, four possibilities for the ments eventually developed keywork did the transverse flute become at instrument: recorder a fourth lower than and an extended range, in the manner Dresden, so early in the 18th century, usual, recorder a fourth higher than usu- of contemporary flutes and oboes— that—according to the researches of al, flute a fourth lower than usual, and not to mention novel ways of dealing Mary Oleskiewicz—the full term for the flute a fourth higher than usual. with clogging (see the article reviewed instrument (flauto traverso or flute alle- His conclusion is surprisingly simple: below). The quality varied from pro- mande) was soon shortened to flauto, except for the case mentioned above, fessional down to instruments for which had previously designated the Telemann meant a flute a fourth beginners and schools. Sound familiar? recorder. “When a composer desired higher than usual (in g´ rather than d´). “All duct flutes of the Classical and the recorder, he usually called for it quite If he wanted a higher recorder he used Romantic eras use longer Mensuren” specifically, using such a term as flûte the term flauto piccolo. “Die ‘Quartflöte,’ than almost all earlier instruments— à bec.... And although no instrumentalist insbesondere in Werken Telemanns,” in or, in other words, are longer and in Dresden is ever specifically named Telemann und Bach: Telemann–Beiträge, narrower for a particular pitch level. a player of the recorder ... its presence herausgegeben von Brit Reipsch & This principle was used in some early is documented by two recorder parts Wolf Hobohm (Hildesheim: Georg 20th-century German recorders, and has in an early group concerto by Georg Olms, 2005), 243-71. now found its way into the modern Philipp Telemann, performed at court, In the space at my disposal I can “harmonic” recorder. The advantage to cite just one example.” The Telemann hardly do justice to the next article, by is that it overblows as pure overtones— 38 American Recorder also a feature of the modern “Ganassi Repertoire Erik Albertyn notes that both Johann recorder” (see below). After taking his leave from editorship Mattheson and Telemann described The czakan, then the French of The Recorder Magazine (publication of the Court orchestra in Hanover as a flageolet, enjoyed widespread popu- the Society of Recorder Players in the leading contributor to the development larity, attracting a number of charis- U.K.) to devote himself to research, of “the international Baroque style”— matic professionals. “Blockflöten im Andrew Mayes immediately presents us apparently a mixture of French, German 19. Jahrhundert: Fiktion oder with some fruit of his labors: an article and Italian style traits—although little Wirklichkeit?” Concerto 22, no. 12 about Marc–Antoine Charpentier’s research has been done on this question. (December 2005-January 2006): 28-31. Messe de Minuit pour Noël (Midnight Drawing on his doctoral dissertation, James Dean (1931-1955) was a Mass for Christmas Eve), H.9, written Albertyn goes on to present information charismatic young actor who made three around 1695. This Mass is based on about the orchestra’s composers and celebrated movies in the course of a year noëls, French pastoral sacred songs that performers as well as the nature of its (“East of Eden,” “Giant” and “Rebel had a tradition going back to the Middle repertoire during the period 1689-1717, without a Cause,” the last of which gave Ages. It is scored for four-part chorus when the orchestra was at its zenith. a catchphrase to his generation), then (SATB); SSATB vocal soloists; two flutes; In 1680, the orchestra consisted only he was killed in a highway accident. the typical French string ensemble (one of strings, but by 1688 it had attracted In “East of Eden” Dean is shown shirt- violin part, two viola parts, and three French oboists—increased to four less, sitting on his bedframe, playing one cello part); and basso continuo. by 1698, largely replaced by Germans a tenor recorder, and that memorable Of course, we immediately want to by 1710. One of the oboists listed pose was made into a poster which know the identity of the flutes, and in 1688, also a Court copyist, was circulated widely after his death. I want to know what terminology Charles Babell, an important inter- Nikolaj Tarasov has unearthed three Charpentier used elsewhere. Mayes tells national figure as woodwind player and other pictures of Dean playing the us that the composer wrote parts marked copyist whose life had not previously recorder, each with its own story. One flute douce, flute à bec, and flute, which been traced back before 1697-87. shows him on a postcard, holding the “all ... fall within the compass of either The orchestra’s repertoire included a same tenor (a Swiss-made Küng) with alto or tenor recorders,” as well as parts number of suites in the French style by an awkward grip, as if he were just marked flute allemande. Since I have such composers as Clamor Heinrich beginning to play it. But he practiced never met a French flute (unqualified) Abel, Jean–Baptiste Farinell (Farinelly), hard, and by “East of Eden” he was fluent before the early 18th century that meant and Stephan Valoix. But in Albertyn’s enough to be photographed jamming anything other than recorder, and treatment of the repertoire, questions of with his co-star, the folk singer Burl Ives. recorders are certainly associated with terminology arise once again. When was Finally, a photographer captured him the shepherds who are frequently a “flute” not a flute? sitting next to his bed, playing a newly mentioned in noël texts, I would con- For example, he writes: “The 8th bought alto (made in the U.S. by William sider this Mass an open-and-shut case. Suitte [of Valoix] introduces two flutes Koch), and “reading” some music from Still, Mayes brings up one problem: and oboes, indicative of the increase a chrome music stand without his the first flute part fits an alto recorder, in orchestral forces introduced from customary thick glasses, because they typically low in range, but the second 1680.” But the suite is in F major, a would have spoiled his film-star image. flute part has a couple of instances of typical recorder key, and French Another co-star in “East of Eden,” e´ in an exposed place. Mayes concedes oboists doubled on recorders rather Julie Harris, described him in this that the second part could be played than flutes until at least the 1680s. To manner: “a very brilliant actor and a on a tenor recorder, but counters that discover the intended instrument we luminous young man. I can still see Charpentier never actually indicated a would need to know the terminology him, learning to play Bach on his tenor in any of his manuscripts. for the “flutes” in the manuscript and recorder, looking like an angel on This is not really an objection, the range of the parts. earth”—and she wouldn’t have known because Lully also rarely mentioned Similarly, Albertyn assumes that the association between angels and recorder sizes, relying on the range Farinelly’s “Livre pour flute,” mostly recorders in early painting, poetry, and and clef to indicate the appropriate single parts taken from orchestral suites, music. “James Dean & Blockflöte: instrument. I looked up the facsimile was compiled for the flute—but 1709 is ‘Jimmy ist anders,’” Windkanal 2005-3, of Charpentier’s autograph manuscript, a little early for that, and the keys of the 14-16; expanded version available and discovered that it uses the French movements favor the flat side of C major, at May 2007 39 of performers playing one-on-a-part. as always are treated as transposing Michael Marissen (1985) that Bach’s Naturally, this practice made concertos instruments in (high) A.” Sonata for flute and obbligato harpsichord into chamber music rather than exem- The corrupt features of the text of in A Major (BWV1032) was originally plifying the “soloist versus orchestra” John Baston’s Six Concertos in Six Parts written as a trio sonata in C major for concept we know from later periods. for Violins and Flutes viz. A Fifth, Sixth alto recorder, violin and basso In passing, Maunder mentions a and Consort Flute (Walsh & Hare, 1729) continuo. I particularly appreciated number of recorder concertos. “Flauto lead Maunder to remark: “The set as a Tarasov’s fair-minded summary of the Primo” and “Flauto Secondo” parts are whole gives the impression that it was state of research about the fiauti d’echo found in one movement only—the first put together without the composer’s in Bach’s Fourth Brandenburg Concerto. movement of No. 2—from Francesco knowledge by the publisher, who made a The second part of the article— Venturini’s Concerti di camera a 4. 5. 6. 