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EDITOR’S NOTE ______Volume XLI, Number 4 September 2000
FEATURES One of the goals of the ARS Long-Range Anthony Burgess: The Man and His Recorder Music . . . . 11 Plan, adopted this past year, is to make An analysis of the surprising number of works for recorder American Recorder available on the Inter- net. With this issue we are taking the first left by one of the 20th century’s outstanding men of letters, steps toward that goal. On a trial basis, by Scott Paterson readers can access the September AR in 6 The Worshipful Recorder...... 18 PDF format by pointing their web browser to
ARS Chapters
ALABAMA ILLINOIS Ithaca/Finger Lakes: Birmingham: Martin K. Payne Chicago: Patrick O’Malley Mary Jaffe (607/273-1897) (205/979-6430) (773/293-3138) New York City: Michael Zumoff Central Alabama: Mark E. Waldo West Suburban: Eric Stern (212/662-2946) AMERICAN (334/263-1727) (708/594-9243) Long Island: Margaret H. Brown (516/765-1867) INDIANA RECORDER ARIZONA Rochester: Ginny Reynolds Indianapolis: Alberta Richmond Phoenix: Donald Harrington (716/473-2946) (317/873-2930) SOCIETY (602/956-1344) Rockland: Lorraine Schiller INC. Tucson: Scott Mason (520/721-0846) KANSAS (914/429-8340) ARKANSAS L&L Early Music Ensemble: Liz Low Westchester: Carol B. Leibman (913/727-3554) (914/241-3381) Honorary President Aeolus Konsort: Louisa Rollefson ERICH KATZ (1900-1973) (501/225-4846) LOUISIANA NORTH CAROLINA Honorary Vice President Bella Vista: Charles D. Whitford Baton Rouge: John Waite Triad: Donna Yaniglos (336/292-9995) (501/855-3623) (504/925-0502) Triangle: Michael Emptage WINIFRED JAEGER New Orleans: Chris Alderman (919/489-1508) CALIFORNIA (504/862-0969) Statement of Purpose Central Coast: Elizabeth Blake OHIO The mission of the American Recorder Society is (805/534-9414) MARYLAND Greater Cleveland: Edith Yerger to promote the recorder and its music by East Bay: Glen Shannon Northern Maryland: Gwendolyn Skeens (440/826-0716) (410/252-3258) developing resources and standards for the (510/525-1249) Toledo: Marilyn Perlmutter Monterey Bay: Lorrie Emery MASSACHUSETTS (419/531-6259) study and playing of the recorder by people of (831/423-8309) Boston: Charles Wibiralske all ages and ability levels, presenting the Orange County: Mary Bennett OREGON (617/739-9651) (909/624-3448) Oregon Coast: Corlu Collier instrument to new constituencies, encouraging Worcester Hills: Jennifer Southcott Riverside: Elizabeth P. Zuehlke (541/265-5910) increased career opportunities for professional (978/263-5875) (310/376-2669) recorder performers and teachers, and enabling PENNSYLVANIA Sacramento: Ronald Koetzsch MICHIGAN Philadelphia: Dody Magaziner and supporting recorder playing as a shared Ann Arbor: Ole Lundin (916/965-1341) (610/886-2241) 734/668-4842 social experience. Besides this journal, San Diego County: Carol Resnick Joanne Ford (215/844-8054) Kalamazoo: Richard Johnson ARS publishes music, a newsletter, a personal (619/466-7983) Pittsburgh: Karen Lukas (616/657-3460) Sonoma County: Stanley McDaniel (412/731-7411) study program, and a directory. Society Metropolitan Detroit: Ronald Hertz (707/571-8295) South Central: Rick Graham members gather and play together at chapter (248/548-6823) South Bay: Joanna Woodrow (717/854-6415) Muskegon: Marge Winter meetings, weekend and summer workshops, (408/266-3993) (231/744-1703) and many ARS-sponsored events throughout Southern California: Nell Holland RHODE ISLAND the year. In 2000, the Society entered its (310/978-0924) MINNESOTA Rhode Island: Will Ayton (401/272-1998) seventh decade of service to its constituents. Village Festival Recorder Orchestra: Twin Cities: Jean Fagerstrom Richard Geisler (530/477-2293) (612/722-4967) TENNESSEE Board of Directors COLORADO MISSOURI Greater Knoxville: Ann Stierli (423/637-6179) Ruth Albert Boulder: Robert Keep (303/651-2659) St. Louis: Norman Stoecker Nashville: Marcus Mendenhall Martha Bixler Colorado Springs: Richard Wood (314/532-3255) (615/383-7078) Richard Carbone (719/591-0548) NEVADA Frances Feldon Denver: Keith Emerson (303/750-8460) Sierra Early Music Society: Toni Seales TEXAS Sheila M. Fernekes Fort Collins: Jann Benson 775/867-4695 Austin: Susan Page (512/467-7520) (970/484-3522) Dallas: Cléa Galhano NEW HAMPSHIRE CONNECTICUT Houston: Marianne Boshuizen Howard Gay Monadnock: Priscilla Watson (281/293-9289) Connecticut: Dorothy Vining Alan Karass (603/357-8549) Rio Grande: Suzanne Blanchard (203/267-6513) Upper Valley: Eileen Rawnsley John Nelson (505/521-1725) Eastern Connecticut: Joyce Goldberg (603/643-5706) Carolyn Peskin (860/442-8490) VERMONT NEW JERSEY Sue Roessel Upper Valley: Eileen Rawnsley DISTRICT OF COLUMBIA Bergen County: Mary Comins (603/643-5706) János Ungváry Washington: Jayme A. Sokolow (201/489-5695) Priscilla Winslow, Counsel (301/933-3989) Highland Park: Bob Butts VIRGINIA (201/625-0459) Northern Virginia: Edward Friedler DELAWARE Staff Navesink: Lori Goldschmidt (703/425-1324) Brandywine: Roger Matsumoto Gail Nickless, Executive Director (732/747-4813) (302/731-1430) Princeton: Carol Hoffman-Sweeten WASHINGTON Karen Voigt, Exec. Asst./Membership Secr. Moss Bay: Norma Baxter (425/641-1728) FLORIDA (609/466-4685) P. O. Box 631 Somerset Hills: Pattrick Littel Seattle: Bill Stickney Gainesville: Russell D. Moore (908/788-5566) (206/362-8062) Littleton, CO 80160-0631, U.S.A. (352/378-0567) 303-347-1120 Miami: Pat Coons (305/598-7201) NEW MEXICO WISCONSIN Faxes & membership question hot line: Sarasota: Eleanor Hopps Albuquerque: Bryan Bingham Milwaukee: Pat Brankle 303-347-1181 (941/488-1925) (505/299-0052) (414/542-4551) Rio Grande: Suzanne Blanchard Southern Wisconsin: Margaret Asquith E-mail: [email protected] GEORGIA (505/521-1725) (608/233-4441) Web: http://ourworld.compuserve.com/ Atlanta: Glenn Middleton Santa Fe: Jane Miller (505/984-0851) CANADA homepages/recorder (770/448-7168) NEW YORK Toronto: Bertha Madott (416/488-1538) In accordance with the Internal Revenue Service Taxpayer Bill of Rights 2, HAWAII Buffalo: Charles Hall Montreal: Diane Koch (514/672-8308) passed by the United States Congress in 1996, the American Recorder Hawaii: Irene Sakimoto (716/835-5573) Society makes freely available through its web site financial and (808/734-5909) Hudson Mohawk: Emmy Grubb Please contact the ARS office incorporation documents complying with that regulation. Hilo: Diane Mallory (808/966-4442) (518/377-1532) to update chapter listings.
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PRESIDENT’S ______MESSAGE ______Many thanks
his, dear reader, is my final message as predecessor, Scott Pa- TPresident. terson, who was also The most enjoyable part of the job over our Publications chair- the last six years has been working with the man and keeper of the exceptional people among the Society’s recorder discography and magazine index. Board, staff, and volunteers. Camaraderie, Publications are now under the watchful intelligence, commitment, energy, and cre- eye of Frances Feldon. These include the ativity are their characteristics that I’ll long popular Members’ Library series, edited remember. I’d like to take this space and with the utmost care, taste and experience some of your time to highlight just a few of by Martha Bixler, former ARS president their achievements and thank them for the and valued friend. good work they’ve done on behalf of all of We trust that our relationships, com- us. munications, and services to chapters have First, my predecessor, Connie Primus, improved over these years, thanks to who guided us through two office moves Chapter Committee chairmen Jack Ander- and two changes in our executive director son and his successor, Israel Stein. Israel position while keeping the Society on an devoted enormous time and effort to insti- even keel, bringing us to the happy situa- tuting the original recorder and ARS chap- tion in place when I took office and which ter Internet discussion groups, and man- we continue to enjoy in Littleton, CO, with aging the creation of our first Chapter Gail Nickless at the helm. Handbook. Relationships to these and oth- Judy Whaley, our current vice presi- er important constituencies were handled dent, has done more for the Society during by former Board member Nik von Huene, her two terms on the Board than anyone representing the business community, and will ever know. Among many other jobs, Bill Rees, for other instrument societies. she served as chair of the Education Com- Our future lies with the next genera- mittee as it created major enhancements to tion, and it was the enthusiasm of Peggy our education program (including the Monroe that led to the creation of the Ju- much-requested Personal Study Guide), nior Recorder Society. Significant progress and did important work on our by-laws was achieved by her successor, Gin and budget. Whenever business demands Ebinger, who managed the production of a began to overwhelm me, Judy unhesitat- large amount of new materials of use to ingly stepped in to handle important day- classroom recorder teachers, including a to-day issues. Her predecessor, Valerie series of student newsletters and a com- Horst, with help from fellow professional plete resource guide. Judy Linsenberg, created the major pres- Money is always an issue with non- ence we enjoy at the Berkeley and Boston profit organizations like ours. Heeding our Festivals. This important activity contin- call for financial expertise, CPA Howard ues to grow and flourish under the enthu- Gay volunteered his time and joined our siastic guidance of Cléa Galhano. current Board as treasurer. Israel Stein took Shelley Wold has been a steadfast and on the task of getting our long-range plan meticulous secretary, as well as managing into shape, and newly appointed Board our entire scholarship program. The schol- member Ruth Albert and I are working to arship program runs efficiently and fairly, organize a proper fund-raising campaign. thanks to the engineering of its prior chair- Former Board member Mel Mendelssohn person, Nancy vanBrundt, who also offered valuable advice during the early worked on elections and by-laws issues. stages of the planning process. A Society as This Board was thankful that Shelley was large as ours needs good legal advice, and able to meet the high standard set by her Continued on page 4
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PRESIDENT’S MESSAGE (cont.)
