N O V E M B E R 2 0
november 2007
Published by the American Recorder Society, Vol. XLVIII, No. 5 Edition Moeck 2825
Celle · Germany Tel. +49-5141-8853-0 www.moeck.com
2 American Recorder
127(:257+<1(:6 from your friends at Magnamusic Distributors
Newly reprinted from our AWPWM02 ~ friends at Jolly robin Ayton: Ballad of the Press comes a classic Rosemary, for voice, collection of Christmas alto recorder, treble, songs and Carols for so- tenor and bass viols. prano and alto recorder $13.50. duet, The ballad of the rose- arranged by mary was based on a Andrew Charlton. poem from A Wreath of Item # JR00027. Christmas Legends by $13.50 Phyllis McGinley and set to music by Will Ay- ton. It is played on the JR00010 ~ Charlton: Merrie Old England popular Parthenia CD. 12 page score and parts. For SAT recorders, $13.50 16 pieces of traditional 16th and 17th century favor- KEMR152 ~ Medieval Tunes, for Soprano ites Recorder solo. $5.95 33 medieval pieces in a 27 page spiral bound short ST12910 ~ Bowman: Fun and Games with Recorder score. at Christmas, for various SAT Recorders, $10.95 PJT0044 ~ Rawsthorne: Interludes from Hamlet, S/ 7 pieces arranged from the very popular collection A recorders and piano, $20.00 and aimed at intermediate beginners with 2 to 3 years experience. PP00175 ~ Revency: Claude Le Jeune, for SAATB recorders, $6.25 ST12911 ~ Bowman: Fun and Games with Recorder Ensemble, for mostly SAT but some SATB record- PP00176 ~ Locus Iste: Anton Bruckner, for SATB ers, $17.95. recorders, $5.75 35 attractive pieces from Handel, Mozart, Beetho- ven, Joplin and others, designed to encourage PP00177 ~ Mozart, WA: Divertismento 8, for younger players into ensembles. SSAATBGb recorders, $19.00
1N004032 ~ Mozartiana, Ten Pieces from the Note- PP00178: St. Pierre: A Thomas Tallis Fancy, for A book of Leopold and Wolfgang Mozart, for S/A (N)T recorders, $4.50 recorder and piano. $9.50 PP00179: Bloodworth: Renaissance Dance Suite 2, for NSSAATTBBGbCb recorders, $20.00
Viewsamplescoresandlistento MK01144 ~ Playford recordings of these pieces on our website Dances & Carolan Tunes, for various SA and thor- http://www.magnamusic.com ough bass. $25.50 A lovely collection of 10 Email: mostly duet pieces from two of our favorite composers, [email protected] for soprano and alto, with Bc. 16 page score and 3 Call Toll Free parts 888-665-2721 EDITOR’S ______NOTE ______Volume XLVIII, Number 4 November 2007 ccasionally it seems like the stars Oalign, and multiple authors send in FEATURES writings that are amazingly related. This Paul Ashford and the West Coast Recorder Guild: was the case with this issue. A Short History ...... 9 We all run into situations where it by Eileen Flory seems that the recorder is not treated as a serious instrument. In this issue, ARS President Letitia Berlin uses her message DEPARTMENTS 9 to suggest possible ways to counter that Advertiser Index ...... 32 problem (page 3). In the Education department, Isabel Wundsam Haug Book Reviews...... 8 recounts how she has faced this problem, Chapters & Consorts ...... 22 as well—surprisingly, in Germany as well Classified ...... 32 as at a Waldorf School in California (page 12). Department of Amplification ...... 15 You’ll find connections between the Education ...... 12 article written by Eileen Flory about 15 Music Reviews...... 26 recorder happenings on the West Coast during the 1940s and ’50s (page 9) and Opening Measures ...... 20 the Music Reviews department (page President’s Message ...... 3 26). A key West Coast figure was Paul Ashford, whose music is now being made Q&A ...... 18 available; four of his pieces are reviewed in Response ...... 14 this issue. Tidings ...... 4 Another fortuitous connection came 22 about when an article, originally submit- Annual Focus on Business Members; ted for the very full September issue of ON THE COVER: Berkeley Festival founder plans his retirement; American Recorder, had to be delayed to "Santa Fe Window workshops report about new locations this issue. It is a personal observation by with Recorder," Greta Hryciw on her recorder orchestra pastel painting by experience (page 24). Frances Blaker, Pam Gosner, in her Opening Measures column, gives Chatham, NJ
6 American Recorder PRESIDENT’S MESSAGE ______Recorders don’t get no respect ...
s recorder players, we’ve all had our the ukulele for fun. A share of questions like “You play the Here are some ways This gives me great recorder? You mean you push buttons to improve the enjoyment, though on a cassette player?”; or “Oh yeah, I wish I had more my fourth-grader plays that—they call it recorder’s image. time to practice and a flutophone.” It’s clear that our improve. instrument suffers from a lack of under- Call the ARS office for extra copies of Wherever you find standing from many sides: non-recorder this magazine and give one to the music yourself in the world playing musicians, both amateur and teacher, if he or she is not a member. If of the recorder, if you professional, and the great unknowing you have a group that plays in schools, are frustrated with the lack of respect we public—those who don’t even know offer a class or school demonstration to get, join me in becoming an advocate for what a recorder is. the teacher, if that seems appropriate. the instrument. If you have found a way In the words of Rodney Dangerfield, If your school doesn’t offer recorder, to make a difference in how your com- we don’t get no respect! Let’s work ask the principal to add it to the curricu- munity perceives the recorder, let us together to change this. Here are some lum or to an after-school program, if one know about it. ways to improve the recorder’s image. exists. If your principal needs names, Your ARS Board has just had its fall We can start by spreading accurate contact the ARS office for a list. meeting in California. We were treated information about our instrument. (The ARS is currently conducting a like royalty by the wonderful organizers, Ask your local colleges to offer it as an survey of groups that use the recorder hosts and chapter members of the applied instrument. If you are lucky in school presentations, in order to Orange County Recorder Society and enough to have a professional recorder provide a more comprehensive resource the Southern California Recorder player in your community and would like for schools. Once the results are Society. Thanks to all of you Los to take lessons or already are, ask a local compiled, schools and others can ask Angeles-area ARS members for making college to consider hiring your teacher so the ARS for a list of groups in their our stay so enjoyable and productive. that you can take the lessons for credit. area who can give demonstrations. If We had fruitful discussions and moved Do you subscribe to a chamber music you belong to such a group or give forward with a variety of projects. or orchestra series? Ask the organizers to demonstrations as a soloist, log on We want to make the American bring in recorder groups and soloists. Do to
8 American Recorder FOCUS ON ARS BUSINESS MEMBERS
AMERICAN ORFF-SCHULWERK ASSOCIATION LAZAR’S EARLY MUSIC PROVINCETOWN BOOKSHOP Katharine Johnson, Executive Director Bill Lazar Joel Newman PO Box 391089, Cleveland, OH 44139-8089 292 Gibraltar Dr., Suite 108, Sunnyvale, CA 94089 246 Commercial St., Provincetown, MA 02657 440/543-5366; Fax: 440/543-2687 866/511-2981 (tollfree inside USA) or 508-487-9651; Fax: 508-487-3286 [email protected]; www.aosa.org 408/734-4920 Fax: 408/705-1960 Pioneering in recorder and viol music mail order AOSA is a professional association of music and [email protected]; since the late 1950s. We offer a list of almost fifty movement educators whose purpose is to promote www.LazarsEarlyMusic.com editions of recorder ensemble music by Andrew the teachings and philosophy of Carl Orff. The We sell Moeck, Mollenhauer, Küng, Yamaha, Paet- Charlton, David Goldstein, and Joel Newman. association has approximately 5,000 members and zold Square bass, Dolmetsch, Ehlert handmade and 118 local chapters, holds an annual conference Boudreau’s Aesthé recorders; Moeck early winds; RHYTHM BAND INSTRUMENTS, INC. each November, and publishes The Orff Echo Cíp gemshorns; optimized crumhorns, Wendy Bob Bergin magazine and Reverberations newsletter quarterly. Gillespie (Lu-Mi) and Charlie Ogle, Chinese viols P.O. Box 126, Fort Worth, TX 76101-0126 and bows; Chris English and Louis Bégin viol bows; 800-424-4724 or 817-335-2561; BARTRAM RECORDERS Puchalski vielles; music and accessories. Keys Fax: 800-784-9401 or 817-332-5654 James F. Bartram added, necks bent (painless). Personal service and [email protected]; 605 NE 6th St., Coupeville, WA 98239 advice. Instruments gladly sent on approval. Very www.rhythmband.com 360/678-9272 competitive prices. RBI takes a great deal of pride in providing [email protected]; top-quality products and service to music educators www.bartramrecorders.com MAGNAMUSIC DISTRIBUTORS, INC. throughout the United States and many other coun- Recorders revoiced, renewed and repaired. Madeline Hunter tries. Each staff member at RBI remains committed 74 Amenia Union Rd., Sharon, CT 06069 to upholding the tradition, that was established in BOULDER EARLY MUSIC SHOP 888/665-2721; Fax: 860/364-5168 1961 when the company was founded, of being the Carol Deihl [email protected]; leader in supplying musical instruments for PO Box 900, Ouray, CO 81427 www.magnamusic.com preschools and elementary schools. U.S. distributor 800-499-1301; 970-325-4154; Importer/distributor of recorders, historical wood- of Aulos recorders, plus Sweet Pipes recorder publi- Fax: 970-325-418 wind instruments and shakuhachi. Magnamusic cations, Chromaharps, bell sets, and a wide selec- [email protected]; www.bems.com holds one of the largest inventories of early and tion of percussion instruments. BEMS specializes in Medieval, Renaissance, and contemporary sheet music available in the USA & Baroque sheet music, facsimiles, instruments, acces- Canada. Free catalogs. Prompt, friendly service. SWEET PIPES INC. sories, and gifts for all levels from beginning student 10% Discount on purchases made by Jeanne Cox through professional. Order on our secure website or ARS Members. 2300A Michigan Ct., Arlington, TX 760162 by phone. We ship worldwide. Visit our shop in the 800-446-1067 or 817-277-9922; spectacular mountains of Ouray, CO. MOECK MUSIKINSTRUMENTE Fax: 800-576-7608 or 817-277-9933 UND VERLAG E.K. [email protected]; COLLINS & WILLIAMS Sabine Haase-Moeck www.sweetpipes.com HISTORIC WOODWINDS Lückenweg 4, D-29227 Celle, Germany Our goal and pledge is to present only the best Lee Collins 49-05141-88530; Fax: 49-05141-885342 quality recorders, finest recorder publications for 5 White Hollow Rd., Lakeville, CT 06039 [email protected]; www.moeck.com making music, and the fastest and most caring serv- 860/435-0051 Phone/Fax ice available in the industry. We continue on in the [email protected]; www.leecollins.com PRB PRODUCTIONS same tradition established by Gerry and Sonya Bu- Restoration, repair, and maintenance of fine instru- Peter R. Ballinger and Leslie J. Gold rakoff, our founders. Publishers of recorder materi- ments. We offer authorized repair service for Moeck, 963 Peralta Ave., Albany, CA 94706-2144 als for students, teachers, and performers: method Zen-On, Coolsma, Aura, Mollenhauer, and other 510-526-0722; Fax: 510-527-4763 books, solos, ensembles, editions of early music, makers of quality instruments world-wide. [email protected]; www.prbmusic.com miscellaneous recorder items, and Aulos and Yama- Since 1989, PRB Productions has specialized in ha quality plastic recorders. COURTLY MUSIC UNLIMITED, INC. publishing high quality performing editions of in- Richard and Elaine Henzler strumental and vocal music from the Baroque and TOYAMA MUSICAL INSTRUMENT CO., LTD. 3785 Main Street, Warrensburg, NY 12885-1665 Classical eras, as well as original contemporary Takamura Toyama 800/274-2443; 518/623-2867; Fax: 518/623-2869 works for early and modern instruments, and voic- 41, Oharacho, Itabashi-ku, Tokyo 174-0061, Japan [email protected]; es. We also provide customized music typesetting 81-3-3960-8305 www.courtlymusicunlimited.com services by special arrangement. Especially for [email protected] Everything for the recorder enthusiast! Coolsma, recorders, Frances Blaker’s Recorder Player’s Com- Toyama manufactures recorders under the Aulos Dolmetsch, Moeck, Mollenhauer, Yamaha, Zenon