7. poor job of the edition.... It is a great pity alas not the first—contains a handy table 8 e 9 instromenti, Op. 1 (Amsterdam: that these attractive concertos for various summarizing titles, BWV numbers, Estienne Roger, 1713/14). Maunder sizes of recorder were so ill-served....” dating and instrumentation. An English finds that curious, adding “so it is possi- The title page of William Corbett’s Le translation of the article will appear this ble that they switched to oboes at least Bizzarie universali (Walsh & Hare, 1728) year (2007) in The Recorder Magazine. for the rest of No. 2....” Of course, that says they may be performed “in 3 parts: “Die Blockflöte bei Bach,” Windkanal was standard practice for oboists in the 2 Hautboys[,] Flutes or German- 2005-2, 6-12; 2005-3, 18-24; late Baroque. Flutes” (two oboes, recorders, or flutes). expanded version available at Johann Christian Schickhardt’s VI Maunder notes that the revised edition of 40 American Recorder mid-1720s, when they began to circulate only in The Recorder Magazine 25, no. 1 in manuscript copies, and engraved (spring 2005): 13-15. [Note: see review some time in late 1727 or 1728.... it is of this rondo later in this issue.] even possible that the collection was one Dale Higbee discloses that his favorite of Telemann’s first engraving efforts.... piece of 20th-century recorder music is [Probably] Telemann never issued the the slow movement, Lento recitativo, collection to the general public, but from the Sonatina for Treble [alto] instead distributed copies in the late Recorder or Flute & Piano by the Aus- 1720s among various patrons, tralian composer Peggy Glanville–Hicks colleagues, and acquaintances.... In this (composed in 1939). He adds, disarm- way, he could have tested the waters for ingly, “The two outer movements are the unusually ambitious instrumental pleasant enough, but I think this ‘Lento’ collections he would soon issue, while is a real gem, and I have performed it as working toward perfecting his engraving a separate piece many times....” technique.” “Telemann in the Market- He offers as the major reason for the place: The Composer as Self-Publisher,” work’s neglect “the scoring,” by which Journal of the American Musicological he seems to mean the puzzling keyboard Society 58, no. 2 (summer 2005): part. Although Carl Dolmetsch’s accom- 275-356; The Ensemble Sonatas of panist Joseph Saxby gave some early Georg Philipp Telemann: Studies in Style, performances on the harpsichord, Genre, and Chronology, 2 vols. (Ph.D. “A glance ... reveals that the keyboard diss., Cornell University, 1995). part has many long-sustained chords, Dale Higbee discloses John Turner, that indefatigable pro- impossible on the harpsichord and really moter of modern British recorder music, not very practical on piano either.... that his favorite piece of remarks that most of the 19th-century I have played it many times ... with flageolet repertoire is “in general short organ accompaniment ... and audiences 20th-century recorder and unaccompanied, and frequently of a always love it.” “Glanville–Hicks’ didactic nature ... hardly suitable for reg- Sonatina, a Neglected Gem in the music is the slow ular concert performance.” He therefore Recorder Repertoire,” The Recorder Mag- reports his pleasure at having acquired azine 25, no. 4 (winter 2005): 119-20. movement, Lento for his own collection The Nightingale: a John Turner continues his series of favorite military air arranged as a rondo for surveys of the recorder music of contem- recitativo, from the the piano forte with an accompaniment for porary British composers by looking at the flute or [octave] flageolet by John Parry: Christopher Ball, also well known as a Sonatina for Treble [alto] “an exceedingly rare example of a British recorder player, conductor, clarinetist piece from the 19th century for a duct and photographer. Turner explains that Recorder or Flute flute and piano, a valuable addition to Ball gave up composing after his teens, the recorder repertoire [when suitably “in the rarefied avant-garde musical & Piano by the modified], and one whose intriguing climate of the 60s and 70s,” then history can be here partially revealed.” returned to it in the last 15 years, “when Australian composer The title page notes that the work was he realized that other composers had “performed with the greatest applause been continuing to write light classical Peggy Glanville–Hicks. at the Bath concerts by the celebrated music in a traditional style, aimed at Miss Randles and the author.” a much wider audience.” Parry was a well-known composer, Turner looks in detail at Ball’s con- teacher and performer on the flageolet, certo for recorder and string orchestra— flute and clarinet; his student Elizabeth at 28-30 minutes long “one of the Randles, whom Parry dubs “the longest (if not the longest of all concertos Cambrian musical prodigy,” was a for the recorder [and] certainly one of the pianist who began performing in most delightful and rewarding to play public at the age of two. Randles, her as well as beguiling to listen to).” He blind father Edward (a harpist), and devotes less detail, but no less enthusi- Parry made a lucrative tour of “all parts asm, to Ball’s other recorder works, of the kingdom” when she was seven. including Pagan Piper for solo tenor Since the excerpt from The Night- recorder, which depicts “the great god ingale given in the article does not seem Pan ... Spreading ruin and scattering as “substantial” as the author claims, ban” (in the words of Elizabeth Barrett I look forward to seeing the entire piece Browning), and its companion piece for us all to judge. “John Parry’s Night- Pan Overheard for solo alto recorder. ingale: a British Nineteenth-Century In general, “the harmonic language Concert Piece for Duct Flute,” British breaks no barriers, and is simplicity Music, no. 27 (2005): 54-64; first section itself,” but the pieces are full of May 2007 41 Composer Allan Rosenheck (Photo courtesy of Windkanal) character with tunes miniature: Aus New Orleans for recorder Performance Practice and Technique you can whistle. “The quartet. Eventually, the Amsterdam At the beginning of the entry for Recorder Music of Loeki Stardust Quartet commissioned “Recorder” in Roland Jackson’s Christopher Ball,” a work from him: a sure sign of performance-practice dictionary I was The Recorder Maga- having “made it.” astonished to read: “an early Latin zine 25, no. 2 (sum- He counts himself fortunate that in poem (c.1160), referring to fistulae in mer 2005): 43-49; Europe, in his compositions “I was harmoniae, seems to indicate that 25, no. 3 (autumn and am exotic.” “Allan Rosenheck: [recorders] were used in consorts.” 2005): 77-85. Musik im amerikanischen Stil,” That would really be something: a On the occasion Windkanal 2005-2, 22-25. recorder consort in the 12th century, of his 75th birth- In December 2003, when a Steve considering that all other evidence day, Hans–Martin Reich festival was scheduled at the con- discovered so far shows the instrument Linde was inter- servatory where she teaches in The being developed two centuries later. viewed about the Hague, Reine–Marie Verhagen observed I wrote to Professor Jackson to ask origins of two of his that Reich hadn’t written anything for the him where he found this quotation, and “endearing miniatures,” Music for a Bird recorder. So she and her students under- he pointed me to Horace Fitzpatrick’s and Märchen. The former was commis- took a fascinating project. They picked article “The Medieval Recorder” (1975). sioned by a Japanese mime who wanted Vermont Counterpoint (1982), a work for There the phrase, actually fistulae in a piece to play while dressed up as a bird, amplified flute/piccolo/alto flute and a accord harmoniae, is said to come from “but please for recorder solo, as that tape with 10 pre-recorded “layers” of “an anonymous English poem in Latin,” would be cheaper than if he had to have these same instruments, and rearranged but the poem is not identified and a whole ensemble with him....” Linde re- it as a piece for recorders: soloist and an remains to be traced. ceived his honorarium by check, but nev- 11-piece ensemble. She briefly describes In any case, fistulae was a general term er heard anything further from the mime. the problems of making the arrange- for pipes. Thomas J. Mathiesen, director As for Märchen (Fairy tale), its non- ment, then rehearsing it. A published of Indiana University’s Center for the sense text was a poem by the Austrian version of the arrangement is “in the History of Music Theory and Literature, dadist Hans von Flesch–Brunningen: planning stage.” “Steve Reich für tells me that as it stands, the phrase is “Saplir / Rumpala Menti / Tschink–Wa / Blockflöte?” Windkanal 2005-2, 14-15. ungrammatical Latin and suggests the Wh.” “But I find it a very striking Anthony Rowland–Jones had the possibility of a Middle English source. poem, not only because at first sight it opportunity to interview Nicholas Mathiesen also notes that there are sounds so strange and perhaps a Marshall right after the first performance numerous passages in Latin treatises of little bit crazy, but it’s an astonishing of his recorder sonata—a rarity in the the period in which fistulae are described mixture of what also occurs in fairy tales, modern world. Marshall remarks, as sounding together, in the manner of namely educated speech and the vernac- frankly: “By its nature I feel the recorder organum, or simply “harmoniously ular.” Siegfried Busch, “Hans–Martin is suited to lightweight writing, arranged, one