we’ve had the best from two lawyers who volunteered their time, Lynn Goldthwaite and Priscilla Winslow. There have been myriad others who’ve contributed during these years, including our hosts for Board meetings around the country (most recently organized by At- lanta Board member John Nelson), volun- teer workers at the Festivals, helpers at the Littleton office, volunteers who joined in the work of Board committees, and many others. My thanks to all of you. Finally, my sincerest thanks and grati- tude to our paid staff: Executive Director Gail Nickless, and Membership Secretary Karen Voigt, and our editor of American Re- corder magazine, Ben Dunham. Gail and Karen have worked miracles with limited resources. The quality of our magazine and newsletter has been at a consistently high level under Ben’s care. All of them have demonstrated tremendous resourceful- ness, independence, and loyalty. As you read this, several newly elected Board members are preparing to join re- turning members at the September meet- ing, and a new slate of officers will be elect- ed. I know you join me in wishing them the greatest success in guiding the work of this Society devoted to the transcendent joy of making music with the recorder. It has been a great privilege for me to contribute what little I have been able to do and to work with such a fine group of people, and I thank all of you for making it possible. Gene Murrow
As you read this, several newly elected Board members are preparing to join returning members at the September meeting, and a new slate of officers will be elected. I know you join me in wishing them the greatest success in guiding the work of this Society devoted to the transcendent joy of making music with the recorder.
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TIDINGS ______A selection from Musica Pacifica’s recent recording ______of Scarlatti sonatas was heard by United Airlines passengers on the airline’s “Baroque Era” program.
Professional Potpourri “ARS & Amici” Make Fourth Trip to Italy
In March, parts of several Fred Morgan Last February, members of the Boston Re- recorders Marion Verbruggen was corder Society and Friends (ARS & Ami- planning to use in a concert were stolen ci) and 17 singers from the St. John’s in the lobby of the Newberry Library in Preparatory School Chorus (Danvers, MA) Chicago. The case that was removed had traveled to Italy for 12 days of performance only the bodies of the instruments, and study in Rome and Florence under the which were some time later happily re- direction of Boston-area early music coach united with their headjoints after they Sheila Beardslee. Writing in the Atlanta were identified by the person who found Early Music Alliance’s Broadside, Birming- them. ham Chapter member Sue Roessel report- A selection from the recent recording ed: “During their stay, participants provid- of Scarlatti sonatas featuring Judith Lin- ed music for masses at Sant’ Alfonso and senberg and Musica Pacifica was Santa Susanna (the American Catholic heard by United Airlines passengers in Marion Verbruggen lamenting the bishop’s church in Rome). Concerts were June as part of the airline’s “Baroque loss of parts of her Morgan recorders. presented in the Eternal City at Sant’ Al- Era” program. fonso and St. Paul’s within-the-Walls (the Paul Nauta, one-time teacher of Dan American Episcopal church in Rome). In Laurin, has founded a new group called Bach has been recorded for Nauta’s new Florence, the group played for three mass- Les Amis du Baroque, with himself and Highlight International label. es and presented another concert.” Mem- Koen Dieltiens playing recorders, Jan De Aldo Abreu, past winner of the Con- bers of the group were also able to study Winne transverse flute, Michyio Kondo cert Artists Guild competition, has with Ludovica Scoppola at the Scuola Sil- and Makoto Akatsu violins, Christina joined the roster of Albert Kay Associates vestro Ganassi in Rome and with David Mahler cello, Shalev Ad-El harpsichord, for concert management. The Venezue- Bellugi at the Conservatorio Luigi Cheru- and Frank Coppieters double bass. A CD lan-born virtuoso has performed bini in Florence. This was the fourth annu- of music by Bassani, Corelli, Pepusch, throughout the Western Hemisphere, al performance and study trip to Italy orga- Frescobaldi, Purcell, Bononcini, and Europe, Australia, and New Zealand. nized by Ms. Beardslee. When not touring, Abreu teaches at the New England Conservatory and the Boston Conservatory. Grant Llewellyn, currently conduc- tor-in-residence of the BBC National Or- chestra of Wales, has been named to suc- ceed Christopher Hogwood as artistic director of Boston’s Handel & Haydn So- ciety, the oldest continuously perform- ing arts organization in the country. Ital- ian violinist Fabio Biondi and French harpsichordist Christophe Rousset have been appointed co-music directors of the New York Collegium, succeeding founding music director Gustav Leon- hardt. Lutenist Lyle Nordstrom, founder of Robert Butts with Dutch composer The Musicians of Swanne Alley, has left The Janney Recorder Consort debut Piet Kee after a May performance of the Atlanta area to become professor and took place at the winter concert of the Kee’s Network with the Summit (NJ) director of the Collegium Musicum at Janney Elementary School. The group Chorale. Butts played “bird-like the University of North Texas College of of fourth- and fifth-graders was formed utterances” on soprano recorder. Music in Denton. by Judith Block (inset), music teacher at the Washington, D.C., school.