panion, contemporary works by Goldstein, Seibert brand, along with a broad line of elementary musi- recorders, historical woodwinds, percussion and and others, baroque polychoral motets by Bassano cal instruments. (U.S. agent: Rhythm Band Instru- other folk instruments. Sheet music, method books. and Gabrieli, and madrigal books by Gibbons and ments, Inc.) Fingering charts, thumbrests, books, humidifiers, Monteverdi. Please request a free catalogue for a note cards, tuners, cases, music clips, oil, cork complete list of our editions. VON HUENE WORKSHOP/ grease, metronomes, recorder stands, duponol, EARLY MUSIC SHOP OF NEW ENGLAND music stands and swabs. PRESCOTT WORKSHOP Nikolaus von Huene Thomas M. & Barbara C. Prescott 65 Boylston St., Brookline, MA 02445-7694 HONEYSUCKLE MUSIC 14 Grant Rd., Hanover, NH 03755-6615 617-277-8690; Fax: 617-277-7217 Jean Allison-Olson 603-643-6442; Fax: 603-643-5219 [email protected]; 1604 Portland Ave, St. Paul, MN, 55104 [email protected]; www.vonHuene.com 651/644-8545 www.prescottworkshop.com The von Huene Workshop, Inc., founded in 1960 www.honeysucklemusic.com; Prescott Workshop is devoted to making copies of by Friedrich and Ingeborg von Huene, makes, sells, [email protected] historical woodwinds of the finest possible quality. and repairs fine Renaissance and Baroque historical Carrying Yamaha, Aulos, Zen-on, Moeck, Kelhorn, All instruments are personally made by master- woodwinds. Its affiliate, The Early Music Shop of Dolmetsch, Aura, Mollenhauer, Adler, Paetzold and craftsman Thomas M. Prescott, who founded the New England, is a retail store and mail-order Küng recorders as well as recorder method books Workshop in 1974. division of the von Huene Workshop that sells and wide variety of sheet music, recorder cases, recorders, flutes, reed instruments, early keyboards, stands, rests and other accessories. Also carry music sheet music, and related items. We are happy to for flutes, crumhorns, ocarina, tabor pipe, native Information supplied send instruments on approval for those players who flute, tin whistle, bodhran, guitar, strings, fiddle , by Business Members wish to compare before making a commitment. dulcimer, harp, reed, harmonica, bagpipe, key- responding. board, dulcimer, voice and choral music.
November 2007 9 Bits & Pieces
The Indiana Recorder Academy was New Harmony’s hedged labyrinth as oth- become Dominican brothers, as well as for held in July at Harmonie State Park in er students acted out the story with stick- retired Dominican friars. It was an oasis of Indiana. Recorder students, ages 13-18, puppets. In the center, a round composed recorders and beauty for one week in the studied for 12 intensive days with Eva by a student was performed and, as the middle of the city. Legêne of Indiana University, Wolfgang audience returned to its first location, the Rehearsals of the SFEMS recorder Dey from Germany, and Laura Hagen narrator played a haunting ending on bag- orchestra, and the workshop concerts of from New York. The park creates a mar- pipes. Musicians, parents, and town folks faculty and students, were performed un- velous environment for students to devote remained, standing in the moonlit dark— der light from the stained-glass windows time to new repertoire, classes in tech- loathe to leave such a beautiful garden in of the Arts-and-Crafts-style chapel. The nique and performance practice, private the magical town of New Harmony. Priory Refectory (dining room) also sports lessons, and explorations in world music. For information about the next wooden arched ceilings and large stained The students prepared music for six Indiana Recorder Academy (July 26 to glass windows. unique performances. On a sultry Satur- August 7, 2008), please contact Legêne Directors Frances Feldon, Eileen day evening, they played an outdoor
10 American Recorder Francisco, CA: the premiere of Bickley’s MUSIC IN NEW YORK CITY Greenport, NY, repeated on April 22 in work Generally Midair for electro-acoustic On March 28, The Practitioners of East Hampton, NY. chamber ensemble of 10 musicians. Musick gave a lunch-time concert in the The Manhattan Recorder Orches- Former ARS President Gene Murrow splendid confines of St. Francis Assisi tra (MRO) Matthias Maute, conductor, has formed a new initiative in New York Church in midtown Manhattan. The duo was also busy this spring. On May 2, City, NY, called Gotham Early Music consists of John Burkhalter, recorder; MRO combined forces with Chelsea Scene (GEMS). Involved in early music for and Gavin Bloch, harpsichord. They Winds, a recorder ensemble, to present a over 40 years, Murrow was most recently presented a program of French Baroque program at St. Ann/Holy Trinity Church general manager of the Early Music music, all of it known to have been played in Brooklyn Heights. I confess to being a Foundation of New York (2002-06), for in New France, i.e., French-speaking member of both groups, so will just men- which he created the first New York Early Canada. Apparently, the 17th- and 18th- tion some of the program highlights. Music Celebration in 2004. Among the century settlers were willing to leave the The program was titled “Winds on the offerings by the group, GEMS provides comforts of the Old World for the rigors of Heights.” The MRO part of the program administrative, marketing and financial the New World, but they were not willing ranged from Renaissance music to the services to professional and amateur early to leave behind the pleasures of Lully, 21st century. From the earlier repertory, music organizations. For information, see Couperin, Blavet and Hotteterre. there was music by Byrd, Lappi and
November 2007 11 BOOK
______REVIEWS ______Musicque de Joye
MUSICQUE DE JOYE: PRO- details, and it is alive with the love the CEEDINGS OF THE INTER- participants obviously have for the This is an indispensable NATIONAL SYMPOSIUM ON THE instruments and their repertoire. RENAISSANCE FLUTE AND The essays are grouped into sections book for anyone seriously RECORDER CONSORT, UTRECHT dealing with the idea of the consort in the interested in the 2003. ED. DAVID LASOCKI. STIMU Renaissance, the surviving instruments, (
12 American Recorder Paul Ashford and the West Coast Recorder Guild: A Short History Martha Bixler’s memoir (“A History he found a set of Herwiga instruments in a by Eileen Flory of the ARS: A Memoir,” excerpted in the Seattle music store. From then on he March and May issues of AR) mentions the focused his musical talents more and The author wishes to acknowledge as her existence of groups in Seattle, WA, and more on the recorder ensemble. main resource Corlu Collier, who possesses a San Francisco, CA, “early in the 1950s.” In 1947, Ashford finally joined up with rich collection of memories and printed Tantalizing notices of their activities a few other recorder players. In the follow- records of earlier times. No outsider can do appeared in the Newsletter of the American ing year, he and Corlu Robinson (now justice to what was an important experience Recorder Society—this article expands on Collier) organized the Seattle Recorder for the musicians involved, but perhaps this the history of these two closely related Guild (SRG), a group of six to ten people article will fill in some details of an otherwise West Coast groups. who practiced regularly. forgotten fragment of recorder history. Highlights of those years were weekly n the late 1940s and early ’50s, a group programs on radio station KISW. The Eileen Flory plays viola da gamba in the I of recorder players gathered—first in SRG performed early and contemporary Oregon Coast Recorder Society. Seattle, then in San Francisco—around pieces, plus Ashford’s arrangements, the person of Paul Ashford (1906–1952). which were announced as “home-made A gifted performer, improviser, and versions of folk songs and dances.” composer, Ashford was the main force During this time, SRG members behind the founding of the Seattle established an umbrella organization— Recorder Guild in 1948 and, two years the West Coast Recorder Guild—with later, the Baroque Players, a performing chapters in Seattle, Portland, OR (briefly), group of the San Francisco Recorder and San Francisco. This regional group Guild. Both groups ceased to exist shortly played the same role in the West that the after Ashford’s death in 1952. earliest American Recorder Society was The history of these recorder groups playing in the East, though the West cannot be separated from that of their Coast Recorder Guild ended when its leader. Not only did his compositions and constituent chapters ceased to exist. arrangements provide practice and In late 1949, Ashford was diagnosed performance material, his charismatic with amyotrophic lateral sclerosis, personality inspired members during also known as Lou Gehrig’s disease. those few years of intense learning and To take advantage of an experi- activity. mental treatment, but also seizing Ashford grew up on the Washington the opportunity to compose and coast and studied music at the University perform in the Bay Area, Ashford of Washington in the 1920s. He played migrated to San clarinet and piano, and his talent for Francisco in the Paul Ashford, c.1951 improvisation pointed him in the direc- summer of 1950. tion of becoming a silent movie pianist. Seattle members That career was not to be, however: by Corlu Robinson the time he graduated from college, and Donna talking pictures had replaced silent ones. Tallman soon The Depression years passed with followed, and the occasional writing and playing gigs in three (joined later Seattle. Ashford began to collect folk by guitarist Freerk songs locally, and a long-term association Mulders, also developed with Ivar Haglund, a folk known as Guido singer, owner of restaurants, and Daunic) formed all-around Seattle personality. the Baroque Play- At the beginning of World War II, ers, under the Ashford did find steady work—as a auspices of the welder—but continued to concentrate his recently formed efforts on playing, composing for a variety San Francisco of instruments, notating folk songs, and Recorder Guild. building his collection of sheet music of The Baroque regional songs. It was in the late 1930s Players met every that Ashford picked up the recorder, after Sunday evening
November 2007 13 in rented studio space group had continued to meet while Ash- and performed next ford was in San Francisco and continued door at Vesuvio Café to meet briefly after he died. Both the Seat- (a San Francisco tle Recorder Guild and the Baroque Play- saloon still well- ers, however, officially dissolved soon after known as a vintage Ashford’s death. gathering place for Paul Ashford’s collection of early Pacif- bon vivants from all ic Northwest sheet music forms the nucle- walks of life), as well as us of the Ashford Sheet Music Collection at the public library, in the music library of the University of the university, a hospi- Washington, which now contains over tal, etc. Listeners who 1,000 titles—pieces such as “I’d Start a tuned in to KPFA in Battle to Get Back to Seattle” and “On the Berkeley on Saturday Shores of Puget Sound.” evenings could hear As for compositions and arrangements the Baroque Players. for recorder, Ashford left two extensive, As in Seattle, most multi-movement works for recorder members kept their ensemble; many arrangements of early day jobs but were pieces (two of them published in 1951 by committed to music- Hargail Music Press: a Haydn Allegro and making in their off an Andante by Christoph Willibald hours. Musical talents Gluck); and over 100 arrangements of were honed and traditional fiddle tunes, folk songs and matches were made in Christmas carols—some for recorders this group of musi- only, and many for voice, recorders and cians and friends. guitar. In the summer of In a 1947 newspaper interview, 1951, when he could Ashford asserted that his music was “of no no longer manage his particular consequence. It’s been pleasant disease, Ashford to write it and to play it; the family and returned home to some of our friends have enjoyed it. But Seattle. He died there it’s unlikely that any of it would make me six months later at the rich or famous even if it was published.” age of 45. A core SRG Be that as it may, some of Ashford’s
Baroque Players at Grace West’s Crossroads Theatre, May 18, 1952 (after Ashford had died): ( l to r) Corlu Robinson and Donna Tallman, recorder, with Freerk Mulders, guitar.
