Published by the American Recorder Society, Vol. LIV, No. 1 • www.americanrecorder.org 3 1 0 2 g n i r p s Sopranino to Subba SS a well-tuned Con S o r t

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efore you ask: yes, that’s a skull on the Features cover of this issue. Besides portraying Achieve the Possible ... Btwo important figures at Henry VIII’s court, Aim for the Impossible ...... 15 Hans Holbein uses anamorphic painting to The annual look at summer workshops, create an image only visible from a certain give or take a couple of months angle (other artists used elements involving What the Woodcut from Opera Intitulata 4 mirrors). The greyish diagonal smear at bot- Fontegara shows us about Ganassi ...... 26 tom center becomes a human skull when the By Han Tol vantage point is above the top right corner (please do not injure yourself!). One analysis Departments points out the contrasting symbolism in this Advertiser Index and Classifieds ...... 48 painting of Renaissance science and art— represented by the finery worn by the men, Book Reviews ...... 47 and the many artistic and scientific imple- The Savvy Musician is perhaps not so savvy ments (musical instruments included). 13 Choice of this cover was intentional: you’ll Chapters & Consorts ...... 37 Han Tol’s article know why when you read Compact Disc Reviews ...... 34 on Fontegara and Ganassi (page 26). Museum instruments and a concertina This issue spotlights options for sum- mer workshops (page 15). The headline for Education ...... 12 this section is the essence of the “second law” Every Child Can! The Suzuki Recorder Method of late author and futurist Arthur C. Clarke. Music Reviews ...... 39 Aside from that lofty sentiment, there Music from Bernard Thomas, Glen Shannon, more are the everyday challenges of practicing for 26 those workshops: Anne Timberlake tackles On the Cutting Edge ...... 33 that topic in her Technique Tip (page 14). A piece for 104 recorders? Early congratulations to 2013 ARS Distinguished Achievement Award President’s Message ...... 3 winner Bernard Thomas (page 4), whose ARS President Laura Sanborn Kuhlman asks: popular editions are reviewed in this issue’s “Why not?” Music Reviews department (page 39). Tidings ...... 4 Gail Nickless Belated 25th birthday, Flanders Recorder Quartet; www.youtube.com/user/americanrecordermag Bernard Thomas to receive ARS Distinguished 38 www.facebook.com/americanrecordermag Achievement Award; recorders in Make Music www.facebook.com/AmerRec New York; Technique Tip from Anne Timberlake

Gail Nickless, Editor ON THE COVER: Holbein, Hans the Younger Contributing Editors (1497-1543). Jean de Tom Bickley, Compact Disc Reviews • Timothy Broege, 20th/21st-Century Performance Dinteville (l), a French nobleman posted to London Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education as ambassador, and his bishop friend Georges de Advisory Board Selve, “The Ambassadors,” Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin 1533. ©2013, National Gallery, London/ Thomas Prescott • Catherine Turocy• Kenneth Wollitz Art Resource, NY www.AmericanRecorder.org Copyright©2013 American Recorder Society, Inc. ARS Chapters Alabama Idaho North Carolina Birmingham: Les Bois (Boise): Kim Wardwell Carolina Mountains: Susan Hartley Janice Williams 205-870-7443 360-202-3427 423-612-0421 Arizona Illinois Greenville Recorder Society John Shaw 252-355-2737 Desert Pipes Phoenix: Chicago: Dennis Sherman Triangle: Jan Jenkins 919-870-0759 AMERICAN George Gunnels 480-706-6271 773-764-1920 Arizona Central Highlands—Prescott: Chicago–West Suburban: Ohio RECORDER Georgeanne Hanna 928-775-5856 James Heup 630-851-5364 Greater Cleveland: Edith Yerger Tucson: Scott Mason 520-721-0846 Louisiana 440-826-0716 Arkansas Toledo: Charles Terbille 419-536-3227 SOCIETY Baton Rouge: Cody Sibley inc. Aeolus Konsort: 225-505-0633 Oregon Don Wold 501-666-2787 New Orleans: Victoria Blanchard Eugene: Lynne Coates Honorary President Bella Vista: Barbara McCoy 504-861-4289 541-345-5235 Erich Katz (1900-1973) 479-855-6477 Maryland Oregon Coast: Corlu Collier California Honorary Vice President Northern Maryland: 541-961-1228 Winifred Jaeger Central Coast: Margery Seid Richard Spittel 410-242-3395 Portland: Zoë Tokar 971-325-1060 805-474-8538 Massachusetts Pennsylvania East Bay: Susan Jaffe 510-482-4993 Statement of Purpose Inland Riverside: Greg Taber Boston: Betty Cohen 617-447-5412 Bloomsburg Early Music Ens.: The mission of the American Recorder Society 951-683-8744 Recorders/Early Music Susan Brook 570-784-8363 Monterey Bay: Susan Renison Metro-West Boston: Erie: Linda McWilliams is to promote the recorder and its music by 831-335-5869 Sheila Beardslee 978-264-0584 814-868-3059 developing resources to help people of all ages North Coast: Kathleen Kinkela-Love Worcester Hills: Alan Karass Philadelphia: Sarah West and ability levels to play and study the recorder, 707-822-8835 508-847-8559 215-984-8923 presenting the instrument to new constituencies, Orange County: Michigan Pittsburgh: Helen Thornton Jo Redmon 714-527-5070 412-486-0482 Ann Arbor: Kevin Gilson encouraging increased career opportunities for Redding: Kay Hettich Rhode Island professional recorder performers and teachers, 530-241-8107 443-280-1296 Sacramento: Mark Schiffer Kalamazoo: Annette Brown Rhode Island: David Bojar and enabling and supporting recorder playing as 916-685-7684 269-762-7503 401-944-3395 a shared social experience. Besides this journal, San Diego County: Metropolitan Detroit: Claudia Tennessee ARS publishes a newsletter, a personal study Vanessa Evans 619-297-2095 Novitzsky 248-548-5668 San Francisco: Greta Hryciw Northwinds Recorder Society: Greater Knoxville: Ann Stierli program, a directory, and special musical 415-377-4444 Janet Smith 231-347-1056 828-877-5675 editions. Society members gather and play Sonoma County: Dale Celidore Western Michigan: Jocelyn Shaw Greater Nashville: Carol Vander Wal together at chapter meetings, weekend 707-874-9524 231-744-8248 615-226-2952 South Bay: Liz Brownell 408-358-0878 Minnesota and summer workshops, and many Southern Middle Tennessee Southern California: Sharon Holmes (Tullahoma): Vicki Collinsworth ARS-sponsored events throughout the year. 310-379-2061 Twin Cities: Anne Mundahl 651-895-5049 931-607-9072 Colorado In 2009, the Society entered its Nevada Texas eighth decade of service to its constituents. Boulder: Mike Emptage 970-667-3929 Austin: Dave Melanson 512-495-4180 Denver: Jon Casbon Sierra Early Music Society: Dallas: Alice Derbyshire Fort Collins: Cindy Henk Kathy Bohrer 775-393-9002 Board of Directors 970-988-0160 New Hampshire 940-300-5345 Laura Sanborn-Kuhlman, President Early Music Society of Western CO: Rio Grande: Sylvia Burke Monadnock: 575-522-1742 Cynthia Shelmerdine, Vice-President, Bev Jackson 970-257-1692 Kristine Schramel 413-648-9916 Connecticut Utah Scholarships & Grants Chair & Lynn Herzog 802-254-1223 Tony Griffiths, Secretary Connecticut: Elise Jaeger New Jersey Utah Salt Lake: Mary Johnson 203-792-5606 801-272-9015 Jennifer Carpenter, Asst. Secretary, Bergen County: Eastern Connecticut: Betty Monahan Mary Comins 201-489-5695 Vermont Marketing/Public Relations Chair 860-536-7368 & Reita Powell 201-944-2027 District of Columbia Monadnock: Ann Stickney, Treasurer, Finance Chair Highland Park: Donna Messer Kristine Schramel 413-648-9916 Greg Higby, Asst. Treasurer, Publications Chair Washington: Vicki Walter 732-828-7421 & Lynn Herzog 802-254-1223 Montclair Early Music: Valerie Austin, Education Chair 301-891-1367 Virginia Delaware Julianne Pape 845-943-0610 Mark Dawson, Membership Chair Navesink: Lori Goldschmidt Northern Virginia: Edward Friedler Bonnie Kelly, Chapters, Brandywine: Roger Matsumoto 732-922-2750 703-425-1324 302-731-1430 Princeton: Skip Kestler Shenandoah (Charlottesville): Recorder Orchestras & Consorts Chair Florida 609-683-0358 Matt Ross, Governance Chair Gary Porter 434-284-2995 Ft. Myers: Sue Groskreutz New Mexico Tidewater (Williamsburg): Nancy Buss Lisette Kielson 239-267-1752 Albuquerque: Bryan Bingham Vicki H. Hall 757-784-2698 Jeanne Lynch Mary McCutcheon Largo/St. Petersburg: 505-299-0052 Washington Elizabeth Snedeker 727-596-7813 Flat & Baroque in Las Vegas: Miami: Ruth Trencher 305-665-3380 Tom Curtis 505-454-4232 Moss Bay: James Verschaeve Staff Orlando Consort: Sheri Grayson Rio Grande: Sylvia Burke 253-249-4272 Kathy Sherrick, Administrative Director 407-299-3076 575-522-1742 Seattle: Tomo Morita 425-301-5767 Palm Beach: Gail Hershkowitz 10000 Watson Rd., Ste. 1L7 Santa Fe: Gus Winter 505-603-8034 Wisconsin 561-732-5985 New York Saint Louis, MO 63126 U.S. Sarasota: Nancy Paxcia-Bibbins Milwaukee: Carole Goodfellow 800-491-9588 toll free 941-536-0621 Buffalo: Mark Jay 716-649-1127 262-763-8992 Georgia Hudson Mohawk: Lee Danielson Southern Wisconsin: Greg Higby 314-966-4082 phone 518-785-4065 608-256-0065 866-773-1538 fax Atlanta: Mickey Gillmor 404-872-0166 Long Island: Barbara Zotz Canada [email protected] Hawaii 631-421-0039 New York City: Gene Murrow Edmonton: Vivien Bosley www.AmericanRecorder.org Hawaii: Irene Sakimoto 808-734-5909 780-439-3215 Big Island: Roger Baldwin 646-342-8145 Montréal: Mary McCutcheon 808-935-2306 Rochester: Jessica Brennan In accordance with the Internal Revenue Service West Hawaii Recorders: 585-683-2802 514-271-6650 Taxpayer Bill of Rights 2, passed by the United States Marilyn Bernhardt 808-882-7251 Rockland: Jacqueline Mirando Toronto: Sharon Geens 416-699-0517 Congress in 1996, the American Recorder Society makes 845-624-2150 Vancouver: Tony Griffiths freely available through its office financial and Westchester: Erica Babad 604-222-0457 914-769-5236 incorporation documents complying with that regulation. Please contact the ARS office to update chapter listings. 2 Spring 2013 American Recorder President’s Message ______Greetings from Laura Sanborn Kuhlman, ARS President [email protected]

ave you ever wondered, “What with others in your community? Why on the legacy of the ARS? Progress, if ...?” I cannot imagine a single not introduce someone to your ARS change and innovative ideas are crucial personH who has never thought that. chapter, consort or recorder orchestra? for our survival. It is incumbent on Lately I am thinking more on the lines This issue of AR is packed full of each of us to continue to build on what of “Why not..?” “Why not me?” Why exciting workshops held all over North the ARS has accomplished in 74 years. not you?” “Why not the ARS?” America. Why not check out one (or Why not be a part of an ARS like me, two or three)? Better yet, why chapter, consort or recorder orchestra? I have decided this is the not invite someone to come along with Why not follow your heart to that you? Workshops are a great way to workshop you have been dreaming year of “Why not...?” study with some of the best teachers about for years? Why not play a con- and meet new friends along the way. cert for your community of friends? We put up so many stumbling Why not this year? If each of us recognizes and supports blocks for ourselves and beg to wonder Some 74 years ago, the founders of the foundation upon which the ARS why we fail. Not this year. I have the ARS collectively said, “Why not..?” is built and continues to invest in the decided this is the year of “Why not...?” and then took action by laying down future then the legacy of the ARS will Do you remember when you the foundation of our organization. grow and prosper. Why not...?! picked up the recorder for the first Our goal as members of the ARS is to time? The thrill and the excitement build on this foundation of excellence of this new instrument in your hands while meeting the challenges of the making this amazing sound? Why not future. What can each of us do to build pass that excitement on to someone you know? Why not let someone bor- row your “old” instrument and intro- duce them to world of recorders? Why not share all that talent you possess

www.AmericanRecorder.org Spring 2013 3 Tidings ______Bernard Thomas is ARS award recipient; ______Eileen Hadidian dies; Montréal Recorder Festival 2012 Bernard Thomas to receive ARS Distinguished Achievement Award

By Laura Kuhlman, ARS President reviewed in these pages; see Music Reviews in this issue). One of the greatest pleasures of being The DAA award will be presented on the ARS Board of Directors is mak- to Thomas in November during the ing awards to so many deserving musi- Royal Greenwich Early Music Festival cians (professional and amateur), in England, www.earlymusicshop.com/ Bernard Thomas in a 2013 teachers, musicologists and students. More/Greenwich_International_Early_ photo by Jonathan Burbidge The Distinguished Achievement Music_Festival.aspx. The ARS looks (courtesy of Jeremy Burbidge) Award (DAA) recognizes a person for forward to sharing more on Thomas outstanding contributions to the study through our Facebook pages and web of recorder and music in general. This site. We invite those of you who might about how his publications influenced year the ARS is proud to present this know Thomas, or want to share a story your musical journey, to send in stories. Bernard Thomas award to . ARS Distinguished Achievement Award Recipients Thomas has edited works for The ARS Distinguished Achievement Award was set up by the Board in London Pro Musica (LPM), Antico 1986 to recog­nize and honor individuals who have made extraordi­nary and Musica Rara editions. He plays contributions to the develop­ment of the recorder move­ment in North early wind instruments with Musica America. Reservata, the Consort of Musicke Friedrich von Huene 1987 Marion Verbruggen 2006 and his own LPM. He is interested Bernard Krainis 1989 Anthony Rowland–Jones 2007 “in bringing musicology and live music Shelley Gruskin 1991 Ken Wollitz 2009 closer together ....” says John Mansfield Nobuo Toyama 1994 David Lasocki 2011 Thomson (Early Music, July, 1974). LaNoue Davenport 1995 Bernard Thomas 2013 He has continued to fulfill that Martha Bixler 1996 goal with his many subsequent LPM Members are invited to send a Edgar Hunt 1997 volumes comprising various series, Distin­guished Achievement Award Eugene Reichenthal 1999 each devoted to a different type of nomination, along with the reasons for Valerie Horst 2002 early music. His editions were at first nomina­ting that individual, at any Pete Rose 2005 time for consideration by the Board. produced for his own ensemble of the same name. However, in the 1970s, ARS Presidential Special Honor Award Recipients when the demand for high-quality, Established in 2003, this award—given at the ARS President's discretion, relatively inexpensive editions of early and approved and voted on by the ARS Board—honors a person or group music in Great Britain increased, that has made significant contributions to their own community that have Thomas began making his editions had a ripple effect throughout the larger recorder world. available to early music groups other David Goldstein 2003 Shirley Robbins 2007 than his own by publishing them. Carolyn Peskin 2005 Corlu Collier & Oregon Coast Today they are used by players of Marie–Louise Smith 2005 Recorder Society 2009 recorders and other early instruments Connie Primus 2006 Louise Austin 2011 worldwide, and new editions are still Joel Newman 2007 Peter Seibert 2012 being produced (and frequently

4 Spring 2013 American Recorder Recent Contributions The ARS Board of Director expresses its sincere appreciation to the following contributors from 10/11/2012 through 1/14/2013. Without your donations to these funds, many ongoing programs could not exist using only membership dues. The combined donations for these funds are $21,609. 2012 President’s Brown, Margaret Basile, Donna Kemp, David Steglich, Carolyn Appeal Buss, Nancy Beeuwkes, Dorothy & John Kielson, Lisette Steinbach, Carole Canfield, Elisabeth Belongia, Nancy King, Jennifer Scaff Stout, Samantha Symphony Level Davis, Mary Jean Benson, Jann Knapp, Craig Sullivan, Anne ($1,000) Davisson, Mimi Bergemann, Marjorie Kohn, Dorothy Talbott, Helen-Jean Anonymous Dodds, Alice Brown Betts, David Kuhlman, Laura Sanborn Terada, Rose Marie Cunningham, Shirley & Roger Doolittle, Miles Broege, Timothy Laforge, Katherine Tumlin, Jerry Faber, Peter Dykes, Andrew Brunner, Marilyn Landesman, Betty van Proosdij, Hanneke Ghiron, Arlene Espenshade, Mary Anne Bullard, Beth & Truman Langfeld, John Vander Wal, Carole Lynch, Jeanne Fischer, David Campbell, Susan Larkey, Phoebe Wagschal, Sara Fugate, Phyllis Cantin, Pauline Leonard, Mary Wasserman, Rona Concerto Level Good, Nancy Carbone, Richard Lowenkron, Susan Wetherwax, Todd (up to $500) Green, Judith Cawley Jr., Bernard Lyons, Dorothy Wiggins, Denise Friedler, Edward Greenlee, Wendell Chancey, Tina Maclay, Martha & Randy Nelson, John Hayes, Donatus Charsky, Thomas Maley, Carlton Wilson, Susan N. Smith, Myrna Hsu, Martha Chelminski, Sarah Jane Martin, Gloria Winkelmann, Melony Thompson, Albert Jaderstrom, Noel Chifos, Bobbi Mason, Scott Wright, Susan West, Jane and Dobson Johnson, Yvonne Clifford, Naomi Mason, Susan M. Yerger, Edith Kaplan, Jerome Cowles, Christina McCubbin, Mary Dollar A Day Level Leiby, Peggy Crotty, Karen Mitchell, Sally Andrew Acs Scholarship Fund (up to $360) Lloyd, Arthur & Sue Crowell, Lesslie Moore, Kelly Porter, Gary Lunbeck, Linda Daw, May & Carl Mullen, James F. St. Louis Recorder Society Powers, Wendy Mandel, Gerry Diegelman, Robert Nimick, Deborah Bequests Stickney, Ann Mayer, Anthony Doolittle, Miles & George Moyer, Barry Dunham, Benjamin Norris, Charles Koenig, Ann, in honor of Eileen Hadidian Overture Level Muirhead, Alan & Kathy Edwards, Ben Olson, Crystal (up to $360) Neufeld, Bee, in honor Newbegin, Corinne Ehn, Hope Page, Gail & Bob Rowlands Farrell, Ellen of Jeanne Lynch Petersen, Pat Emptage, Michael & Cathy Paschal, Mary Lou Funkhouser, Sara Price, Jr., John Epstein, Janet Patterson, James Heup, James Sustaining Members Rodewald, Charles Fisher, Jack Paxcia-Bibbins, Nancy Lazar’s Early Music Hunter, Elaine Rudisill III, Hillyer Ford, Joanne Raspe, Julia Blue Levine, Robin Jones, Courtney Ruthenberg, William Franson, Mary Ann Re, Marguerite McMillan, Gunhild Webb, Garrett Schoomer, Suzanne Free, Charles Redmon, Jo Oberst, Marilyn Seubert, Judith Galhano, Cléa Reed, Mark Peskin, Carolyn Lifetime Members Shaw, Jocelyn Garlick, Nancy Reed, Rex Primus, Connie Burriss, Larry Shiff, Naomi Garrigan, Mary Regen, David Roberts, John Heiman, Jineen & Daniel Thompson, Patricia George, Emilie Ridley, Jean Rogers, Patsy Watkins, Billie Glasscock, Robert Rosenberg, Norman Rovner, Ann Barclay Workshop Members White, Stevie Griffiths, David Ruhl, David Schiffer, Mark Early Music Vancouver Winter, Renate Hansen, Eleonore Ryerson, Kathleen Vellekoop, Lyda Texas Toot Wyan, Vicki Harper, Conrad & Marsha Scher, Charles Wilds, Preston Lea West Coast Flutes, Zukof, Larry & Haynes, Gisela Schwartz, Susan Recorders & Suzuki Pamela Carley Hewitt, P. Scott Schweitzer, Eric Sonata Level ($100) Recorder Teacher Zumoff, Michael Hirtz, Vera Seely, Neil & Elizabeth Aldrich, Winthrop Training Hug, Steve Seid, Margery Anderson, Marcia Others Hundrieser, Richard Selby, Pat Business Members Anonymous Ainsfield, Neale Jansson, Richard Self, Gerald Barnert, David Beatin’ Path Allen, Tammy Jones, Rebecca Sinkiewicz, Gerald Publications, Ltd. Bixler, Martha Arrowsmith, Janice Kaliski, Judith Smutek, Judith Clarion Associates, Inc. Bodman, Robert Ayton, William Karass, Alan Sousa, Elizabeth

www.AmericanRecorder.org Spring 2013 5 11th Montréal Recorder Festival: Les journées de la flûte à bec 2012 By Anne Paulson, Bloomingdale, NY conductor and composer of many and No. 3) composed in 1997, one on pieces for recorder. Maute is a skilled either side of Jacob van Eyck’s Amarilli On September 14-15, 2012, Ensemble and talented teacher, who expertly mia bella composed in the mid-17th Caprice (Sophie Larivière and Mat­ guided two individual students and century. It worked beautifully! thias Maute, co-directors) hosted the two ensembles (in both English and Larivière joined Maute on two of Montréal Recorder Festival (MRF), French) through the intricacies of his own compositions: the lovely Sonata held on and around the McGill Uni­ Baroque style and sensibility. The a due (2011); and a delightful ending to ver­sity campus (QC). For me, attend- youngest participant was Bryan the concert, La petite etude (1987). ing this event over the past few years Boehnke, age 12, from St. Paul, MN, On September 15, MRF attenders has opened up an exciting world of who thrilled listeners with his interpre- participated in morning chamber music recorder performers, ensembles and tation of Telemann’s Fantasia No. 10. sessions, taught by Flûte Alors! mem- music, with the added benefit of being Following the September 14 mas- bers Vincent Lauzer, Marie-Laurence in dynamic Montréal—a city that’s ter class, Maute returned for a concert, Primeau and Caroline Tremblay. foreign yet familiar, old and yet new. “Il flauto solo: Dialogue amongst com- After lunch, Alexa Raine-Wright Additionally, there is the immense posers,” where the audience was asked joined her Flûte Alors! colleagues for pleasure in witnessing the rise of a new to imagine a party of composers their “audience choice” program, where generation, such as the recorder ensem- (Maute being one, of course) sitting at the audience was allowed to decide ble Flûte Alors!, members of which various tables having discussions, even which of two pieces the group would were the instructors for the 2012 arguments, musically expressed only perform or which line in a particular Festival’s chamber music workshops. through the recorder. Maute is a genius piece each performer would play. It was The MRF began in the evening at juxtaposing pieces in surprising ways; mind-blowing for us amateurs to figure with a master class for advanced ama- for example, he played two pieces by out that each performer was able to teur players with Maute, performer, Astor Piazzolla (Tango-Etudes No. 1 play any of the four parts of six pieces!