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______TIDINGS ______
Festival Concerts Reveal Variety of Recorder Colors
Berkeley Festival & Exhibition in Berkeley, California, June 4-11 2
The hour was fast approaching for the Sat- offered more in variety than continuity, urday night Berkeley Festival concert by and in the end arrived at two pieces most the Flanders Recorder Quartet, but the likely not by Bach at all. This didn’t bother limo had not yet arrived from the airport. A audience members, who were treated to sound check for the taping was needed much imaginative playing by Maute (a lot now, and a quiet but urgent appeal was of extra notes in Telemann’s Overture in E- made outside Hertz Hall for recorderists. flat for flûte pastorelle and strings, with The quintet that gathered in front of the Maute using a soprano in modern D, while microphones for the sound check were a the strings played in chamber pitch E-flat, starry group of ARS members: Cléa Gal- and in a doubtful Handel Concerto à 4 in hano, Charles Coldwell, Frances Blaker, B-flat). In this way, Maute’s skill as a com- Patrick O’Malley, and Letitia Berlin. If the poser was indirectly on exhibit at the Festi- FRQ had not arrived moments later, it is val. While including recorder may have safe to say that the audience would still added just the extra color Rebel needed, have enjoyed a lovely evening of recorder the ferocity and hard-driving style of the playing. ensemble’s strings were not the perfect set- As it turned out, with no warm-up or ting to show off the charm and wit that rest from a harrowing travel experience, Maute has demonstrated on his own 3 the Flanders Recorder Quartet (Bart recordings. Spanhove, Paul Van Loey, Joris Van Those who arrived late in Goethem, Han Tol) wowed everyone from the week missed a delightful the opening estampie to the concluding Vi- “fringe” concert presented by valdi concerto (arranged by Van Goethem) Letitia Berlin with Shira Kam- with “five centuries of musical passion.” men, violin and vielle, Julie Jef- Showing almost no signs of fatigue, the frey, viola da gamba, and Jung- group employed a full range of instru- Hae Kim, harpsichord, in the ments, using low instruments down to Loper Chapel of the First Con- 4 5 contrabass, for an anonymous Madame gregational Church. Entitled d’amours in the first half and Bach’s “Unser “ Baroque with a Buzz,” the program was- Vater” and Fugue in A minor in the second n’t so much Baroque as eclectic, with 6 half. Special moments included a perfectly Francesco Landini and Guillaume Dufay placed and tuned last chord in Tandernack, acting as very friendly neighbors to J.S. exciting sputato effects in Pedro de Arau- Bach and Hanneke van Proosdij. Per- jo’s Batalha, and a beautifully octaved forming on a variety of recorders, Berlin (tenor and great bass) bass line in the was by turns virtuosic, wistful, fiery, Larghetto e spiritoso movement of the sweet, playful, and dramatic. Highlights Vivaldi. were a beautiful performance of the Play- Earlier that day, another Hertz Hall au- ford dance tune, “Broom, the Bonny dience heard the second of the two Rebel Broom,” with a dreamy improvisatory ac- concerts (featuring now-Montreal-based companiment by Shira Kammen, and a recorderist Matthias Maute) that traced a commanding performance of Pete Rose’s route “From Biber to Bach” by way of Bass Burner, complete with gong. (Other Domenico Gabrielli, Schmeltzer, Mancini, fringe events scheduled early in the week Handel, Telemann, Sarri, and Jean-Féry included recorder performances by Kit Rebel. With such latitude, the programs Higginson and Marion Rubenstein.)