14 American Recorder Ashford’s recorder compositions and arrangements are now being heard beyond his circle Lost in Time Press of family and friends. New works and arrangements recorder compositions and arrangements are now being heard beyond his circle of for recorder ensemble family and friends. So far two major compositions and four fiddle tune Compositions by arrangements have been published by Lost in Time Press, with a collection of Frances Blaker Christmas carol arrangements forthcom- Paul Ashford ing (see the music reviews section and advertisement in this issue of AR). Hendrik de Regt Although no direct descendants of the and others Seattle Recorder Guild or the Baroque Players exist today, one sure thread Inquiries: continues on the West Coast. The Oregon Coast Recorder Society is a 19-member Corlu Collier ARS chapter that practices weekly under PMB 309 the leadership of Corlu Collier (Corlu 2226 N Coast Hwy Robinson in those earlier days). The group plays early and contemporary composi- Newport, Oregon 97365 tions and arrangements—including, [email protected] of course, pieces by Paul Ashford.
... are also available at The Early Music Shop of New England, Brookline, MA
November 2007 15 ______EDUCATION ______A Waldorf School recorder teacher shares her experiences Ten years ago I started teaching art and had not experienced Frans Brüggen dur- used to accompany singing. At this time, providing piano accompaniment for ing those years—on stage in a white suit, one can start three-part music on soprano Eurhythmy classes at a Waldorf School in with his unconventional performance recorder, but not as part of singing. California. Four years later, a colleague style—I would have utterly forgotten In fifth grade, students can choose handed me his Moeck soprano recorder about the recorder. And now in America— among various stringed instruments; and saying, “Here, this is for you. I played it in northern California, 15 years later— in sixth grade, all of the modern orchestral during my teacher training. You can use I was suddenly asked to teach the recorder instruments are introduced. Every stu- it if you would consider taking over a to an ensemble of high school students. dent is required to study one instrument recorder ensemble in the high school.” In case you are not familiar with and have private instruction to further his I was born and grew up in Germany. Waldorf Schools, art and music play or her musical growth. Every student is My musical education began when I was an essential role in the curriculum. asked to play in a middle school orchestra. four years old with a movement class The idea behind this education is to match At this point, the recorder becomes a and glockenspiel. After that I continued the nature of music to the nature and special instrument, used more in the with group lessons, studying the soprano development of the child. In this classroom than elsewhere. recorder for a year. method, idea and content are strongly For many years we had a middle school Then life became much more woven together—a step-by-step awaken- recorder ensemble, which grew stronger “serious.” School started, and a good ing to musical principles leading to a with time. We even collaborated and piano teacher was found to begin my train- basis for knowledge based on experience. performed successfully for special ing. I picked up the recorder again when I All learning at a young age seeks to “all-school” events with the high school had to switch from a private piano teacher engage the feelings of the student, so that ensemble, garnering much praise. to the Musikschule (music school). The a strong personal relationship with any- But even with all the progress demon- Musikschule was very well organized and thing learned can develop. Learning is strated by this recorder ensemble, I still had an established recorder ensemble, experimental, with imagination a funda- heard comments like “Nobody would made up of regular recorder students— mental quality. choose the recorder as a main instrument. and then subsequently me, in the bass sec- In first grade and second grade, the Everybody in my class wants to play a real tion, having had much more experience Waldorf student plays a pentatonic instrument and join the orchestra.” I was with the piano than the recorder. recorder. Simple melodies are first sung, able to suppress my surprise about that This ensemble must have been pretty and then played by imitating the class thought, because I had heard a similar one good because I remember standing in teacher. 25 years ago in a German Musikschule— front of a jury table, waiting for our turn to In some schools, the alto recorder is but there the question arose about play during a music competition. And introduced in third grade. The pentatonic whether accordion could be part of the somewhere on my parents’ old record mode then leads into the Medieval mode music instrument curriculum. The accor- shelf must be a recording made by this and the diatonic scale, and the child learns dion was rejected because some called it ensemble. the C major scale. At that point, violin is “not serious, not a real instrument.” That was a long time ago. Meanwhile I also introduced into the curriculum. I knew that, without a change in the had become more and more involved with In fourth grade, sight-reading becomes music program at our school, the recorder the spectacular possibilities of being a important, rounds are introduced, and the ensemble would soon fade away. The pianist, soloist and chamber musician. If I recorder and the string instruments are misconception about the recorder as a musical instrument was too widespread Education Committee Survey Online! to be ignored. The ARS Education Committee is conducting a survey for recorder players and en- A group of supportive teachers started sembles (amateur and professional) who perform in schools and/or for educational to study more about ensemble work—and venues. Our goal is to compile a list of active ensembles working in the field of about the recorder as an instrument, and music education and, specifically, introducing the recorder, as well as its history and its value in education in relationship to repertoire, to students. The information gleaned from your answers is meant to sup- the modern orchestral instruments. It port your activities by making contact information available to schools and colleges, seems we made progress! After two years ARS members, and music teachers who are looking for individuals or recorder of discussing, studying and performing groups for educational performances and presentations. We hope the information very convincingly, next year we will have a can provide a valuable service to both recorder ensembles and school educators/ joint recorder orchestra in seventh and administrators alike. eighth grade—perhaps in addition to a The Education Committee will review the surveys in March 2008, and keep you recorder ensemble. informed about the survey results. We ask that you please fill out the survey at In high school, students are able to
16 American Recorder too challenging and saxophone and voice, and use playful too abstract for ways to communicate musically. We the young, untrained approach it as if we are painters creating player. I had hoped scenes, emotions, shapes or forms on a that my personal canvas. enthusiasm for music A young student who requires a great by these composers deal of structure in life is very challenged would be enough by this; the student who has learned to convince or fasci- through structure and discipline loves it. nate the students— I plan to use this musical technique I found, however, that further in my classes. this age group likes to An eleventh-grade student wrote, experience warm, tra- “I have found that the recorder ensemble ditional elements in at my school has broken down any nega- the music they play. tive definition or picture of the recorder It has been and built it up again….Playing and listen- rewarding that I ing to the recorder was always kind of have met two local pleasant, but the sounds we can create, recorder ensemble. Our high school is composers, Glen Shannon and Frances playing great and even modern pieces or very small, with approximately 90 stu- Blaker, and that my high school students adding fusion sounds, brings everything dents. Last year 10 students (more boys very much admire their work. The to a place of such beauty and mystery. than girls) chose the recorder ensemble. audience also appreciates the intricacy I’ll never go back to the way I used to (See photo of high school recorderists above.) and depth of their music. experience the recorder.” Another challenge is the fact that a high Another aspect of my recorder ensem- Isabel Wundsam Haug, of Sebastopol, school student can elect to take music ble classes is improvisation. As a tradition- CA, studies recorder with Frances Blaker. class for only one semester. Students enter al, classical piano student, I did not have She is fascinated by this instrument, and its and leave classes when the semesters much experience with improvisation. richness and possibilities, its beauty and sen- switch, creating a great deal of change in Now I am fascinated by it—and I am start- sitivity. Her musical life is now enriched by both my perspective and in the repertoire ing to learn about it, as my students also the honest support and refreshing vitality in the group is able to play. Creativity and learn it. We blend sound and rhythm, dif- the musical community surrounding the flexibility are very important for a teacher ferent timbres such as the recorder with recorder. to develop in situations such as this is.