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6 Spring 2013 American Recorder There is the immense At right, Flute Alors! in its pleasure in witnessing the “audience choice” pro- gram (l to r): rise of a new generation. Vincent Lauzer, In the late afternoon, Lauzer Alexa Raine– returned for the “Recorders for All” Wright (recipi- session where, in the space of 90 min- ent of past ARS utes, he prepared a group of amateur schol­ar­ships), recorder players to perform (quite suc- Caroline cessfully) several challenging pieces as Tremblay the audience arrived for the evening Marie- concert. Laurence Primeau. The highlight of MRF was the At left, 12-year-old opportunity to attend the first offering Bryan Boehnke is of Ensemble Caprice’s 2012-13 season: coached in the “Gloria! The Return of the Angels,” master class by a stunning all-Vivaldi program. The Matthias Maute. orchestra and a superb eight-member A 2011 ARS schol- female chorus presented Vivaldi’s arship recipient, Magnificat, Juditha triumphans, and Boehnke began his Gloria, interspersed with instrumental recorder studies pieces, all performed with Ensemble as a Suzuki student Caprice’s incredible energy and passion. of Mary Halverson In 2013, MRF joins the Montréal Waldo and currently Baroque Festival, June 21-24. Guided studies with Cléa by the theme “The New World,” the Galhano. festival will offer concerts, a nine-hour Jacob van Eyck marathon, a Brazilian Below, Matthias Maute conducts Ensemble Caprice workshop with Cléa Galhano, and (Sophie Larivière seated at left, playing recorder) in more. For more information: www. “Gloria! The Return of the Angels” (all photos by ensemblecaprice.com, www.flutealors. Ragnar Müller-Wille). com, www.montrealbaroque.com.

www.AmericanRecorder.org Spring 2013 7 Recorders Debut in Make Music New York Recorders in New York City

Adapted from an article by Carol Scafati, New York City, NY By Anita Randolfi, New York City, NY On a scorching summer evening, Deborah Booth led an The New York Philharmonic’s concert of September 20, enthusiastic group of recorder players in a cool program of 2012, included a beautiful piece by Jewish-Hungarian pieces by Bach, Telemann, Gabrieli, Josquin, an anonymous composer György Kurtag (b. 1926): quasi una fantasia for setting of Daphne, and a lively arrangement of The Sunny Side piano and groups of instruments, Op. 27, no. 1 (1987-88). of the Street. About 35 players (primarily intermediate/ A piano concerto, its four short, dense movements are advanced) from the New York Metro area participated, played sans pause. Only the piano (Leif Ove Andsnes although players of all levels were welcome. was soloist,) timpani and conductor Alan Gilbert were The setting was Strauss Park at Broadway and 107th on the stage of Avery Fisher Hall. The other instruments Street, in the middle of one of New York’s busiest traffic of the orchestra—one on a part, divided into string, wind, intersections. The din of honking autos, heavy trucks, and brass, and a large contingent of percussion—were distrib- loud motorcycles faded as Renaissance, Baroque and contem- uted spatially around the hall “separated from each other porary music filled the air. Neighbors and passers-by enjoyed as far as possible.” The orchestral instruments, except per- the performance as much as the players. cussion, were at the highest point, Fisher Hall’s third tier. Now in its sixth year, Make Music New York (MMNY) From my seat, I could see only the stage and was very is a unique celebration of free concerts in public spaces surprised to hear the sound of the recorder among the throughout the five boroughs of New York City on the first winds. Checking the program notes, I saw recorder listed day of summer, June 21. MMNY takes place concurrently in the instrumentation; later, consulting the score, I found with similar celebrations in over 460 cities globally. it called for ATB recorders. The recorder parts are notated This year was a first for a recorder group, listed online in on the same staff as the flute/piccolo parts, the various the Mass Appeal section of the event that gives those without flutes never playing more than one at a time. It seems that group affiliation a chance to take part. It brings together Kurtag imagined the entire part realized by one player. musicians to play single types of instruments—accordions, In this case, all flutes were played by Helen Campo. bagpipes, various string groups and modern woodwinds, ouds, The expressive range of this remarkable piece encom- guitars, mandolins, percussion, toy pianos, ukeleles. “I was passes the dreamlike to the brutal. Whenever Kurtag totally amazed at the response I received to my listing,” Booth includes recorder, there was no difficulty hearing it among remarked. She was equally amazed that they all showed up, the more usual orchestral instruments. energized in spite of the wilting heat and ready to play. The Dutch recorder virtuosa Marion Verbruggen After such a was the soloist with Musica Viva of New York on successful start, the October 28 at All Souls Church in Manhattan. Because recorder received a big of the imminent arrival of Hurricane Sandy, the city sub- boost in awareness and way system shut down early; to get everyone home in recognition as an time, the program had to be shortened. Still, we had the important instrument full pleasure of hearing Verbruggen as soloist in three —and definitely has concertos: Concerto in C Major, TWV51c by Telemann a great future in the and Concerto in G by J.C. Schultze, both for alto recorder, MMNY event. strings and continuo; and the Sammartini Concerto in F for soprano recorder and strings. Verbruggen was a splendid soloist—virtuosic in the fast movements, eloquent in the slow movements. Her sound was focused, and full, the intonation faultless. Unfortunately the orchestra did not rise to her level of intonation and ensemble. Some nice recorder playing was a part, albeit a small part, of two other programs in November. The first was by Early Music New York, led by Frederick Renz, in St. James’ Chapel at St. John the Divine Cathedral;

8 Spring 2013 American Recorder I attended the November 11 concert. Its imaginative program, “Istanpitta,” Skate Suite and The Eighth Ancestor, featured many ways of realizing these Medieval dance tunes. Melodia performed by Brooklyn Baroque: Women’s Choir, conducted by Cynthia Powell, gave a wide-ranging and Gregory Bynum, recorder; Andrew carefully-considered program entitled “Questions About Angels” at West Bolo­tow­sky, Baroque flute; David End Collegiate. Nearly all the skilled multi-instru­mentalists played some Bakamjian, Baroque ’cello; and recorder in the “Istanpitta” program; Wendy Powers and Theresa Pascoe Rebecca Pechef­sky, harpsichord. were the recorder players for Melodia. These compositions present a com- On November 17, a concert of music by contemporary composer bination of lyricism, minimalism Beth Anderson was given at St. John’s Episcopal Church in Brooklyn, NY. and powerfully personal musical Featured in the latter portion of the concert were Anderson’s chamber works, vision that make them both fine recorder music—and fine music, period. Anderson’s musical lines range from intimately tender melodies (the “Lullaby” portion of Ancestor), to spooky and slightly menacing twist- ings and turnings (the “Encircling Gigue” movement of Skate Suite), to marvelously sustained jubilation (the numerous and diverse, purely happy musical phrases strung together in the “Hora” portion of Ancestor). A recording of these pieces and other works by Anderson, featuring the musicians who performed in this concert, is set to be issued in 2013 by MSR Recordings. YouTube videos of the November 17 performances of the pieces with recorder may be found at the following links: Skate Suite, www.youtube.com/ watch?v=4hFiHjgYHqU The Eighth Ancestor, www.youtube. com/watch?v=widoz15-BvI.

www.AmericanRecorder.org Spring 2013 9 In Memoriam: Eileen Hadidian, Assembly­woman Nancy Skinner named her “Albany 1948-2012 Woman of the Year,” one of 13 women honored for going above and beyond the call of duty to make a With her husband at her side, Eileen Hadidian, age 64, died significant difference in their communities. at her home in Albany, CA, on the morning of December In addition to her musical projects, Hadidian served as a 14, 2012, after a long battle with cancer. breast cancer peer support volunteer, helping cancer patients Hadidian was a well-known professional recorder and navigate the medical system and become informed and pro- Baroque flute player in the Bay Area (CA). She appeared in active in their care. She loved to read, go for walks, explore concert and taught workshops throughout the western U.S., world music, watch foreign movies, travel, and get together as well as offering private lessons from her Albany home. with friends for good meals and philosophical discussions Hadidian was born on June 9, 1948, in Beirut, Lebanon, about life’s journey. to Armenian parents. She received her B.A. in Music from She is survived by her husband, Peter Tichenor, the American University of Beirut and her M.A. and Doc­ and daughter, Melia Tichenor. Memorial gifts may be torate in Early Music from Stanford University. In addition made to Healing Muses, which will carry on Hadidian’s to serving on the music faculty at Mills College, she directed founding legacy. Donations can be made online, the Hausmusik concert series in Albany for 20 years before www.healingmuses.org, or mailed to Healing Muses, founding Healing Muses, a non-profit organization that P.O. Box 10862, Oakland, CA 94610. brings soothing music to Bay Area medical centers. She For more insights into Hadidian’s teaching and music, read recorded five CDs on the Healing Muses label; her work has her words in the September 2006 AR. Also in 2006, the East Bay been featured in a number of publications, including AR, Recorder Society received an ARS chapter grant for an innovative Early Music America and Yoga Journal. (A selection of her project—for Hadidian to create a “gig book” for use in retirement CDs remain available through the ARS CD Club.) and nursing homes. It is still available; contact EBRS through its Hadidian’s involvement with music for healing grew out web site, http://symbolicsolutions.com/ebrs, for information. of her own experience with breast cancer. After using music for her own healing Audiences looked and pain manage- forward to calm ment, she began to amid the bustle play for other can- of the biennial cer patients, explor- Berke­­­ley Festival, ing ways in which where Hadidian music can be used regularly shared to soothe critically her talents during and chronically ill the ARS Great people. In 2010, Recorder Relay: (r) she performs there in 2004 with Healing Muses harpist Maureen Brennan prescott Workshop 14 Grant Road Hanover, New Hampshire 03755 • USA 603.643.6442 Phone Please support our email: [email protected] www.prescottworkshop.com loyal advertisers! Devoted to making recorders of the finest possible quality for nearly 40 years.

10 Spring 2013 American Recorder Belated Happy Birthday, FRQ! Back to the Future with Autosalvage A 2012 NPR piece described it as “the psychedelic band that vanished,” www.npr.org/2012/08/16/156487498/autosalvage-the-psychedelic-band- that-vanished. It’s also the band that utilized the late LaNoue Daven­ port on recorders, sackbut and krumhorn—and they’re making a come- back at the two-week South by Southwest Festival in Austin, TX, on March 14-15, http://schedule.sxsw.com/2013/events/event_MS22689. Autosalvage signed a major recording deal with RCA in New York City, NY, in 1967, becoming one of the first bands to record on a new 1” 8-track machine (which replaced four-track machines). They brought LaNoue in to play early instruments; his son Darius was drummer for In 1987, four students at the Antwerp Conserva­ the group. Other rock bands had used recorders, like the Beatles, but not tory decided to start a recorder quartet. Winning krumhorns—this was the first. The group’s self-titled album came out, the prestigious Musica Antiqua Competition to decent reviews—but it didn’t lead to a tour. Band members went their in 1990 at the Flanders Festival in Bruges, Bel­ separate ways until recent years, when the album was re-released on CD. gium, was the start of an extensive concert career ­ For the return, LaNoue’s son Mark plays recorders and krumhorn. —more than 1800 concerts in 42 countries on “I have the exact Dolmetsch recorders my dad played, ” he elaborated. five continents. The current In 2012, the Flanders Recorder Quartet group is (l to r, in celebrated its Silver Jubilee by recording Encore! photo by Harry (Aeolus AE-10196)—pieces chosen partly as Gale): founder Tom an outcome of their engaging Jukebox concerts Dana­her, Lowell where each audience picked its program. Current Levinger, Sam members (l to r above) are Bart Spanhove, Tom Page, Darius and Beets, Joris Van Goethem and Paul Van Loey. Mark Davenport, Encore! is available at www.flanders- and Rick Turner. recorder-quartet.be. Bits & Pieces of outcasts—the abandoned daughters David Douglass and Ellen Hargis, of Venetian courtesans—into a world- directors (with Tom Zajac, flute, psal- class orchestra that eventually played tery, bagpipe, pipe and tabor, and per- for the Pope. Max Irons is in the title cussion); also June 13, 8 p.m., BEMF Two movies about Vivaldi? It appears role, with Claire Foy, Elle Fanning and Orchestra; June 15, Hespèrion XXI, that two biographical films, both con- Neve Campbell in supporting roles; Jordi Savall, director (with Haïg fusingly titled Vivaldi, go head-to- Alfred Molina is Tartini. Music com- Sarikouyoumdjian, ney); June 16, The Royal Wind Music, Paul Leen­ head in 2013. One tells of a “forbid- position is by Carlo Siliotto, founding houts, director den romance that develops between member of the Italian band Can­zoniere . For more details and composer, priest and violin virtuoso del Lazio and composer of over 70 film ticket purchasing information, visit www.bemf.org/pages/fest/festCon.htm Antonio Vivaldi and his protégé, singer scores (including Golden Globe-nom­ . Anna Tessieri Giro,” resulting in the inated Kazakh historical epic Nomad). composition of The Four Seasons. Release date for either Vivaldi film Reports are that Joseph Fiennes stars was unclear at press time: stay tuned. Boston (MA) Early as the acclaimed Baroque composer, The biennial Music Festi­val with Jacqueline Bisset, Mal­colm (BEMF), set for June McDowell and Carice van Houten. 9-16, has announced its schedule of Also slated is “A biography of concerts, performances of Handel’s Antonio Vivaldi’s early life, when the Almira, master classes and exhibition. young priest became the music teacher Recorder- or wind-related highlights at a school for the illegitimate daugh- include: June 11, Symphonie des ters of Venice’s courtesans.” It focuses Dragons, Gonzalo Ruiz, director; June on how the composer turned a group 13, 5 p.m., The Newberry Consort,

www.AmericanRecorder.org Spring 2013 11 Education ______What is the Suzuki Method for Recorder? ______Every Child Can!

By Mary Halverson Waldo, a way of developing fluency in tech- son sound with a group of soprano [email protected] nique, just as one gains skill in one’s recorders! Older kids learn alto, tenor native language through the regular and bass, and also how to be leaders ver 50 years ago in war-torn use of words and phrases over time. of an ensemble. Japan, Shinichi Suzuki taught For example, a recorder student study- Graded Repertoire: Suzuki veryO young students on the violin, hav- ing the poignant folk song,“The Turtle Recorder School (Katherine White, orig- ing realized that for them learning a Dove,” in Volume 1 of the Suzuki inally published by Warner Bros., now musical instrument could be just as Recorder School will continue to play by Alfred Publishing), Volumes 1–8 for natural as learning their native lan- that piece regularly over time, while soprano and alto, expose students to a guage or “mother tongue.” Most chil- adding such pieces as G. F. Handel’s balanced variety of carefully-chosen dren throughout the world learn to sonata movements, and parts of the pieces such as folk tunes of rhythmic speak their mother tongue with no Royal Water Music Suite in the next and melodic interest, to numerous formal training, and they pick up few volumes. Over the years, students composers from the early 17th century even the most subtle nuances simply build a large repertoire of memorized through the high Baroque, to an entire through exposure to the rich environ- pieces—which in turn gain more suite by Hotteterre le Romain, and a ment of language in their families. “polish” with continued practice. concerto by G. Sammartini. Also avail- The Suzuki Method for Recorder Encouragement: Just as with lan- able are the keyboard accompaniments, was developed from this venerable guage, every child learns an instrument and CDs, with captivating perfor- pedagogical approach, which makes at his or her own pace, and each child mances by Marion Verbruggen, the study of music accessible to stu- is given sincere praise for every small Mary Springfels and Arthur Haas. dents from a young age. However, effort. Complex skills are broken down Delayed Reading: Music notation students of all ages can use the method into small, attainable steps. is introduced when students are devel- to play the recorder with enjoyment, Beginning soprano recorder stu- opmentally ready to decode symbols, fluency and a beautiful sound. dents are taught to make a clear articu- just as reading is taught in school, and There are several basics that lation on the head joint, followed by when they’ve gained ease and fluency describe the Suzuki Method for notes starting with low D, using inge- with the instrument. Students from any instrument. nious ways to make each new note easy. Suzuki studios can be heard playing a Parental Involvement: Just as In this way, both right and left hands variety of historical and contemporary when a child learns to talk, a parent start out with good position. Parents styles outside of the repertoire, as solo- (or other responsible adult) is actively and teachers work together to provide a ists as well as in consorts and mixed involved in the process of learning rich environment for students to learn instrument ensembles, up to an music, attending lessons and helping in a positive and enjoyable way. Kids advanced level. with daily home practice. The adult also encourage one another. Suzuki music education can be also learns the basic techniques of play- Learning with other Children: found in home studios, community ing the recorder—usually before the Individual lessons and group classes music schools, and public and private child does, in order to know what is are equally important, along with per- school music classrooms. expected. formances. Younger recorder students Throughout the year in various Early Beginnings: Instrumental in a mixed-level group lesson see and places, the six-hour introductory course study is accessible to children as young hear more advanced students playing to the Suzuki philosophy—Every Child as three or four years of age, although Bach minuets; they sing along, using Can!—is offered to anyone seeking it’s never too late to begin—many articulations heard on the reference basic information or continuing adults also love this way of learning. recording (and provided in the score). education credit. Repetition: Refinement of learned They also observe what kind of team- Would a recorder teacher with 20 repertoire through mindful repetition is work goes into making a beautiful uni- years experience benefit from Suzuki

12 Spring 2013 American Recorder Teacher Training? Yes, if that teacher is In response to Suzuki’s success teachers and students all over the world interested in tapping into a deep well with the violin, other instruments have enjoy playing the same repertoire on of ever-expanding pedagogical knowl- adapted this rich philosophy—includ- their particular instruments. This is a edge, and in sharing personal ideas and ing not only the recorder, but also viola, powerful force for global community experience with other teachers. Every ’cello, bass, flute, harp, guitar, piano, that overcomes barriers of language instructor brings his or her own style to organ, voice, mandolin, trumpet and and culture, and which ultimately may the Suzuki Method, thereby enriching early childhood education. The Suzuki contribute to Shinichi Suzuki’s vision the entire community. Information is Method is a global network in which of world peace. available at www.suzukiassociation.org. Mary Halverson Waldo recently returned from teaching at the 28th International Suzuki Festival in Lima, Peru (January 5-28). The photographer, Gustavo de Francisco, and his wife Renata Pereira (both of Brazilian recorder group Quinta Essentia; see “Around the World with the Recorder,” Winter 2012 AR) par- ticipated as teachers registered in Suzuki Recorder Method training courses for Unit 2 and Unit 4. All the participating teachers gained experience in coaching students, and shared in lively discussions around advanced tuning, articulation, and breathing techniques, as well as the general Suzuki Method pedagogy.

Above left: Peruvian recorder students, with teachers from Peru, Brazil, Canada and the U.S.