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On Thursday, a fringe concert present- sense of line was an asset in continuo Castello’s Sonata Primo, which, in a ed recorderist Patrick O’Malley playing playing and a special reward in a Vivaldi word, she “nailed.” “European Jewels”: music by Telemann, cello sonata. On Thursday afternoon, participants Cima, Vivaldi, Bach, and Princess Anna Judith Linsenberg’s crisp attack and in the Berkeley Festival’s Elderhostel pro- Amalia von Preussen (sister to Frederick characterful recorder playing effectively gram who were staying up the hill at the the Great). In the swirling acoustics of the cut through the acoustics in this same UC International House had a delightful- St. Joseph of Arimatea Chapel, O’Mal- chapel, which was packed for a Saturday ly refreshing program of “Variations, Fan- ley’s tone was warm, solid, and well- noontime concert by Musica Pacifica. In a tasias, and Other Renewable Notions” tuned, and he had the impossible breath- program full of exciting music-making, brought to them by recorderist Cléa Gal- ing demands of Bach’s solo partita, BWV including Elizabeth Blumenstock’s bril- hano and harpsichordist Vivian Mont- 1013, under full control. His partners liant recreation of a Capriccio by Fran- gomery. If the arrangement of Bach’s Pas- were JungHae Kim, harpsichord, and cesco Maria Veracini, a high point was sacaglia in C Minor, BWV 582, took a lit- Joanna Blendulf, cello, whose unfailing Linsenberg’s dramatic delivery of Dario tle getting used to (an alto recorder gets the repeating passacaglia line), the “Fol- lia” movement by Paolo Benedetto Bellin- zani was a nice change from Corelli, and Twisted Little Ground by John Howell Morrison and “balanco” and “finale” from David Evan Thomas’s rigadoons, etc., showed that the recorder is indeed a notion that can be successfully renewed. Any lingering doubts about the re- newability of the recorder were over- whelmed on Saturday morning by the musicality and enthusiasm exhibited by the East Bay Chapter’s Junior Recorder Society group, led by Letitia Berlin, Louise Carslake, and Hanneke van 7 8 Continued on page 24
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1. A quintet of ARS stars fills in for the Flanders Re- corder Quartet. 2. Festival director Robert Cole (cen- ter) thanking attendees. 3. Martha Bixler and Letitia Berlin try out the new Mollenhauer “Dream” re- corders. 4. EMA VP Valerie Horst and President Jef- 12 fery Kite-Powell congratulate Mike and Kay Jaffee, recipients of EMA’s Howard Mayer Brown Award for lifetime achievement. 5. Patrick O’Malley with his continuo colleagues. 6. Horses dance while the Festi- val Winds play. 7. Frederic Palmer leads the Mid- Peninsula Recorder Orchestra. 8. Cléa Galhano con- gratulates Eileen Hadidian, and 9. Leads the ARS Re- 11 corder Play-In. 10. Master class participants pose with Matthias Maute (center with beard). 11. The East Bay Chapter JRS. 12. Frances Feldon and Karolyn Stonefelt at the ARS Great Recorder Relay.
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Discovering Traditional & Country Music on the Recorder
by Richard Carbone The recorder can lead us into lots of musi- cal adventures—in ARS chapters, at work- shops, or getting together in our homes for an evening’s playing. But readers may not be aware of the groups centering on tradi- tional instruments meeting all around us. Two that I found recently proved very sat- isfying discoveries. The first was a friendly group of Ap- palachian dulcimer players who, with gui- tars, banjos, and an occasional visiting fid- dler, gathered at a restored village in Pinel- Typical Traditional Songs las County (the St. Petersburg region on anos, fiddles, and harmonicas. The cus- the Gulf of Mexico coast). Invited to sit in, tom is that if you sit in the row of perform- Careless Love I tried different recorder sizes at first, but ers, you take your turn naming and leading the soprano and alto seemed to fit in the off a tune for everyone to play. If you want best. The group concentrated on such to play along softly or just listen until you Your Cheating Heart 19th-century tunes as “Camptown Races,” feel more ready to join in, you can sit di- “Wildwood Flower,” “My Darling Clemen- rectly behind the front row, and you will Pistol-Packing Mama tine,” and “Oh, Susanna.” They played by not be expected to pick and lead off a song. ear, and because of the difficulty of retun- Because of the nature and range of most Que Sera Sera ing their instruments, every piece was in D of the instruments, you will find yourself major. If you have a good tune book with somewhat limited as to the keys you can such material, you may bring it along, but choose. Something like three-quarters of The Prisoner’s Song you have to be prepared to transpose to all the songs in the sessions I attended their key. I found it easier to pick up the were played in G major, a much smaller Oh, Dem Golden Slippers songs by ear, especially since they were re- number in D major, and one song apiece in peated several times. Fairly quickly, I was A major, E major, and C major. (These, of The Tennessee Waltz able to play along on a melody line or har- course, are especially good keys for the vi- monize with it, even if I hadn’t known the olins and mandolins.) Little Redwing piece before. The repertoire you encounter is hard to At one of these sessions, a visiting man- characterize simply; early to mid-20th- dolin player told me about other groups century traditional country and bluegrass Frankie and Johnny that gather regularly at the many commu- covers most of it, but an afternoon’s play- nity center buildings and in the public ing might be rounded off with a number of