What do we play? During one winter season, we played and sang Praetorius songs, and enticed a pro- fessional singer to join us. Mixing the sound of recorder and voice, and hearing their similarity, was a revelation to both students and audience. One year, we surprised the middle school’s eighth-grade class in their performance of Shakespeare’s play Mid- summer Night’s Dream by learning Pur- cell’s composition of the same title. Not only did the surprise element work, but the performances were beautiful. The underlying music in that performance became a tradition for several years during different Shakepeare performances. We began to add a few strings, with piano as continuo, and a few percussion effects, to make the music sound like an orchestra. For the last two years, I have been try- ing to emphasize modern composers. Mu- sic by contemporary composers is inter- esting and awakens a curiosity in compo- sitional style among high school students, and keeps the recorder new and fresh. Finding the “right” contemporary pieces is important. I found out that composers like Harald Genzmer or Hans Poser are
November 2007 17 RESPONSE ______Recorder in the orchestra, capturing spring in a cover, ______and the plight of playing old music
A COVER ADMIRER has performed it twice more. The Carson strings are added to the performance. I always admire the American Recorder City Symphony of Carson City, NV, per- Secondly, the composer continues the magazine covers, and the one for March formed the piece in 2003, and the piece alto part through most of the piece. Even 2007 was outstanding. It captured the was also presented at the Peruvian Naval though the recorder is eventually swal- essence of spring and recorder, with the Academy in 1997. lowed up by ... the other instruments, green and blue background, curtains Buchanan’s fondness for the recorder I was able to keep playing and partici- blowing in the breeze, the recorder up- stems from its ability to evoke many of the pating in the music. The difficult part was right in the center, the vase with sprigs of sounds he associates with Peru. His use of resisting the urge to follow the ... volume green and the music sheet curled up on the recorder has extended beyond Peru- [changes] of other instruments, which a the table. Congratulations! vian Sunrise as he has composed several recorder cannot match. Brigitte B. ("Bee") Nahmias, M.D., pieces of modern symphony music that Berlin calls playing with a symphony a Decatur, GA add a recorder to instrumentation. Not a privilege. I agree. The number of recorder player himself, he works with musicians, the sound they generate, and AND THEN IT DAWNED ON ME ... Kanzelmeyer, who plays ... sopranino [to] the expressive dynamics a conductor In the President’s Message in the May bass. After [a work] is written, Kanzel- draws from the orchestra are so remote 2007 AR, Letitia Berlin states “…that meyer advises Buchanan which voice best from most recorder playing that few get there aren’t many pieces for modern sym- fits the range written for the recorder. the satisfaction of contributing to such a phony orchestras that include recorders.” I was fortunate to play the alto recorder musical venue. Those contemporary Her statement brought to mind one sym- in the Carson City Symphony’s produc- composers who are writing symphonic phonic piece by an American composer tion of Peruvian Sunrise on February 23, music that includes recorders may be the Gary Robert Buchanan: Peruvian Sunset. 2003. My good fortune resulted from a rare exception today, but my hope is that Peruvian Sunset’s composer promi- very small pool of recorder players in Car- they are opening the way for future nently features the alto recorder. A solo son City, and a son who played trumpet in composers that will make the recorder alto recorder’s soft tones begin the piece the orchestra when the word went out that sound more common in tomorrow’s with a background of percussion instru- an alto recorder player was needed. Music performance halls. ments providing a South American rhyth- Director David Bugli pleasantly surprised For those who are interested in mic feel. The effect [gives] the sense of the me when he inquired if I had any interest Peruvian Sunrise, recordings and the score sun just beginning its climb above the in playing the recorder part. Up until that are available at:
18 American Recorder DEPARTMENT OF
______AMPLIFICATION ______The recorder continues as an instrument for social change
This past December, I was fortunate to be The camp’s purpose is to take them out able to fulfill a long-lasting desire to work of that stressful environment—for many “The girls who played with children in Africa. Before I tell my story, of them, for the first time ever—and I would like to thank all the ARS members to bring them to a campsite in a beautiful [recorder] were not who have supported me in spirit and in surrounding. In camp they are encour- funding, making possible my visit to South aged to have fun. There is an emphasis on people who had Africa. I am privileged to be part of such a helping them feel safe, loved and valued— community, which shares my musical passion and, most important, educating them even considered and is also aware of the importance of music about their situation and their options. as a tool for social justice. (See the September To ensure best results, the camp has playing a musical 2006 AR for Daphna Mor’s initial story.) separate sessions for boys and girls. They I would also like to thank Yamaha for alternate the two every three months, instrument before.” donating 200 green plastic recorders. They whenever camp is in session. We were were generous in their spirit from the moment starting a girls’ camp, for ages 10-15. tially create separation within the group. I approached them. First we had four days of training, run As the focus needs to be consistently on On Christmas day 2006, I took an by the camp managers, in which we got to the campers, the training proved to be 18-hour journey to Johannesburg, South know all the guides and learned how to crucial in the bonding of our voceli (the Africa. Once there I met with other inter- work together. Guides would need to col- camp’s name for the guides). national volunteers for World Camps, laborate in special activities and in the In these days of training, I also got to and we set out to meet the local women everyday camp life. The various tribal ori- know the two voceli, Lunga and Martha, with whom we would lead a summer ses- entations of the local women can poten- who would be my assistants for the week. sion at Camp Sizanani. Our rendezvous was in the yard of the HIV/AIDS Clinic in a hospital in Soweto, one of the largest townships in South Strings & Early Winds Africa. Once we were all on the bus, we R were treated like locals, and from then on Modern/Baroque Strings Viols Vielles we were one team. The young South Küng Moeck Mollenhauer Paetzold Yamaha African women were an inspiration during E Aesthé Dolmetsch Ehlert K&M both training and camp. Some were as Wendy Ogle Lu-Mi Ifshin Snow young as 16 (junior guides); all come from the same background as the campers, C Competitive Prices and most had been campers as well. Sent on Approval Camp Sizanani is a camp for South Personalized Service & Advice African children affected by HIV/AIDS. O Some of the children are HIV-positive, and all of them have parents with HIV/AIDS. Most of them have lost one or both of their R parents to the virus. The children are from very poor back- grounds to begin with, but the presence of D the virus in their lives adds to their already tough situation. Many live with parents who are too sick to work. Some live with a E family member who took them in after a parent’s death and who are often unable to provide the necessary material and R emotional support the child needs. Some Lazar’s Early Music children have been living in an orphanage (866) 511-2981 [email protected] since a very young age. There is also, obvi- S www.LazarsEarlyMusic.com ously, the emotional stress of losing par- 292 Gibraltar Dr., #108, Sunnyvale, CA 94089 ents and of living with the stigma of HIV. November 2007 19 The camp started well, and the next It was a joy to see the girls—who were day we began classes. As there was a dismissive at the beginning about having shortage of classrooms, I conducted my any ability to play—getting more motivat- class outdoors (see photo at left). We had a ed and involved as the week progressed. circle of chairs, with shade from the trees. Their smiles grew from day to day! Each of the girls was very excited to In addition to the recorder classes, I receive her own recorder for the week. was involved in helping manage the dining Anyone who has taught young children hall routines. Most campers and voceli are knows how long it takes for a child to not used to three full meals a day. It was I used the time to teach them the basics of get used to holding the recorder with the surprising to see the amounts of food each recorder playing, so they could help me in correct hand position. I decided, based on of them would eat at meals. It is impossi- real time once the classes are in session. the short time I had, not to impose the ble not to reflect at how cruel this situation Their joy in learning the instrument, and “left hand on top” playing rule. I realize it is, when compared to the excessive self-pride (while the rest of their friends is not ideal, as the double holes on these amount of food we waste. Hunger is one looked on jealously!) gave me a very posi- instruments are built to have the left hand of the most overwhelming aspects of tive feeling about the power of this activi- on top, but I felt that it was the correct poverty, and its senselessness really hits ty. Again and again they practiced the thing to do under the circumstances. Any home when one shares meals with a notes I taught them. joy and confidence these girls could person accustomed to hunger. Now I We also planned the rest of the musical achieve by playing the recorder would be think about it with almost every good, activities, which included African danc- the purpose of this course. nutritious meal I eat. ing. I felt that it would be wise to divide During the week I taught the younger I also volunteered during the evening up the hour and 15 minutes we would be girls notes from G up to D, and the older shift to help the camp doctor distribute assigned each day to work with each small girls also the notes down to middle C. HIV medicines. The girls who needed group. This way they could learn their We played South African rhythms on medicine would come to the clinic three own traditional music and dance (which one or two notes, plus we played in unison times a day to receive their doses. They is encouraged in the camp), and would and in harmony. We learned “Three Blind have taken these medicines for years. The not tire of learning the new instrument. Mice” (all of them already knew this song) amount of medicine each girl takes is When training was over, the local voceli and also the one song they all wanted to extremely high and not easy to consume. went home for New Year’s Eve. The foreign learn—”In the Jungle” or “The Lion Most of the young girls do not really volunteers stayed in camp. We used the Sleeps Tonight,” which we know most re- realize they are carrying HIV. It is a very time to rest before the campers arrived, cently from The Lion King but which is delicate situation, and heartbreaking to and to travel around with Phil (the head of actually an African melody, “Wimoweh.” see the partial understanding each has World Camps) and his family, who came As the week progressed, I got to know of her condition. We got particularly at- to volunteer as well. the girls and approached them according tached to these girls during the week, and The day the campers arrived was very to their special needs. My objectives were their well-being has entered my prayers. emotional. The girls were so shy as they to learn to be sensitive and not to push too The other activities the girls were arrived, but were immediately swept up by much: to be process- and not goal-orient- involved in during the day were swimming the love and enthusiasm the voceli poured ed, and always to find ways to praise the (the highlight of the activities), nature on them. We started singing with them, girls, even when they felt something was and nutrition, where they learned the and we all hugged the girls to welcome too hard for them to play. The approach importance of hygiene and of a balanced them to camp. The girls seemed pleased was of music therapy, with focus on the diet for them and their family. by the attention. girls’ mental health. There were also art, drama, and life skills. This is the most serious activity, in New! which they openly learn about HIV/AIDS, Affordable and available now! STDs, rape, pregnancy, abortion and women’s rights. It was very sad to realize Rosewood and ABS Kelhorns & Crumhorns the level of misinformation and ignorance Soprano in -c’-, Alto in -g-, Alto in -f-, Tenor in -c-, regarding such crucial topics. Bass in -F- and Great-Bass in -C- The camp days flew by, with both its See and hear them all in detail on our website: fun activities and the more serious mat- ters. As the level of connection tightened, www.susato.com between the campers themselves and with Also new: voceli, emotional stresses came into the Susato Double Reeds Sounding great and lasting long. open. Being a woman in such circum- Nine is Fine Susato Press Editions for Capped Reeds. stances can make for an extremely devastating existence. There is a high 13 Stars Duets, trios and quartets of early American music. amount of sexual and emotional abuse; girls are forced, from an early age, to be Our 53rd Year! responsible for the traditional woman’s Kelischek Workshop for Historical Instruments role of housekeeping and care-giving. 199 Waldroup Road, Brasstown, North Carolina 28902 USA This interferes greatly with their develop- ment and schooling.
20 American Recorder whole camp. In the “By camp’s end, they were performing presentation, the drama in front of the rest of the camp, in groups class wrote very touch- of 8 to 10 together, playing “Wimoweh” ing monologues and (The Lion Sleeps Tonight), or “Three Blind scenes about poverty, Mice.” They did this by learning the prop- their love for Africa, their er fingering for the notes and by identify- cry for the world to pay ing the notes by their proper designated attention, and learning names. to accept people living “Like so much else at camp, it was a with HIV/AIDS. moving experience to see this happen in The music class pre- the short time they were at camp. sented traditional South “We are now asking Yamaha if they can African songs and find a volunteer to work with the girls at dances, with recorder the Kids Clubs to further their training.” playing. I would like to end this article with a During the week I song that is sung by the South African vol- found ways to create unteers to the campers at Camp Sizanani: songs from the few notes How could anyone ever tell you Many stories surfaced that were heart- I was able to teach every class. I especially You are anything less than beautiful? breaking to all of us, and especially shock- found ways to incorporate Camp Sizanani How could anyone ever tell you ing to the foreign counselors who are less songs, which the girls sang all week and You are less than whole? familiar with these girls’ backgrounds. which became a sign of their increasing How could anyone fail to notice Even so, the strength and spirit of these comfort and love for the camp. In the per- That your loving is a miracle? girls is admirable, and made me hopeful. formance, the whole camp cheered as they How deeply you’re connected to my soul. The camp was filled everyday with heard parts of the songs they all knew. Of Daphna Mor beautiful singing and dancing, as it is part course, the highlight was “In the Jungle.” of the culture and traditions. These girls We had hoped originally to give the For the Yamaha report, see can improvise a second and third voice to recorders to the girls who played them, so
November 2007 21 ______Q & A ______Helping a physically underdeveloped third-grader, ______and articulating on low recorders
uestion: I recently took over the music and have them take turns moving to rhyme (for example, “Icky bicky soda Qprogram in a small Montessori school the music. Also have them take turns cracker, icky bicky boo, icky bicky and have begun teaching recorder to third singing the songs they are playing, soda cracker, out are you”). Count on graders. One boy is painfully underdevel- and if you are using notation, have the fingers of each hand. Start with the oped. He has extremely poor hand/eye coor- them take turns conducting. right hand, moving from thumb to dination. His major obstacle is keeping his 3. If a student is experiencing fingering pinkie and back in rhythm to the fingers in one place. When he does manage problems, you can “prepare” his/her rhyme. Whichever finger is “out” to work out the proper fingering, he has recorder so that it will only play one needs to be skipped the next time trouble holding the recorder, and it is nearly note. Tape up the holes with small around until only one finger remains. impossible for him to move from one finger- stickers so that it will sound a specific Then repeat with the left hand. ing to another. I believe that with enough note, for example first-octave A or G Practice for speed. time and private instruction he would be on the soprano. Then have the stu- More games can be found in the Kleine able to learn the necessary technique but not dent use it in a made-up call-and- Zauberflöte resource mentioned earlier. I in the limited time he spends in my class. I response piece where the response is hope these suggestions will help. am looking for ideas to help him gain some a specific rhythmic phrase on that Annette Bauer uses the Orff-Schulwerk finger dexterity in the classroom and am note. You can choose either to have approach in music classes at a K-8 school in also looking for other activities that will the response played by the whole Oakland, CA, and also gives private allow him to participate in the class with group (call played by the teacher or a recorder lessons and coaches ensembles. his peers.—M.M., California soloist) or have the response be the “solo” part. Either way, your student nswer from Annette Bauer: I also can then concentrate first on breath The onset of the note takes Awork with third-graders on recorders and articulation without having to longer for low instruments at the school where I teach. I found that worry about fingering for a while. even within the general spectrum of Here are some games to develop finger than for high ones. development, some children are having a dexterity that I have used successfully in harder time than others with fine motor my classes as warm-ups and breaks from uestion: I am looking for articulations control at that age. playing. Qthat will make tenor and bass recorders To keep everyone happy, I try to move 1. I learned this finger-isolation game speak more distinctly. To increase the audibil- the children on and off the instruments from Soili Perkiö (Sibelius Academy, ity of the onset of the note, I say “ch” through quite a bit. Most important to me is that Finland) at the national American the recorder with a little leakage around the they are engaged in the musical group Orff Schulwerk Association confer- mouthpiece. The “ch” is audible because of process. If playing the recorder at a given ence in 2006 in Omaha, NE. With the leak. Are there other non-typical articula- moment is too hard, I try to find another hands palm to palm, have the fingers tions that will make the onset of the note on way to allow them to express themselves in one pair tap against each other in low recorders more audible? The “ch” ends up musically. Here are a few suggestions: rhythm. (Use a familiar rhyme or song clogging the recorder sooner than the typical 1. Try finger games on and off the instru- or make up one.) Repeat with the oth- “t.”—Ronald Hertz, Rochester Hills, MI ment to develop better fine motor er pairs of fingers. For extra challenge, skills. This is good for the whole class tap two pairs simultaneously, i.e., nswer from Matthias Maute: The low and is essential for children who are both thumbs and pinkies, or both Ainstruments of the recorder family having difficulties. One resource that index and middle fingers, etc. can, indeed, be a challenge for the player I have found helpful is Die Kleine 2. Here’s a partner game for developing since the onset of the note takes longer for Zauberflöte (Recorder Magic) by finger awareness and finger isolation. low instruments than for high ones. The Ulrike Volkhardt and Vroni Priesner, One person has eyes closed, hands explanation can be found in the longer
22 American Recorder ment reacts, a lot of time passes, where nothing seems to happen. This is the time the instrument needs to create the long stationary wave that will eventually result in a clearly definable pitch. We can help the instrument, though, by making air enter the recorder more quickly. The faster the airflow in the wind- way, the more quickly the pitch will be established. However, in this particular case, we have to make sure that our attack consonant is “d” rather than “t,” for the greater volume of air used in pronouncing “t” will force the instrument to break into higher harmonics of the desired pitch. A sharp “d” will create the explosive sputato effect that assures the establishment of pitch without having to deal with the problem of cracking notes. This can only be a short-term solution for two reasons. Musically, continuous sputato (which, I’m afraid to say, will also be the result of “ch” accompanied by leakage around the mouthpiece) will soon prove tiring to listeners—and, technically, the player’s tongue will wear out quickly. Therefore, I would recommend experi- menting with different degrees of “d,” which will allow you to be flexible and precise at the same time. There is no miracle solution to this problem, and different players will surely apply different techniques. Good luck with your low notes! Matthias Maute is an internationally renowned recorderist living in Montréal, QC.