to another.” Linde zum 75. Geburtstag,” Windkanal and modern works of this type abound. Both situations would have been 2005-2, 16-17. Also, its small dynamic range makes different from the modern concept of a According to Nikolaj Tarasov, it hard to write expressively. I wanted “consort”: a matched set of instruments “Allan Rosenheck has made a name for to set myself the challenge of writing of various sizes. (Such a grouping goes himself as a composer of original, a fairly extended piece that was not back to the 15th century, although the entertainment pieces for recorders. His of the lightweight type, and to explore word “consort” used in this sense does unmistakable, entertaining American the greater range of expression made not appear until the late 16th.) style is especially beloved among ama- possible by combining the recorder Unfortunately, the remainder of teur ensembles.” I wondered why I had and piano.” Marshall did not know Jackson’s entry is marred by a number never heard of Rosenheck (b. 1938), any other works for recorder and piano, of other doubtful or incomplete state- until I quickly learned from Tarasov’s except the Sonatina of Lennox ments. “Recorder,” in his Performance interview with him that he worked as an Berkeley, whose student he was. He just Practice: A Dictionary–Guide for acoustical engineer, emigrated to “listened to a lot of contemporary Musicians (New York: Routledge, Switzerland in 1972, and took up com- recorder music by various, mainly 2005), 333-35. posing seriously only after moving there. British, composers before starting on this Annette Ziegenmeyer writes about As for the “American style,” sonata.” Extended techniques? Not yet. employing electronic delay-effect Rosenheck comments that “Swinging, “Interview: Nicholas Marshall,” The devices with the recorder—something tonal big-band music and musicals Recorder Magazine 25, no. 4 (winter that I heard the jazz trumpeter Don Ellis struck me the most. Jazzy rhythms 2005): 125. making striking use of in the early 1970s. are ‘normal’ for me.” She calls a piece she has written He discovered the recorder in Switzer- The Delayed Flute. So why the delay? land, when an acquaintance who direct- “The Delayed Flute—Das Spiel mit dem ed a large recorder ensemble asked him eigenen Echo oder: Einfache Technik to write something original for it. Soon macht Spaß,” Tibia 30, no. 1 (2005): followed such classics of Americana as 356-59. the Wildwest–Suite for recorder quartet and percussion, and the Suite en 42 American Recorder Instruments belonged to the Schnitzer family, and Adrian Brown’s article on the Ganassi several variants of the !! mark, which I One useful feature recorder, published in German in 2005, have associated with the Bassano family. was recently published in its original Brown suspects that many other English version in American Recorder Renaissance recorders would also of Bolton’s article is a (November 2006). Nevertheless, respond to Ganassi’s fingerings, but for because his work is so thorough, the moment either he has no confirmed well-informed, and open-minded— data or the current state of an instru- series of graphs he has and the topic is so significant—it’s ment’s voicing would not allow any worth repeating his conclusions here: objective testing (Vienna KHM SAM 147 and SAM 152 would fall into this latter There seems to be little evidence to category). “Die ‘Ganassiflöte’—Tat- prepared, demonstrating support our accepted view that there was sachen und Legenden,” Tibia 30, no. 4 a separate type of Renaissance recorder (2005): 571-84; e-mail correspondence. made with the specific aim of increasing The French recorder maker Philippe the harmonic spectra of the recorder’s upper range. That some Bolton compares 16th- and 17th- players (like Ganassi) were interested in century recorder fingerings, coming to expanding the range with some extra the same conclusion as Brown about the a “Ganassi soprano” notes is understandable, but any unsuitability of the “Ganassi recorder” direct connection between Ganassi and for 17th-century music from the view- the recorder SAM 135 in [the Kunst- point of fingerings and acoustics. (By this (yes, scaled accordingly) historisches Museum] Vienna must term Bolton means an instrument with a remain pure speculation. SAM 135 was cylindrical bore and flared bell that plays probably part of a four-recorder with Ganassi’s high-note fingerings.) consort, where it would typically have First, Bolton sets out clearly the basic and a Haka soprano been used as one of the middle voices of principles of recorder acoustics: the [the] consort. instrument has up to four registers Many other recorders survive that or modes, which enable more than two from the 17th century ... share features of this instrument and octaves of notes to be produced using could claim to “play” Ganassi’s high- suitable fingerings. note fingerings, but that almost cer- Unfortunately, without saying so, tainly belonged to a larger consort.* Bolton uses C fingerings throughout for The “Ganassi” recorder as we know purposes of comparison; that practice it was actually “invented” in the 1970s, and his caption “soprano Ganassi following ground-breaking research recorder” may inadvertently give the by several makers. The [Fred] Morgan impression that Ganassi wrote about a design became the most prominent, soprano in C—when in fact he mentions both through recordings and concerts by the basso (basset) in F, tenore (tenor) celebrated players, and ... his generous in C, and soprano (discant) in G. The distribution of the drawing he made C-soprano (in modern terminology) in Vienna. It has since become a seems to have been a product of the favored part of the modern recorder early 17th century, not the Renaissance. player’s arsenal and has had more than It would have been better for Bolton to 40 pieces written specifically for it. use the usual convention of large Roman numerals to refer to relative pitches on *He writes earlier in the article: recorders (I is the fundamental note, “In fact, it does appear that approximate- VIII its octave, XV its double octave, ly 12% of all surviving Renaissance etc.). Let us use it here now. recorders will play Ganassi’s high notes.” In Ganassi’s three fingering charts He has now kindly provided me with a showing “seven notes more than usual” list of all such recorders he has tested (seven pitches above the customary himself (in addition to Vienna KHM upper limit of XIII), four different 135): Bologna AF 594; Brussels M1032 fingerings are given for XIV (0/ 1 - 3 - 5 6 7, and M1034; Braunschweig 81; 0/ 1 - 3 - 5 6 7/ , 0/ 1 2 - -5 6/ -, 0/ 1 - 3 - 5 6 -), Hamburg 1924.206; Merano 6851, two for XIV (0/ 1- - - - 6 -, 0/ 1- - -5 6 -), and 6854, and 6858; Paris E.1935; Rome two for XV (0/1 2/ 3 4 5 6 7, 0/ 1- - -5 - -). 717; Vienna KHM SAM 138, SAM 146, (Bolton misses two of the fingerings for and SAM 363. They comprise one alto, XIV and gives a third for XIV that I five tenors, six bassets, and one bass— don’t spot in the tables; Brown mentions a proportion that reinforces his belief the second for XV, “which today would that they were made as consort instru- be considered close to the standard ments. The maker’s marks are ÂÂ, which ‘Baroque’ fingering for this note.”) May 2007 43 The critical note is XV, fingered in the The contents include full biographies I have never seen first instance as a fourth partial of I. of all known Dutch makers of the Already in 1556, Philibert Jambe de Fer period and separate chapters on each presented the “Baroque” fingerings for type of instrument. The chapter on XIV (0/ 1 2 - 4 5 6 -) and XV (0/ 1- - 4 5 6 -), recorders and flageolets covers: such a thorough which are based on the third partial of III. (1) early recorders: from the Middle Ages Bolton rightly notes that “No men- to the 17th century; (2) early Baroque tion is made of Ganassi or his fingering recorders; (3) Baroque recorders; (4) use treatment of a for [the equivalent of] high C from the of material, damage, adjustments, and middle of the 16th century onwards.” repairs; (5) characterization of the (Girolamo Cardano, c.1546, cites turnery and other external features; Ganassi for the “seven added tones,” (6) windways, blocks, step-heights, reproducing 0/ 1- 3- 5 6 7 and 0/1- 3- 5 67/ windows and labia; (7) bore profiles; body of instruments correctly for XIV , but then giving a new (8) playing features; (9) sopraninos; fingering, 0/ 1 2 3 - - 6/ -; and also repro- (10) sixth flutes, sopranos and third ducing both of Ganassi’s fingerings for flutes; (11) altos; (12) voice flutes and and their makers before. XIV and his famous first fingering tenors; (13) basses; (14) walking-stick for XV, 0/1 2/ 3 4 5 6 7.) recorders; (15) double recorders; One useful feature of Bolton’s article (16) french flageolets; (17) a compre- is a series of graphs he has prepared, hensive survey of the extant recorders by demonstrating the harmonic spectra of a maker; and (18) concluding remarks. “Ganassi soprano” (yes, scaled accord- I have never seen such a thorough ingly) and a Haka soprano from the 17th treatment of a body of instruments