Lorena parks of most of the small towns in the hymns and an occasional piece of what area. I suspect there are many in your area, might be called American pop standards. One Day At A Time too, and checking folk music links on the So that people going to such gatherings Internet will reveal a few. may have a better idea of what to expect, I Westphalia Waltz The first time I went to one of the com- jotted down a typical “play-list” during one munity center meetings was a revelation. of these sessions (see box). It is interesting The dulcimer group usually attracted be- to note that wherever I went, each gath- Blue Spanish Eyes tween eight and eleven musicians, but at ering ended with the hymn “Amazing the center, there were 38 players and at Grace.” Just A Closer Walk With Thee least twice that number who came to listen At these larger sessions, choosing in- or joined the volunteers bringing cakes and struments to play was a little was more dif- Red River Valley cookies and making punch and coffee. The ficult than with the dulcimer group. Dul- instruments people brought were mostly cimers being softer and in a consistently The Little Whitewashed Chimney acoustic and electric guitars, along with a lower sound-plane, I could play any size re- number of mandolins, banjos, electric pi- corder and be heard. With the coun-
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Bits & Pieces
The formative recorder orchestra called to- Oak Consort, directed by Richard Geisler, gether in late May in Grass Valley, Califor- together with special guests. The disc is no- nia, by Richard Geisler now has an official table for the variety of instrumental colors name: AROW (American Recorder Or- and the use of special sound effects to set chestra of the West). AROW had its sec- the mood of each piece. It may be ordered ond meeting on August 12 at the Universi- from the director at [email protected]. ty of California, Davis. The meeting was Early musicians were saddened this held as part of a second annual Consort summer to learn of the death on June 12 of Mixer, which attracted an array of early Robert J. Lurtsema, whose sepulchral instruments, singers, and a variety of voice introduced recorded and live music ensembles. on WGBH radio programs for nearly three At the first meeting of the orchestra in decades. As host of Morning Pro Musica, May, approximately 25 recorder players at- “Robert J.,” as he was known, relished all tended, deciding to hold rehearsals every music, especially music by composers other month and to present a concert after with difficult-to-pronounce names, but he every third rehearsal. The group is looking seemed to have the greatest fondness for for rehearsal/concert venues that do not re- recorder and flute music, which was heard quire members to travel long distances. in the New England region out of all pro- The third meeting of the orchestra is set for portion to its customary place in the reper- September 30 in Sacramento. toire. The Boston Globe quoted one letter Richard Carbone leads off a tune with Two recorder groups have issued CDs written to Lurtsema: “If the end of the country and bluegrass musicians at recently: The Highland Park (NJ) Re- world were coming, I’d want to hear it from the South Pasadena (FL)Public Park. corder Society and Chamber Orchestra you. I can hear you saying, ‘That gives us has produced a program called The Age of just enough time to hear Telemann’s try/bluegrass groups, there were many Josquin & The Grand Tour, an inclusive Sonata in F for Recorder, Oboe, and Con- more variables to consider. Some of them theme that encompasses “music from the tinuo.’” met in outdoor public parks, while others 16th through the 20th centuries from Eu- would be found in large cinder-block rope and America.” The music was record- buildings with variable acoustics. Unless ed live at two 1999 concerts for recorders John West, a student of Cléa Galhano there were microphones available, only the and strings under the direction of Robert in Minneapolis, performed Egil Hov- soprano was really successful (especially W. Butts. It may be ordered from the direc- land’s Cantus II for “From the Top,” a when I was invited to take the lead or solo tor (973-625-0459; [email protected]). Public Radio International program in a piece), although my alto worked well The second CD is called Christmas at the featuring talented young musicians. with the quieter hymns and ballads. Most Castle, a wide-ranging selection of season- He was accompanied by the show’s profitable to use was my von Huene al music arranged for recorders, strings, host, pianist Christopher O’Riley. The Ganassi soprano, which carried well in- and percussion and recorded by the Blue show was scheduled to air September 2. doors and out, and gave me the sound- warmth I needed. Besides my enjoyment of the music, there were many other benefits from my experiences. I made some great new friends, and I felt many of the musicians and people listening in the audiences gained understanding and appreciation of what the recorder is and how it can con- tribute to almost any musical aggregation. I learned a lot, had fun doing it, and can recommend this type of adventuring to everyone.
Richard Carbone is a retired English teacher and the former music director of the Rhode Island Recorder Society. He has con- siderable experience as an instructor of re- corder and other woodwinds and performs regularly in churches and with jazz and pop- ular music groups. He divides his time be- tween Rhode Island and Florida.
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ANTHONY BURGESS The Man and His Recorder Music
semble from 1948 entitled Ludus Multi- tonalis in Burgess’s book, This Man and Music.