Left: Unit 2 Recorder Teachers (with Trainer Mary Halverson Waldo, third from the right) receive certificates of graduation

A young Peruvian recorder student awaits the start of group concert

www.AmericanRecorder.org Spring 2013 13 Technique Tip be finite: you burn it, like energy. In Your cue to practice can be an a study of self-control, psychologist alarm, a nudge from a friend, a time Just Do It: The Nike Myth Roy Baumeister (www.amazon.com/ of day, a particular placement in your dp/0143122231) and his colleagues daily routine. Pick a cue that works for By Anne Timberlake, Richmond, VA found that subjects who stopped you, and make it a consistent precur- themselves from eating M&Ms had sor to your practice. Remember those shoe commercials a more difficult time with later tests Your routine is your actual prac- from the 1990s? A lithe, fierce-faced of self-discipline. The more subjects tice. What and how to practice are individual wearing Nike sneakers controlled themselves, Baumeister topics we’ll explore later; practicing, would vault across your TV screen to posited, the less willpower was in and of itself, is your goal. Do it for the accompaniment of hard rock and available to them down the line. 10 minutes, 30 minutes, two hours— a harder slogan: Just Do It. Get off If you can’t just do it, what do whatever fits your goals and lifestyle. your duff, the commercials admon- you do? Get a habit—no, not the The reward is up to you, but it ished. Just put on some (Nike) shoes, nun’s head gear! should always follow—not precede! head out the door, and perform feats Habits are little behavioral loops —the routine. Reward yourself with a of jaw-dropping athleticism! All embedded in our lives. If you’re in the cup of tea, a check mark on a calen- you’ll need, in addition to your habit of doing something, your brain dar, a quarter in a piggy bank or a footwear, is willpower. goes on autopilot, allowing you to mental moment of self-congratula- The idea that willpower is all minimize expenditures of will- tion: all you need is something con- you need—that you have only to power or conscious thought. You sistent and mildly pleasurable that pull yourself up by your bootstraps brush your teeth because you’re in comes on the heels of your cue and to become a millionaire, 10 pounds the habit of doing so, not because routine. lighter, an assiduous practicer of the you make a nightly decision to If you already practice easily and recorder—is both seductive and prioritize your dental hygiene. joyfully, you can use the cue-routine- quintessentially American. To make practicing a habit, reward formula to make a habit of It’s also, research suggests, wrong. become familiar with a habit’s whatever sort of practicing you never Willpower does count, but anatomy, which is in three seem to get to—scales with metro- research hints that willpower may parts: cue-routine-reward. nome, long tones, etc. Still having trouble? Try an external support, called a commitment device, to help keep you on track. Like a workout buddy, a practice buddy is a low-tech solution. Or go high-tech: online ser- vices like www.beeminder.com or www.stickk.com help you chart your progress, or even part you from your cash if you stray. Anne Timberlake is a freelance recorder player and teacher, leading ses- sions for ARS chapters and serving as a faculty member for workshops. She is also a speech-language pathologist, and free- lance writer of classical music criticism and music-related feature articles for the Richmond (VA) Times-Dispatch. She plays recorder with a variety of ensem- bles, and co-directs her own award- winning ensemble, Wayward Sisters. This Technique Tip is an excerpt from her session for the 2012 ARS Festival.

14 Spring 2013 American Recorder Columbia Gorge Early Music Retreat Achieve the Possible ... Columbia Gorge, Portland, OR March 15-18 Aim for the Impossible Faculty: Vicki Boeckman, Laura Kuhlman, Gayle Neuman, Philip Neuman, Rotem Gilbert. Cost $475 The workshop starts with a casual drop- The workshop venue is the YMCA The fourth annual Columbia Gorge in playing session as participants register Conference Center located in Golden Early Music Retreat is filled. on Friday afternoon. The highlight of Gate National Recreation Area (www. nps.gov/goga/planyourvisit/index.htm Contact: waiting list only, Jeanne Friday evening will be a brief concert by ). Lynch, [email protected]; Paul Leenhouts, followed by the opening In addition to GGNRA, other local http://portlandrecordersociety.org Big Bash play-along. After a full Satur­ points of interest include Point Bonita day of classes (with another evening Big Lighthouse, the picturesque bayside vil- Winds and Waves Bash), plus a half-day on Sunday morn- lage of Sausalito, and the Marine Recorder Workshop ing, participants may choose to take Mammal Center. Accommodations advantage of the beautiful surroundings. include dormitory-style rooms, dining Sitka Center, Otis, OR All workshop music is provided; please facility, and space for impromptu playing, April 27-29 bring recorders, viols, buzzies, etc. Rooms all on one level. Cost for the full week- Come work on a wide variety of recorder are available after the evening sessions for end, $280; one night, $190; Saturday music from past and present under the informal playing. only, $130; two days/no lodging, $190. guidance of an internationally renowned Estes Park Center at the YMCA of the Contact: Brenda Bailey, 811 York St., faculty—Letitia Berlin, Frances Blaker, Rockies is a year-round conference center Apt. 113, Oakland, CA 94610; Louise Carslake and Cléa Galhano. and family resort about 85 miles from 510-893-9128; [email protected], Winds and Waves faculty perform, Denver (5 miles southwest of the town www.eastbayrecorders.org record, teach and conduct workshops of Estes Park) at an elevation of 8010 throughout the U.S. and abroad. feet. Please visit www.ymcarockies.org Amherst Early Music Spring Founded by the Oregon Coast Recorder for more information. Bring sturdy shoes Weekend Workshop (ARS) Society, Winds and Waves offers graded to take advantage of opportunities to Wisdom House, Litchfield, CT technique and repertoire classes, plus enjoy scenic walks during free time! May 24-27 general “grand consort” sessions. Contact: Jon Casbon or Dick Munz, Director: Valerie Horst Recorder technique, repertoire classes, [email protected] , Kick off the summer with a weekend of master class. Improve your playing in a www.denverrecordersociety.org supportive, friendly atmosphere with small and large ensembles on an idyllic world-class teachers. Age 15 and older. Marin Headlands retreat center campus in rural Connecti­ cut. The Amherst Early Music Weekend Tuition of $250 includes a faculty concert Recorder Workshop Workshops are smaller, more relaxed ver- on April 26. Point Bonita YMCA, sions of the summer festival. Contact: 541-994-5485; info@sitkacen- near San Francisco, CA Take classes in a variety of subjects for ter.org, www.sitkacenter.org May 17-19 most of the day—repertory, notation, Rocky X Recorder Workshop Join East Bay Recorder Society members technique and ensembles—and in the for the annual offering of Marin Head­ evenings enjoy all-workshop group ses- YMCA of the Rockies, Estes Park, CO lands Recorder Workshop. Enjoy a week- sions (like collegium at the Festival) and May 17-19 end (Friday evening to Sunday mid-day) a Sunday night faculty concert. There’s Directors: Janet Handmaker, of music and camaraderie in a beautiful also English country dancing and the Dick Munz, Jon Casbon coastal setting north of San Fran­cisco. companionship of your fellow musicians. Wake up to elk grazing outside your win- Faculty: David Barnett, Letitia Berlin, Contact: Sally Merriman, P.O. Box 229, dow at the 10th biennial Rocky Recorder Frances Blaker, Shira Kammen, Judith Arlington, MA 02476; 781-488-3337 Workshop! The Denver ARS chapter Linsenberg, Peter Maund and Tim Ray­ (day); 408-547-1464 (fax); invites you to share 14 sessions covering born, all known for their teaching and [email protected], a range of topics—interesting, educa- performance. Sessions are designed for www.amherstearlymusic.org tional and fun. Faculty: Paul Leen­houts, intermediate to advanced level players. Mark Davenport, Anne Fjestad Petersen. www.AmericanRecorder.org Spring 2013 15 Whitewater Early are welcome, as well as non-participants. Summer Texas Toot (ARS) Music Festival (ARS) Faculty: Mark Daven­port, David Eche- Concordia University, Austin, TX University of Wisconsin, Whitewater, WI lard, Charles Fischer, Shelley Gruskin, June 2-8 May 31-June 2 Lisette Kielson, Theresa Koenig, Laura Director: Daniel Johnson; Directors: Nancy Chabala, Kuhlman, Patrick O’Malley, Tulio Susan Richter, administrator Carol Stanger, Pam Wiese Rondón, Karen Snow­berg, Dale Taylor, The 15th Annual Summer Texas Toot Todd Wetherwax, Pamela Wiese. Our workshop is held on campus at the offers a one-week program of classes at www.chicagoARS.org University of Wisconsin–Whitewater, For brochures, see , all levels, focusing on Renaissance and www.whitewaterearlymusic.org about 60 miles southwest of Milwaukee. and Baroque music, but with offerings as well Facebook for downloadable files on class Classes include focus and specialty-area for Medieval and 21st-century enthusi- schedules and some repertoire to be used, instruction for all levels of recorder play- asts. As always, we offer expert instruc- or contact Carol Stanger for PDF files. ing, consort viola da gamba, wind band, tion: Saskia Coolen, recorder; Mary Cost: $215 (double occupancy); $25 dis- and vocal classes with instruments. A Springfels, viola da gamba; Tom Zajac, count for new beginning recorder players. variety of special interest classes on Fri­ ensemble; Becky Baxter, harp; Bruce day evening include recorder orchestra, Contact: Nancy Chabala, (housing/ Brogdon, lute; Danny Johnson, voice— and a Saturday evening participant gath- registration), 8609 45th St., Lyons, IL tending to young professionals, seasoned ering is led by Louise Austin. The various 60534-1616; 708-442-6053 (day); amateurs, and eager beginners with equal [email protected] classes include music from Medieval to ; care. New for summer 2013 is instruc- modern. Pam Wiese (mailing/scholarships), tion in ethnic/historic percussion (Peter [email protected]; Carol Stanger Maund) and Renaissance double reeds On site: several music/instrument ven- (faculty/facilities), [email protected] (Robert Wiemken)! dors, plus Dale Taylor for repairs. All ages Join us for a week of learning, fun and musicmaking on the beautiful Concordia University campus in Austin! Info on classes, faculty, housing and online regis- tration will on the web site in late March. $445 tuition; room and board extra. $10 off tuition, early registration and bring-a-friend discounts available. Contact: Daniel Johnson, PO Box 4328, Austin, TX 78765; 512-371-0099; [email protected], www.toot.org Early Music Festival of Central Pennsylvania Mellinger Mennonite Church (U.S. Route 30) Lancaster, PA June 8, 9 a.m.-4:30 p.m. Faculty: Joan Kimball, Nina Stern, Priscilla Smith, Daphna Mor Ninth annual event presented by Pom­ merian Early Music Guild. A fun-filled day of 90-minute classes with expert faculty ; two catered breaks and a brown- bag lunch break with lots of great restau- rants nearby. Also, a New-to-You sale of music, instruments and accessories is “back by popular demand.” At the end of the day, enjoy a workshop showcase in which faculty and participants are invited to share their talents, if they wish.

16 Spring 2013 American Recorder Registration: forms and details: Oberlin Baroque Montréal Recorder Festival www.pommerianearlymusicguild.org Performance Institute . Montréal, QC Cost: $75, PEMG member discount Oberlin College, Oberlin, OH June 21-24 available. June 16-30 Montréal Recorder Festival 2013 in Contact: Edy Sarnoff, In the Valley of the Danube: This year collaboration with Montréal Baroque [email protected] marks the 42nd year of the Baroque Festival—two festivals in one! This year Interlochen Early Music Performance Institute at Oberlin, the Montréal Recorder Festival will be Workshop America’s premiere summer workshop held during and as part of the Montréal for Baroque instruments and voice. Baroque Festival. Guided by the theme Interlochen Center for the Arts, The internationally renowned faculty, The New World, the festival provides a Interlochen, MI headed by the members of the Oberlin colorful backdrop for spectacular con- June 16-20 Baroque Ensemble (Michael Lynn, certs, nine hours of a Jacob van Eyck- Director: Mark Cudek Marilyn McDonald, Catharina Meints, marathon, a “Brazilian” workshop with Le Gratie d’Amore: Music of the Italian Webb Wiggins), will again lead daily Cléa Galhano, and much more. Renaissance. Make and enjoy Medieval master classes and ensemble coaching. Contact: [email protected], and Renaissance music while learning Faculty and student concerts promise to www.montrealbaroque.com new skills and techniques on the campus offer memorable listening and music- of Interlochen Center for the Arts, in the making experiences; lectures and infor- Indianapolis Early woods of northern Michigan. mal open discussions stimulate the intel- Music Festival The 2013 workshop will present reper- lect; and the ever-popular Baroque dance Indiana History Center, Indianapolis, IN toire from the earliest printed sources to classes provide excellent physical exercise June 21-July 14 as well as a kinetic appreciation for the the dawn of the Baroque period, with a The Indianapolis Early Music Festival rhythms that underlie so much music of study of music from the Italian Renais­ is the oldest continually running early the Baroque era. sance. Participants will focus on articula- music concert series in the U.S. Presented tion, ornamentation, improvisation and Contact: Anna Hoffman, Conserva- since 1967, our mission is to enrich, edu- ensemble arrangement. The workshop tory of Music, 77 West College St., cate and entertain audiences with the culminates with a performance on period Oberlin, OH 44074; 440-775-8044; music of Medieval, Renaissance, Baroque [email protected] instruments including recorders, other 440-775-8942 (fax); , and early Classical eras, and feature excit- www.oberlin.edu early winds, viols, lutes, harpsichord and /con/summer/bpi ing performers of national and interna- percussion. Vocalists are also welcome. tional stature using instruments of the Participants supply their own instru- period and historically informed styles ments. and techniques. Tuition: $425 ($450 after April 1); room/ board costs vary. Early registration (dead- line April 1) is recommended, space is limited. Contact: Matthew Wiliford, Director, ICCA, PO Box 199, Interlochen, MI 49643; 231-276-7387; 231-276-5237 (fax); [email protected], http://college.interlochen.org, http://facebook.com/interlochencollege

Chamber music workshop conducted by Caroline Tremblay during the 2012 Montréal Festival (photo by Ragnar Müller-Wille)

www.AmericanRecorder.org Spring 2013 17 Early pre-festival concert, March 18, Tallis Scholars; Our play brings to life the tale of the sorceress Alcina and the June 21, Chat­ham Baroque with Il Tedesco Della Tiorba: knight Ruggiero in drama, dance, and song. The Music The music of Giovanni Girolamo Kapsperger; 22, family concert; Discovery campers present Handel’s music from his opera June 23, Julianne Baird with the Indiana­polis Baroque Alcina and others of his works—and from Italian composer Orchestra, Viva Vivaldi II; Francesca Caccini, who set the same story before Handel. June 28, Mr. Jones & the Engines of Destruction, ballad opera Faculty: Tish Berlin and Louise Carslake, recorder; Carla based on Economy! The Grumbling Hive; 29, family concert; Moore, violin and viola; Farley Pearce, viola da gamba and ’cello; June 30, Mont­réal’s La Nef with Michael Slattery, for the Yuko Tanaka, harpsichord; Shulamit Kleinerman, theater proj- 450th anniversary of John Dowland’s birth, Dowland In Dublin; ect and dance. July 12, Wayward Sisters, 2011 winners of Early Music Contact: Letitia Berlin, SFEMS, PO Box 10151, Berkeley, America/Naxos Recording Competition, The Naughty List; CA 94709; 510-559-4670; [email protected], July 14, Flanders Recorder Quartet www.sfems.org Contact: [email protected], www.emindy.org San Francisco Early Music Society San Francisco Early Music Society Classical Workshop For Strings (ARS) Children’s Music Discovery Workshop (ARS) St. Albert’s Priory, Oakland, CA School of the Madeleine, Berkeley, CA June 23-29 June 23-28 (day camp) Directors: Kati Kyme, William Skeen Director: Letitia Berlin Viennese Masters and Their Contemporaries. The New Esterházy Alcina and Ruggiero: Sorceress and Knight. Quartet offers historically informed perspectives on string The Music Discovery Workshop is a summer day camp for chamber music of the Classical era. Participants will learn children ages 7–15. Campers explore early music and history period-appropriate styles of articulation, bowing, fingering and each year through instrument class, ensembles, dance, and a phrasing. Workshop pitch will be at “Viennese” A=430hz, and theater project that involves the entire workshop community. participants will have the opportunity to try Classical-style This summer we focus on George Frideric Handel’s England. bows and strings.

Matthias Maute, recorder, baroque flute Joanna Blendulf, viol Vicki Boeckman, recorder Ellen Seibert, beginning viol Louise Carslake, recorder, baroque flute Margriet Tindemans, viol Cleá Galhano, recorder Brent Wissick, viol Gayle Neuman, renaissance winds, voice Joan Griffith,guitar, jazz improvisation Phil Neuman, renaissance winds, buzzies Peter Maund, percussion Nina Stern, recorder Peter Seibert, choir

Play early music in the spectacular Pacific Northwest! Choose from classses in recorder, flute, renaissance winds, viol, percussion and jazz improvisation. Hone your skills. Take up a new instrument. Sing in a choir. Join a drum circle. Be inspired by the faculty concert. Play in the student recital. Go for a hike at nearby Mt. Rainier or visit the Museum of Glass. For information or to request a brochure, visit www.seattle-recorder.org e-mail [email protected], call (206) 932-4623 or write to Port Townsend Early Music Workshop 4727 – 42nd Ave. S.W. #207 / Seattle, WA 98116 July 7–13, 2013 Port Townsend Early Music Workshop At the beautiful University of Puget Sound, Tacoma, WA Vicki Boeckman, Artistic Director ◆ Jo Baim, Administrative Director Presented by the Seattle Recorder Society

18 Spring 2013 American Recorder In addition to the music of Mozart, Haydn, and Beethoven, we will explore the music of lesser-known, but equally talented composers in our coachings, rehearsals and informal perfor- mances. The workshop is open to all ages and all skill levels. Individuals and groups are welcome to apply! Faculty: Kati Kyme, violin; Lisa Weiss, violin; Anthony Martin, viola and violin; William Skeen, violoncello Contact: Kati Kyme, SFEMS, PO Box 10151, Berkeley, CA 94709; 510-334-3882; [email protected], www.sfems.org

San Francisco Early Music Society Medieval & Renaissance Workshop (ARS) Sonoma State University, Oakland, CA June 23-29 Director: Tom Zajac At Ampleforth Pavilion, Pinewoods Camp, Plymouth, MA: (l to r) Paul McGuire, Anne Stories and Legends. This year’s workshop, for intermediate level Lowenthal, Gene Murrow, Atossa Kramer. amateur players through professionals, explores the connection (Photo by Judy Grunberg, courtesy of between music and storytelling, to deepen our appreciation and Country Dance and Song Society ) mastery of these ancient, interwoven arts. Central to the daily schedule will be classes for storytellers and musicians who shops in viols, recorders, voice, mixed ensembles, Sephardic want to develop accompaniments. Musicians and storytellers music and Baroque chamber music, and classes in Feldenkrais will be paired during the week, presenting their creations at body work. impromptu performances. We also will offer technique and Faculty of eight—Jane Hershey, Roy Sansom, Pamela Dellal, ensemble classes in voice (including vocal master class), viol, Jay Rosenberg, Anne Legêne, Larry Wallach, Josh Sholem– recorder, loud band, Medieval instruments and historic dance. Schreiber, guest faculty TBA—in a beautiful White Mountain We welcome existing groups for ensemble coaching. camp setting, conduct a week-long workshop in early music Evening events include sherry hour, lectures, drop-in sessions, (late Medieval through Baroque). Camp facilities include hik- faculty, student and all-workshop performances, and a Friday ing, swimming, boating; camp gardens supply kitchen with veg- night theater, music and dance project, co-directed by Jordan etables. Very affordable rates. $250 tuition before June 1; $275 Sramek and Anna Mansbridge, entitled Shakespeare and his after that date; room & board $454 (double occupancy) or Fellows: Sounds and Sweet Ayres. $491 (single occupancy) Faculty: Rotem Gilbert, Greta Hryciw, recorder; Mary Spring­ Contact: Larry Wallach, 69 Welcome St., Great Barrington, fels, viola da gamba; Shira Kammen, vielle, Medieval music, MA 01230; 413-528-7212 (day); 413-528-9065 (evening); music for storytelling; Tim Rayborn, Medieval strings, music 413-528-7365 (fax); [email protected], for storytelling; Cheryl Ann Fulton, historic harps; Karen www.worldfellowship.org Clark, Eric Mentzel, voice; Peter Maund, percussion; Tom Zajac, all-workshop collegium; Jordan Sramek, theater project; Early music Week at Pinewoods Camp (ARS) Anna Mansbridge, historic dance; Jeff Raz, storytelling, theater Pinewoods Camp, Plymouth, MA arts; Greg Ingles, loud band. June 27-July 4 Contact: Tom Zajac, SFEMS, PO Box 10151, Berkeley, CA Director: Frances Conover Fitch [email protected] 94709; 617-823-9024; , Performers and/or faculty include: Frances Conover Fitch www.sfems.org (harpsichord and director); Sheila Beardslee, Sarah Cantor, Emily O’Brien (recorder); Michael Barrett (voice & recorder); World Fellowship Early Music Week Wayne Hankin (winds); Graham Christian, Anna Rain, Jan Chocorua, NH Elliott (English country dance); Joanna Blendulf, Sarah Mead, June 23-30 Lisa Terry (viol); Sheila Beardslee (historical dance); Dana Directors: Jane Hershey, Larry Wallach Maiben (violin). Crossing the Channel: faculty and student concerts, English This unique early music workshop takes place at beloved and country dancing, special lectures, morning and afternoon work- semi-rustic Pinewoods Camp near Plymouth, Massachusetts.