and century, showing clearly that “the inten- their makers before—and Bouterse also sity, and sometimes the number, of sig- covers flutes, oboes and Deutsche nificant partials is greater on the [Haka] Schalmeien, dulcians, bassoons, ... giving a richer sound spectrum.” As a and rackets, chalumeaux and clarinets footnote, Bolton reproduces Virgiliano’s in the same depth. An essential book. fingering chart from c.1600, remarking “The Woodwind Instruments of that it uses “Ganassi type fingerings for Richard Haka (1645/6–1705),” in the top notes.” In fact, Virgiliano goes up From Renaissance to Baroque, 63-72. only to XIV , fingered 0/ 1 - - - 5 6 -, which Peter Thalheimer brings to light an is Ganassi’s second fingering for XIV. interesting chapter in the history of the A confusing business? Yes, indeed, recorder in modern times: the use of but I hope to have clarified some of it craftsmen from the Vogtland area of here. “XVIIth Century Recorder Finger- eastern Germany, near the Czech border, ings (Ganassi or Pre-Baroque?),” The by so-called Fortschicker (literally, people Recorder Magazine 25, no. 1 (spring who ship things off), including the 2005): 7-12. famous dealer Peter Harlan. From the Jan Bouterse’s conference paper- Vogtland craftsmen Fortschicker bought turned-article in From Renaissance to up instruments, then stamped their own Baroque consists of material that he later names on them. included in his doctoral dissertation, Thalheimer has traced the family written in Dutch (see my review of tree and careers of a family—five writings from 2002). The dissertation generations—of previously anonymous has now been published in a fine woodwind makers from the towns of English translation as Dutch Woodwind Oberzwota and Zwota: the Schlossers. Instruments and their Makers, 1660-1760 The founder, Johann Gabriel Sr., was (Utrecht: Koninklijke Vereniging active in the early 19th century; voor Nederlandse Muziekgeschiedenis, Rüdiger, who seems to have been the last 2005). The 79-page book contains maker, died in 2005. Heinrich Oskar only an introduction, list of surviving (1875-1947), known as “the black” to instruments, summary and conclusion, distinguish him from his light-haired and table of contents. cousin of the same name, was the most The bulk of the text is found on an important member of the family, making enclosed CD–ROM, which enables the instruments sold by the firm of Moeck author to include a large number of in Celle and helping to design its line-drawings, diagrams, and no fewer Tuju recorders. “Blockflötenbau in der than 2,500 color and black-and-white Anonymität: Die Familie Schlosser aus photographs along with his comprehen- Zwota,” Tibia 30, no. 2 (2005): 427-32. sive (and searchable) text. 44 American Recorder Above I reviewed Nikolaj Tarasov’s graphic reconstruction. The newest survey of duct flutes in the 19th century. machines, known as helical or spiral Some museums In a separate article Tarasov demon- CT machines, can process continuously strates that 19th-century makers made a changing slices, then integrate all the are now using signal contribution to overcoming that data to create a three-dimensional perennial problem of duct flutes: picture (“3D-CT scan”), viewable from condensation in the windway, resulting multiple viewpoints and resolutions. the 3D-CT in clogging. He notes four different solu- Some museums are now using the tions. First, as found on czakans by Carl 3D-CT method to scan archeological method to scan Doke of Linz and Martin Schemmel of objects. Klaus Martius and Markus Vienna, a thin wooden wedge is inserted Raquet write about its application to into the windway. Second, as found on musical instruments, which can be archeological objects. czakans by Franz Schöllnast of Pressburg scanned completely without being and Johann Ziegler & son of Vienna, two dismantled or even touched. Hidden computer tomography that came out little holes are drilled in the side of the details, including the inner structure around the same time as Weber’s. block, draining into channels below. (and damage) become visible, and all After being informed by Martius about Third—in the most complex solu- dimensions can be measured precisely. his 3D-CT work with the Kinsecker tion, apparently developed by Stephan The authors describe how the method recorder, Moeck undertook its own Koch of Vienna—the moisture builds was used to create pictures of a discant work on two instruments in the Moeck up inside the hollowed-out block, from recorder from the celebrated seven-part Collection—Baroque alto recorders by whence it is diverted into a small tube, consort made in the 17th century by Anciuti and Rippert—using a medical while through low pressure and friction Hieronimus Kinsecker (Germanisches tomograph with admittedly “compara- the “dried” air moves on into the nor- Nationalmuseum Nuremberg, Inv. No. tively poor resolution.” Unfortunately, mally shaped windway. Fourth, both MI 99). As a footnote, the article men- the Rippert recorder turned out to have a English and French types of flageolet tions that the data can be transferred to second, previously unknown, crack in use a simple, standardized method: another device that creates an exact its lip. a wind chamber in which a sea sponge reproduction of the original object, a In general, Haase finds it “of the is inserted to mop up the moisture. “stereolithographical” model, made of greatest importance that for every cross- Tarasov concludes: “The collected a photo-sensitive resin. Whether such section” of an instrument, “with a special systems of moisture-prevention in a model would be of practical quality computer program any distances, 19th-century duct flutes fell into obliv- remains to be seen. diameters, radii, or angles can be ion after the viruses of both World Wars Finally, the authors make a plea measured exactly”—more exactly in fact and have remained there to a certain for financial partners: the method than with conventional measuring extent until today.” “Bahn frei! Kreative is, of course, shockingly expensive. methods, which also tend to damage the Blockkonstruktionen im 19. Jahr- “3D- Computertomographie: Modernste instrument. hundert,” Windkanal 2005-4, 14-17. Dokumentation von Holzblasinstru- 3D-CT could also prove useful in Rainer Weber writes about menten,” Windkanal 2005-3, 6-12. computer-aided design (CAD). Never- “a Baroque treasure”: an ivory sopranino In a follow-up article, Rainer Weber theless, he concludes, the expense of recorder in the possession of the Richard says he appreciates this new technology 3D-CT and the safety problems asso- Wagner Museum in Lucerne, Switzer- but also sees its limitations. Because of ciated with X-rays will limit its role in land (Inv. No. 114). The instrument once the shrinkage of wood over the centuries, modern recorder-making. “Computer- bore a maker’s mark, perhaps beginning measurements can never represent the tomographie—eine moderne Methode with D, but that has faded with time. original instrument accurately (this is zur exakten Vermessung von Block- It was probably made in Nuremberg true of all methods of measurement). flöten,” Tibia 30, no. 4 (2005): 606-13. in the second half of the 17th century, Another method of studying old perhaps by one of the Denner family. instruments, pictures taken using an Acknowledgments: For sending me Unfortunately, the foot joint is endoscope (a medical device with a light sources and providing other support during missing. Weber describes the problems attached), makes visible the working the preparation of this review I would like to involved in reconstructing one, and process left behind on the inner surfaces thank Sabine Haase–Moeck and Moeck attempts to do so. Rainer Weber in of old instruments. These surfaces Musikinstrumente + Verlag, Hans Maria Zusammenheit mit Eckhard Bohringer, constitute an important component of Kneihs and ERTA Österreich, Nikolaj “Eine barocke Kostbarkeit,” Windkanal the sound of an instrument, which Tarasov and Conrad Mollenhauer GmbH, 2005-3, 26-28. cannot therefore be understood from Jan Bouterse, Jeremy Burbidge, Adrian Computed tomography, or CT— any resin model. “3D-Computer- Brown, Bernard Gordillo, Roland Jackson, formerly known as computed axial tomographie: Ergänzungen und Thomas J. Mathiesen, Patricia M. Ranum, tomography, or CAT—is a familiar term Anmerkungen zum Artikel in Windkanal Anthony Rowland–Jones, Thiemo Wind, in the field of medicine (“CAT scan”). 2005-3,” Windkanal 2005-4, 12-13. and my colleagues in the William and Gayle X-ray “slices” are generated by passing an By coincidence—or it is part of the Cook Music Library at Indiana University, object between a source and a sensor, Zeitgeist?