Career Burgess was born John Burgess Wilson (he was later confirmed in the name of An- thony) in Manchester in 1917 to parents who were music hall performers. Burgess’s mother and older sister died in 1919 of the Spanish influenza. After his father remar- ried, Burgess led a rather lonely childhood PHOTO: © 1988 RICHARD KALVAR, MAGNUM PHOTOS MAGNUM RICHARD KALVAR, PHOTO: © 1988 in the back rooms of the various pubs and shops run by his parents. In many ways he stood apart from world around him: a Catholic among Protestants, a sickly child distant from his step-family, and a studious boy in an anti-intellectual environment (he was the only one among his schoolmates who could read out the captions when they went to the silent movies). The well-known author of NTHONY BURGESS (1917-1993) is best There were few books in the house, and A Clockwork Orange was also A known as the author of A Clockwork Burgess’s young imagination was fired in- Orange, the 1962 novel later made into a stead by The Boys’ Magazine. As a result, a serious composer. Among his controversial film by Stanley Kubrick. his first artistic creation was a magazine of many works are several Burgess, who published over 50 novels, his own, complete with illustrations (he interesting contributions to books of essays, and plays during the was talented at drawing, but barred from a course of his career, is also fondly remem- life as an artist by color-blindness). All the recorder repertory. bered by many as an insightful and dryly through his youth he won prizes for his humorous television commentator on cul- drawings and his writing, not just at school ture. but also in newspaper competitions. While devotees of Burgess’s work will Burgess had a thoughtful boy’s hob- by Scott Paterson probably be aware that he was an accom- bies: a chemistry set and a crystal radio. He plished pianist and composed throughout eventually tired of his chemistry experi- his life, it may come as a surprise to learn ments, but the classical music he heard that he wrote a number of compostitions over the radio began to hold a special fas- for recorder. His musical legacy (which is cination for him. He found that he could as voluminous as his literary output) is still remember not just the melodies of the mu- in the process of being organized and cata- sic but also the more striking harmonic logued. Even so, among the holdings of the patterns. Harry Ransom Humanities Research Cen- Fascinated, the 12-year-old Burgess ter at The University of Texas at Austin are went for help to his pianist father, who re- the manuscript scores of eight substantial sponded only by showing Burgess the po- works for recorder as well as a handful of sition of middle C on the keyboard and on shorter works and unfinished works. At the great staff. However, this was all the in- least four of Burgess’s pieces for recorder formation Burgess needed. With great con- have been published, and there is the tan- centration he learned to play the notes of talizing mention of a work for recorder en- some simple two-part pieces by Handel
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Burgess describes in his against his chosen career as a composer. he married an Italian writer, Liana Macel- He had failed physics in high school be- lari, and decided to leave England, where autobiography the cause of a disagreement with his teacher, he had never felt accepted. He lived first in and this subject turned out to be a prereq- Malta, then Italy, then finally Monaco. He satisfaction he derived from uisite for musical study at Manchester Uni- ended his literary career where it had be- the musical colors he now versity. As a result, he enrolled instead in gun with A Dead Man in Deptford, a novel the English Department. He also met his exploring the life and times of Christopher enjoyed, which seemed to future wife, Lynne Jones, while at universi- Marlowe. ty, and she had little interest in music gen- Throughout his career, and particularly compensate for his color- erally and little sympathy in particular for in his later years, he continued to compose blindness, as well as the Burgess’s impractical passion for compos- prolifically and received many perfor- ing concert music. mances. Among the most notable of these pleasure he took simply in The Second World War broke out just was his Third Symphony, which was per- as Burgess obtained his degree with a the- formed in 1974 by the Iowa City Sympho- drawing the notes on the sis on Christopher Marlowe’s Doctor Faus- ny. Burgess’s son, Andrew, became a pro- page (even in old age, tus. Burgess spent the war in Gibraltar as a fessional oboist, and it was for Andrew that member of the Army Educational Corps; Burgess, during his final years, wrote most Burgess’s musical hand in after the war, he began a career as a teacher, of his music for recorder. the recorder music is commencing at Banbury Grammer School in Oxfordshire. He had maintained his The Music almost calligraphic). musical activities through the war years, Burgess writes at length about his mu- but at this point his wife gave him an ulti- sical style and experiences in both his matum: find success with one big work or autobiography and This Man and Music. put aside the hope of a musical career. Bur- Although as a young teenager he was first gess attempted an opera, but when he attracted to the music of avant-garde com- found he had written a libretto that was im- posers such as Stravinsky and Schönberg, and deciphered rhythmic notation by fol- practically long, he gave in to the inevitable he found their formal procedures too diffi- lowing a radio performance of Tchai- and reconciled himself to a life of amateur cult to replicate, so, as he writes, he settled kovsky’s Fifth Symphony with a piano re- music-making. for “diluted Debussy.” Burgess also fer- duction in hand. In 1954, Burgess accepted a teaching vently admired the music of Elgar. De- Burgess describes in his autobiography position in Malaya, now Malaysia. Before bussy and Elgar meet in Burgess to form a the satisfaction he derived from the musi- leaving England and after his failed at- style that is harmonically and instrumen- cal colors he now enjoyed, which seemed tempt at operatic composition, he had tally colorful but possesses a solidity and a to compensate for his color-blindness, as written two unpublished novels based on breadth of expression that is anything but well as the pleasure he took simply in his experiences in Gibraltar and in Ban- impressionistic. drawing the notes on the page (even in old bury. The exotic Eastern locale in which he Burgess’s compositions always came age, Burgess’s musical hand in the re- now found himself in combination with easily to him; his practice was to compose corder music is almost calligraphic). He the isolation of the expatriate