www.AmericanRecorder.org Spring 2013 19 In a relaxed atmosphere, campers com- bine classes with renowned performers, historical and English Country Dance classes, evening dances, lectures, an all- camp collegium, swimming, delicious meals, a faculty concert, a hilarious schol- arship auction, fun skit night, and infor- mal music making. Classes related to this year’s theme, The Rose and the Thorn: Contrasts in Music of Earlier Times, will be supplemented by basic technique classes, chorus and his- torical dance. The Viol Intensive, directed by Sarah Mead, provides more focus on the viol, although these mem- bers are full participants in the workshop. Cost: $910, scholarships available Contact: Steve Howe, Country Dance and Song Society, 116 Pleasant St., Suite 345, Easthampton, MA 01037-2759; 413-203-5467 X2; [email protected], www.cdss.org/em San Francisco Early Music Society Baroque Workshop (ARS) Sonoma State University, Rohnert Park, CA June 30-July 6 Director: Linda Pearse Music from the Habsburg Court. Explore the music and influence of the Habsburg Courts in works by such composers as Georg Muffat, J.H. Schmelzer, Antonio Bertali, G.B. Buonamente, J.J. Fux and Antonio Caldara. Daily master classes (instrumental and vocal) offer each par- ticipant the opportunity to hone techni- cal and musical skills. We offer elective of all levels and experience. Mountain Collegium Early Music & Folk Music classes for recorder, Baroque oboe, Faculty: Adam Knight Gilbert, recorder; Workshop Baroque flute, Baroque bassoon, violin/ Sand Dalton, Baroque oboe; Kathleen viola, ’cello, viola da gamba, harpsichord/ Kraft, Baroque flute; Kati Kyme, Baroque Western Carolina University, organ and voice. Each participant has the violin (and orchestra); Rita Lilly, voice; Cullowhee, NC opportunity to work in a small ensemble Anna Marsh, Baroque bassoon; Linda June 30-July 6 with a coach with the goal of perfor- Pearse, Baroque trombone; Mary Spring­ Director: Jody Miller mance at week’s end. Evening activities fels, viola da gamba; William Skeen, Recorder faculty include Jody Miller, include faculty performances, lecture- Baroque ’cello; Peter Sykes, harpsichord. demonstrations, and Concerto Evening Pat Petersen, Gwyn Roberts, Anne Tim­ (when participants can perform a con- Contact: Linda Pearse, SFEMS, PO Box berlake, Lisle Kulbach, Valerie Austin. certo movement with orchestra). The 10151, Berkeley, CA 94709; 506-364- [email protected] The Smoky Mountains provide a lovely Baroque Workshop welcomes players 2585; , location for Mountain Collegium. www.sfems.org

20 Spring 2013 American Recorder Comfortable accommodations and class- rooms are in an air-conditioned, non- smoking dorm (double or single occu- pancy) with free high speed internet. Many meals are catered. This informal yet intensive workshop offers study of Medieval, Renaissance and Baroque music, focusing on recorder, viol, voice and other early instruments. Classes include technique, improvisation, and a variety of consorts and repertoire. Students may also choose classes in folk, Appalachian, Celtic, Sephardic and con- temporary music. Small classes and easy access to faculty create a friendly and relaxed experience. Four periods each day provide options for loud band, early brass, singing, courses for adolescents and for Recorder players and harpsichordists Baroque flute, pennywhistle, dulcimer, children ages 4-11. will have opportunities to play sonatas and harp. Students have an eclectic expe- Key faculty for our 60th Anniversary and suites together in addition to study- rience that brings them back year after Season: Matthias Maute, Chris­t­opher ing solo literature. Featured composers year. Free time allows for informal music Jackson, Laura Pudwell, Francis Colpron, include Vivaldi, Scarlatti, Marcello and making; evenings include group playing Femke Bergsma, Sophie Larivière, Couperin. One class session features a and country dancing with a live band. Vincent Lauzer, Betsy MacMil­lan, faculty concert with members of the A faculty concert and an informal stu- Marie-Laurence Primeau, Geneviève Columbia Baroque Soloists. The last dent recital top off the week. Soly, Marie-Nathalie Lacoursière. meeting is a recital by class participants. Sessions are open to high school stu- Contact Jody Miller, 404-314-1891, Contact: Johanne Audet, 85 Chemin dents, college students and adults. [email protected], CAMMAC, Harrington, QC J8G 2T2 www.mountaincollegiummusic.org CANADA; 888-622-8755 X1; 819- Cost: participants $80, auditors $60 687-3323 (fax); [email protected], Contact: Timothy Hein, P. O. Box 6972, CAMMAC Early Music Week www.cammac.ca Columbia, SC 29260; 803-727-8555; [email protected] Lake MacDonald Music Center, , Columbia Baroque Soloists Harrington, QC, Canada www.columbiabaroque.com Summer Institute June 30-July 7 Madison Early Music Directors: Matthias Maute, University of South Carolina, Festival Marie-Nathalie Lacoursière School of Music, Columbia, SC Handel’s Utrecht Te Deum July 1-29 University of Wisconsin–Madison July 6-12 CAMMAC provides a unique opportu- The Glory Of Italy And The Splendor Of Directors: Chelcy Bowles, program; nity to make music with family and France. Performers and/or faculty: Jean Artistic Directors Cheryl Bensman– friends in a beautiful setting under the Hein, Baroque recorders; Jerry Curry, Rowe, Paul Rowe guidance of professional musicians. In harpsichord four daily 75- minute classes plus lec- A series of five classes on Monday eve- Guest ensembles are Piffaro, Parthenia, tures, early music lovers may play to their nings for recorder and harpsichord play- Dark Horse Consort and Calmus heart’s content. Small ensembles and ers; sessions focus on contrasts between Ensemble. Faculty are Julie Andrijeski, voice classes are set up ahead of time; the energy and fire of Italian music and violin; Cheryl Bensman–Rowe, soprano; registration for other classes occurs on French refinement and elegance. Kristina Boerger, soprano; David Douglass, violin, viola; Ellen Hargis, site. Courses include choir, large instru- Participants will study the compositional soprano; Grant Herreid, lute, Renais­ mental ensemble, many recorder and characteristics and styles of performance sance guitar; William Hudson, tenor; viol classes, Medieval and Renaissance including Italian freely-extemporized Greg Ingles, sackbut; Joan Kimball, ensembles, percussion, Commedia ornamentation and French specified recorder and bagpipe; Anna Mansbridge, dell’Arte and Baroque dancing, plus ornamentation. www.AmericanRecorder.org Spring 2013 21 European court dance; David Morris, ’cello, viola da gamba; with world-class faculty. Two weeks of intense playing, listening Christa Patton, harp, historical winds; Ian Pritchard, harpsi- and learning in a supportive and social environment. We offer chord, organ; Paul Rowe, baritone; Lisa Terry, viola da gamba; classes for intermediate and advanced players, conductors and Kiri Tollaksen, cornetto; Bob Wiemken, historical winds; music teachers. Bring your ensemble and be guaranteed a daily Tom Zajac, recorder, percussion. group class (minimum of five players; check availability). The 14th annual Madison Early Music Festival and Workshop Faculty: (Week 1) Claudia Gantivar, Peter Maund, Matthias (MEMF): in addition to a six-event Festival Concert Series, Maute; (Week 2) Saskia Coolen, Greg Ingles, Shira Kammen, lectures and workshop classes provide opportunities to learn (both weeks) Rotem Gilbert, Laura Kuhlman, Hanneke van and practice instrumental and vocal skills, become familiar with Proosdij, with Katherine Heater, harpsichord, and Stacey historical performance practices and repertoire, learn about the Pelinka, Feldenkrais® movement. featured music through the lenses of history and culture, and Contact: Rotem Gilbert, SFEMS, PO Box 10151, Berkeley, perform with other participants alongside faculty artists. CA 94709; 626-441-0635; [email protected], The historical centerpiece of the week is a splendid mass and www.sfems.org subsequent eight-day, international festival that took place in Stuttgart in March 1616, celebrating the princely christening Port townsend Early Music Workshop (ARS) of the fifth son of Johann Friedrich, Duke of Württem­berg, University of Puget Sound, Tacoma, WA and his wife Barbara Sophia, Mar­gravine of Brandenburg— July 7-13 events well documented in word and in a famous set of Directors: Vicki Boeckman, artistic director; engravings. Join in the magnificence and celebration with Jo Baim, managing director concerts, lectures, classes—and a masked ball! Tuition $495 Join us this summer for a star-studded faculty, a beautiful tree- Contact: Chelcy Bowles, 21 N. Park St., Madison, WI 53715, lined and easy-to-navigate campus with accessible facilities, and [email protected] 608-265-5629, , a curriculum that will leave you wishing there were 48 hours in www.madisonearlymusic.org a day! Consort and technique classes for recorder, Baroque flute, viol, historic reeds, consort and mixed repertoire, percussion for Great Lakes Suzuki Flute and all levels (and a drum circle), and beginning viol. This year we Recorder Institute also offer jazz and improvisation! Choose a particular period, McMaster University, Hamilton, ON, Canada or mix it up with a class from almost every period of music. July 6-13 : Teacher Training, Suzuki Recorder Book 1 Work hard and play hard with friends, new and old! Intense July 9-13 : Student Institute musicmaking that will inspire you during the workshop and Director: David Gerry throughout the year. Our faculty and directors eagerly await Master classes, group instruction, recitals, plus enrichment your arrival and anticipate a splendid workshop. classes for students. Teacher training with Mary Halverson Recorder faculty: Matthias Maute, Vicki Boeckman, Louise Waldo. New for 2013: juggling skills for teachers and students! Carslake, Cléa Galhano, Nina Stern. Viol faculty: Joanna For 2013 tuition and housing costs, see www.davidgerry.ca/ Blendulf, Margriet Tindemans, Brent Wissick, Ellen Seibert suzuki-institute. (beginning viol). Phil and Gayle Neu­man, Renaissance winds; Contact: David Gerry, 35 Pine St., Hamilton ON L8P 2A2 CANADA; 905-525-9549; [email protected], www.davidgerry.ca

San Francisco Early Music Society Recorder Workshops (ARS) St. Albert’s Priory, Oakland, CA July 14-20 and/or 21-27 Directors: Rotem Gilbert, Hanneke van Proosdij Week I: The Art of Love and War Week II: A Celebration of Women in Music Fill your days with recorder ensembles, Renaissance consorts to recorder orchestra; technique and master classes, Feldenkrais® movement, concerts and more. Explore Medieval, Renais­sance, Baroque, contemporary and world music in an intimate setting An informal jam session at Boxwood 2012 22 Spring 2013 American Recorder Peter Maund, percussion; Joan Griffith, Nina Stern, Glen Velez, Reine-Marie Mideast Workshop (ARS) guitar, jazz improvisation; Peter Seibert, Verhagen, Wouter Verschuren. Laroche College, Pittsburgh, PA choir. All-Workshop Collegium: week 1, July 14-20 Contact: Jo Baim, Managing Director, Larry Lipnik; week 2, Tom Zajac. Director: Marilyn Carlson Seattle Recorder Society, 4727–42nd July 7-14: Baroque Academy, Opera Burgundian Splendor in the 15th Century: Ave. SW, #207, Seattle, WA 98116; Project, Historical Dance, Baroque Flute, music of Dufay, Binchois, Ockeghem, 206-932-4623 (day), 206-932-4623 Oboe and Bassoon, Renaissance Reeds, Busnois. 50-55 students of all levels. workshop@seattle-recorder. (evening); Recorder Boot Camp We offer recorder (all levels except nov- org,www.seattle-recorder.org July 13-14: Music/instrument exhibition ice), viol, harp, flute. You may enroll for Amherst Early Music July 13-20 New London Assembly – recorder, viol, flute as primary instru- Festival (ARS) English Country Dance Program ment; harp, voice, recorder, viol as sec- ondary instrument. Large and small July 14-21 Virtuoso Recorder, Recorder Connecticut College, New London, CT ensembles: All-Workshop Ensemble Seminar, Renaissance Reeds and Brass, July 7-14 and/or July 14-21 (instruments and voices), Renaissance Traditional Repertories with Nina Stern Director: Frances Blaker Band (recorders, viols, capped reeds,), and Glen Velez, Ensemble Singing Medieval Collegium (The Legacy of Music of the British Isles Intensive, Lute Society of America Medieval Music), Small Consorts Largest recorder program in the U.S. Seminar (by level), Vocal Ensemble. Also offering voice, dance, Renaissance Tuition $545; room & board $175 and Viol-for-novice, harp-for-novice (hands- reeds, viol, lute, early notation and more! up. Work study/scholarships available. on experience without owning an instru- Performers and/or faculty: Julianne Contact: Marilyn Boenau, Executive ment); introduction to Medieval fiddle. Baird, Letitia Berlin, Saskia Coolen, Director, or Sally Merriman, Administra- Other classes: bass recorder, ornamenta- Héloïse Degrugillier, Frances Fitch, tor, P.O. Box 229, Arlington, MA 02476; tion, improvisation, basics of musician- Flanders Recorder Quartet, Adam 781-488-3337 (day); 408-547-1464 ship, contemporary music, English Gilbert, Wendy Gillespie, Valerie Horst, [email protected] (fax); , Country Dance. Mini-series topics TBA. Shira Kammen, Na’ama Lion, Washing­ www.amherstearlymusic.org ton McClain, Pat Petersen, Wendy Faculty: Marilyn Carlson, Stewart Powers, Gwyn Roberts, Mary Spring­fels, Carter, Judith Davidoff, Eric Haas, Kathryn Montoya, Alan Purdum, Peter Ramsey, Majbritt Young Christensen, James Young. All facilities are air-conditioned. Private bath, refrigerator/microwave, live internet in each room. Tuition $410; room & board $400 (double occupancy), $600 (single occupancy). Contact: Marilyn Carlson, 1008 Afton Road, Columbus, OH; 43221-1680; 614-754-7233; [email protected]. com, www.mideastearlymusic.addr.com

Workshops carrying ARS designation in their descriptions Boxwood Canada have joined the ARS as workshop members. Other shorter Lunenburg, Nova Scotia, Canada workshops may be spon­sored periodically through the year July 21-27 by ARS chapters, and are listed in the calendar portion of Director: Chris Norman each ARS Newsletter, as well as on the ARS web site, when Discover musical and dance traditions information becomes available from presenters. while visiting one of North America’s most exquisite 18th-century seaside Do you have a favorite workshop experience? towns. Concerts, dances, sessions, classes, Post that on the American Recorder Facebook page, lectures with leading artists in the realms www.facebook.com/americanrecordermag of traditional folk, early music, dance and

www.AmericanRecorder.org Spring 2013 23 improvisation. Work study and scholar- International Baroque Recorder at the Clearing Institute at Longy ships available. Gourmet cuisine. See The Clearing, Ellison Bay, WI web site for pricing. Longy School of Music, July 28-August 3 Faculty and guest artists: Vincent Lauzer, Cambridge, MA Directors: Pat Badger, Adrianne Paffrath recorder; Chris Norman, flutes; Hammy July 26-August 4 Recorder ensemble has been a tradition Hamilton, Irish flute; Rod Garnett, pan Directors: Paul Leenhouts, at The Clearing for over 25 years. flutes; Adrian Greenbaum, klezmer; Billy Phoebe Carrai Ensemble playing is the week’s focus. McComiskey, button accordion & Anglo Arte de tañer Fantasia: a seminar on Each day begins with a warm-up of concertina; Brittany Haas, old time fid- embellished music of the 16th, 17th and voices and bodies as we sing rounds dle; David Greenberg, Baroque & Cape 18th centuries. Master classes, ensembles, and ready our muscles for performance. Breton violin; David McGuinness, key- orchestra, dance, concerts and lectures. Daytime sessions focus on rhythmic boards; Christine Hanson, ’cello; Mark challenges, recorder technique and Edwards, organ & harpsichord; Alys Faculty: Paul Leenhouts, recorder; ensemble blend; emphasis is on growth, Howe, Celtic harp; Shelley Phillips, oboe, Phoebe Carrai, Baroque ’cello; Sarah process and, most of all, enjoyment. To harp; Matthew Olwell, percussive dance; Cunningham, viola de gamba; Rosa participate fully, you need at least inter- Marlys Norman, dance; Nick Halley, Domínguez, voice; Arthur Haas, harpsi- mediate skills on a C or F recorder. percussion & rhythm; Jefferson Hamer, chord; Manfredo Kraemer, Baroque vio- traditional songs & guitar; Forbes & lin; Na’ama Lion, Baroque flute; Ken Adrianne Paffrath coached on recorder Yola Christie, flute makers & repair. Pierce, Baroque dance; Gonzalo Ruiz, with ARS teachers. She is music director Baroque oboe at Racine’s First Presbyterian Church. Contact: Chris Norman, Boxwood, Patricia Badger has studied early music PO Box 225, Lunenburg, NS B0J 2C0 Contact: Registrar, Longy School of instruments, natural and classical trum- CANADA; 917-294-3984 (U.S.), Music, 27 Garden St., Cam­bridge, pet. She is performing arts head of The 902-553-0651 (CAN); MA 02138; 617-876-0956 (day); www.longy.edu Prairie School. Jointly, they have per- [email protected], 617-876-9326 (fax); www.boxwood.org formed for Medieval festivals, grape

24 Spring 2013 American Recorder stompings, Shakespeare celebrations and a circus parade. tions—travel time and cost,” said Heisler, who also serves on Cost: $925 Dorm Room Package; $955 Two-Person Room the Mountain Collegium board. “So the idea was to have a low Package; $1350 Single-Person Room Package (limited avail- cost workshop here. The way to do that was to have it at my ability); $515 Commuter (limited availability) house and ask people to make donations.” Today, about a third of participants in the $75 Bloomsburg Early Music Work­shop Contact: The Clearing, PO Box 65, Ellison Bay, WI sleep free-of-charge in local musicians’ homes. Big names have 54210-0065; 877-854-3225; 920-854-9751 (fax); [email protected], http://theclearing.org appeared, including Frances Blaker, who didn’t hesitate when Heisler met her at another workshop and asked her to teach. Rocky Ridge Early Music Contact: Dwayne Heisler, 570-317-6214, Festival and Workshop [email protected], https://sites.google.com/site/bloomearlymusicworkshop/home Rocky Ridge Music Center, Estes Park, CO August 21-25 Tibia Adventures in Music Director: SoYoung Lee; Jory Vinikour, EMF&W Director Next Level Recorder Retreat Southeast, Adult students (ages 18+) will enjoy the opportunity to study Wildacres Retreat, Little Switzerland, NC works from one of the most fertile periods in Western music September 3-8 history through private lessons, ensembles, interactive lectures Faculty: Letitia Berlin, Frances Blaker and workshops. Instruction will be provided for voice, strings, winds and keyboard. Period instruments or bows are encour- For recorder players who want to improve their technique and aged, but not required. ensemble playing. Classes include technique and ensemble skills, repertoire classes, consorts. Enrollment is limited to 16 Professionals wishing to branch out and amateurs looking to people, at instructors’ discretion. broaden their horizons are welcome to apply. Through a bal- [email protected] anced mix of individual, small ensemble and group work, stu- Contact: Tish Berlin, dents should expect to hone their technical and musical skills, Hidden Valley Institute for the Arts develop their musical imagination, and interact with others in a Early Music Road Scholar rich and inspirational musical environment at a majestic 9200 feet atop the Rocky Mountains. Carmel Valley, CA October 27-November 2 and/or November 3-9 Faculty: Anna Marsh, recorder, Baroque bassoon, flute, oboe; Directors: Letitia Berlin, workshop; Peter Meckel, HVIA Jory Vinikour, harpsichord; Paul Miller, Baroque violin, viola; Ann Marie Morgan, Baroque ’cello, viola da gamba Enroll for one or both weeks. Adults of all ages welcome. Tuition: $785 includes room/board. Week I: intense classes for upper intermediate to advanced levels. Faculty: Letitia Berlin, Frances Blaker, Louise Contact: Karen Dusek, Rocky Ridge Music Center, 840 Pearl Carslake, TBA, recorders; Mary Springfels, viola da gamba. St., Suite Q, Boulder, CO 80302; 970-586-4031; 866-24-7107 (fax); [email protected], http://rockyridge.org, Week 2 Faculty: Tish Berlin, Frances Blaker, recorder; David www.facebook.com/RockyRidgeMusic Morris, viola da gamba; Shira Kammen, early strings; other faculty TBA. Bloom Early Music Workshop Classes include recorder technique, viol consort, Baroque Catawissa, PA chamber music, consort classes for Medieval, Renaissance, August 23-Sepember 1 Baroque and contemporary repertoire, workshop orchestra. Faculty: Lisle Kulbach, Larry Lipnik, Jody Miller Evening events include faculty concert, student concert, free- lance playing. Free Wednesday afternoon for more playing or Please join us for a weekend of early music and other activities sightseeing. Improve your playing in a supportive, friendly in the forest and hills of Pennsylvania. A great opportunity for atmosphere with world-class teachers. singers and instrumentalists to work together. Cost of $75 per workshop participant goes towards instructor honoraria and Double room/board/tuition $827; expenses. Maximum of 30 participants. Private sessions avail- single room/board/tuition $1,127. able for additional fee. Donations to help defer the costs of Contact: Peter Meckel, PO Box 116, Carmel Valley, CA 93924; food and music are never required, but always appreciated. 831-659-3115; 831-659-7442 (fax); [email protected], http://hiddenvalleymusic.org The Bloomsburg Early Music Workshop was started nine years ago by Dwayne Heisler, who wanted fellow musicians in rural Pennsylvania to attend workshops. “There were two objec-

www.AmericanRecorder.org Spring 2013 25 What the Woodcut from Opera Intitulata Fontegara