—Ronald Haase, sales and especially Michael Fling and Philip Ponella. then the slices are combined using a technical director of Moeck Musikinstru- mathematical method called tomo- mente + Verlag, wrote his own article on May 2007 45 CHAPTERS & CONSORTS ______’Tis the season for ... workshops, ______plus special touches for chapter meetings The February meeting of the Austin (TX) A free mini- chapter included a personal touch. workshop on A consort of recorderists was to play February 17, Glen Shannon’s Quartet No. 1 at the jointly sponsored chapter’s monthly meeting. by the Tucson Meeting program pieces are listed Recorder Soci- beforehand on the group’s web site, ety and the On January 27, the Mid-Peninsula Recorder Orchestra (MPRO) sponsored a workshop with Venezuelan recorder virtuoso Aldo Abreu (center, flanked by MPRO director Fred Palmer and workshop organizer George Greenwood), entitled “Musical Treasures from North and South of the Equator.” The northern music included an organ transcription of J.S. Bach, an echo fantasia by Sweelinck, and the four-choir Omnes gentes by Gabrieli. From the south, Abreu led MPRO through traditional and contemporary Venezuelan pieces (though Venezuela is not actually in the Southern Hemisphere), an Argentine tango, and the African-inspired piece, Foursome by contemporary South African composer Paul Loeb van Zuilenburg. 46 American Recorder should not be afraid to make mistakes. tion to the usual suspects from the while improvising. recorder family, viola da gamba, a cor- The Greater Denver (CO) Chapter netto and a curtal. took advantage of its already-scheduled The Sacramento group was greeted in November meeting, set to be led by the morning by packets of music from Connie Primus (photo at right by Joyce Sweden, Norway, Scotland, Ireland, Lowery), to lend their kudos to those of Finland and Latvia. Compositions the ARS, which presented Primus with its ranged from arrangements of Medieval Presidential Special Honor Award chants and songs to compositions from in June 2006. During the break of the Shakespeare’s time. Musical styles varied meeting, chapter members enjoyed cake from plainchant to six-part polyphonic and a champagne toast to Primus. arrangements. Besides serving the ARS for many years, The workshop began with a session Primus has been a Denver chapter mem- for the entire group. After coffee break ber since 1968. The meeting, entitled came separate intermediate and “Cantus Prius Factus or Lend Me a advanced sessions, each featuring Melody,” included works by Josquin des instruction about the history, style and Prés, Ludwig Senfl and Benjamin Thorn. significance of each musical piece, as Hanneke van Proosdij and Eileen well as the occasional technique tip. Hadidian (the latter shown, in photo The afternoon schedule mirrored the below from Alex Ives, conducting morning, ending with a combined group. combined workshop group) introduced The two coaches alternated, so that their new workshop, “Music from the every participant had two sessions Cold North,” on a balmy Saturday, each with with Eileen and Hanneke. February 24, in Sacramento, CA. The Sacramento folks asked that, should workshop, sponsored by the Sacra- either of these professionals tire of the mento Recorder Society, had 24 San Francisco Bay area, they would musicians attending—playing, in addi- please consider moving to Sacramento! Lost in Time Press New works and arrangements for recorder ensemble Sextet by Frances Blaker: Yaquina River S,A,A,T,B, Bass VdG/Cello or Contrabass recorder Plus works by Paul Ashford CHAPTER NEWS and others Chapter newsletter editors and publicity officers should send materials Please inquire about for publication in American Recorder to: AR, 7770 South High St., Centennial, CO 80122-3122, forthcoming pieces. by e-mail May 2007 47 ON THE CUTTING EDGE ______More Music for Mixed Ensembles ollowing last issue’s column about the 2006 AR). This is wild stuff, very much Finteresting German recorder–strings– typical of Dutch bands such as Icebreaker Rosenbaum says he seeks percussion group Ensemble sYn.De or composers such as Louis Andriessen. comes information about some other The rarified atonal style of other European mixed ensemble performances here in the master composers like Helmut Lachen- to fuse Baroque and jazz U.S. Mixed ensembles are nothing new mann or Gyorgy Kurtag is worlds away for the recorder, of course. From Medieval from the rock-influenced energy of styles in his music ... times right up to the present, the recorder contemporary Dutch music. Hexnut has been included in groupings of bowed mixes sounds and styles from classical, Paul Brantley (b. 1961) and Peter Seibert or plucked strings, percussion and other jazz, metal, Indian, Balkan and cartoon (b. 1936). A highlight of the concert was wind instruments. The Baroque era trio music with plenty of theater. the premiere of a new piece, by composer sonata grouping of recorder, violin (or If you like the music of the Yotam Rosenbaum (b. 1976), entitled flute or oboe) and continuo (lute and/or Bang On a Can All-Stars, I urge you to Emotions. This piece, completed in 2006, harpsichord or organ, with ’cello or viola investigate the music of Hexnut and was written for jazz vibraphonist Dave da gamba) remains a viable ensemble Susanna Borsch. Visit her web site at Samuels and the Belladonna quartet. sound today. 48 American Recorder Order your recorder discs through the ARS CD Club! The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). All CDs are $15 ARS members/$17 Others unless marked otherwise. Two-CD sets are $24ARS members/$28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site: NEW! ____A MEDIEVAL PILGRIMAGE - A MUSICAL music and ____NOT MUCH IS WORSE THAN A TROLL TOUR OF THE MIDDLE AGES American rearrange it Ensemble Polaris: Alison Melville, recorders, Recorder Orchestra of the West 2004. Excitement for my own Baroque flute,seljefløyte; Colin Savage, clarinet, of rustic peasant dances, songs of the trouveres, instrument. bass clarinet, recorders; Kirk Elliot, violin, harp, troubadours & minnesingers, ethereal beauty of This attitude and creative process is very much at bowed psaltery, accordion,single drone bagpipe, plainsong, charming melodies of the Cantigas de home in the world of Baroque music.” Buxtehude mandolin, melodica; Margaret Gay, ’cello; Ben Santa Maria, intricate polyphony of Dunstable Op. 1, plus works by Biber, Rosenmuller, Krieger Grossman, hurdy gurdy; Terry McKenna, classical Machaut & Josquin des Pres, plus the songs of and JM (yes, M) Bach. Fafarela Recordings & steel-string guitar; Debashis Sinha, percussion. composer kings and much more. ____TASTE OF PORTIQUE L'Ensemble Portique. The group’s second CD uses a wide variety of ____MUSICK FYNE PLAYS MUSIC OF THE Features a selection of early and contemporary arrangements and instruments—from squeaky ITALIAN BAROQUE Alison Melville & Colin chamber music, recorded and performed by toys to palimpsests, duo to full ensemble. This CD Savage, recorders; with other members of Musick L'Ensemble Portique in its inaugural 2002-2003 will surprise and delight old and new fans alike. Fyne (voice, harpsichord, lute/theorbo) & W. M. Gay, ’cello. 17th & 18th century duos, trio sonatas, season. Bach, Telemann Boismortier and others. IN STOCK (Partial listing) arias, diminutions. EBS Records. ____TELEMANN CHAMBER CANTATAS ____MY THING IS MY OWN: BAWDY MUSIC OF Musica Pacifica Five cantatas from Harmonischer ____BAROQUE MUSIC FROM SCOTLAND & Gottesdienst, plus two io sonatas from Sonatas ENGLAND Alison Melville & Colin Savage, THOMAS D URFEY Tina Chancey, Grant Herreid & Scott Reiss, recorders & other early instruments; Corellisantes. 2003 Chamber Music recorders; with other members of Musick Fyne. America/WQXR Record Award for best chamber Music by Purcell & Oswald, & arrangements from Rosa Lamoreaux, soprano. Improvisations on tunes of love, sex & seduction in 18th-century England. music recordings of the year. The Beggar's Opera by Pepusch. EBS. ____TELEMANN: DUOS POUR FLUTES, ____DISTRIBUTION OF FLOWERS Cléa ____NIGHTMARE IN VENICE Red Priest: Piers Adam, recorders; Julia Bishop, violin; Angela East, Ensemble Caprice. Matthias Maute & Sophie Galhano, recorder; Tony Hauser, guitar. Latin CD Larivière, recorders & transverse flute, Alexander featuring works by Argentinian accordion virtuoso cello; Howard Beach, harpsichord. Vivaldi, Corelli, Purcell, LeStrange and others. Dorian. Weimann, clavichord. Six Telemann duos & sonatas Astor Piazzolla, The History of Tango, & Brazilian alternate with five fantasies for clavichord by Maute. composers including Villa Lobos, Pixinguinha, ____PARTY OF FIVE: A FEAST OF VIVALDI AND TELEMANN Blue Baroque Band: Cléa ____TRIO ATLANTICA Lisette Kielson, recorders. Hermeto Paschoal, Waldir Azevedo. Ten Works by Bach, Telemann, Montéclair, Leclair. Thousand Lakes. Galhano, recorder; Daria Adams, violin; Kathryn Greenbank, oboe; Layton James, harpsichord; ____20TH CENTURY MUSIC FOR RECORDER ____DOLCE MUSICA: A CONTEMPLATIVE & PIANO Anita Randolfi, recorders; Marcia Eckert, JOURNEY Eileen Hadidian, flutes & recorders; Charles Ullery, bassoon. Blue Baroque Band has a unique sound, with the old sounds of recorder piano; Douglas Lima, piano; Mary Barto, flute. Natalie Cox, harps. Celtic, Renaissance & Original music from the first decade of the 20th Medieval melodies for recorder & flute with Celtic and harpsichord juxtaposed with modern oboe, bassoon and violin.Telemann: Concerto in A minor, century through the 1960s composed for recorder harp. Healing Muses. and piano. Works by Jacob, Bartok, Leigh, others. ____DREAMS INSIDE THE AIR TUNNEL TWV43:a3 & Trio Sonata in A minor, TWV 42:a4. ____VIVALDI: THE FOUR SEASONS Red Priest: Zana Clarke, recorder & composer. “Drawing on the Vivaldi: Concerto in D Major, RV94; Concerto in G Piers Adams, recorders; Julia Bishop, violin; music of the didjeridu & shakuhachi...beautiful & Minor, RV107; Concerto in G Minor, RV103. Angela East, ’cello; Howard Beach, harpsichord. hypnotic...”