Send questions to Carolyn Peskin, Q&A Editor, 3559 Strathavon Road, Shaker Heights, OH 44120;
Play the melody below (slightly modified from Edvard Grieg) to help find your low notes and to find the best position for your footjoint. Play without using your tongue at all. Allow the sweet nature of the tune to enable you to play in a relaxed and gentle manner. This will help you keep your hands relaxed, and thus better cover the holes. Memorize and use as a brief warm-up. Frances Blaker Soprano ¡ ¡ ¡ ¡ ¡ ¡ ¡ Tenor ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Ì
¡ ¡ ¡ ¡ ¡ ¡ ¡ Alto ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Ì " Bass ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Ì
November 2007 23 OPENING MEASURES ______Recorder orchestras
t seems there are more and more of music, by any size of group. I request Irecorder orchestras forming. Perhaps Almost all of the time, just that you hold yourselves to the highest you play in one yourself—or direct one, or possible standards. want to start one. Here are some of my paying attention to tuning Players of any level are capable of play- observations that may be of use to both ing in tune. Good intonation is 90% at- players and directors. will improve intonation. tention. In fact, you don’t have to know exactly how to get in tune: almost all of the Group Sound hearsal for every 5 minutes of music—per time, just paying attention to tuning will A well-blended recorder orchestra sound rehearsal. The wise director will choose a improve intonation. In other words, mere- is a pleasure to hear, but just having 25 combination of pieces: some easy (yet ly listening can make a lot of difference. recorders play together does not always good) music, some more challenging One of the difficulties in tuning a produce a blended group sound. A 15- pieces, and some that are longer or short- recorder orchestra is that it takes time. We minute series of warm-up exercises can er. This practice is good both for the play- usually cannot do it as a symphony or- lead to a good ensemble sound. Some use- ers and the audience. A good selection of chestra does, en mass. Most recorder play- ful exercises (this is just a small sam- musical styles, genres and characters is ers are not that experienced in the art of pling—anyone can come up with more) crucial for a good presentation. tuning and find it very difficult to tune in include: A shorter program—well-played, both those circumstances. · Slow scale moving gradually from pp to technically and musically—is far more sat- One option is for everyone to get an ff, then a slow scale moving gradually isfying to everyone involved than a longer, electric tuner and use it: a useful, but mu- from ff to pp more ambitious program performed by sically unsatisfying, solution. You don’t · Scale repeating each note four times for the skin of the orchestra’s collective teeth. learn anything this way, and you don’t clean articulation: first all “t,” then all Keep in mind that one of a director’s train your ear—but it is certainly better “d,” then alternating “t” and “d.” duties is to leave the orchestra players with than playing out of tune. This can be varied in all sorts of ways. a sense of accomplishment and a job well The method I favor is for the director to · Scale in thirds beginning on the lowest done, rather than with cringing shame at set the pitch with the bass recorders, then note of all recorders. Best played from the thought of any discords, mistakes, lost tune everyone else to them, first tuning memory, but you can start out reading measures, and so on. A good performance the larger instruments (great and contra from the page. reflects well on everyone involved. basses and below), then tuning tenors, al- · A very simple piece, such as a homo- As to editions, there are more and more tos, sopranos, and last sopraninos, and rhythmic Renaissance dance. Play the good arrangements of all sorts of music for garkleins. same piece at the beginning of each recorder orchestras, many available for I like to tune all instruments to the rehearsal with good intonation and purchase. But perhaps now there is a need same fingering—left hand fingers closing tone, accurate fingering, and clear for an orchestra director’s clearing- holes 0 1 2, producing the note “A” on articulation as your goals. house. Many directors make their C-fingered recorders and “D” on the Finally, the better the orchestra knows own arrangements on the computer. others. That way each instrument is play- the piece being played, the better the Such arrangements could be made avail- ing in the same easy range as all the others, group sound will be. able for exchange among directors via the making for more reliable tuning. Internet, perhaps through part of the ARS Also, every member of the orchestra Music: Less is more web site or on an online e-mail forum. will know that they will always be asked to Directors, please be thoughtful about the For those who are not technically tune using that specific fingering—a great amount of music you choose for any given inclined, check out the various trusty time-saver. If the orchestra gets used to program. Sixty minutes of music makes mail-order music sources, such as the ad- tuning this way at least once at every re- for a program of around 90 minutes when vertisers in this issue of AR and the ARS hearsal, the process will become quicker, you figure in moving around, talking to Business Members page in this issue. taking less time during performance. the audience, time to generally get ready to And here I must remark that directors play, tuning, etc. Playing Issues should not hesitate to tune on stage. A I think 60 minutes of music may be a Tuning: well-run and effective tuning process can little too long. After all, it is far better to I am sure you all want your orchestra to be fascinating to hear and will set the at- leave your audience wanting more than to sound good. If you make a recording, the mosphere for the performance. Every time leave them longing for the concert to end. reasons are very likely to share how much I go to hear a symphony orchestra, the Even more important, 60 minutes of you enjoy performing and also to be proud sound of tuning fills me with eager expec- music takes a lot of rehearsing. If you wish of your group. tation for a lovely evening of music. Why to sound good as a group, you should fig- Good intonation is absolutely indis- not give your listeners the same anticipa- ure on an average of 30 minutes of re- pensable to good performance of any sort tory pleasure?