Introductionshows us aboutBecause Ganassi of the smaller scope of Most of you, as AR readers, are inter- this article, I have limited myself to ested and devoted recorder players— taking a closer look at the woodcut on eager to learn more about the history the title page of Fontegara, which offers of our beautiful instrument, always us a revealing point of entry to the looking for exciting repertoire and new ideas and personality of the author. friends to play it with. You are familiar One has to keep in mind that with the great composers of the late Ganassi was one of the first to docu- Baroque era, such as Bach, Telemann ment the traditional practice of impro- visation that was, by its very nature, By Han Tol and Handel. Many of you also dedicate time to the masters of the 17th cen­ unwritten. He managed to do it in a way that was simultaneously proficient, Han Tol is a highly sought-after tury­—for example, Van Eyck and Pur­ confusing and witty, while providing us soloist, ensemble player, musical director cell. I know from experience, though, with some unexpected clues about his and teacher throughout Europe, the U.S. that the 16th century often remains character. Since we can hardly claim and the Far East. He holds a professorship shrouded in mystery. Yet it is in this era to be familiar with the improvisatory at the Hochschule für Künste (Bremen, when some of the most virtuosic mentality of his time, I feel it makes Germany) and was a guest professor at recorder players, makers and teachers the most sense initially to take a playful Indiana University, with further courses were active. It was the most illustrious and instinctive approach to his work, at renowned music institutions in Vienna, of these men, Silvestro di Ganassi dal in the manner of the fascinated and Salzburg, Geneva, St. Petersburg, Fontego, who left us with two over- inquisitive player that he also was, and Jerusalem, Baltimore, Tokyo, Seoul and whelming publications: Opera Intitulata to see where it leads. Hopefully you Hong Kong, to name a few. Fontegara (Venice, 1535), which focuses will gain enough inspiration from this Alongside activities with his group on the recorder and the art of diminu- short story to make you delve more La Dada, Tol also performed over 600 tion; and Regola Rubertina (Venice, deeply into Ganassi’s treatise and the concerts worldwide from 1999-2007 1542/3), for stringed instruments. intriguing art of the 16th century. You as a member of the outstanding Flanders Many years ago when I first may even find, as I did, that it reshapes Recorder Quartet. With FRQ, he helped became acquainted with Opera Intitu­ your thoughts about later repertoire. create numerous CDs and music editions. lata Fontegara, known in the vernacular His work with Balthasar Neumann of the modern recorder player simply as Ensemble (Freiburg, Germany) includes Fontegara, the only source available was Ganassi was one of the orchestral and solo performing—perhaps a German translation by Dr. Hilde­ first to document the most memorable is his interpretation of marie Peter (and an English translation traditional practice of 17th-century Italian music while clad in made from that). Since then, several facsimile editions, critical publications improvisation that was, by full clown apparel. As guest artistic direc- its very nature, unwritten. tor of this group, he led the highly-praised in different languages, and digitized versions of the original print have been CD, Perpetuum Mobile, of unpublished Ganassi’s Venice cantates and chamber music by Telemann. released or made accessible on the Among his 35 recordings is the recent Internet (please see the resource list I believe that it is helpful to explore Sony Classical CD on which he is paired following this article). the exceptional environment in which with gambist Hille Perl in Telemann’s For the German magazine Tibia, Silvestro Ganassi thrived before mak- double concerto for recorder, viola I prepared a lengthy article on the ing an attempt to understand his lan- da gamba and orchestra, with the life and work of this master. I would guage. Venice was a truly magical place, Freiburg Baroque Orchestra. now like to share part of it with bustling with activity, curiosity and American recorder enthusiasts. excitement. The 1530s were character- 26 Spring 2013 American Recorder ized by a development inaugurated by painting, as put forth in his magnificent Doge (Duke) Andrea Gritti (1455- book Painting in Cinquecento Venice. To 1538; r. 1523-1538), the Renovatio summarize, Rosand points out that, in Urbis (an architectural renovation 1435, Leon Battista Alberti codified of the city, the results of which are the system of mathematical perspective still most noticeably visible around that was the core of the new pictorial Piazza San Marco, the square near St. structure. The picture plane was a sur- Mark’s Cathedral). Ganassi dedicates face on which lines were drawn and Fontegara to this striking man, who colors applied and yet also a plane played such a major role in the history through which we look as through a of Venice. At the time of his election window into an imaginary world. This in 1523, Gritti was 68 years old and creates an interesting conflict between had already had an unusual career as a illusion and reality that engages the merchant in Con­stan­tinople, as a spy, observer in the game of participation. and as a military ruler. He proudly The frame itself effectively mediates noted that he had spent more years on between the two realms, with figure a horse and in prison than not. and space sharing a common rhetorical Doge Andrea Gritti, who It was the Doge’s aim to give a function and facilitating entrance, get- accomplished the Renovatio decisive boost to the “Myth of Venice” ting us beyond the virtual transparent Urbis in Venice and to whom by creating a refreshing and ever more barrier of the picture’s front plane. Fontegara is dedicated, breathtaking splendor in the heart of In precisely this way, Ganassi’s as painted by Titian, the city, comparable to the charisma depiction of the cornetti on the win- 1546/1548. Gritti proudly and magic that characterized Rome dowsill bridges the gap between our noted that he had spent in ancient times. Rome in his time, real world and his imaginary one. The more years on a horse we have to realize, was still partially orientation of the two instruments and in prison than not. reduced to rubble after the disas- manipulates our gaze, so that we enter trous Sack of 1527, during which many the room to the left where we encoun- men of letters and artists had fled and ter the first musician. He seems to be found shelter in Venice. presiding over a cozy musical scene in One of them was the sculptor and which four more members are gathered architect Jacopo San­so­vino, who was around a table. put in charge of the Renovatio Urbis. According to a startling theory of Sansovino and painters such as Titian, Armando Fiabane, a present-day Pordenone and the elusive Giorgione, Venetian musicologist, we are face-to- who also happened to be a talented lute face here with I sonadori del fontego, the player and resident of the same parish well-known group of players made up as Silvestro, took their daily walks of members of the Ganassi family who through Ganassi’s neighborhood. lived and thrived near the Fontego Ganassi could not have helped but be della Farina, the state flour warehouse mesmerized and inspired by all these in the area of the Rialto Bridge (fontego, impressive and accomplished people. or fondaco in modern Italian, means Ganassi states that he printed his warehouse). By attaching the word treatises himself and also engraved the Fontego to the family name, Ganassi, illustrations. The title page of Fontegara the members distinguished themselves is the woodcut shown on the following from other Ganassis in the city; they page. Silvestro beckons us to look belonged to the branch that lived through a window into his figurative near this building, on the corner atelier, an extraordinary place. of the Riva del Vin and the Rio Particularly appropriate at this Silvestro o Fontego. point is David Rosand’s explanation Basically the same tradition of the use of perspective in Venetian applied in my own family, which origi-

www.AmericanRecorder.org Spring 2013 27 nates in the small and picturesque brother Girolamo died in 1534 and lic of Venice in 1468, one can read that Dutch fishing village Volen­dam, about thus does not appear on the woodcut “such is their power, worth and splen- 30 km north of Amster­dam. A consid- of Regola Rubertina. It is also on dor, such their inspiration, that we erable part of the population there offi- record that his son Battista (the should all be uneducated brutes if cially carries the last name Tol. In order youngest player) and Silvestro’s there were no books.” to distinguish among the various brothers—Girolamo, Giovanni But around 1530, Venice still branches and make it possible to iden- and Venturino—were all musicians! boasted an impressive number of tify a particular person, a meaningful The two men on the left share a improvvisatori, most of whom were nickname was applied. In our case this music book, which is open and displays not able to read or write! The was “Blik,” the Dutch word meaning three staves on each page. The books contrappunto alla mente—improvised “can”; we were in the fish canning busi- on the table seem to be in quarto size— counterpoint around an existing ness. So my father was known as Cees usually intended for use in one place, melody, the cantus firmus— Blik, rather than Cees Tol! they were too big and heavy to be easily was still the general practice. portable. The depiction of books may The man farthest to the left in our The Players in the Woodcut not be striking to us, but here it signifi- picture seems to be singing, which we At this point, it might be fun to take cantly symbolizes the new art of learn- may assume from the manner in which a moment to speculate about who ing that had begun spreading through Ganassi has drawn his open mouth. He these men in the woodcut are and Italian culture in the 15th century. has his hand placed upon the shoulder what they are playing. I tend to concur Ganassi confirms the Venetian belief of his brother in a manner that, allud- with Fiabane that both the woodcut of that literacy is essential for a civilization ing to something Ganassi points out in Fontegara and that gracing the cover of that claims to formar con parole, to his Regola Rubertina, “aims to pass on Regola Rubertina are Silvestro with his educate. In a letter from Cardinal Bes­ his talent to his neighbor and smooth son and either three or two brothers sarion, accompanying the donation of the way for those who take delight in respectively. It is known that his his extraordinary library to the Repub­ this art.” He seems to be tapping the

28 Spring 2013 American Recorder beat with the index finger of his left two in the middle are dealing with the a fireplace; in the portego, the gallery or hand on the shoulder of his brother. remaining tenor and superius parts, reception room on the piano nobile We can imagine this second player, by respectively. They are playing from sep- (main floor), one either had to dress the way he so nonchalantly holds his arate books. Battista may sometimes in thick velvet cloaks, or move around tenor recorder, full of self-confidence as share his copy with his uncle, who while carrying pots of hot charcoal. he tackles the challenge and produces stands next to him—holding a soprano Hanging on the back wall in the rapid passages, keeping track of the recorder in his left hand, perhaps ready Fontegara woodcut is a line of string beat with the help of his brother. Most for when they play five-part composi- instruments: three gambas and a lute. probably they are interpreting the bass tions. His uncle seems to be unobtru- Through a window to the right behind and alto parts, as these were typically sively tapping the rhythm with his the players, we see hilly scenery in the combined in music books of the time. right hand on the table, as if to help distance, perhaps a reminder of “the According to Fiabane, next to his nephew. highly evocative landscape, serving them and facing us are Silvestro and The boy is playing an alto recorder as a lyrical commentary on the human his son, Battista. At that time, Silvestro with his right hand on top. At this events in the foreground” (quoting was in his mid-forties. The player next time, a clear distinction between right- Peter Humfrey’s famous Painting in to Battista seems much too young to and left-handed playing had not yet Renaissance Venice, p. 15). This was me. My guess is that Silvestro is the been made. The lowest unused and characteristic in Venetian painting. second player, with the hand of his plugged “ninth” hole on the left (which The depiction of the group— brother Giovanni on his shoulder, forms a pair with the other, actively clearly consisting of younger as well as and that Venturino is facing us, while used hole for the little finger) is clearly older players, in keeping with the time’s Girolamo is located on the far right. visible; this is why French sources of love affair with symbolism—refers to It would be interesting to know what that time call the recorder flûte à neuf the process of learning. Silvestro pres- your speculations about the scene are, trous, flute with nine holes! ents us the beginner, the little boy on dear reader. One could compare the The heavy clothes that all of them the right who is possibly still struggling faces with those in the woodcut (below) wear are an indication of the often with some basic elements of playing of Regola Rubertina—but that is insufferable cold inside Venetian the recorder; as well as the advanced another topic to pursue! houses during fall and winter. Even player, skilled in the art of diminution Following the tradition of how within the conspicuous palaces of the and used to exploring the higher regis- part books tended to be printed, it noble patrician families on the Canal ter, perhaps even fingering the setevoce would then logically follow that the Grande, only bedrooms were heated by de più de lordinario, the seven unusually high notes that Silvestro explains in chapter 4 of Fontegara. Next to the singer on the left, a recorder case leans against the window sill. The lid of the case is almost identical to a surviv- ing 16th-century original in the Kunst­ historisches Museum in Vienna, Austria, probably made by a member of the Bassano dynasty. It holds a soprano, two Woodcut from Regola Rubertina

www.AmericanRecorder.org Spring 2013 29 and the teaching of the art of diminu- tion, which is useful for all players of wind or string instruments as well as for singers. In his illustration, the cor- netti and recorders stand for the winds, and the instruments on the wall for the strings. For the singers, we have our Giovanni on the left.

Vienna Kunsthistorisches Silvestro di Ganassi dal Museum SAM 135 (an alto Fontego (1491/2-1565): recorder) inside SAM 171 The Man (case); case lid (l) and inset Silvestro was born in 1491 or ’92 in of the !! (Bassano) mark. Venice. His father was an immigrant Photos by Maggie Kilbey (r) from Bergamo who kept a barbershop and Adrian Brown (l) near the Fontego della Farina. At the age of 25, Silvestro was appointed by altos and a tenor. In Hans Holbein’s puns in the title of his treatises. The Doge Loredan as suonatore del Doge famous painting from 1533, The name Fontegara refers to fontego (mean- (Duke’s musician). This was a very Ambassadors, in the National Gal­lery in ing “warehouse,” as mentioned above). prestigious position that offered him London (the cover for this issue of AR), The noun fontego is used in Venetian the privilege of becoming a cittadino, we discover a comparable case that is proverbs of the time, e.g., el ze un fontego de intus et de extra, a citizenship granted open. The lid is dangling down and (he knows a lot), or in chel posto ghe ze to immigrants who had lived in Venice the ends of the four instruments, most el fontego dei osei (in that place where for 25 years and who paid all taxes and likely transverse flutes, are sticking out. many birds gather). Ganassi’s nick- dues. They enjoyed the right to trade These cases were custom-made by the name, “dal Fontego,” may therefore abroad as Venetian subjects and were instrument makers, who would deliver not solely refer to where he lived, also obliged to present themselves as their carefully tuned matching set of but also to his role as a teacher—as Vene­tians in every part of the world in instruments to the customer, furnished a source of information to whom which they transacted business (for with the workshop mark stamped on students flock like birds, to a sort of more, see B. Pullan, Rich and Poor in the lid (as is clearly visible on the music school avant la lettre (“before Renaissance Venice, p. 101). Silvestro Vienna specimen, shown above). the existence” of such schools). mentions in Regola Rubertina that he By logical extension of this mind- indeed was very grateful to be Venetian. The Heading of the Woodcut set, one must embrace the practice of Jumping ahead, during the 1520s, In the title heading we read the follow- improvising rapid musical passages and his two sons were born: Antonio, who ing text: “The work entitled Fontegara cadences that is at the heart of the studied law in Padua; and Giovanni that teaches how to play the recorder information in Fontegara—much like Battista, who followed in his father’s with all the skill that is adequate for the art of reciting poetry, vestire la poesia footsteps and became a musician of the this instrument and especially the (dressing the poetry), which entails Serenissima Signoria (serene republic of [practice of] diminishing that will be the process of transforming written Venice), later moving to the Royal useful for all wind and string instru- (and thus naked, or dead) poetry into Court in Poland. He is mentioned in a ments, and also for those who find a convincing declamation that is alive; contemporary source as “Mr. Battista delight in singing, composed by and the phenomenon of colorire in dal Fondaco with his cornetto that he Sylvestro di Ganassi dal Fontego, Venetian painting (letting the color plays so miraculously.” musician of the most Illustrious dictate, as opposed to the strict prepa- In the well-preserved books of Signoria of Venice.” ratory sketching, known as disegno, the the Scuola Grande di San Teodoro, The Venetians of Ganassi’s era, method popular with the Florentines). Ser Silvestro Ganasi dal fontego sonador as well as present-day inhabitants of In the text of his title heading, is listed as having joined this confrater- that magnificent city, enjoy treating Silvestro makes a clear distinction nity in 1562, paying all his dues in language in an imaginative and virtuo- between acquiring technical skills that 1563, paying half his dues in 1564 and sic way. This explains Ganassi’s use of are purely related to recorder playing, deceased by 1565 (this last information 30 Spring 2013 American Recorder graciously provided by Jonathan five scuole grandi—prosperous religious Famous was the ridotto in the pal- Glixon). confraternities that, especially during ace of Neri Capponi, a wealthy banker Although Ganassi was rarely major religious holidays, were fast from Florence who was highly praised mentioned in contemporaneous becoming relevant sources of employ- by Ganassi in the Lettione Seconda, the sources, he appears in Francesco ment for musicians. In written state- second part of Regola Rubertina that he Sansovino’s famous Dialogo di tutte ments of these scuole, we can read that, gladly dedicated to him. He could not le cose notabili che sono in Venetia for example, in 1516 quelli dal Fontego imagine a better place for his publica- (Dialogue on all the notable things de la Farina, messer Zuane ett conpagni tion than in the neighborhood of this in Venice, 1560) in which a stranger (those of the Fontego della Farina, mis- “Parnassus, Helicon and Asylum for (indicated by the letter “F,” forestiere, ter Giovanni and company) performed artists.” Capponi was a pupil of foreigner) asks a Venetian (“V”) to and were given a fee and meal. Ganassi, as was his cousin Ruberto name the most famous men of the city. Strozzi—to whom the title Regola I quote this passage (from G. Ongaro, Ganassi’s Publications Rubertina humorously relates. The Chapel of Saint Mark’s …) as testi- The names of several players also crop In 1535, Ganassi was officially mony to the general esteem of music up in the registries of the so-called granted by the Senate the privilege of at the time, and of Ganassi’s particular ridotti (fashionable gaming houses). printing the Opera Intitulata Fontegara. fame in the Serenissima: Sansovino writes the following about Fontegara quickly became highly V. Let us begin with the musicians: the ridotti: “And, in addition to the regarded. The famous philosopher, we have messer Adriano Vuigliaret, aforesaid [public] spaces, there are sev- mathematician and physician Hierony- maestro di capella at St. Mark’s, eral others in the city, with their ridotti. mus Cardanus from Milan mentions a very rare individual. Here the virtuosi of this profession Ganassi in remarks about the recorder F. I have heard him called prince of meet and compete, creating outstand- in his treatise De Musica of c.1546: musicians. ing performances at all times, making “when you want to rise into the second V. We also have Perissone, a soprano clear that Music has its proper place octave the same procedure is followed without peer, who is sought by in this city.” as in the other recorders, but Sylvestro many princes, but would not exchange Venice for any other city. F. I think he is a wise man. V. There is Salò, a marvellous bass, pre Zeffiro, the Frenchman, Marc’Antonio, Messer Angelo, Silvestro dal Fontego, Favretti, Matteo dalla Viola, Tromboncino, Annibal the organist, Claudio, frate Armonio, and many others of excellence. Not unexpectedly, Francesco Sansovino, son of the leading architect of Venice in Ganassi’s time, starts the list with Adrian Willaert, the Flemish- born maestro di capella of the city’s most highly-revered musical establishment, the chapel of St. Mark’s cathedral. The majority of the musicians to whom Sansovino refers were also affiliated with this chapel. Many of the singers and instru- mentalists of St. Mark’s earned moder- ate salaries and were compelled to aug- ment their income by taking on work outside the basilica. The city boasted

www.AmericanRecorder.org Spring 2013 31 Ganassi adds seven more tones above E la.” The French Daniele de Salvatore, transl., Opera Intitulata Fontegara, monk Marin Mer­senne speaks about him in his work on riscritta secondo l’uso moderno (Savignano sul Rubicone: music, instruments, and acoustics Harmonie Universelle Gruppo Editoriale Eridania, 2003). (Paris, 1636): ” those who like an abundance of passages Additional information, not directly used here, is and diminutions may read … the Fontegara of Sylvestro di in Adrian Brown’s article, “The Ganassi Recorder: Ganassi, who fills 120 pages with those passages specifically Separating Fact from Fiction,” November 2006 AR, for the recorder....” including a resource list of other writings on the Ganassi was not only a player of various wind and string “Ganassi” recorder. instruments, but also a teacher, a printer, and a desideroso nella pictura, a specialist in the visual arts, as he mentions in his Elena Abramov–van Rijk, Parlar cantando: the Practice of Regola Rubertina. In Lodovico Dolce’s Dialogo della Pittura Reciting Verses in Italy from 1300 to 1600 (New York: of 1557, the notorious satirist, critic, playwright and poet Peter Lang, 2009). Pietro Aretino is the main character. He discusses with a cer- Adrian Brown, “An Overview of the Surviving Renaissance tain Fabrini how complicated it is for the painter to depict Recorders,” in Musicque de Joye, ed. David Lasocki human passions, comparing him to a mute poet. Fabrini (Utrecht: STIMU, 2005): 77-98. reminds him of “your virtuoso musician Silvestro” and goes Hieronymus Cardanus, Writings on Music, transl. & ed. on to praise his drawing and painting, using him as an exam- with intro. by Clement A. Miller, Musicological ple for those great masters who are able to make figures in Studies & Documents 32 ([Rome]: American their paintings speak as if they were alive! Institute of Musicology, 1973). In real life, Aretino was an intimate friend of both Benvenuto Cellini, My Life, transl. with intro. and notes Titian and Sansovino, and known to be very familiar with by Julia Conaway Bondanella and Peter Bondanella Willaert. Obviously he was also acquainted with our (Oxford & New York: Oxford University Press, 2002). Silvestro—described as a master painter in Dolce’s passage. Lodovico Dolce, L’Aretino ovvero Dialogo della Pittura Since contemporaneous material on Ganassi is relatively (Bologna: A. Forni, 1974). scarce, the information distilled from personal statements in Iain Fenlon, Music and Culture in Late Renaissance Italy his own publications is valuable: for example, in the dedica- (Oxford: Oxford University Press, 2002). tions to Doge Andrea Gritti (Fontegara), Ruberto Strozzi Jonathan Glixon, “Music at the Scuole Grandi, 1440-1540” (Regola Rubertina) and Neri Capponi (Lettione Seconda). (Ph.D. diss., Princeton University, 1979). Study of various remarks by our most interesting Peter Humfrey, Painting in Renaissance Venice Silvestro about the nature of the instrument, as well the role (New Haven: Yale University Press, 1995). of improvisation and diminution, will definitely lead to a Patricia H. Labalme, “Personality and Politics in Venice: better understanding of the magical world of music-making Pietro Aretino,” in Titian, His World and His Legacy, in the first half of the 16th century in the Serenissima. ed. David Rosand (New York: Columbia University The author is indebted to Shelly Greenberg, Elena Press, 1982). Abramov-van Rijk, Giulio M. Ongaro, Jonathan Glixon, David Lasocki, “Renaissance Recorder Players,” American David Rosand and Armando Fiabane for their valuable infor- Recorder 45, no. 2 (March 2004): 8-23. mation, comments and inspiration, as well as to his students for Laura Moretti, “Architectural Spaces for Music: Jacopo their relentless questioning. Thanks also to David Lasocki for Sansovino and Adrian Willaert at St Mark’s,” Early his assistance in preparing this English version. Music History 23 (2004): 153-84. John Julius Norwich, A History of Venice (New York: RESOURCES Knopf, 1982). Silvestro Ganassi, Opera Intitulata Fontegara, Venice 1535: Giulio Ongaro,”The Chapel of St. Mark’s at the Time of A Treatise on the Art of Playing the Recorder and of Free Adrian Willaert (1527-1562)” (Ph.D. diss., University Ornamentation, ed. Hildemarie Peter; transl. Dorothy of North Carolina at Chapel Hill, 1986). Swainson. (Berlin-Lichterfelder: Robert Lienau, 1959). Ongaro, “Sixteenth-Century Patronage at St. Mark’s, Facsimile. (Bologna: A. Forni, 1969). Venice,” Early Music History 8 (1988): 81-115. Facsimile, ed. Luca de Paolis. (Rome: Società Italiana Brian S. Pullan, Rich and Poor in Renaissance Venice del Flauto dolce, 1991). (Cambridge, MA: Harvard University Press, 1971). Facsimile in Flûte à bec, Méthodes & Traités 8, Vol. 1 David Rosand, Cinquecento Painting (New Haven: Yale (Courlay, France: J. M. Fuzeau, 2001). University Press,1982; rev. ed., Cambridge & New York: Cambridge University Press, 1997).