—American Recorder. Orpheus Music. ____PRIEST ON THE RUN Piers Adams, recorders. Also A. Corelli's Christmas Concerto in G minor, ____THE FOOD OF LOVE HESPERUS Early Concerti composed by the ensemble’s namesake, Op. 6, No 8. "If you think you know the Seasons, if instrumental music of the British Isles, with works flame-haired Vivaldi. Upbeat. you've heard it (or played it) far too often to ever by Byrd, Gibbons & Simpson through Dowland, ____RECORDER JAZZ Warren Kime, recorder. want to hear it again–go straight out and buy this Playford & Coperario. Original jazz charts with a great groove. recording.—EARLY MUSIC TODAY. Red Priest ____GATHERING: HUI; folk melodies from China ____RENOVATA BY ERWILIAN Jordan Buetow, Label 2005 Re-release of 2003 Dorian recording. and 17th-century Europe, with crossover collabora- recorders et al. Recorder–Garklein to Bass–leads ensemble of exotic stringed instruments on a ____VIVALDI: LA NOTTE Concerti per strumenti tions among Cléa Galhano, recorder, Belladonna diversi. Judith Linsenberg, recorder; Musica Baroque Quartet, and guest Gao Hong, Chinese journey through both energetic and expressive melodies. Purely organic, acoustic experience, a Pacifica. Award-winning CD, featuring five Vivaldi pipa. Ten Thousand Lakes. concerti, two sonatas. ____HANDEL: THE ITALIAN YEARS Elissa sonic blend of traditional melodies with distinctly modern influences. Wood, Wind & Wire. ____VON PARIS NACH WIEN Duo Caprice Berardi, recorder & Baroque flute; Philomel Baroque Stuttgart. Matthias Maute, recorder & Michael Orchestra. Nel dolce dell’oblio & Tra le fiamme, two ____SACRED AND SECULAR MUSIC FROM RENAISSANCE GERMANY Ciaramella–Adam & Spengler, gamba. Works from Paris to Vienna by important pieces for obbligato recorder & soprano; Rameau, Satie, Maute, J. Haydn, Chopin, others. Telemann, Trio in F; Vivaldi, All’ombra di sospetto. Rotem Gilbert, Doug Millikan, Debra Nagy, ____I LOVE LUCETTE Hesperus: Scott Reiss, recorders, with other winds, shawm, sackbut & organ. Medieval & Renaissance sacred music Please indicate above the CDs you wish to Tina Chancey, Jane Hershey, recorders & other order, and print clearly the following: early instruments; Rosa Lamoreaux, soprano; combined with reconstructions of folksongs & arrangements based on contemporary Name ______Howard Bass, lute. Charming, bawdy,sentimental Daytime phone: (_____)______music from French Renaissance theatrical tradi- improvisation. ____SENFL (LUDWIG) Farallon Recorder Quartet Address:______tion. Divisions on Contente Desir, Il Fault Bien City/State/Zip: ______Aimer; good recorder trio work. Koch Int'l. (Letitia Berlin, Frances Blaker, Louise Carslake, Hanneke van Proosdij). 23 lieder, motets and instru- Check enclosed for ____LES SEPT SAUTS: Baroque Chamber Music _____ single CDs x $____ = $______at the Stuttgart Court. Matthias Maute & Sophie mental works of the German Renaissance. _____ 2-CD sets x $____ = $______Larivière, recorders & traverso; Ensemble Caprice. ____SONGS IN THE GROUND Cléa Galhano, TOTAL $______Charming repertoire by Schwartzkopff, Bodino, recorder, Vivian Montgomery, harpsichord. Please charge the above amount to my Detri. Atma Classique. Songs based on grounds by Pandolfi, Belanzanni, MasterCard, Visa or AmEx: ____MANCINI: CONCERTI DI CAMERA Vitali, Bach, others. 10,000 Lakes. #______Judith Linsenberg, recorders, with Musica Pacifica. ____STOLEN JEWELS Ensemble Vermillian: Exp. Date: ______Seven sonatas by Francesco Mancini, plus one Frances Blaker, recorders; Barbara Blaker Cardholder’s signature: ______work each from his contemporaries Francesco Krumdieck, Baroque ’cello; Elisabeth Reed, viola Mail to: Durante & Domenico Scarlatti. "Highly recom- da gamba; Katherine Heater, harpsichord & organ. ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. mended" citation from the 2000 Vivaldi Prize for Performances of 17th-century German music You may fax your credit card order to Recordings of Italian Early Music--Giorgio Cini adapted by Frances Blaker. "I love violin music but Foundation. Dorian. cannot play the violin," she writes "so I steal the 314-966-4649. Q & A ______Articulation and lubrication uestion: I’m trying to make my advised players to use whichever vowel Qrecorder playing more expressive. made the articulations easiest for them. Sylvestro Ganassi, The method books I have consulted discuss Jacques-Martin Hotteterre, on the in detail the various consonants used in other hand, mentioned only one vowel author of the oldest articulation syllables, but have little to say (“u”) in his treatise on playing the about the vowels, and they disagree on flute, recorder and oboe (1707), and known recorder which vowels to use. Are the vowels really Johann J. Quantz also mentioned only important? Do they actually make a dif- one vowel (“i”) in his treatise on playing method book (1535), ference in the recorder sound? If so, is there the flute (1752). a preferred vowel?—E. L, Bangor, ME Turning to modern method books and had more to say articles on articulation, I chose references nswer from Carolyn Peskin: In that seem best suited to serious players about vowels than A attempting to answer your ques- interested in playing more expressively. tions, I first examined the most often The Recorder Player’s Companion by authors 200 years later. quoted historical method books. Curi- Frances Blaker (PRB Productions: 1993; ously enough, Sylvestro Ganassi, author Third, Rev. Ed.: 2004) is my favorite We use certain consonants with vowels. of the oldest known recorder method method book because of its logical and The consonant determines the ‘attack’ of book (1535), had more to say about easily understandable descriptions and the note—soft, hard, or somewhere in vowels than authors 200 years later. explanations. between. The vowel influences tone Ganassi showed how the five vowels The chapter on tonguing begins with color as well as having an effect on ease could be combined with various “attack” the following sentences: “Articulations of pronunciation.” consonants to produce tongue strokes are produced by pronouncing various Blaker further states that all vowels used in two-syllable articulations, and he syllables voicelessly into the recorder. can be used—“a” (ah), “e” (eh), “i” (ee), “o” (oh), and “u” (oo)—and, like Ganassi, she asks each player to choose the vowel that makes the articulation easiest. She personally recommends “i” or “u” because they give a good mix of focus and resonance. (Focus refers to the clarity of a tone, and resonance to its full- ness.) Once a comfortable vowel has been chosen, the player is free to con- centrate on the attack consonants. Vowels are mentioned again when Blaker discusses historical tonguings (“turu,” “duru” and “did’ll”), and the chapter ends with a set of exercises featuring rapidly changing spoken con- sonants and vowels. Only the tongue is supposed to move, not the lips or jaws. These exercises are meant to train tongue agility. While the tip of the tongue must be agile for rapid alternation between consonants (“t,” “d” and “r”), the body of the tongue must be flexible for rapid alternation between vowels, which involves tiny adjustments in the shape of the tongue. Blaker notes that vowels influence tone color. But why does this happen? Send questions to Carolyn Peskin, Q&A Editor, 3559 Strathavon Road, Shaker Heights, OH 44120; 50 American Recorder A partial answer can be found in passages. In the “i” (ee) and “e” (eh) uestion: I’m new to the recorder and another method book, The Modern formations, the corners of the mouth are Q have recently obtained a set of Recorder Player, Vol. I, by Walter van pulled back and the tongue held high, Yamaha 300 Series plastic recorders, Hauwe (Schott ED 12150: 1984). creating a small oral cavity conducive which came with little disks of recorder According to van Hauwe, changes in to the short bursts of air needed for stac- “cream” for lubricating the joints. This the size and shape of the oral cavity cato playing. The more relaxed mouth lubricant doesn’t last long and is messy to affect the speed of the air jet passing and lower tongue position associated apply. Is there a less messy, inexpensive through the windway. A fast airstream with “a” (ah) is best for tones of average product that I could use as a substitute?