24 American Recorder Instruments: A wonderful sound can be achieved with a Rules for Players Rules for Directors · Arrive early for rehearsals and · Be kind and considerate to your completely matched set of instruments performances players throughout the orchestra—but, to be · Be in your seat ready to play on time · Choose music appropriate to your frank, even the most perfectly matched in- · Practice your parts players’ levels struments will not have a harmonious Play always to the very best of · Prepare all programs thoroughly sound if all the players do not blow well your ability, even on “easy” music · Keep your standards high, choosing and in a similar way. · Listen music that allows all of your players I think the most useful thing is to have · Play in tune to achieve them your players work on using a similar blow- · Pay attention to the director and to · Keep up your own energy level and ing technique, before going to the expense your fellow players while playing enthusiasm of acquiring a full orchestra of matched in- · Listen to your director’s instructions, · Direct clearly; instruct clearly struments. In order to blend well, orches- the first time they are given · Keep your music organized tra players need to practice blowing tech- · Write instructions clearly in your · Tune the group often nique between rehearsals, and directors music · Run rehearsals efficiently need to start each rehearsal with a brief · Do not chat, practice your part, or · Know your players’ individual blowing warm-up. discuss the music with fellow players strengths and weaknesses during rehearsal Duties in the Orchestra Directors, please be kind and compas- sionate to your players, very demanding yet nice. Mutual respect is best for every- one involved. Choose music appropriate to your players’ levels. Performing an under-prepared program can make your players feel humiliated. Keep up your own energy and enthusiasm so that your players can be in- spired by you at each rehearsal and per- formance. To do this, go to workshops, concerts and other events where you can learn new things and exchange ideas with other directors. Your players will learn something from you at every rehearsal. Stay organized and keep the rehearsal pace moving along. Players, honor your commitments to your orchestra: arrive early for rehearsals and performances; be in your seat ready to play on time; practice your parts; play al- ways to the very best of your ability, even on “easy” music; listen to the group sound; play in tune; pay attention to the director and to your fellow players; write Provincetown Bookshop Editions instructions clearly in your music as soon as the director gives them—you can’t “GO FOR NEO-BAROQUE!” count on yourself to remember every- thing. Don’t chat during rehearsal (reserve Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) that for the break). [Prelude; Allemande; Courante; Musette— Let me end by thanking all those a neo-baroque epitome!] (Score & Parts, PBE-25) ...... $7.95 recorder orchestra directors who have spent so many hours preparing music for Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) their groups; who have expended so much [Baroque shapes but Hindemithian harmony] energy getting people together, scheduling (3 Playing-Scores, PBE-44) ...... $9.95 rehearsals and performances; who give their all at every rehearsal. And thank you Southwest of Baroque. David Goldstein’s “baroque Suite” to all those orchestra members who show on Cowboy Songs. For 2 Recorders (SA) (PBE-2) ...... $3.50 up every time; who come to rehearsals prepared; who share their enthusiasm and A good source for Recorder & Viol Music of all publishers. love of music with one another. Viva la The Provincetown Bookshop, Inc. Musica! 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 Frances Blaker
November 2007 25 CHAPTERS & CONSORTS ______Recorders at Canterbury Cathedral and in schools, ______reflections on playing in a recorder orchestra its members to be allowed to attend dress rehearsals, free of charge, of some area- based early music performing groups. The September newsletter of the Moss Bay (WA) Recorder Society warned that music director Wini Jaeger might ask, at the group’s first meeting, who had played recorder over the summer. (At that point, there was still time to do so!) On July 27, the Musica Milenio con- sort of Myrtle Beach (SC) provided a Byrd, Morley and Holborne diversion for the au- dience (as performers took a break) at the International Children’s Choir Festi- val Concert in the 12th-century quire of Canterbury Cathedral, Canterbury, Eng- land. The concert was the 11th in a series of such concerts. In the afternoon, Musica Milenio also provided a full-length concert program in the cathedral cloisters, and The Princeton (NJ) Recorder Society Two chapters have recently polled their performed again in Stratford On Avon. has initiated an "Adopt-a-Spot" program. members to get feedback on how well the Musica Milenio players are (photo at Each chapter member has been asked to chapter meets their needs. The San Diego left, l to r) Bob Lauer, Mary Lauer, Sue post PRS flyers and/or brochures on a County (CA) Recorder Society asked Fink, Christine Wright and Kaye Sloan. bulletin board in a location that person members to come to its June meeting The photographer was Michael O’Toole, frequents—a local library, coffee shop, ready to discuss a list of questions about whose daughter sang a solo in the concert. church, community center or other activi- expectations. The Twin Cities (MN) Members of Heartwood, a recorder ty center. Once the flyer is posted or Recorder Guild used a broader method, septet in southwest Pennsylvania, per- brochures set out, each PRS members will reporting results of a survey in its Septem- formed in May for 57 third-graders in the "adopt" that location, and see that public- ber newsletter. The most significant Souderton Area School District. Narrated ity materials, which are available at chap- response (or lack of one) was in the area of by Lynne Rush, the group played Renais- ter meetings, continue to be displayed . stepping forward to be a chapter officer— sance and Baroque selections plus barber- not uncommon among chapters these shop quartets, a tango, and a folk song. At days. TCRG is encouraging members to the conclusion, the children played Rush's consider accepting a board position for as arrangement of a piece they had studied, Courtly Music short a period as a month, or on a share When the Saints Go Marching In, with each basis with someone else. The latter repeat adding more recorders: first the Unlimited method is used by the Mid-Peninsula bass, then tenor and alto, and finally (CA) Recorder Orchestra, and Orange sopranino. 800-2-RICHIE County (CA) Recorder Society, both of Five members from the septet are which have co-presidents. MPRO leader- (800 274-2443) shown below: (l to r) Ray Overpeck, ship continuity is certainly carried on by Janice Arrowsmith, Rob Yoder, Lynne www.courtlymusic.com Fred Palmer, now in his 20th year as Rush and Marilyn Nolt. MPRO’s conductor/musical director. "Everything for the recorder The New York Recorder Guild is enthusiast, or those who also sharing leadership duties, as John would like to be." DeLucia, Susan Iadone, Larry Lipnik and Gene Murrow work together to fill Fine wood and plastic recorders, sheet the shoes of Michael Zumoff, who has music, method books, play-along CDs, “retired” after many years of service as accessories, workshops. NYRG’s volunteer executive director. The NYRG has also recently arranged for
26 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). All CDs are $15 ARS members/$17 Others unless marked otherwise. Two-CD sets are $24 ARS members/$28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site:
NEW! ____EAST OF THE RIVER Daphna Mor, Nina ____AN EVENING WITH BACH Voices of Music: Stern, recorders; Omer Avital, bass & oud; Uri Sarlin, accordion; Tomer Tzur, percussion. Haunting Hanneke van Proosdij, Louis Carslake, Dan ____ melodies and exhilarating rhythms from Armenia STOLEN Laurin, recorders; also Joanna Blendulf, Elizabeth JEWELS Blumenstock, Rodney Gehrke, Lisa Grodin, and the Balkans. East of the River Music. ____THE FOOD OF LOVE HESPERUS Early Ensemble Vermillian: Frances Blaker, recorders; Katherine Kyme, Jennifer Lane, Victoria Gunn Barbara Blaker Krumdieck, Elisabeth Reed, Pich, Susanne Ryden, William Skeen, David instrumental music of the British Isles, with works by Byrd, Gibbons & Simpson through Dowland, Katherine Heater. 17th-century German music Tayler. Voices of Music views Renaissance and adapted by Blaker: "I love violin music... so I steal Baroque music as centered around fine singing, Playford & Coperario. ____GATHERING: HUI; folk melodies from China the music and rearrange it for my own instrument. which shines through on this CD. Transcendent, This attitude and creative process is very much at instantly recognizable instrumentals of Air on a and 17th-century Europe, with crossover collabora- tions among Cléa Galhano, recorder, Belladonna home in the ... Baroque.” Buxtehude Op. 1, Biber, G String and Bach’s Prelude in G Major (solo Rosenmuller, Krieger, JM Bach. Fafarela theorbo instead of ’cello), plus lilting vocal per- Baroque Quartet, and guest Gao Hong, Chinese pipa. Ten Thousand Lakes. Recordings formances—Ryden’s weightless soprano on Bist ____TASTE OF PORTIQUE L'Ensemble Portique. ____I LOVE LUCETTE Hesperus: Scott Reiss, du bei mir, Lane’s rich alto on Es is vollbracht. Early and contemporary chamber music— Tina Chancey, Jane Hershey, recorders & other Bach, Telemann Boismortier and others. early instruments; Rosa Lamoreaux, soprano; FOR THE HOLIDAYS ____TELEMANN CHAMBER CANTATAS Howard Bass, lute. Charming, bawdy,sentimental ____CAROLS FOR DANCING Renaissonics, John Musica Pacifica Five cantatas from Harmonischer music from French Renaissance theatrical tradi- Tyson, recorder. Instrumental arrangements by the Gottesdienst, two sonatas from Sonatas Corel- tion. Divisions on Contente Desir, Il Fault Bien group for a public radio holiday show, with focus on lisantes. 2003 Chamber Music America/ WQXR Aimer; good recorder trio work. Koch Int'l. intimate connections among familiar holiday music Record Award for best chamber music recordings. ____LES SEPT SAUTS: Baroque Chamber Music and Medieval and Renaissance dances. WGBH. ____TELEMANN: DUOS POUR FLUTES, at the Stuttgart Court. Matthias Maute & Sophie ____CHRISTMAS AT THE CASTLE Five centuries Ensemble Caprice. Matthias Maute & Sophie Larivière, recorders & traverso; Ensemble Caprice. of holiday music from many lands; a Christmas con- Larivière, recorders & transverse flute, Alexander Charming repertoire by Schwartzkopff, Bodino, cert set in a castle, played & sung by 17 musicians Weimann, clavichord. Six Telemann duos & sonatas Detri. Atma Classique. on recorders, strings, percussion & voice. alternate with five fantasies for clavichord by Maute. ______DANCING DAY Scott Reiss, Tina Chancey & MUSICK FYNE PLAYS MUSIC OF THE ____TRIO ATLANTICA Lisette Kielson, recorders. Jane Hershey, recorders; HESPERUS’s other ITALIAN BAROQUE Alison Melville & Colin Works by Bach, Telemann, Montéclair, Leclair. early instruments with voice. Medieval, Renais- Savage, recorders; with other members of Musick ____20TH CENTURY MUSIC FOR RECORDER sance and traditional Christmas music, spanning Fyne (voice, harpsichord, lute/theorbo) & W. M. & PIANO Anita Randolfi, recorders; Marcia Eckert, 500 years, from the British Isles, Italy, France, Gay, ’cello. 17th & 18th century duos, trio sonatas, piano; Douglas Lima, piano; Mary Barto, flute. Spain Germany and America. Koch International. arias, diminutions. EBS Records. Original music from the first decade of the 20th ____MY THING IS MY OWN: BAWDY MUSIC OF ____IN NOVA CANTICA, A Celebration of Christ- century through the 1960s composed for recorder THOMAS D URFEY Tina Chancey, Grant Herreid & mas. Eileen Hadidian, recorder & Renaissance and piano. Works by Jacob, Bartok, Leigh, others. Scott Reiss, recorders & other early instruments; flute, with voice, violin, vielle, gamba and lute. ____ Rosa Lamoreaux, soprano. Improvisations on tunes VIVALDI: THE FOUR SEASONS Red Priest: Traditional carols, chansons and festive dances Piers Adams, recorders; "If you think you know the from the 13th-17th centuries. Healing Muses. of love, sex & seduction in 18th-century England. ____NOT MUCH IS WORSE THAN A TROLL Seasons, if you've heard it (or played it) far too ____MUSIC FOR A WINTER S EVE, Bringing Light often to ever want to hear it again–go straight out to the Darkness. Eileen Hadidian, recorder & Ensemble Polaris: Alison Melville, recorders, Baroque flute,seljefløyte; also Colin Savage, Kirk and buy this recording.—Early Music Today. Also Baroque flute, with voice, violin, viola da gamba & A. Corelli's Christmas Concerto. Red Priest Label Celtic harp. Traditional, Renaissance and Medieval Elliot, Margaret Gay, Ben Grossman, Terry McKenna, Debashis Sinha. Wide variety of 2005 Re-release of 2003 Dorian recording. songs to celebrate midwinter and the changing of ____VIVALDI: LA NOTTE CONCERTI PER STRU- arrangements and instruments—from squeaky the seasons. Healing Muses. MENTI DIVERSI. Judith Linsenberg, recorder; toys to palimpsests, duo to full ensemble. This CD Musica Pacifica. Award-winning CD, featuring five will surprise and delight old and new fans alike. IN STOCK (Partial listing) Vivaldi concerti, two sonatas. ____CORELLI, ARCANGELO: CONCERTI ____PARTY OF FIVE: A FEAST OF VIVALDI GROSSI OPUS 6 American Bach Soloists, Jeffrey AND TELEMANN Blue Baroque Band: Cléa Please indicate above the CDs you wish to Thomas, conductor; Dan Laurin, Hanneke van Galhano, recorder; Daria Adams, violin; Kathryn order, and print clearly the following: Proosdij, recorders. "Christmas Concerto" featuring Greenbank, oboe; Layton James, harpsichord; Name ______Charles Ullery, bassoon. Old sounds of recorder unique 1725 London version with solos transcription Daytime phone: (_____)______and harpsichord juxtaposed with modern oboe, for two recorders, instead of two solo violins, in Address:______bassoon and violin.Telemann: Concerto in A minor, three of the six concertos. Delos. City/State/Zip: ______TWV43:a3 & Trio Sonata in A minor, TWV 42:a4. ____CORELLI, ARCANGELO: CONCERTI Check enclosed for Vivaldi: Concerto in D Major, RV94; Concerto in G GROSSI OPUS 6 John Daniels, Sonja Lindblad, _____ single CDs x $____ = $______recorders; Peter Sykes, harpsichord. Trio sonata Minor, RV107; Concerto in G Minor, RV103. ____SACRED AND SECULAR MUSIC FROM _____ 2-CD sets x $____ = $______arrangement by Johann Christian Schickhardt. TOTAL $______DOLCE MUSICA: A CONTEMPLATIVE RENAISSANCE GERMANY Ciaramella–Adam & Rotem Gilbert, Doug Millikan, Debra Nagy, Please charge the above amount to my JOURNEY Eileen Hadidian, flutes & recorders; MasterCard, Visa or AmEx: Natalie Cox, harps. Celtic, Renaissance & recorders, with other winds, shawm, sackbut & organ. Medieval & Renaissance sacred music with #______Medieval melodies for recorder & flute with Celtic Exp. Date: ______harp. Healing Muses. reconstructions of folksongs & arrangements based on contemporary improvisation. Cardholder’s signature: ______DREAMS INSIDE THE AIR TUNNEL Mail to: Zana Clarke, recorder & composer. “Drawing on the ____SENFL (LUDWIG) Farallon Recorder Quartet (Letitia Berlin, Frances Blaker, Louise Carslake, ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. music of the didjeridu & shakuhachi...beautiful & You may fax a credit card order to 314-966-4649. hypnotic...”—American Recorder. Orpheus Music. Hanneke van Proosdij). 23 lieder, motets and instru- mental works of the German Renaissance. NEW! You may now order CDs online using PayPal at