32 Spring 2013 American Recorder ______On the Cutting Edge ______Departures, and an Arrival

[email protected] By Tim Broege, didn’t care. So I decided to write Would this piece work for myself. Since then, people have know many music lovers are mourn- gotten interested.” Amen. with 104 recorders? ing the late-2012 deaths of several • December 4: British composer Why not? importantI music figures. The loss of Jonathan Harvey died in Lewes, these creators occasions sadness, natu- England at age 73, after years of The very appropriate venue for a rally, but also gratitude for the musical suffering from Lou Gehrig’s dis- November 22 rendition of this piece gifts they have given to all of us. ease. With an English cathedral was the Guggenheim Museum in New • October 18: the world of impro- music background, and under the York City, the spiral-shaped master- vised music lost one of its greatest influence of Britten, Schoenberg, piece by architect Frank Lloyd Wright. performers when tenor saxophon- Messiaen and Stockhausen, he Soloists Claire Chase, Eric Lamb, ist David S. Ware died at age 62 created an expressive musical Kelli Kathman and Jayn Rosenfeld in New Brunswick, NJ, of compli- language whose textures often surrounded the seated audience, play- cations from a 2009 kidney trans- included electronic sounds. His ing Sciarrino’s unique vocabulary of plant. His endlessly inventive was an original voice in the pan- new flute sounds—soft, but sometimes improvisations provided a tem- theon of British composers. fiercely loud. Ten minutes into the plate for improvisers in all kinds • December 5: beloved jazz com- 70-minute piece, the army of 100 of music. poser and pianist Dave Brubeck flutes—adult professionals and chil- • October 27: one of Germany’s died, one day before his 92nd dren alike—advanced through the most renowned composers, Hans birthday. Growing up in the late audience, emitting soft, mysterious Werner Henze, died at age 86 in 1950s/early ’60s, I loved the clev- sounds. The natural world inspired Dresden. With the late Karlheinz erness of Brubeck’s tunes such as Sciarrino’s vocabulary: bird songs, Stockhausen, Henze emerged Blue Rondo a la Turk and Take Five crickets chirping, a crowded market- after World War II as a leading (the latter, perhaps others, has place. I’m sure listeners can find many young composer; unlike Stock­ been arranged for recorders— other nature sounds in the vast texture. hausen, he rejected the avant- fun!). Many recordings with his Would this piece work with 104 garde and instead devoted himself quartet, featuring the alto sax of recorders? Why not? to traditional forms such as opera, Paul Desmond, are classics. Among Sciarrino’s works is symphonies and chamber music in Enough of the departed—among Four Adagios for recorder and orches- a powerfully expressionistic vein. the living, Italian composer Salvatore tra, which has been played by the • November 5: the ageless one, Sciarrino has been creating wonderful La Scala Philharmonic Orchestra in America’s Elliott Carter, passed sounds for some time. Born in 1947, Milan. A subsequent version for flute on at the remarkable age of 103 Sciarrino has a huge catalog of works and orchestra has also been published. at home in Manhattan, NY. Even for orchestra, chamber ensembles, solo You can hear the flute version of more remarkable: Carter contin- instruments and voices, along with sev- Adagio No. 2 on www.YouTube.com. ued to compose well past the age eral operas. One of his most unique I hope to hear the recorder version of 100, completing his last work, works is scored for 104 flutes! Cerchio of the Four Adagios performed in the 12 Short Epigrams for piano solo, Tagliato dei Suoni (Cutting the Circle not-too-distant future. The music of on August 13. One of my favorite of Sounds) calls for four professional Salvatore Sciarrino—who, by the way, quotations, from Carter, can serve flute soloists and an additional army of is largely self-taught as a composer—is as a credo for all young composers: 100 flutes—called migranti by the unique among contemporary works for “As a young man, I harbored the composer—that marches through and its sheer beauty and magic. The sounds populist idea of writing for the around the performing space making of flutes and recorders seem especially public. I learned that the public various kinds of very soft sounds. close to this composer’s heart. www.AmericanRecorder.org Spring 2013 33 Compact Disc Reviews ______A rare chance to hear museum instruments played, ______and a rare duo employing instruments copied from the museum

Reviewed by Tom Bickley, Who are the princesses chords into a tune, while the keyboard [email protected] and bass play the repeated chord pat- who are awakened? tern or “ground.” Holtslag draws upon Awakening Princesses. famous grounds, and some notated Peter Holtslag, 18th-century melodies for them, from collections recorders (the Bate Collec­ They are these 17th-century including The Delightful Companion tion, Oxford; Elizabeth (1686) and The Division Flute (1706 Kenny, archlute & theorbo; recorders that had been and 1708); all three sources are avail- Rainer Zipperling, viol & able in modern editions. Baroque ’cello; Carsten dormant for so many years. Most ear-opening in these tracks Lohff, harpsichord. Aeolus is use of a bass recorder attributed to AE-10186, 1 SACD, 60:06. sounds of a Peter Bressan soprano Bressan, on grounds by Eccles, Ban­ Abt. $17 (mp3 download less). www. fourth flute (a soprano-range instru- nister and Finger. Following traditional aeolus-music.com/ae_en/All-Discs/ ment in which the lowest note is Bb), a performance practice, Holtslag plays a AE10186-Awakening-Princesses Bressan alto, and a Robert Wijne alto. vocal piece (Mazena) instrumentally, The 1972 Telefunken LP boxed These tracks can serve well as inter- here using a tenor fourth flute (a tenor- set Frans Brüggen Plays 17 Recorders pretive benchmarks for these works. range instrument with lowest note of provided a striking audio image of The less familiar aspects—both Bb) by Thomas Stanesby, Jr. The rich early music (relatively new to main- in repertory and timbre—surface in lower timbres of bass and tenor record- stream audiences at that time) played four divisions on grounds by Eccles, ers work marvelously for these pieces. on historical instruments, rather than Bannister, Finger and Carr, and Daniel The disc concludes with Carr’s Divi­ on copies of instruments. Since then Purcell’s song Mazena. The term “divi- sions upon an Italian Ground, a much- various related projects have let us hear sions on a ground” refers to ornamen- loved chord pattern played here on the the voices of actual period instruments. tation where a melody is improvised mellower-voiced Urquhart alto. A fine example is Saskia Coolen’s over a repeating pattern of bass notes. The sonic delights of this disc Recorders Recorded (Globe GLO5209, The player “divides” the notes of the would be sufficient to recommend it. reviewed in the September 2006 AR). In Awakening Princesses, Holtslag and company bring further insight and Join us! listening pleasure along these lines. Membership is a great value: Similar to other recordings of record- Early Music America is the w Online access to Grove Music Online ($295 value) service organization for the ers from museum collections, the w entire field of early music in Online access to Naxos Music Library ($225 value) North America. sound on this disc is so good, the play- w Early Music America magazine (quarterly) ing so nuanced, and the instruments so w www.earlymusic.org E-notes (monthly) and Bulletin (semi-annual) enter discount code CY6KS remarkably well-behaved that a casual w Membership Directory or mention this ad for a 15% discount listener would not notice that these EMA workshop, Berkeley 2010 were museum instruments. Call us toll free: The 28 tracks cover 10 pieces of 888-722-5288 mostly standard repertory. Multiple- movement suites and sonatas of com- Early Music America 2366 Eastlake Ave. E. #429 posers Charles Dieupart, G. F. Handel, Seattle, WA 98102 Johann Christian Schickhardt and [email protected] Francesco Barsanti demonstrate the

34 Spring 2013 American Recorder Those are best in the CD format, though the mp3 downloads are viable for most listeners. I urge readers to Order your choose the CD format because of the sumptuously illustrated and very well- written booklet. In English, German recorder discs and French, 63 pages in length, details on the instruments, the recording proj- through the ect, the repertory and an extensive “Suggested Reading” list (including ARS CD Club! recordings) make this a clear first The ARS CD Club makes hard-to-find or limited release choice. We all owe a debt of thanks to CDs by ARS members available to ARS members at Andrew Lamb, manager of the Bate the special price listed. All CDs are $15 ARS members/ Collection of Musical Instruments, $17 Others unless marked otherwise. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. For an updated list of all CDs: www.americanrecorder.org. Faculty of Music, University of Oxford for suggesting this project to Holtslag. NEW! Who are the princesses who ____ Conversations, Breve are awakened? They are these 17th- Deborah Booth and Rachel Begley, recorders; Stephen Rapp, Mazine Neuman, Lisa Terry. century recorders that had been Early music group BREVE creates “Conversations,” an exploration of 17th- & 18th-century music (Telemann, Hotteterre, Mancini, Castello) with five unique sound tapestries using dormant for so many years. recorder, flute, harpsichord, organ, cello, viola da gamba & bassoon. Oasis, 2012

Celebrating the late Eileen Hadidian and Healing Muses Using a combination of Medieval, Renaissance, Celtic music, American folk tunes and spirituals, as well as drawing on various world traditions, music by Healing Muses— Eileen Hadidian, flutes & recorders, with various others—promotes relaxation and reduces anxiety during stressful hospital stays and procedures. “Healing Muses CD’s have been some of our best sellers over the years and among my personal favorites.” — Kathy Sherrick, ARS Director Indoors. Dapper’s Delight (Susanna Borsch, recorder & ____DOLCE MUSICA—A CONTEMPLATIVE JOURNEY voice; Adrian Brown, anglo With Natalie Cox, harps. Celtic, Renaissance and Medieval melodies. Healing Muses, 2005 concertina & voice). Karnatic ____GARDEN OF HEALING With Patrice Haan, Celtic harp, voice; Maureen Brennan and Natalie Cox, Celtic harp. Lab Records KLR025, 1 CD, 62 min. Soothing Heart & Spirit. Music of the Celtic,American & world tradition. Healing Muses, 2009 $15, CD Baby (mp3 download less). www.cdbaby.com/cd/dappersdelight ____MUSIC FOR A WINTER’S EVE, BRINGING LIGHT TO THE DARKNESS , With Susan Rode Morris, soprano; Shira Kammen, violin, alto; Maureen Brennan, Celtic www.karnaticlabrecords.com/cds. harp; Julie Jeffrey, gamba. Traditional, Renaissance, Medieval song and dance to celebrate php?id=119, www.dappersdelight.com/ midwinter and the changing of the seasons. Healing Muses, 2003 The charming repertory on which ____REFLECTIONS—MUSIC TO SOOTHE AND UPLIFT THE SPIRIT Peter Holtslag touches in recording With Maureen Brennan, Celtic harp; Natalie Cox, Celtic & Renaissance harp; Dan Reiter, ’cello. Celtic, traditional, Renaissance and Medieval melodies. Healing Muses, 2005 Purcell’s Mazena, and to some extent the four divisions on grounds, is the Please indicate above the CDs you wish to order, and print clearly the following: focus of Indoors by Dapper’s Delight. This duo of concertina player (and Name:______Daytime phone: (____) ______Address: ______City/State/Zip:______noted recorder maker) Adrian Brown _____ single CDs x $____ = $______and virtuosic recorderist Susanna _____ 2-CD sets x $____ = $______Borsch is named for 17th-century Shipping/Handling: $2 for one CD, $1 for each additional CD $______Check enclosed for TOTAL $______Dutch author Olfert Dapper, a writer _____ Please charge the above amount to my MasterCard, Visa or AmEx: # on world geography (though he never ______left Holland). Exp. Date: ______Cardholder’s signature:______

The duo was formed “to explore Mail to: ars, 10000 Watson Rd., Suite 1L7, Saint Louis, MO 63126 U.S. dance music and songs of the period Fax a credit card order to 866-773-1538 1550-1750.” Their interest includes

www.AmericanRecorder.org Spring 2013 35 American Recorder Society Publications Make sure to listen 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 to all of track 13! Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 Arioso and Jazzy Rondo (AB) Carolyn Peskin LeClercq’s Air (SATB) Richard E. Wood both high and low culture. Restricting Belmont Street Bergamasca (ATB) Sean Nolan Little Girl Skipping and Alouette et al Berceuse–Fantaisie (SATB) Jean Boivert (SATBcB) Timothy R. Walsh one’s performing resources to recorder, Bruckner’s Ave Maria (SSATTBB) Los Pastores (S/AAA/T + perc) concertina and voice is a sort of Pro­ Jennifer W. Lehmann, arr. Virginia N. Ebinger, arr. Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) crus­tean bed, even if appealing. To Dancers (AT) Richard Eastman Erich Katz Danse de Village (SAB) Kevin Holland Nostalgium (SATB) Jean Harrod many ears, Indoors will sound like a Different Quips (AATB) Stephan Chandler Other Quips (ATBB) Stephan Chandler pleasant collection of tunes and songs Elegy for Recorder Quartet (SATB) Poinciana Rag (SATB) Laurie G. Alberts Carolyn Peskin Santa Barbara Suite (SS/AA/T) Erich Katz in a broad country dance genre. The Elizabethan Delights (SAA/TB) Sentimental Songs (SATB) David Goldstein, arr. Jennifer W. Lehmann, arr. Serie for Two Alto Recorders (AA) disc works perfectly well that way. Faded Memories/Opus 88 (ATBB/SATB) Frederic Palmer Closer listening and guidance William Ruthenberg Slow Dance with Doubles (2 x SATB) Fallen Leaves Fugal Fantasy (SATB) Colin Sterne from the notes in the CD booklet indi- Dominic Bohbot Sonata da Chiesa (SATB) Ann McKinley cate that these two excellent musicians Four Airs from “The Beggar’s Opera” (SATB) S-O-S (SATB) Anthony St. Pierre Kearney Smith, arr. 3 Balkan Line Dances (SATB) Emilie George, arr. employ the timbral restrictions to bring Gloria in Excelsis (TTTB) Robert Cowper Three Bantam Ballads (TB) Ann McKinley He Talks, She Talks (AT) Bruce Perkins Three Cleveland Scenes (SAT) Carolyn Peskin out vernacular aspects that are hall- Havana Rhubarb Rhumba (SATB up to Three in Five (AAB) Karl A. Stetson marks of these broadside ballads. 7 players) Keith Terrett Tracings in the Snow in Central Park (SAT) Idyll (ATB) Stan McDaniel Robert W. Butts The 13 tracks will likely sound Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) In Memory of Andrew (ATB) David Goldstein George T. Bachmann familiar, even if a particular piece is not In Memory of David Goldstein (SATB) Triptych (AAT/B) Peter A. Ramsey known to a listener. The sound world Will Ayton Two Bach Trios (SAB) William Long, arr. Lay Your Shadow on the Sundials (TBgB) Two Brahms Lieder (SATB) has much in common with Jacob van Terry Winter Owens Thomas E. Van Dahm, arr. Eyck’s Der Fluyten Lust-hof; the appeal Leaves in the River (Autumn) (SATB) Variations on “Drmeš” (SATB) Martha Bishop Erik Pearson Vintage Burgundy (S/AS/ATT) of those tunes and variations popular in Jennifer W. Lehmann, arr. the 17th century carries through here ARS Information Booklets: ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 as well. Both musicians demonstrate Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 wit, taste and wonderful technique. *Free online to ARS members Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Borsch’s recorder work on Mal Sims Renaissance Music Peggy Monroe Music for Mixed Ensembles uses sources other than Van Eyck and *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin is a refreshing take on that melody. Judith Whaley, coord. *Recorder Care Scott Paterson Karnatic Lab Records has released Education Publications Available Online and Free to Members other CDs by Borsch (e.g., Off Limits, The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). KLR007, reviewed in the September Guidebook to the ARS Personal Study Program (1996). ARS Music Lists. Graded list of solos, ensembles, and method books. 2006 AR; Hexnut, KLR013), equally well-produced and packaged. The Videos Available Online to All sound is clean, using fairly closely- Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. placed microphones, and yields a Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. The video features Rose performing a variety of music and in an interview with ARS consistent stereo image of the duo. member professional John Tyson. Part of the success in the sound is that Brown built the recorders (based Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those on 17th-century museum instruments) considering forming an ARS chapter. ARS members, $10; non-members, $20. to match the three concertinas used in One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. this project. Details on the instruments Resource on consort topics such as group interaction, rehearsing, repertoire, performing. are in the accompanying booklet and at Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - www.dappersdelight.com. Also of inter- add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. est are videos on the ensemble web site. Again, the useful information in See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. the booklet argues for purchase of the CD rather than the less expensive file ARS, 10000 Watson Rd., Suite 1L7 downloads. Whichever format you St. Louis, MO 63126 U.S. 800-491-9588 [email protected] choose, make sure to listen to all of track 13!

36 Spring 2013 American Recorder Chapters & Consorts ______Philadelphia buskers to West Coast Biggies

Luce, Andreas de Florentia of the C-bass); Bockett Hunter (Renais­sance 14th century, a 14th-century soprano/alto recorders, sackbut); Dody Italian Salterello, and O Rosa Bella Magaziner (Ren­aissance soprano/alto); of Johannes Ciconia, c.1410; and Karen Schoenewaldt (tenor/bass Renaissance—Malle Symen of dulcian, alto/tenor/bass Renaissance Jacob van Eyck, Trentedeuxiesme recorders). Other participants played Fan­tasie; Baroque—Sonata IV, bass gamba and/or sang. Johann Mattheson (1681-1764); Next, the collegium moves for- Con­tempo­rary—Indian Summer ward in time to study and perform the (2002), Matthias Maute. music of Orlando de Lassus, maestro Four PRS members also par- de capella at the Munich Court of ticipated in the inaugural season Albrecht V, Duke of Bavaria. The Daphna Mor (above with drum) led the and performance of an amateur group welcomes accomplished amateur Phila­ October 6 fall workshop of the group, Piffaro Collegium Musicum and pre-professional players of record- delphia (PA) Recorder Society (PRS) (below, photo by Len Blumen­thal). ers, viols, violins, shawms, dulcians, in a program built upon an historical Organized in fall 2012 by Joan sackbuts, lutes and harps. Con­tact survey through recorder history—pro- Kimball and Bob Wiemken, artistic Wiemken, [email protected], or gressing through music from Medieval, directors of Piffaro, The Renais­sance Kimball, [email protected], for Renaissance, Baroque and Contempo­ Band, the group delved into the music more information on joining. rary periods. Several weeks ahead, she of Ludwig Senfl and his contempo- PRS members Molly Garrett, sent the participants the music elec- raries, tackling complex rhythms of late Dody Magaziner and John Gang­ tronically with the suggestion that Medieval-style polyphony. They per- wisch played three-part Christmas players choose parts comfortable for formed an informal program of music carols at Philadelphia’s Suburban Train their own playing levels. The music from the cathedrals, courts and towns Station five times in December during included: Medi­eval—Questa Legiadra of early 16th-century Germany. evening rush hour. Molly, with her hus- CHAPTER NEWS PRS members in the collegi­um’s band Whit on guitar, also played two Chapter newsletter editors and publicity first semester were: Janice Arrow­ additional days. They raised over $300 officers should send materials for publication smith (Renaissance tenor, modern for Philabundance, a local food bank. to: AR, [email protected], 7770 South High St., Centennial, CO 80122-3122. Also send short articles about specific activities that have increased chapter membership or recognition, or just the enjoyment your members get out of being part of your chapter. Digital photos should be at least 3”x4”x300dpi TIF or unedited JPG files. Digital videos for the AR YouTube channel are also accepted. Please send news, photos or video enquiries to the AR address above, and to the following: ARS Office, [email protected], 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126; and to Bonnie Kelly, Chair, Chapters & Consorts, [email protected], 45 Shawsheen Rd. #16, Bedford, MA 01730.

www.AmericanRecorder.org Spring 2013 37 View a short video at www.youtube. Palmer’s “Surprisingly Baroque” con- name was chosen only 15 years ago. com/watch?v=oGbEB6bbP5g. trasted styles of composers as diverse as Science and engineering professionals The Tucson (AZ) Recorder Lully and Corelli. He also pointed out all, most of the group’s members have a Society’s full-day Play Day in October that the Baroque period gave us our connection with the Han­ford Nuclear welcomed 27 players, six from out of modern system of harmony—chord Reservation—they’ve gone public with town. Leaders Ann Koenig and Dale progressions in a Corelli trio sonata their recorders as the “whistleblowers.” Taylor provided a variety of music can be found in 1950s rock and roll; Elsewhere in Washington, the with interesting historical facts for big jazz uses the same harmonic vocabu- Seattle Recorder Society’s February band playing (beginning/end) and lary as the Baroque, and even has its session, led by Vicki Boeckman, groups by ability level (in between). own “continuo” in the rhythm section. focused on “anniversaries of the births of When East Bay (CA) Recorder The new year brought a brand several seemingly disparate composers”: Society welcomed back Robert Daw­ new piece at the SBRS January meet- the 450th anniversary for the master of son to their December meeting, he told ing, as Glen Shannon led his newly- English melody, John Dowland (1563- them to “bring the Biggies!” Several composed Mountain Mosaic. 1626); the 200th anniversary of the of the selections used tenor recorder Every Sunday at 7:15 p.m., Chris German opera great Richard Wagner on the top line, right down to C-bass and Nancy Doran welcome several of (1813-83); and the centenary for British and contra bass on lower lines. The Hanford Whistleblowers into composer Benjamin Britten (1913-76). Meetings of the South Bay (CA) their Richland (WA) home for refresh- Wagner for recorders? SRS played a Recorder Society have covered a lot of ments and playing. Oregon Public four-part setting of his Pilgrim’s Chorus musical territory in recent months. In Broadcasting recently aired a story from Tannhäuser, followed by A Pilgrim’s October, Claudia Gantivar led a mas- about them, online at www.opb.org/ Solace and Lachrimae or Seven Teares ter class on the “Art of Diminution in news/article/n3-hanford-whistleblowers- (1604), plus songs, pavans and galliards, Europe,” focusing on enhancing long recorder-band-celebrates-the-holidays/. all from Dowland. They ended on a notes in madrigals and other works of While some group members have skiing trip, whizzing down the Piste the 16th and 17th centuries. Fred­eric played together for 30 years, the catchy with Britten’s Alpine Suite.