— produces a “thin” sound; a slower length, somewhere between staccato David Boggs, North Kentucky University, airstream produces a “fatter” sound. and legato. Further lowering of the Highland Heights, KY However, van Hauwe believes that tongue and rounding of the lips to players should become fluent in using produce “o” (oh) and “u” (oo) result in a nswer from recorder repairer Lee the basic attack consonants before inves- large oral cavity conducive to longer air- A Collins: You can buy cork grease at tigating timbral variety. He prefers the streams and, therefore, to fuller and any music instrument store and can use “ea” vowel sound, as in the word more sustained tones. it on plastic recorders. It comes in a tube “teach,” which keeps the tip of the Thus, the best syllable for staccatis- like ChapStick® and sells for around $2. tongue close to the palate. simo playing is “ti,” and the best one for Or you could use Vaseline® (petro- He especially warns against trying legatissimo playing is “du.” However, leum jelly). Apply it with a Q-Tip® if to make the tone more resonant by other vowels can be used with both “t” you don’t want to get it on your fingers. dropping the lower jaw so as to increase and “d” for intermediate degrees of note Use only a small amount of lubricant and greatly the size of the oral cavity. He finds separation. only when needed, spreading it around this undesirable because it moves the tip To illustrate various types of com- the joint to form a thin coating. Before of the tongue too far from the palate, pound articulations, Reiss’s article applying a new layer, be sure to wipe off making tongue strokes with “t,” “d” and includes a wealth of musical examples— any old grease so that you don’t get a “r” difficult. If timbral variety is desired, Medieval, Renaissance, and mainly build-up of gummy residue on the plastic. it should be achieved with the tongue Baroque excerpts involving repeated Collins does not, however, recommend and with greater or lesser relaxation of melodic and rhythmic patterns. Each ex- using petroleum jelly on cork joints. the lips, not with the jaws. ample includes a suggested combination While some people claim to have used Swedish recorder virtuoso Dan of articulation syllables. In each case, it on their wooden recorders for years Laurin is especially interested in the rela- Reiss chose vowels that made the articu- without any problems, others claim that tion between size and shape of the oral lations easiest for him. (He acknowl- petroleum jelly can penetrate the cork and cavity and tone color, which he exploits edged that every player’s mouth is differ- dissolve the glue attaching it to the wood. in his own playing. He has reported on ent, so not all of his chosen articulations He also does not recommend using experiments with electronic devices will work equally well for other players.) products intended for plastic recorders designed for phonetic research, which The article concludes by urging play- on cork because we’re not sure what showed that certain mouth formations ers to become fluent in various combina- ingredients they contain and, therefore, dampen high-frequency overtones and tions of tongue strokes, and then to focus don’t know how they would affect the increase the amount of “white noise” in on whole phrases rather than individual cork. the recorder’s tone. He attributes this notes so as to shape the melodic lines. Cork grease, an animal-based product, to turbulence in the airstream. His This article should prove very helpful is safe for both wooden and plastic findings were published in an article to players wishing to utilize fully the recorders. entitled “Shaping the Sound” (American expressive possibilities of the recorder. Recorder, September 1999, pp. 13-17). For increasing expressiveness, I Restoration, Repair and Maintenance recommend an article entitled “Articula- of Fine Instruments tion: the Key to Expressive Playing” by Scott Reiss, which originally appeared in American Recorder (November 1986, Collins & Williams pp. 144-49) and was recently reprinted as a memorial tribute to Reiss in the Historic Woodwinds American Recorder Teacher Associa- 5 White Hollow Road tion’s Recorder Education Journal Lakeville, CT 06039 (No. 11, 2005, pp. 5-11). (860) 435-0051 Reiss believed that different vowels www.leecollins.com are best for staccato, portato and legato Authorized warranty repairs agent for fine editions of early & contemporary music Moeck, Mollenhauer, Zen-On, Aura, PRB PRODUCTIONS Coolsma, and other leading makers 963 Peralta Avenue, Albany, CA 94706 Phone: 510-526-0722 Fax: 510-527-4763 All work carries a guarantee of E-mail: [email protected] your satisfaction. Web: www.prbmusic.com May 2007 51 MUSIC REVIEWS ______Very fine examples of music for teaching, Bach, a rondo and Glogauer pieces VERY FINE EXAMPLES (VfX) THE REVELLERS ENTER … … FOR CONCERTO IN C, BWV595 AND OF EDUCATIONAL PERFORMANCE TWO TREBLE RECORDERS AND FUGA IN C, BWV 545, BY J. S. BACH, PIECES FOR RECORDERS AND DRUM, BY MATILDA PAMMENT. Orpheus ARR. JORIS VAN GOETHEM. Heinrichshofen C INSTRUMENTS, BY JIM TINTER. Music Young Composers Series, YCS N2596 (C. F. Peters), 2006. SATB. Self-published, ISBN:0-9720102-8-9, 014, ( 52 American Recorder Concerto and the Fuga being put together in this edition, except for both being in ARS Membership Enrollment and Renewal C major, though they work well together. The Concerto is full of running 16th K I am a new member K I am or have been a member notes and contrasts well with the slow fugue theme in half notes and quarter U.S./Canadian Memberships Student Membership notes. All the parts are interesting. The K $40 One Year (Enclose proof of full time enrollment) Concerto is very challenging (mostly K $70 Sustaining (Receive Hotteterre Hands pin) K $20 U.S./Canadian One Year K K due to speed and endless 16th notes), $75 Two Years $40 U.S./Canadian Two Years K $25 Foreign One Year but the Fuga is less so. Foreign Memberships K $50 Foreign Two Years This edition “feels good.” The music is K $50 One Year laid out well; the individual parts of the K $95 Two Years Concerto are printed on two or three K $60 One Year Workshop Membership foldout pages with the Fuga printed on K $120 One Year Business Membership the back. I look forward to more of the Flanders Quartet editions. K Do not list my name in the ARS Directory Valerie Hess K Do not release my name for recorder related mailings K Do not contact me via e-mail. K My address, phone and email address are the same as last time. ______Name Phone Number ______Address/City/State/Postal Code E-mail Address Please charge to: (Circle one) VISA MasterCard AMEX Discover CC#:______Exp. Date: ______ Signature of cardholder:______ Clearly Print Name as it appears on Card:______Credit Card renewals may be faxed to 314/966-4649. Call 800/491-9588 to renew by phone Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers): All information on members’ activities in the ARS files is strictly confidential and only used internally. I am a member of ARS Chapter ______K I am the Chapter Contact I am a member of ARS Consort ______K I am the Consort Contact Your age: K Under 21 K (21-30) K (31-40) K (41-50) K (51-60) K (61-70) K (71+) Please check all that apply: (Since your recorder activities may change from year to year, please update this information with each renewal): K I am a Professional Recorder Performer. K I wish to be included in the list of Recorder Teachers in the ARS Directory and web site. I Teach: (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Children’s Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach: Music Studio Public or private school Community Music School College Other : ______ K I am an ARS Certified Teacher who passed ARS exams administered until 1976 (5) K I am an ARS Certified Level II Teacher* (8) K I am an ARS Certified Level III Teacher* (7) * I passed the special teacher exam(s). Not to be confused with the Level II and Level III exams taken by players. American Recorder Society Phone: 314-966-4082 Fax: 314-966-4649 1129 Ruth Dr. Toll-Free: 800-491-9588 St. Louis MO 63122-1019 [email protected] www.americanrecorder.org May 2007 53 American Recorder Society Publications ARIA WITH DIVERSE VARIATIONS Erich Katz Contemporary Music Series Members Non-Members FROM THE “GOLDBERG” VARIA- A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 TIONS (BWV988), BY J. S. BACH, ARR. Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 R. D. TENNENT. The Avondale Press Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 AvP 77 (Magnamusic), 2006. SATB Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 (some movements for duo or trio). 4 Sc, (SATB) (Level II) (2 scores & 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 12 pp each, $18. Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 The Goldberg variations are a set of (3 scores) Vaclav Nelhybel (AA/TT) (Level II) Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 30 keyboard variations on an initial (Level II) (2 scores) Aria. They were published in 1741 as Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 the fourth volume in J. S. Bach’s Clavier-Übung series. Written for Count Musical Editions from the Members’ Library: ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Hermann Karl von Keyserling, they were Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 first performed by his court harpsi- The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” chordist, Johann Gottlieb Goldberg, for Arioso and Jazzy Rondo (AB) Carolyn Peskin New Rounds on Old Rhymes (4 var.) Erich Katz whom they eventually were named. Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler In this edition, Tennent has arranged Jennifer W. Lehmann, arr. Poinciana Rag (SATB) Laurie G. Alberts Canon for 4 Basses (BBBB) David P. Ruhl Santa Barbara Suite (SS/AA/T) Erich Katz the Aria for STB recorders and has added Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. helpful examples on how to interpret the Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA) Frederic Palmer Elegy for Recorder Quartet (SATB) Carolyn Peskin Slow Dance with Doubles (2 x SATB) Colin Sterne numerous ornaments. This is followed Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley by Variatio 4 (SATB), Variatio 7 (AB), Vari- Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley atio 9 (ATB), Variatio 10 (SATB), Variatio Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin 18 (SAB), Variatio 22 (SATB), Variatio 24 Gloria in Excelsis (TTTB) Robert Cowper Tracings in the Snow in Central Park (SAT) Idyll (ATB) Stan McDaniel Robert W. Butts (SATB), and Variatio 30 (SATB). The Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) George T. Bachmann performers are then instructed “Aria da In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey Lay Your Shadow on the Sundials (TBgB) Two Bach Trios (SAB) William Long, arr. Capo Fine”—end the set by repeating Terry Winter Owens Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. Little Girl Skipping and Alouette et al (SATBCb) Variations on “Drmeš” (SATB) Martha Bishop the original Aria, as the original keyboard Timothy R. Walsh Vintage Burgundy (S/AS/ATT) work was intended to conclude. Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. Jennifer W. Lehmann, arr. This is a fine arrangement of these ARS Information Booklets: interesting variations and would make a ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 good concert piece for an ensemble. Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 Valerie Hess Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann American Recorder Music Constance Primus Playing Music for the Dance Louise Austin KEY: rec=recorder; S’o=sopranino; S=soprano; The Burgundian Court and Its Music Recorder Care Scott Paterson A=alto; T=tenor; B=bass; gB=great bass; Judith Whaley, coord. cB= contra bass; Tr=treble; qrt=quartet; pf=piano; fwd=foreword; opt=optional; Education Publications perc=percussion; pp=pages; sc=score; The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. pt(s)=part(s); kbd=keyboard; bc=basso con- Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide tinuo; hc=harpsichord; P&H=postage and and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. handling. Multiple reviews by one reviewer are ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Members $9; non-members, $15. followed by that reviewer’s name. Please submit Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. music for review to: Constance M. Primus, Box Junior Recorder Society Leader’s Resource Notebook. 608, 1097 Main St., Georgetown, CO 80444. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). $5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+). Videos Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending $5 to the ARS office along with the address to which the tape should be shipped. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an Honeysuckle Music ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. Recorders & accessories Discography of the Recorder, Vol. I (1989) . Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994) . Compiled by Scott Paterson. ... Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40. Music for recorders & viols American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. Jean Allison Olson Shipping & Handling Fees 1604 Portland Ave. Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. St. Paul, MN 55104 Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. 651.644.8545 ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. [email protected] 800-491-9588 [email protected] 54 American Recorder THE NIGHTINGALE RONDO, BY JOHN performed for the king and queen when er than notated. Its range was greater than PARRY (BARD ALLAW), ED. JOHN TURNER. she was only 3½ years old. While she was that of the recorder—as evidenced by this Peacock Press PRM 001 (Magnamusic), still very young, Elizabeth (on the piano), piece, which (including Parry’s 8va sec- 2005. S or flageolet or flute with pf. her father (on the harp), and Parry (play- tions) extends from notated c ' to g'''. How- Sc 16 pp, pt 3 pp. $19.50. ing flute, clarinet and flageolet) formed a ever, if the 8va markings are ignored, the It’s spring, and I hope that the birds are trio called the “Wandering Cambrians,” piece fits the soprano recorder perfectly. singing where you are! Now is a great time and went on an extensive tour. It was for Although this piece is marked “Moder- to reacquaint yourself with bird pieces for performances with his young student that ato,” it needs to be played quickly enough the recorder and explore others that may Parry composed this rondo, as noted in its to sound like a bird. Like the piano part, be new to you. Old favorites are the tunes original title page: “…Performed with the the recorder part is full of passagework in in the Bird Fancyer’s Delight (1717), Jacob greatest applause at the Bath Concerts by the 16th notes that call for alternative finger- van Eyck’s “Engels Nachtegaeltje” (1648) celebrated Miss Randles & the Author.” ings. Grace notes and trills add to the bird- William Williams’ Sonata in Imitation of The piano part showed off the fast- like effects. It is a long (247 measures), Birds (1703), Hans–Martin Linde’s Music fingering skills of this young prodigy with light-hearted piece—and great fun to play! for a Bird (1968), and numerous others. its 16th-note arpeggios, scales and other Now we have a newly published bird piece passagework embellished with bird-like ZWEI SÄTZE AUS DEM GLOGAUER from the 19th century by John Parry trills. There are also several solo passages LIEDERBUCH, ED. MARTIN NITZ. (1776-1851), a Welshman also known as for the pianist, one in triplets ending Moeck 807 (Magnamusic), 2006. ATB. “Bard Allaw” (Master of Song). In 1807 flamboyantly with a chromatic scale. 3 sc, 4 pp ea. $7. Parry moved to London, where he taught The original title page of The Nightin- The Glogauer Liederbuch is a set of three and performed on the flageolet, and com- gale Rondo described the piece as “A partbooks that probably originated at posed stage music and popular ballads. favorite Military Air arranged as a Rondo Glogau Cathedral in Silesia (now Glogów, The Nightingale Rondo was discovered for the Piano Forte with an Accompaniment Poland) about 1480. This collection con- recently, and John Turner brought it to life for the Flute or Flageolet.” Although the tains 294 pieces—mostly anonymous— again by performing it at Covent Garden in flute (recorder) was mentioned first, it was including 59 without texts. Of the latter, 2005 and then editing it for publication so the “English flageolet” that was intended about 15 are considered to be early that we can all enjoy playing it. In the fore- and which the piece actually fits. instrumental works; this edition contains word to this edition, Turner describes the In his foreword, Turner describes this two of them: the anonymous “Der natter background of the piece and its composer. instrument, which was patented by schwantz,” and “Carmen” attributed to One of Parry’s young students was a William Bainbridge in 1803. It was Paulus de Broda (probably the little- piano prodigy, Elizabeth Randles, who pitched in F and sounded an octave high- known late 15th-century composer R Strings & Early Winds Modern/Baroque Strings Viols Vielles Küng Moeck Mollenhauer Paetzold Yamaha E Aesthé Dolmetsch Ehlert K&M Wendy Ogle Lu-Mi Ifshin Snow C Competitive Prices Sent on Approval O Personalized Service & Advice R D E R Lazar’s Early Music (866) 511-2981 [email protected] S www.LazarsEarlyMusic.com 292 Gibraltar Dr., #108, Sunnyvale, CA 94089 May 2007 55 “Pauwels van Rode” of Bergen op Zoom in CONSIDER ADVERTISING IN the southern Netherlands). ______CLASSIFIED The title “Carmen” meant “song” or ______“poem,” but in the 15th century it also re- ______ferred to an instrumental ensemble piece. ______De Broda’s “Carmen” is structured on the Full page ...... $565 middle (tenor) part, which proceeds 2/3 page ...... $420 1/2 page ...... $345 melodically mostly in quarter notes, while 1/3 page ...... $270 the other two parts weave around it in syn- 1/4 page ...... $210 copated rhythms typical of the period. Where the haves 1/6 page ...... $165 1/8 page ...... $120 This piece is also published in a and have-nots 1/12 page...... $ 90 London Pro Musica edition (TM 29, of the recorder world 1 column inch ...... $ 55 Selection I). It is interesting to compare can find each other Prices include web site/e-mail link directly from the editorial approaches of the two publi- your ad in AR On-line, 56 American Recorder