CHAPTER NEWS Chapter newsletter editors and publicity officers should send materials for publication in American Recorder to: AR, 7770 South High St., Centennial, CO 80122-3122,
November 2007 29 MUSIC REVIEWS ______Arrangements and compositions from Paul Ashford, ______and organ pieces (one just in time for Christmas)
TURKEY IN THE STRAW, MUSIC FOR MARIONETTES IN ARR. PAUL ASHFORD. Lost in Time Press Folk music is 3 PARTS (1952), BY PAUL ASHFORD, (
November 2007 31 in all parts. After all of the activity, peace is American Recorder Society Publications Erich Katz Contemporary Music Series Members Non-Members restored with the ending A major chord. A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 While I like all the pieces in this suite, Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 “Wheels Within Wheels” strikes me as the Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 most interesting. The solo tenor first plays 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 a mournful melody that rises with ascend- (SATB) (Level II) (2 scores & 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 ing fourths and descends with seconds Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 and thirds. This six-note melody is played (3 scores) Vaclav Nelhybel (AA/TT) (Level II) Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 over and over again, but always with dif- (Level II) (2 scores) ferent rhythmic placement and accents. 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 When the second alto part enters, it is in canon with the tenor part, a minor third 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 higher. Then the top alto part enters with Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 many of the same elements—ascending The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” fourths, descending seconds and thirds— Arioso and Jazzy Rondo (AB) Carolyn Peskin New Rounds on Old Rhymes (4 var.) Erich Katz but it is more stretched out rhythmically, Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler so that this piece does indeed sound like 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 wheels within wheels! Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. The editor has thankfully added dotted 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 lines to show phrasing and thus clearly Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley indicates the overlapping movements of 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 the wheels. In the middle section, if Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin only one part has a wheel effect, triplets in Gloria in Excelsis (TTTB) Robert Cowper Three in Five (AAB) Karl A. Stetson Idyll (ATB) Stan McDaniel Tracings in the Snow in Central Park (SAT) the other two parts keep the music busy Imitations (AA) Laurie G. Alberts Robert W. Butts In Memory of Andrew (ATB) David Goldstein Trios for Recorders (var.) George T. Bachmann and active. The final section returns to the Lay Your Shadow on the Sundials (TBgB) Triptych (AAT/B) Peter A. Ramsey rotation of the wheels in all parts, finally Terry Winter Owens Two Bach Trios (SAB) William Long, arr. Little Girl Skipping and Alouette et al (SATBCb) Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. parking on a B major chord. Timothy R. Walsh Variations on “Drmeš” (SATB) Martha Bishop Part III of this suite contains Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. Vintage Burgundy (S/AS/ATT) Jennifer W. Lehmann, arr. five pieces: “Nerves of Steel,” “A Tense ARS Information Booklets: Moment,” “The Cold Gray Dawn,” “The ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Second Waltz” and “Exit March.” “Nerves Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 of Steel,” a remarkable and original piece, Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann begins with the tempo marking “Urgently American Recorder Music Constance Primus Playing Music for the Dance Louise Austin allegro.” Again, this trio is appropriately The Burgundian Court and Its Music Recorder Care Scott Paterson Judith Whaley, coord. named: sharp, repeated dissonances build from three-note tone clusters and chords Education Publications The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). made of perfect fourths. First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. There are nerve-wrenching sections of Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. ascending chromatic scales in parallel ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. seconds. Now and then a surprisingly Members $9; non-members, $15. Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. consonant chord appears, but the return Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). of the pointed dissonance is always right $5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+). around the corner. There are some wide and downright difficult leaps in the first Videos Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. alto part, where the composer humorous- An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month ly adds the instruction: “Lightly across 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. the gruesome intervals.” Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. Later he suggests a change in mood, Other Publications “With smouldering passion,” as there are Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an more ascending chromatic scales—but 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. not in parallel seconds. A sudden return of Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. the chromatic parallel seconds signals a ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. Discography of the Recorder, Vol. I (1989) . Compiled by Scott Paterson and David Lasocki. change back to the opening mood. Discography of the Recorder, Vol. II (1990-1994) . Compiled by Scott Paterson. Either single volume: ARS members $23; non-members, $28. “A Tense Moment” begins rather calm- Both Discography volumes together: ARS members only, $40. ly with a seven-note motive in the first alto 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. part. A couple of measures later, the second alto joins in the same motive a Shipping & Handling Fees Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. third lower. Things are still calm and dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. peaceful until tension is created by an Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. apparent contest to see who can play the ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. 800-491-9588 [email protected] highest pitches. When the tenor enters, the tense moments increase, especially
32 American Recorder when it leaps up a minor ninth, playing at FITZWILLIAM OVERTURE FOR a higher pitch that the two altos. Two Think of your favorite TWO CLARINETS AND HORN, measures later, the second alto leaps up to Strauss waltz, add HWV 424 , BY G. F. HANDEL, ARR. R. D. a high B and claims the highest pitch. Four TENNENT, The Avondale Press AvP 78 measures later, the second alto claims the some sharp skips into (Magnamusic), 2006. AAB. 3 sc 8 pp ea, highest note as it soars to high E while the dissonance and you have $14. first alto also jumps up a perfect fifth— The arranger, R. D. Tennent, says in all of this effectively creating suspense and the mood of this piece. his introduction, “It’s thought that this preparing for the “tense moment.” work was composed in 1741-2 for a Mr. A change of texture occurs when the but they all end on major or minor chords. Charles, a Hungarian-born horn player three recorders begin to toss around a new However, this piece, which has some who gave recitals with his wind ensemble and very chromatic seven-note motive. surprisingly traditional common-practice in London from 1734 and in Dublin in Following this, the tenor part suddenly harmony, ends on a tone cluster—all the 1742, overlapping with Handel’s season and surprisingly starts a passage of 16th more humorous and unpredictable! there. [This] is the only work by Handel notes (all within the range of a minor The final piece in this suite is an in which he specified parts for clarinet, at third). Soon, the second alto joins in the Allegretto called “Exit March,” which is to that time considered to be an alternative 16th notes, and finally the first alto as well, be played “jauntily and with a fine flour- to the clarino, the natural trumpet. The creating a tightly-woven stretto passage. ish.” This is a light-hearted, almost ‘Fitzwilliam’ designation refers to the fact For all the sixteenth-note activity, the calliope-sounding, march with traditional that Handel’s autograph of the work, the general level of dissonance is actually rhythms and quasi-traditional harmonies, only source, is in a collection at the down, as the 16th notes move in parallel but it is not without its own surprises. Fitzwilliam Museum in Cambridge.” thirds and end as suddenly as they After bouncing along nicely in the key of Tennent also writes that he followed the appeared. General calm returns as the F major, there is a crazy modulation in original quite closely but transposed piece winds down, with many descending the last several measures, leading to the everything up a minor third. phrases, to end in E minor. For a 31- final chord of F major! The work is in five movements: measure piece, it contains a lot of impres- While I am not sure if Music for Andante, Allegro ma non troppo, Larghetto, sive musical development. Marionettes was written for a puppet the- Andante allegro and Allegro. Tennent has The title page of “The Cold Gray ater, I certainly can visualize marionettes done well at making sure that all three Dawn” contains some interesting (if not during the pieces. The composer indicates parts are interesting and challenging. amusing) instructions: “Tight-lipped, but that these trios were intended for ad- This music is for a more advanced nonchalant, before a stone wall.” Make vanced recorder players, which may have ensemble and requires a solid bass play- of that what you will; it is certainly more been very true in 1952. However, it is my er. The alto parts also run the full range of evidence of Ashford’s subtle humor. belief that today’s upper intermediate the instrument, especially in the Allegro Again, this piece sounds like its title, players, with practice, will also be able ma non troppo movement. I highly rec- particularly if the mournful melody in the to play and enjoy them. ommend this wonderful arrangement. first alto is played with a cool, straight Players will need to know all of the Valerie E. Hess, M.M. in Church sound. The second alto and tenor parts chromatic fingerings and be strong in Music/Organ from Valparaiso University, is have a rippling accompaniment of eighth rhythm. To make these pieces come to life, Coordinator of Music Ministries at Trinity notes across major and minor thirds. The adequate technique to slur notes involving Lutheran Church, Boulder, CO, where she entire piece is 24 measures long. Silence in complex fingerings is needed, as well as a directs the Trinity Consort. She has also all parts is used dramatically here, as it was wide variety of articulations. published two books on the Spiritual in “Sinister Street.” While I think the first alto part is the Disciplines. “The Second Waltz” is lighthearted, a most challenging, there is great musical minuet/trio marked Amoroso (but briskly) interest in all three parts. The Sharers and —another theatrical change in mood. I had a great time playing these pieces and Think of your favorite Strauss waltz, add liked them very much. But best of all, we some sharp skips into dissonance and you were able to record them, fairly perfectly, have the mood of this piece. after one or two brief read-throughs. The eight-measure bridge between the If a composer’s music reveals some- Amoroso and the Trio contains biting cross thing about the composer, I can state with Honeysuckle Music relations. An asterisk by the Trio section is great enthusiasm that I would love to have explained thus: “You’re too young to re- known Ashford. I am very curious about member Vienna before the Great War.” his other works issued by Lost in Time Recorders & accessories This section is downright humorous. Press. ... The first eight measures are consonant Sue Groskreutz has music degrees from Music for recorders & viols and very much reminiscent of a Strauss Illinois Wesleyan University and the Univer- waltz. The second eight measures begin sity of Illinois, plus Orff-Schulwerk certifica- Jean Allison Olson with ornamented descending parallel tion from DePaul University. Playing and 1604 Portland Ave. seconds; then ornamented parallel teaching recorder are her greatest musical St. Paul, MN 55104 seconds head back up the scale. loves. She just completed 10 years as presi- 651.644.8545 All of the previous pieces have dent of the American Recorder Teachers’ [email protected] employed varying degrees of dissonance, Association.