Northwinds Recorder Society played for five summer 2012 fund-raisers: Ravenshill Discovery Center, Norfolk Fes­tival, Els­worth Front Porch, South Boyne Art Fair and Great Lakes Chamber Orchestra. Three consorts—Jongleurs, Little Bay Baroque and Sweetwoods—performed at other events like a charity auction where groups are up for bid to play music for dinner parties, and for church services. Members played from their Christmas repertoire at Char­levoix’s Annual Cookie Walk during the holidays. For some events, groups play in costume, including an event at the Castle in Charlevoix, MI, where this photo (courtesy of John W. MacKenzie) was taken.

38 Spring 2013 American Recorder Music Reviews ______Bernard Thomas, Glen Shannon, back to Baroque

SONATA IN C AFTER BWV the original flute sonata. Slurs and ties encountered in the key of Bb. The 1027/1039, by J.S. Bach, arr. other articulation marks come predom- melodic activity of the second recorder Bernard Thomas. Dolce DOL inantly from the gamba version, but part has been nicely preserved in the 276 (www.magnamusic.com), 2010. Thomas encourages individual inter- right hand of the cembalo part. There A, kbd. Sc 19 pp, pt 7 pp. $11.50. pretation. are no figures provided; this new As stated in Bernard Thomas’s Many recorder players have played arrangement is an obbligato keyboard notes, this new Dolce edition is a the Peters edition of this trio sonata in part with no realization necessary. fusion of Bach’s Sonata in G for two the key of Bb major (Edition Peters As in most arrangements, some flutes and basso continuo (BWV1039) 4563)—one that is heavily realized, adaptations had to be made. In the first and Bach’s own arrangement of the if played literally. Players will immedi- movement “Adagio,” the long notes same sonata for viola da gamba and ately notice the lighter, more trio-like that were originally in the second flute obbligato keyboard (BWV1027). The texture of this new Dolce arrangement. part are now in the right hand of the flute sonata contributes towards the This is one of my favorite trio keyboard—they are trilled in order to melodic contours in the recorder part sonatas, and I was quite delighted to preserve their sound throughout the as well as the right hand of the key- find an arrangement for one recorder length of the notes. The bass line, being board part; Bach’s viola da gamba player and one keyboard player. While closer to Bach’s gamba arrangement, arrangement is reflected in the bass Thomas does not state why he moved uses more 16th notes in places where line, which is harmonically more dense the sonata to the key of C major, I sus- the original sonata sticks to eighth and more active than the bass line of pect it was to eliminate some difficul- notes. Also, the bass line is often more

www.AmericanRecorder.org Spring 2013 39 active in places where one of the part; here, Thomas has suggested right- printed, about 300 madrigals were recorder parts is resting. hand chords (in small notes) to thicken available in PDF format. Interestingly, this new Dolce edi- the texture a bit. Again, the bass line is Thomas also explains that the first tion presents two versions of the third closer to the more active gamba ver- English madrigals were actually Italian movement, “Adagio e Piano.” The first sion; skips are filled in with running madrigals with English texts substi- version is in the key of A minor. This eighth notes, and other places in the tuted, and that the words become very is very close to the BWV1039 version bass line take on a different shape important in understanding how to with some octave transpositions. In as quarter notes are replaced with phrase this music. “Many English- measures 13-16 where the second running eighth notes. speakers are at a disadvantage when recorder plays a four-measure pedal All things considered, I am playing Italian or French music point, this new edition has added some delighted to have this very interesting through inadequate knowledge of the light right-hand chording (in small fusion of BWV1027/1039. Recorder­ relevant languages.” (Note: there are notes) while keeping the A pedal on ists who don’t have access to a second typos in the introduction, which are the the top of each chord. This helps to accomplished player now can have a same in all three volumes. The front of compensate for losing the sustained taste of this wonderful Bach trio Volume III has the Dolce number of sound of the recorder pedal point. sonata. Recommended! Volume II hidden under a sticker in The second version of the third Sue Groskreutz has music degrees the copy I received. It does seem a bit movement is quite different. It has from Illinois Wesleyan University and more proofreading was in order.) been moved to the key of G minor, the University of Illinois, plus Orff- These volumes are cleanly laid- which is the same key used in the Schulwerk certification from DePaul out, making them very easy to read. Peters edition for recorders. However, University. Playing and teaching recorder The composers include Morley, the activity of the two recorder parts is are the greatest musical loves of her life. Wilbye, Ward and East, among others. reversed. The solo recorderist is playing For 10 years she was president of the The beauty of these three volumes what was the second recorder part, and American Recorder Teachers’ Association. is their flexibility. With instrumenta- the right hand of the cembalo part has tion for three, four or five instruments, the line that was originally the first ENGLISH MADRIGALS FOR and with the text making it possible to recorder part. The four-measure pedal RECORDERS, VOLUME I (11 have singers, there are a number of per- point ends up in the recorder line Madrigals for 3 Record­ formance possibilities. where it can be sustained; thus it was ers), arr. Bernard Thomas. These are also good to have on not necessary to add extra chords to Dolce DOL131 (www.magnamusic. hand in case there are more or fewer the keyboard part. com), 2008. AAT. Sc 23 pp. $8.75. people than you expected for a reading I find both versions to be work- ENGLISH MADRIGALS FOR session! able, but the second version is definitely RECORDERS, VOLUME II Valerie E. Hess, M.M. in Church easier for the recorderist, as the musi- (11 Madrigals for 4 Record­ Music/Organ from Valparaiso University, cally very challenging four-measure ers), arr. Bernard Thomas. is Coordinator of Music Ministries at Trinity Lutheran Church, Boulder, CO, where she passage that accompanies the pedal Dolce DOL132 (www.magnamusic. directs the Trinity Consort. She has also pub- point (measures 13-16) is played in com), 2008. SATB. Sc. 23 pp. $8.75. the right hand of the keyboard. ENGLISH MADRIGALS FOR lished two books on the Spiritual Disciplines. A curious difference between the RECORDERS, VOLUME III Peters edition for recorders and this (9 Madrigals for 5 Record­ new Dolce edition is the placement of ers) , arr. Bernard Thomas. KEY: rec=recorder; S’o=sopranino; slurs in the recorder parts. In the Peters Dolce DOL133 (www.magnamusic. S=soprano; A=alto; T=tenor; B=bass; com gB=great bass; cB=contra bass; Tr=treble; edition, the whole third movement ), 2008. SSATB. Sc. 23 pp. $8.75. qrt=quartet; pf=piano; fwd= foreword; consists of two-note slurs (in both On the introductory page, Bernard opt=optional; perc=percussion; pp=pages; recorder parts), some of them quite sc=score; pt(s)=part(s); kbd=key­board; Thomas invites those of us who are bc=basso continuo; hc=harp­sichord; challenging to play cleanly and musi- interested in exploring the English P&H=postage/handling. Multiple reviews cally. This new edition alternates two- madrigal repertoire further to visit by one reviewer are fol­lowed by that note slurs with some three-note slurs, www.englishmadrigals.com review­er’s name. Publi­ca­tions can be pur- . This links chased from ARS Business Mem­bers, especially if there is a neighbor note or to a project that seeks to publish the your local music store, or directly from an escape tone involved. entire English madrigal repertoire elec- some distributors. Please submit music and books for review to: Sue Gros­kreutz, The final Presto begins with eight tronically. When this edition was 1949 West Court St., Kankakee, IL 60901 U.S., measures of rest in the second recorder [email protected].

40 Spring 2013 American Recorder London Pro Musica tions are provided. The notes in these performance, preferably with singers. Editions, arr. or ed. pieces are easy, but the rhythms may If there are no singers, the recorders by Bernard Thomas require practice. This collection is not must play at their most expressive best, (www.magnamusic.com) for everyone, but if your consort wants phrasing with the utmost grace. a large set of 15th-century songs at All ranges are modest, and the 20 SECULAR PIECES FOR 3-4 $12.50 per book, this will fit the bill. work moves in a stately half-note INSTRUMENTS, by Johannes Bill Rees is music director of the motion, with no note values smaller Mar­tini. LPM AN14 , 1993. 3-4 Bella Vista Recorder Consort in Arkan­ than eighths, save for a couple of pass- recs, var. combs. Sc 42 pp. $12.50. sas. Prior to retirement he taught wood- ing tones. Throughout, the first tenor Thomas informs us that Johannes winds and music education at East Texas plays only the opening phrase of the Martini was born sometime in the State University (now Texas A&M– plain-chant “Ave Maria, gratia plena,” 1440s in Brabant (now part of Bel­ Com­merce), performed on recorder and a cantus firmus in long notes with gium) and died in Ferrara, Italy, in traverso with the Texas Baroque Ensem­ many measures of rest between its 1497. Thomas explains: “Martini was ble, taught public school instrumental entrances. (Indeed, doubling this line no radical, musically speaking, and music in Western NY State and served on a viol or playing it on several tenors much of his music seems quite back- as a U.S. Navy musician. He has been with staggered breathing is advisable.) ward-looking, especially when com- active in the recorder movement since The demands of the piece are all pared with that of Josquin des Pres. the ’60s and served on the ARS Board. musical—but the payoff is to be a part But he had a gift for pleasing and of an amazing, uplifting musical expe- well-balanced melody. The majority AVE MARIA, by Ludwig Senfl. rience that will make you a Senfl fan of Martini’s songs, including those LPM563, 2010. SSATTB. Sc. 19 pp, forever. in the present edition, have survived 8 pts 2-4 pp ea. $15.50. A kind of hommage to Josquin des without texts. They work very well Recorder players encounter a lot Pres’s famous four-part setting of the as instrumental numbers, especially of centuries-old music. Some of it is same text (published in 1502 by the as the ranges are usually quite modest. anonymous; some has names attached Venetian publisher Petrucci), and It is clear from the very corrupt titles that may mean little to us, however using the same plain-chant, Senfl’s found in certain Italian sources c.1500 famous they were in their own time. motet borrows from Josquin here and for pieces from beyond the Alps, that The Swiss, late-Renaissance composer there—while extrapolating, extending, they must have been compiled for Ludwig Senfl (c.1498-1542/43) delicately compounding and varying instrumental, or at least textless, per- might be one of these. A student of the contrapuntal texture. It is what formance.” There are 20 songs in this Heinrich Isaac—better known, per- was traditionally called a “parody” collection, mostly in various trio ver- haps—in the early 1500s, he had been piece, but that word has so much sions with a few for quartet. Thomas a choirboy at the court of Maximillian changed its meaning and connotation provides sources and a little commen- I and later lived in Munich, location that it should be forgotten. Senfl loved tary about each one. Only the first of his two Ave Maria manuscripts. the Josquin motet, and wanted to song, “La Martin­ella,” specifies the First, let it be clear: this Ave embrace it through and through while instrumentation; this piece also con- Maria is a major work. It’s not for embellishing it. From Josquin’s piece tains an elaborate alternative bass sight-reading at the weekly gathering; lasting about seven minutes, Senfl has part from the Segovia manuscript. it’s for working up into a significant created one that runs over 11 minutes. For the other pieces, players must rely on the incipits to help choose appropriate instruments. We found that most worked better using alto-up on the top line. We recommend trying low choir or Renaissance instruments if available. The score is easy to read with no bad page turns. Editorial musica ficta appear in almost all songs. Instru­mental ranges are not a problem. Most pieces have a time sig- nature of 4/2, but no tempi sugges-

www.AmericanRecorder.org Spring 2013 41 Rehearsing Senfl’s Ave Maria NEWE AUSERLESENE I have long been a fan of could be a terrific chance to really get BRANDEN, INTRADEN, inside late Renaissance counterpoint. MASCHERADEN, BALETTEN Brade (my bridesmaids There are high trios and low quartets; (1617) FOR FIVE INSTRUMENTS, walked down the aisle passages that are briefly chordal, then by William Brade. LPM MP10, to one of his pavans). break into cascades of divisions and 2010. Sc 53 pp, 6 pts 15 pp ea. $30. edgy syncopation. A conductor will be William Brade (1560-1630), an for determining quickly what instru- a big help at first, although eventually English composer who spent much ment works on each line. In the score, it could be led from inside the group. of his working life in Denmark and 41 of the 52 pieces had errors in these One might start with the cantus Germany, wrote five volumes of notes; the parts did as well, but not firmus—playing it without the rests, instrumental music, of which this col- the same mistakes as in the score. I just to see what changes Senfl brings lection of quintets is one. According to couldn’t find any pattern to the errors; on that simple phrase. An alto with Bernard Thomas, these dances are they seem to be completely random. several tenors would give that part a arrangements of pre-existing masque A few pieces have extra or incor- glow. Or one could play all the parts tunes. The pieces are typical of con- rect clef signs, such as a bass clef without the cantus firmus, then add it, cert-style dances with all parts having changed to treble on the second page, to feel the difference. (One doesn’t independently moving lines. and an occasional symbol that appears necessarily hear the cantus firmus in This is appropriate for inter­ out of nowhere. There are even typo- performance—it’s more like a rein- mediate-level players who know the graphical errors in Thomas’s editorial forcement or support that enters and extremes of the recorder range (lots comments. exits, as if the work’s namesake had of instances of high B in the soprano We found few mistakes in the inhabited the music from time to lines, for example). It is playable on music notation itself, and once we time to give heart and strength either viols or recorders, although in coped with the previously mentioned to the singers or players.) several cases you’ll need a great bass problems we were able to play most of At the same time, it is a wonder- recorder for the bottom line. the pieces with relative ease. (Watch ful piece for an audience to listen to, I have long been a fan of Brade out for measure 7, duplicated in the if performed expressively. Fretwork (my bridesmaids walked down the score but not the parts, of No. 52.) recorded just the first section on viols aisle to one of his pavans) and of If you are willing to take a chance (about 6 ½ minutes) for a 2004 London Pro Musica’s normally excel- on this volume despite its editing mis- Harmonia Mundi release: perhaps lent editions, so I anticipated a pleas- takes, you’ll be rewarded with many on instruments alone, a shorter ver- ant experience reading and reviewing enjoyable pieces. sion would be more accessible. It this large 52-piece collection. How­ Anne Fjestad Peterson has a could be successfully programmed ever, if it were a student project turned Bachelor of Arts in music education from with the Josquin, as well (LPM552). in to me for a grade, I would write Concordia College, Moorhead, MN, and The parts are well laid-out; both “Proofread” on it and hand it back. a Master of Music in music history from octave treble and alto clef parts are The most pervasive and puzzling the University of Colorado. A teacher of given for the tenor lines. (There is an errors are in the little notes at the private and class recorder in Boulder, CO, error in the alto clef tenor 2 part at beginning of pieces (incipits) that since 1974, she has performed since 1980 the beginning of Part 2: as the octave indicate each part’s range, a useful tool with the Boulder Renaissance Consort. treble part shows, the first note should be an octave lower.) The few ficta are questionable, especially those in measure 76 of the Secunda Pars. Otherwise, recorder players should send a big thank-you to Bernard Thomas for making this ravishing work available to us. Suzanne Ferguson of Ft. Myers, FL, plays recorders and viols. She has been on the Boards of both the ARS and the Viola da Gamba Society of America.

42 Spring 2013 American Recorder CONCERTO FOR FOUR TREBLE actually helps it work. In the Dolce is credited by some as the musician RECORDERS WITHOUT BASS, edition, the original Grave ends with responsible for introducing the instru- TWV40:202, by Telemann, ed. all parts on a unison/octave. In Robin­ ment into the Opera. One of the most Andrew Robinson. Peacock Press son’s transposition, he inserts a final important composers to emerge after PAR403 (www.magnamusic.com), complete A minor chord. Hence, the Lully, he wrote stage music that was 2008. AAAA. Sc 12 pp, 4 pp ea. C in that chord is a common tone with well-received, influencing Rameau. His $24.50. the first C heard in the Allegro. pupils included Couperin’s daughters. This work, originally composed in I’m not totally sure if Telemann As the title suggests, these dances D major for four violins, is transposed ended his Grave on unisons/octaves or were originally performed at the opera to F major for this new edition. A a complete triad. But I am sure that for French nobility. Montéclair assem- recorder transposition in F major has playing the Grave in A minor is easier bled many of his minuets and contre- been available since 1991 when it was on the ears, as the highest note is a dances into a number of volumes, published by Dolce (DOL305). Since high C rather than a high F. If you though editor Robinson reports that then, many intermediate-level players are willing to pay more for this new only one book of contredances and two have met and loved this piece. Peacock edition, you can have a kinder, books of minuets survive. It is a lively concerto and fun to gentler transposition of the Grave. Originally, publishing these dances play in all parts, even if screechingly Other differences from the Dolce allowed the composer to earn more high-pitched in the Adagio and Grave edition include a few note changes and money from them while giving people (a challenge playing high F many times subtle differences in placement of trills. the opportunity to dance to the music with enough gentle finesse to match Also, the Dolce edition offers the that was presented on stage. Many of the mood of Adagio and Grave). opportunity to play some of the high the original songs do not indicate Both the Dolce and Peacock edi- passages down an octave to avoid high instrumentation, so Robinson trans- tions are distributed by Magnamusic; F, an alternative that doesn’t work as posed the pieces to fit alto recorder. the Dolce edition lists for $9.25, while well in this concerto. This new Peacock These dances are an excellent this new Peacock edition lists for edition may be worth the investment. introduction to the French style. While $24.50. I was quite curious as to why Sue Groskreutz the music is not technically challeng- Robinson created a new arrangement ing, it is a good platform from which to and what could justify the higher price. MENUETS ET CONTRE-DANsES introduce basics of French ornamenta- I got the answer quickly. Robin­ Qui se dancent AUX BALS de tion, especially inequality and the so- son’s arrangement contains an appendix l’Opera, by Michel Pignolet called “little graces.” One of the minu- (in the score and the parts) with an Montéclair, ed. Andrew Rob­ ets has an optional second part that alternate version of the third move- in­son. Peacock Press PAR-248 could help the beginner improve into- ment Grave; he has moved it from the (www.magnamusic.com), 2007. nation while playing with another part. key of D minor to the key of A minor. A, kbd. Sc 24 pp, pt 12 pp. $19.95. The last piece in the collection, This is a clever idea that changes the This edition is a collection of “Les Sept Sauts,” is an amusing dance key scheme of the four movements charming pieces suitable for advanced based on a folk song. Robinson from FFdF (F major/d minor) to FFaF beginners and early intermediate stu- includes notes on the history of this (F major/a minor)), and effectively dents. The continuo parts are fully real- dance, how it was used by Montéclair eliminates all of the problems involved ized. Eight of the dances provide some and other composers, and how the in playing high F in the Grave. basic figured bass for the keyboardist, contemporary performer could play it. This new version is unusual, in giving students the opportunity to see This music is satisfying to play, that key changes from one movement the elementary basics of figures as they and could be performed in chamber to the next more commonly move to are realized—a valuable tool for key- concerts and recitals, or as incidental the dominant (F to C) or the relative boardists learning this skill. It is also music in staging of French Baroque minor(F to a);in Robinson’s new trans- useful to recorder students learning the dramas. position for the Grave, the key moves underpinnings of Baroque harmony. Peter Kwiatek studied recorder for from the tonic to the mediant and back All of the songs are in keys that are several years with Aldo Abreu at the (FaF). Numerous symphonies favor friendly to alto recorders and beginning New England Conservatory School for mediant relationships between move- students. Included is a fine set of notes Continuing Education. He has had mas- ments, but I’d be hard pressed to find a on the composer and his work. ter classes with Marion Verbruggen, Dan long list of Baroque pieces that do this. Montéclair (1667-1737) was a Laurin and Saskia Coolen. He has been Does it work? Interestingly, renowned teacher and a basse de violon a board member of Amherst Early Music, Robinson has done something that player in the Paris Opera orchestra. He Inc. for several years. www.AmericanRecorder.org Spring 2013 43 WORKS COMPOSED BY GLEN recorder player himself, Shannon uses None of the pieces is easy, but SHANNON, Glen Shannon Music the instruments well, though the alto “Easy Rag” is perhaps the most accessi- (www.glenshannonmusic.com) player must be able to produce clear ble of the three. The ragtime rhythm is and sweet third-register notes. a familiar one (one should remember SHANNON DUOS, Vol. 5. “Two on a Raft” is quite jazzy, not to swing it!). The harmonic rhythm GSM1025, 2010. AT. Sc 9 pp. $10. and includes slides (swooping gradu- is familiar, too, from all the rags we Although I have only met him ally between two notes) that are easy have heard, and can be played con- once, I consider Shannon a great friend to play, but important for the style. vincingly without too much difficulty. after he took over editing the ARS It is more technically demanding The notes are sometimes tricky—the Members’ Library Editions from me in than “Easy Breezy.” soprano recorder player must have a 2002. Besides editing the music of oth- In “Papillons,” the butterflies are reliable high C—and both players must ers, he is a very prolific composer. dancing a tango, at least some of the have a good mastery of accidentals. For AT recorders, Volume 5 is the time—and, as Shannon says, at the One is tempted to use the overworked first to be published in a series of eight same time the piece is reminiscent of a word “charming,” when describing sets of recorder duets commissioned two-part invention. The parts are very “Easy Rag”—but charming it is, as in by Charles Fischer—three duets in imitative: the butterflies are definitely pleasing and soothing to the senses. each volume. They are not being pub- engaged in a dance in which the move- “Sheyne Meydele” tells the story lished in numerical order. Besides dif- ments of each depend upon the other. of a beautiful young Jewish girl who, ferent instrumental combinations The two players need to have an excel- in searching for a mate, is first in a (SS, SA, AT, AB, etc.). Shannon is lent ensemble and, when played Presto, mournful mood, wailing in chromatic composing these pieces in a variety the piece can be pretty exciting. harmonies; then after only a few bars of styles: klez­mer, Latin, neo-Baroque, If you’ve never played Glen she has seemingly found him, and her swing and bluegrass. Shan­non’s first-rate music before, now mood changes to “sparky and petulant” Shannon is a very modern com- is the time to find a friend and start. (Shannon’s words) with klezmer poser, yet his pieces are accessible to rhythms and ornamentation. The girl intermediate to advanced players, SHANNON DUOS, Vol. 6. alternates between the two moods until which describes many recorder players. GSM1026, 2011. SB. Sc 9 pp. $10. a third mood overtakes her—perhaps a In his introduction to Volume 5, Glen Shannon is a composer, wedding dance, with chirpy ornaments Shannon states that “Easy Breezy” has publisher and editor (Members’ Library and “stomping” rhythms. There are a light bebop swing, “Two on a Raft” Editions) of contemporary (although hints of earlier moods near the end. is a bluegrass-inspired song with bits hardly avant-garde) music for upper “Sheyne Meydele” might be the of ragtime, and “Papillons” is a two- intermediate and advanced recorder most difficult of the three pieces to part invention in quasi-Baroque style. players in many different styles. He is a perform. The compound rhythms in I never met a Shannon piece I former president of the East Bay (CA) the bass—3+3+2—are tricky, particu- didn’t like, and these three duets are ARS chapter and the chapter’s resident larly when combined with the complex no exception. Each is three pages long composer. He also composed the 2011 articulation patterns as well as orna- and, using a cleverly designed format, Play-the-Recorder Month piece, The mentation in the soprano. But it is, he has put the third page of each on a Harmonious Blockflute, published in the again, very satisfying to play and to lis- separate insert: all three pages can be January 2011 AR. ten to. Shannon’s melodies and harmo- set up without a page-turn. These duos are the third set to be nies are extremely appealing, and the To me, “Easy Breezy” is the most published in a series commissioned by judicious use of the augmented second charming of the three, although I ques- Charles Fischer. gives a hint of pathos that is never far tion whether the style is really bebop. I became interested in seeing the away from the mood, whatever it is. It seems to me to be gentler than the duos in volume 6 partly because of the “Carnaval” is, again using Shan­ bebop someone like, say, Pete Rose unusual pairing: SB. The combination non’s words, “a rumba invoking imag- writes. It certainly has swing—in fact, works for each piece. In “East Bay ery of a Cuban festival.” As always in playing it is a good way for a recorder Rag,” the low recorder acts as a “stride his music, the rhythms are fascinating, player without much swing experience piano” bass to the soprano melody; in but here the instruments in combina- to learn to play in this style. Besides a “Sheyne Meydele” its timbre adds to tion give us a Latin sound. This piece pretty melody and juicy harmonies, this the melancholy mood; in “Carnaval” it swings along in such an easy fashion piece has a clear structure, with a return can, in the hands of a dexterous player, that it may be the most easily playable. to the main theme on the third page bring out the exciting Cuban rhythms Like all the recorder pieces by and a satisfying ending. Being a in tandem with the soprano player. Glen Shannon I have come across, 44 Spring 2013 American Recorder these three duos are idiomatic for the “Broken Heirlooms” alternates soulful, third pieces. The second, perhaps recorder and clearly structured, with cadenza-like Adagios with darting because it is written in a style more melodies, harmonies and rhythms Allegros, but the other two pieces settle familiar to recorder players, fell into that are captivating. The printing for- immediately into a groove and play place more easily. mat, as in other duos in the collection, themselves out through a loose rondo The edition is nicely laid-out, is designed with a loose insert for the structure, as in a jam session. with a score arrangement and extra third page of each piece. As always the The variety of rhythms and acci- pages designed to play each duet with recorder players must have a reliable dentals, the tight ensemble writing, and no page turn. The composer includes technique and mastery of accidentals. the wide tessitura (especially in the background on each of the pieces and I heartily recommend these duos: soprano) make this challenging, but suggestions for playing them. For for performance, or for part of an eve- rewarding, music for intermediate play- example, “Alegría” is described as ning’s pleasurable playing with a friend. ers—although it is advanced perform- “fun”-inspired and to be played with Martha Bixler has long been active ers who will best be able to make the “a big smile in your sound.” in the administration and with various most of the music by keeping the feel- “Alegría” is Latin with a modern committees of the ARS. She has been a ing light and lively throughout. sound. Rhythms are difficult, and there member of the Board of Directors (twice as The music is printed quite legibly are quite a lot of chromatic notes and a President), and served for 10 years as edi- with no obvious errors. A separate third number of passages that fall into the tor of the ARS Members’ Library Edi­ page for each piece avoids page turns. highest range of the alto. The bass tions. She is a teacher/performer on record- Players looking to expand their remains within a regular and easily- ers, piano, harpsichord, sackbut and viola stylistic horizons or simply to have fun accessible range throughout. We tried da gamba. Prominent early music ensem- with a like-minded friend will find hard to like this duet, as Shannon is bles with which she has performed include much to enjoy with Volume 2. one of our favorite composers, but we New York Pro Musica, Bach Aria Group Scott Paterson, a former ARS Board concluded that it was a lot of work for and Berkshire Bach Society. member, teaches recorder and Baroque a less than musically pleasing result. flute in the Toronto (ON) area, where he Our assessment of “Dude Ranch” SHANNON DUOS, Vol. 2. is a freelance performer. He has written was similar, though this one had more GSM1022, 2011. SA. Sc 9 pp. $10. on music for various publications for over musical appeal. Rhythms were easier, Once again Glen Shannon has 25 years, and now maintains his own and there were more melodic rewards shown his skill at crafting challenging studio after over 30 years at the Royal —but, again, it wasn’t compelling. and enjoyable music in a variety of Conservatory of Music of Toronto. We did like the “Invenzione,” styles with these three duets for SA though it cannot be described as easy, recorders. He knows the recorder well SHANNON DUOS, Vol. 7. but it was melodically and harmoni- and writes idiomatically and effectively GSM1027, 2011. AB. Sc 9 pp. $10. cally pleasing. It fit the recorder well, for the instrument throughout. This set of three duets for AB and with some work, it would make a The composer’s notes to the duets recorders, by popular contemporary nice addition to one’s repertoire. describe “Carefree Afternoon” as being composer Glen Shannon, incorporates To conclude, I would recommend in a relaxed swung style; “Broken three distinct and unrelated styles. The this edition for advanced intermediate Heirlooms” as a klezmer-style dialog; first, “Alegría,” is Latin-inspired. The or advanced players who enjoy a chal- and “Country Canzona” as being in a second, “Invenzione,” is a two-part lenge. Though I typically enjoy the dis- mountain bluegrass style. He invites invention in a “quasi-Baroque” style. sonances and unconventional rhythms performers who are comfortable add- “Dude Ranch,” the final duet, contains of contemporary music for recorder, ing appropriate ornamentation to do bluegrass elements intended to call up “Alegría” and “Dude Ranch” left a bit so freely; however, even those who are lazy images of weekend cowboys. to be desired in musical appeal. How­ happiest just playing the notes will find The composer’s notes describe the ever, others might experience them dif- that the various characters come easily duets as appropriate for intermediate ferently, so I would encourage the off the page, especially if the perform- players, but the rhythmic complexities, adventurous to give them a try. ers have a feeling for the swung chromaticism and high range required Beverly Lomer is an Adjunct rhythms in “Carefree Afternoon.” of the alto are, in my view, suited to Professor of Humanities at the Harriet L. All three duos are on the long side, more advanced players. The two expe- Wilkes Honors College of Florida Atlantic at almost 100 bars each. They do not rienced musicians who tried them out University, where she teaches courses in have a strong melodic profile, but found them difficult to sight-read. music and culture. She is also a recorder instead take their energy from clean While sight-reading, it was hard player whose primary interest is in per- harmonies and invigorating textures. to make musical sense of the first and formance from original notation. www.AmericanRecorder.org Spring 2013 45 SHANNON DUOS VOL. 8. precise bass playing does help the intermediate player; Suspicion does not GSM1028, 2012. TB. Sc 9 pp. $10. syncopated tenor. do that, at least not technically. This set of duos comprises three As a whole, the collection is It does require careful counting pieces: “Screen Door Rag,” “La well laid-out, avoiding page turns. and has some tricky rhythms, such as Tristesse” and “Canned Yams.” The Suzanne Niedzielska lives in 3+3+2 groupings of eighth-notes and pieces are diverse, fun to play, and Glastonbury, CT. Professionally, she is a “hit points” in other parts to punctuate accessible, though our group thinks freelance IT management consultant, cap- these groupings. Most intermediate more so for upper intermediate than ping a 30-year career in public and pri- players will fall easily into most of lower intermediate players. vate sector information technology. More the rhythmic idioms. “Screen Door Rag” and “Canned recently a published poet, she has played in The piece is organized in Sonata- Yams” require familiarity, respectively, recorder ensembles since 1984, performing Allegro form—exposition, develop- with rag and swing styles, the charac- with the Connecticut and the Manhattan ment, recapitulation plus a coda. The teristics of which are not notated. Recorder Orchestras. Before IT, she taught piece opens up in A minor with every- The mood and tonality of “La philosophy, the field in which she earned a one in parallel unisons/octaves, then Tristesse” (sadness), if played at the doctorate with specialization in philosophy breaks off into a whirlwind of rhythmic Largo tempo suggested, needs players of science (Fordham University, 1979). and melodic activity. Sometimes, the who can bring out the long notes with rhythmic punctuation is in the bottom appropriate colors, as well as the disso- SUSPICION, GSM1005, 2012. four recorders, and other times it is in nances with subtle shadings. This is S’oSATBgBcB (7 recs). Sc 7 pp, the upper voices; the contra player lays clearly intended as a rhetorical piece, as 8 pts 2 pp ea. $15. the foundation all the way, sometimes the composer marks several figures as If your group has seven players playing descending chromatic scales. “pleading” or “sighs of resignation.” who can cover every size of recorder At other times, rhythmic motives Bass recorder players may not feel from sopranino to contra bass, Suspicion are played against sustained, aug- challenged with the accompaniment is a lively, short piece that might make mented melodies. I especially love the role in “Screen Door Rag,” but it is a great encore. Some of Shannon’s effect of sudden alto solos, mysteriously characteristic of the style—and short, works push at the upper limits of the connecting one phrase to the next. I also like the new melodies that sneak in during the development section: first, long notes that float above every- thing, played on sopranino; then the two-measure melodic motives, play- fully tossed among the instruments. The many staccatos need to be played as lightly as possible to contrib- ute to the atmosphere suggested by the title. The cascading effect in mm. 50-56 (as Shannon says, descending “bell tone arpeggios”) is especially enjoyable. Above all, the piece sounds like its title. Not only does Shannon compose a great piece, but he also does a great job of describing his works in his own words on his web site. The great bass part is conveniently published in both treble and bass clefs. Suspicion was commissioned by Alexandra Terhoff of Dortmund, Germany, for two of her ensembles: Tibia Antiqua and Flauto Curioso. As a result, we have a great addition to the “fun” repertoire for larger groups. Sue Groskreutz 46 Spring 2013 American Recorder Book Reviews ______Some good ideas—but not the means ______to a successful end or even to the end of clutter

THE SAVVY MUSICIAN: BUILD­ plex issues of success in the musical As an example of one big problem ING A CAREER, EARNING A world. You might suspect that a book now: people don’t understand the LIVING & MAKING A DIFFER­ that purports to enable success in the HTML code in their own web sites, ENCE, by David Cutler. Helius arts is doomed by its very nature— and are thus unable to deal with their Press ([email protected]), 2010. after all, if everyone bought it, every- media and publicity quickly and ISBN 0982307500. Paperback. 368 pp. one could be a professional musician. securely. I know musicians who have Abt. $13. Even if only a few people bought it, been unable to update their web sites If you are like me, you have Post- they would share the key ingredients for more than five years. Other tech its and to-do lists everywhere: on the for the flourless-chocolate success cake, issues form a rapidly shifting land- computer and the desk, embedded in and all would partake. scape; the way to learn it is to find peo- computer files and documents, and The basic reason that these types ple who know the tech, and ask for perhaps even on business cards or of books do not work is twofold: by their help. check deposit slips. It’s a common their nature, they do not draw upon Second, successfully operating in situation, especially for musicians, the cutting-edge information in our our complex music business ideally and one that I endearingly refer to increasingly technological world; and requires viewpoints sourced from a as “visionary clutter.” they do not address the maddening selection of the most important event In truth, a musician has lots of complexity of the music performance contractors—and information that is ideas scattered about in need of a event presenting networks. home. Suppose that you could buy a Here are two examples addressing book that had hundreds of really good these issues—issues that are missing ideas, neatly organized—and one that from the book. The music world is now was specifically tailored to the needs of transitioning to high-definition video, musicians. Surely such a book would be and everyone needs to figure out how a hallelujah moment, a harbinger of a to deal with this technology—a make- clutter-free world, and a window into or-break issue for both individuals and insider information that would present groups. However, there is no real sec- opportunities for success. tion on video in the book; the limited Well, you would be hard-pressed information there is neither useful nor to find such a book, and The Savvy up-to-date. Musician falls short of the mark. One I mention this because it is simply of the reasons that I wrote this review a fact of life for a traditionally-styled is to address the interesting and com- book: it may be out-of-date before it is published. We all need to seek out the Present-day musicians best and latest information to succeed need basic tech knowledge: in the music business; for this, one HTML, video and video requires the services of a digital Sherpa, not a printed tome. streaming, smart phones, Very briefly, present-day musicians crowd fundraising and need basic tech knowledge: HTML, social networking. A reader video and video streaming, smart phones, crowd fundraising and social of this book might ignore networking. A reader of this book these essential new skills. might ignore these essential new skills.

www.AmericanRecorder.org Spring 2013 47 but you would also find similar ideas SWEETHEART If you are just looking online. for ideas, you might find David Tayler has credentials in both FLUTE CO. early music and technology: degrees in Baroque Flutes: our own some new ideas here— music from Hunter College and the Uni­ “Sweetheart” model ver­sity of California at Berkeley (M.A. Fifes, Flageolettes but you would also find and Ph.D. in musicology), meanwhile “Irish” Flutes & Whistles. studying physics, astronomy and recording similar ideas online. 32 South Maple Street technology. He performs with and leads Enfield, CT 06082 highly detailed. It would be useful to Bay Area groups including Voices of Music (860) 749-4494 [email protected] know in advance if a conductor liked or and the Phil­harmonia Baroque Orchestra. www.sweetheartflute.com disliked vibrato, or if auditioning with In 2008, Tayler developed new ways to Bach instead of Handel (or vice versa) present both performance and musicologi- Consider advertising in would lend the right air of seriousness cal editions on the Internet, complete with to an audition. It could be a major both audio and video interactive capabili- advantage to know which operas will ties. See http://davidtayler.com. be presented in the next decade. For current rates and specifications, see www.americanrecorder.org/pubs/adver.htm. However, if such information were Please inquire about discounts on multiple- Classified issue contracts or other special requests. to be made widely available, the market ______Advertising subject to acceptance by would adjust accordingly. Here we are ______magazine. Reservation Deadlines: ______January 1 (Spring), April 1 (Summer), again faced with the paradox of exclu- ______July 1 (Fall), October 1 (Winter). sive information: as soon as everyone ______For more information, contact the ARS office, knows it, its value goes down. A list of Where the haves 10000 Watson Rd., Ste. 1L7, Saint Louis, MO the necessary skills required to move 63126; 800-491-9588 toll free; 314-966-4082 phone; 866-773-1538 fax; into the top two percent of the mar- and have-nots [email protected] ket—the hiring range—would be the of the recorder world Classified rate for American Recorder: 60¢ per most important list of all, but this book word, 10-word minimum. “FOR SALE” and does not address these issues. can find each other “WANTED” may be included in the copy without counting. Zip code is one word; Two caveats: The Savvy Musician FOR SALE: Moeck 2621 Flauto Rondo Great phone, e-mail or web page is two. Payment Bass, stained maple. Practically new, asking delves into subjects such as taxes and must accompany copy. Deadlines are $1200.. 610-873-8846 [email protected] copyrights; I would always recommend one month before issue date. Send copy with payment to: ARS, 10000 Watson Rd., that the reader rely on an accountant JOIN AR READERS ONLINE at www.facebook.com/americanrecordermag Ste. 1L7, Saint Louis, MO 63126. and a copyright attorney with experi- and www.youtube.com/user/americanrecor ence in the arts. Copyright law for dermag. Advertiser Index ARS Publications Committee seeks AMERICAN ORFF-SCHULWERK ASSN...... 3 music would be yet another book all AMERICAN RECORDER SOCIETY...... 1, 9, 14, 35, 36 help. If you know something about music by itself—and the new video standards AMHERST EARLY MUSIC FESTIVAL...... 23 publishing or have your own music publishing BEATIN’ PATH PUBLICATIONS...... 41 involve international copyright compli- company, we could use your help in making STEPHAN BLEZINGER...... 3 ance plus numerous other legal issues. decisions about future music volumes of record- JEAN-LUC BOUDREAU...... 6, 47 er music. Info: Greg Higby, Publications Chair, DUETS FOR ONE...... 42 If you are just looking for ideas, 608-239-3446, [email protected]. EARLY MUSIC AMERICA...... 34 you might find some new ideas here— HONEYSUCKLE MUSIC ...... 7 LISETTE KIELSON, RECORDER PLAYER ...... 9 American Recorder (ISSN: 0003-0724), 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126, BILL LAZAR’S EARLY MUSIC...... IBC is published quarterly for its members by the American Recorder Society, Inc. $20 of the annual $45 KEITH E. LORAINE EARLY DOUBLE REED SERVICE. . . . 11 U.S. membership dues in the ARS is for a subscription to American Recorder. Articles, reviews and LOST IN TIME PRESS...... IBC letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine MADISON EARLY MUSIC FESTIVAL...... 21 does not imply official endorsement by the ARS. MAGNAMUSIC DISTRIBUTORS ...... 39 MOECK VERLAG...... IFC Editorial Deadlines: December 15 (Spring), March 15 (Summer), June 15 (Fall), and MONTREAL BAROQUE FESTIVAL...... 20 September 15 (Winter). Submission of articles and photographs is welcomed. Articles may be sent MOLLENHAUER RECORDERS...... OBC as an attachment (.doc or .rtf preferred) or text in an e-mail message. They should be for the exclusive OBERLIN BAROQUE PERFORMANCE INSTITUTE. . . . . 16 consideration of AR, unless otherwise noted. Photos may be sent as prints, or unedited JPG or 300dpi PORT TOWNSEND EARLY MUSIC WORKSHOP...... 18 TIF files (minimum 3”x4”). Advertisements may be sent in PDF or TIF format, with fonts embedded. PRESCOTT WORKSHOP...... 10 THE RECORDER SHOP...... 3 Editorial office: Gail Nickless, Editor, [email protected], 7770 South High St., RHYTHM BAND/AULOS RECORDERS...... IBC SAN FRANCISCO EARLY MUSIC SOCIETY...... 24 Centennial, CO 80122-3122. Books and Music for review: Sue Groskreutz, 1949 West Court St., GLEN SHANNON MUSIC ...... 46 Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. SWEETHEART FLUTE CO...... 48 Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. Chapter newsletters, TEXAS TOOT...... 16 other reports: Editorial office. Postmaster: Send address changes to ARS, 10000 Watson Rd., Ste. 1L7, VERY GOOD RECORDER TRANSCR...... 38 Saint Louis, MO 63126. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. VON HUENE WORKSHOP, INC...... 31

48 Spring 2013 American Recorder