November 2007 33 COMPLETE ORIGINAL RECORDER errors, most notably a missing repeat sign martini’s well-known F Major Concerto SONATAS, BY FRANCESCO BARSANTI, ED. in the parts in the Allegro assai of the first for soprano recorder. BARNABY RALPH & HUGUETTE BRASSINE. sonata, but page turns are carefully The degree of complexity in these Dolce DOL 126, 2005 (Magnamusic). planned (with the exception of the second works sometimes makes it difficult to find A, bc. Sc 52 pp, pts 24 pp. $23. movement of Sonata 3 in the score, which a clear direction for the phrase, but The music of Francesco Barsanti is not necessitates a turn at the repeat for the the challenge is well worth tackling for the unknown to recorder players, but Ralph sake of a single bar). As is usual with sake of the inventiveness and exuberance and Brassine have prepared a thoughtful Dolce, the presentation is very legible and of the writing. While upper intermediate and respectful edition that presents the six attractive. players may enjoy certain individual sonatas of Opus 1 in a single volume at Even those who are familiar with these movements (Op. 1, No. 2, is especially low cost. The edition is based on their Barsanti works may want to make their melodic), advanced performers will be the recording of the sonatas. acquaintance anew in this edition. most capable of balancing all the elements The editors provide a four-page intro- necessary for a successful performance. ductory note that describes the historical, Edition baroque’s presentation is biographical and stylistic background of Even those who are generally quite legible and careful. Some the music. They make the point that these familiar with these features that likely stem from the original sonatas, first printed in 1724, are as manuscript may give players pause (e.g., sophisticated as any recorder sonatas Barsanti works may unmarked triplets, and conflated first and printed in England at the time, including want to make their second endings). There are a few mis- those of Handel. prints, most seriously a missing bar in the While Barsanti’s sonatas may not acquaintance anew continuo part in the last movement of have the melodic charm of Handel’s— Op. 1, No. 1, but all of these points can be Handel was, after all, one of the great in this edition. resolved with careful reference to the melodists of all time—they match and score. perhaps even surpass Handel’s better SÄMTLICHE SONATEN, BAND I: This is a valuable series that should be known set in terms of harmonic, textural SIBLEY NR. 17 & 19, BY GIUSEPPE of interest to all serious recorder players. and formal invention. Barsanti explores SAMMARTINI, ED. JÖRG JACOBI. Edition unexpected harmonic byways, but he is baroque eba1101 (Magnamusic), 2004. 6 SONATAS AFTER THE ORGAN able to build substantial and convincing A, bc. Sc 16 pp, pts 11 pp. $22. TRIO SONATAS, BWV 525-530, musical structures at the same time. SÄMTLICHE SONATEN, BAND II: OP. VOLUME 1: SONATAS 1-2, BY J. S. His fast movements, in particular, I, NR. 1 & 2, BY GIUSEPPE SAMMARTINI, ED. BACH, TRANS. BERNARD THOMAS. Dolce achieve real momentum through an JÖRG JACOBI. Edition baroque eba1102 DOL 272, 2006 (Magnamusic). A, kbd. ongoing rhythmic and harmonic interplay (Magnamusic), 2004. A, bc. Sc 20 pp, Sc 34 pp, pt 13 pp. $14. between recorder and continuo. The slow pts 10 pp. $22. 6 SONATAS AFTER THE ORGAN movements are similarly strongly charac- These first two volumes in an ongoing TRIO SONATAS, BWV 525-530, terized and include an Adagio (the first series of the complete Recorder Sonatas VOLUME 2: SONATAS 3-4, BY J. S. movement of the second sonata) that of Giuseppe Sammartini (Volume 3 was BACH, TRANS. BERNARD THOMAS. Dolce features especially elaborate ornamental reviewed in the March 2006 issue of DOL 273, 2006 (Magnamusic). A, kbd. figuration. American Recorder) present recorder Sc 30 pp, pt 11 pp. $14. Like Handel, Barsanti also integrates sonatas from manuscripts housed in 6 SONATAS AFTER THE ORGAN dance forms—Siciliano, Gavotte, Rochester, NY, and Parma, Italy. The two TRIO SONATAS, BWV 525-530, Minuet—into the sonatas, sometimes as sonatas in Volume 2 also appeared in one VOLUME 3: SONATAS 5-6, BY J. S. the foundation for a series of variations. of Sammartini’s printed collections as BACH, TRANS. BERNARD THOMAS. Dolce This edition is obviously a labor of love pieces for transverse flute. DOL 274, 2006 (Magnamusic). A, kbd. for Ralph and Brassine. The continuo part Like the two sonatas in Volume 3 Sc 35 pp, pt 12 pp. $14. generally strikes a balance between simple (Sibley Nos. 15 and 25), these four pieces Bach’s set of six trio sonatas for the realization of the harmonies (to allow for have much more in common with the two manuals and pedal of the organ is a further elaboration by experienced galant flute sonatas of the later 18th technical tour de force that at the same time performers) and a more melodic style, century than with the recorder sonatas of evocatively conveys a wide range of especially in some of the variation sets. Handel or Telemann, and yet they lie well moods. Bach himself liked them so well On occasion, the realization interferes on the recorder. Strange harmonic turns that selected movements appear in several somewhat with the basic continuo line— (reinforced by editor Jacobi’s typically of his other works. and, a few times, it even crosses the bass, colorful continuo realizations), frequent Following the composer’s lead, resulting in a disruption of the harmony— interpolations of triplet figuration, and modern arrangers have frequently tried but these lapses can easily be adjusted by unorthodox movement schemes (for their hand at adapting this music to a performers if desired. instance, Andante–Adagio–Allegro in more traditional trio sonata instrumenta- The editors have taken great care to Sibley 19) all serve to give these works an tion or, as in these transcriptions by follow the sometimes unusual markings of experimental feel (especially given their Bernard Thomas, to the medium of solo the original prints and have given a relatively early date of composition— instrument and obbligato keyboard. detailed report of any changes they have Sammartini died in 1750); the style is These works are thoroughly idiomatic made. There are a few typographical quite different from the style of Sam- to the organ, however, and transcribers
34 American Recorder However, these volumes present this the composer, and for Hermann Melles, Organ works have wonderful music in an easily approach- the editor. Seger (1716-82), was a well- able form. Experienced recorder players known German organist and composer long furnished a will want to take a crack at them, but they in his time. His output consisted of really demand an advanced technique to polyphonic masses, hymns, and numer- wealth of material for sound at their best. ous toccatas and fugues for organ. Scott Paterson teaches recorder and This toccata is characterized by sec- recorder transcriptions. Baroque flute at The Royal Conservatory of tions of rhythmic unison exchanged Music of Toronto and is a freelance among the parts. As is typical of an organ must overcome several difficulties. The performer in the Toronto area. The former work, there are several long pedal points in upper parts frequently exceed the normal ARS Board member has written on music the bass, but they are not so extensive that range of Baroque treble instruments; two for various publications for over 25 years. the bass player faints from boredom or of the sonatas have a somewhat uncom- lack of air. Interest is added by a number fortable key signature of three flats; and TOCCATA AND FUGE FOR of short modulations into different keys. the melodic figures often fit the keyboard RECORDER QUARTET, BY JOSEPH The fugue is based on the Bohemian better than they do a melody instrument. SEGER, ED. HERMANN MELLES. Moeck Christmas carol, “Narodil se Kristus Pán.” Thomas, well aware of these chal- Musikinstrumente + Verlag, Celle According to the cover notes, this carol lenges, has generally been quite successful (ZfS 811–ISMN M-2006-0811-3), 2006. was very popular in Germany, appearing in adapting the music for alto recorder and SATB. Sc 4 pp, 4 pts 2 pp ea. $7. in many hymnals and school songbooks. keyboard. Aside from key changes and the Organ works have long furnished a It was known there as “Freu dich, Erd un further transposition of individual pas- wealth of material for recorder transcrip- Sternenzelt.” sages to accommodate the range of the tions. Not only did both instruments Stylistically, the Fuge is polyphonic alto recorder, he has made no adjustments flourish in the Renaissance and Baroque without being terribly intricate. It is to the original texts. This lack of interven- periods, but the vast resources of the melodically interesting and enjoyable to tion does pose several interpretational organ allow for wide variety in composi- play. challenges for the performers, from decid- tional style and complexity. The Toccata The pieces are in different keys— ing how to supplement the sporadic and Fuge by Joseph Seger that make D major for the Toccata and G major for expression marks to realizing organ-like up this edition are not representative the Fuge—but they work well together. textures, such as long pedal points or of the complex counterpoint that often They are easily accessible to advanced crossed hands. These are not insur- characterized organ music of the beginners, and they could serve as pro- mountable problems, however, and it is Baroque era. Rather, they are pleasing and gram pieces for the Christmas season— interesting to take part in the transcription accessible pieces that transfer well to even for more experienced players— process with Thomas. recorder ensemble. as they would not require extensive prepa- Some compromises have been neces- The edition is well-prepared. The ration. sary, though. A couple of slow movements parts utilize both sides of a single page, Beverly Lomer is an Adjunct Professor of are printed for a second time in an “incor- one page for each piece. The score involves Humanities at the Harriet L. Wilkes Honors rect” but more idiomatic key, and the page turns for both toccata and fugue. College of Florida Atlantic University, where melody line occasionally becomes some- Measure numbers appear at the beginning she teaches courses in music and culture. what fragmented because of the transposi- of each stave, but there are no specific She is also a recorder player whose primary tions. However, as is usual with Bach, the rehearsal numbers or letters. interest is in performance from original joy of performing this music makes these Brief biographical information is given notation. small problems of secondary importance. in English, German and French for Seger, Dolce’s presentation is generally thoughtful, but there are several unneces- sary errors, such as a missing line in the recorder part of the last movement of Sonata II (the review copy was also miss- ing the middle four pages of the recorder part in that volume). Also there are a low E and a low E in the recorder part, as well as typographical errors and cramped spacing. KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contra bass; Tr=treble; qrt=quartet; pf=piano; fwd=foreword; opt=optional; perc=percussion; pp=pages; sc=score; pt(s)=part(s); kbd=keyboard; bc=basso con- tinuo; hc=harpsichord; P&H=postage and handling. Multiple reviews by one reviewer are followed by that reviewer’s name. Please submit music for review to: Constance M. Primus, Box 608, 1097 Main St., Georgetown, CO 80444.
November 2007 35 STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Required by 39 U.S.C. 3685) CONSIDER ADVERTISING IN 1. Publication title: American Recorder. 2. Publica- CLASSIFIED tion No. 0003-0724. 3. Filing date: September 19, ______2007 4. Issue frequency: Bi-monthly except ______summer. 4. No. of issues published annually: five. 6. Annual subscription price: $32. 7. Complete ______mailing address of known office of publication: ______American Recorder Society, 1129 Ruth Drive, ______St. Louis, MO 63122-1019. Contact person: Kathy Full page ...... $599 Sherrick. Telephone: 314-966-4082. 8. Complete 2/3 page ...... $445 mailing address of the headquarters or general busi- 1/2 page ...... $366 ness office of publisher: same. 9. Full names and 1/3 page ...... $286 complete mailing addresses of publisher, editor, and 1/4 page ...... $223 managing editor: Publisher: American Recorder So- Where the haves 1/6 page ...... $175 ciety, 1129 Ruth Drive, St. Louis, MO 63122-1019. 1/8 page ...... $127 Editor: Gail Nickless, 7770 South High Street, and have-nots Centennial, CO 80122. Managing Editor: same. 1/12 page...... $ 95 10. Owner: American Recorder Society, 1129 Ruth of the recorder world 1 column inch ...... $ 58 Drive, St. Louis, MO 63122. 11. Known bondhold- ers, mortgagees. and other security holders owning can find each other Prices include web site/e-mail link directly from or holding 1 percent or more of total amount of your ad in AR On-line,
36 American Recorder