life inspired a piece entirely in his mind before commit- found that he responded especially strong- him to write a trio of novels, Time for a ting it to paper. He did not use a piano, ex- ly to the harmonic colors and the rhythmic Tiger, The Enemy in the Blanket, and Beds in cept after the fact to check what he had al- freedom of contemporary music of all the East, which were immediately accepted ready written. This method of working was kinds—Debussy, Schönberg, Stravinsky, for publication. It was at this time that the analogous to his method of writing novels, even jazz—and he began to try his hand at former Jack Wilson took “Anthony which was quick and involved very little re- composition. Burgess” as a pseudonym, since, as a colo- drafting. To the horror of his friends, he The rest of Burgess’s school years were nial official, it was considered improper for was confident enough to mail manuscripts divided between musical and literary stud- him to publish under his own name. to his publisher without making a copy. He ies, both formal and self-directed. At age 17 After Malaya, Burgess took a post in was happiest writing for large orchestra or he composed a full-length symphony for Brunei, and it was here that the central for unusual instruments or instrumental large orchestra modeled on the works of event of his life occurred. He took ill and combinations. Elgar and Holst, the score of which was de- was sent back to England, where he was di- Burgess’s recorder music in the Ran- stroyed during the Second World War. He agnosed as having an inoperable brain tu- som collection consists of 14 works for also maintained an interest in popular mu- mor and given a year to live. In an effort to great bass, tenor, and alto recorders (see sic, and over the next few years he was able provide for his wife, he took advantage of box). In addition, Saga Music has pub- to sell songs to performers in England, his natural creative fluency and set out to lished Due Pezzetti for flute or recorder and Germany, and Spain. write as many novels as possible in the piano and Three Little Pieces for Wind Quin- At Manchester University, Burgess’s lit- time he had left. In the event, he finished tet or Recorder Quintet. erary specialties were phonetics (which is, five novels by the end of the year only to be Although the keyboard instrument is of course, the study of the sound of lan- given a clean bill of health! In the mean- not specifically designated as a piano in guage), and the Elizabethan theater. As time, he had well and truly become an au- some of these works, the style of the music with music, his literary taste ran to the thor, and from then on he made his living would suggest the piano over the harpsi- modern, especially the works of James as a writer, reviewer, and broadcaster. chord everywhere but possibly in the Sicil- Joyce. Fate, however, began to work After Burgess’s first wife died in 1968, iano and the common-time movement
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(and perhaps the Sonate pour flûte à bec if that “this piece has been played quite suc- an accompanying part exists). cessfully on the Great Bass recorder, even Only the published works and the while accompanied by a full-sized grand sonatas involving great bass and the Sonate piano.” pour flûte à bec are assigned to a specific While each work has its own special size of recorder. The other works have been characteristics, there are several general designated in the list above according to observations that can be made about the the range of the music. One of the most re- style and form of these pieces. markable aspects of Burgess’s recorder True to Burgess’s avowed musical fo- music, however, is the fact that all the cus, the center of attraction in this music pieces designated as sonatas (excepting generally lies in its harmonic and textural the Sonate pour flûte à bec and the fragmen- colors. While the music is essentially tary Sonata No. 3 for tenor) exceed the nor- tonal, there are very few pure triads to be mal upper range of the recorder signifi- found. Burgess’s basic harmonic building cantly, using a total range of almost three block is the four-note chord, usually a sev- octaves in the “St. John’s” Sonata and al- enth of some kind or a triad with added most two and a half octaves in the Sonata No. 2 for great bass (see example 1). The obvious assumption is that Burgess made a mistake and simply wrote too high. In support of this hypothesis is the fact that the music would work well on the flute or bassoon, these instruments being com- mon models for composers unfamiliar with the recorder. As well, it could be hy- pothesized that his brisk method of work- ing might have led him to overlook his er- ror or not to have thought it worth correct- ing. On the other hand, Burgess’s obvious acuity and intelligence and his propensity for writing for unusual instruments argues for a clearer intention on his part. Perhaps he expected the player to employ extended techniques and/or a specially designed in- strument in order to play the music as writ- ten. It is worth noting that in the Sonatas as they are published, the highest passages Example 1: “St. John’s” Sonata, I Allegro Moderato, bar 34, through Andantino, bar 5 are marked as optionally playable down an octave. The question of range is allied to the question of balance in this music, especial- ly the music involving the great bass, which is a very soft instrument. The ac- companying parts make no allowance for the difference of volume and are written more fully than is usual in music involving the recorder (see example 2). Once again, there is a temptation to assume that Example 2: Sonata No. 3 for Great Bass Recorder and Pianoforte, II Elegy: A.B., bars 1-3 Burgess simply miscalculated. However, he is sparing and careful in his use of dy- namics (while at the same time very free with his articulation markings), and it is worth noting that both the tenor and great bass take on a more incisive tonal quality and gain in carrying power when played in their highest register, as Burgess often asks them to do. As a result, sensitive playing on the part of all concerned can overcome the inherent problems of balance. In this re- gard it is worth noting that the preface to Example 3: Sonata in C for Great Bass Recorder and Piano, I Allegro Moderato, bars 117 to 120 the published Third Sonata for great bass points out the difficulty but states clearly
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While the music’s idiosyncrasies second or sixth. He also employs chromat- ic alteration very freely, and the general ef- will certainly give pause, the work of fect is not as much atonal as it is a con- stantly shifting tonal implication. He also surmounting them will add greatly tends to avoid clear cadences in the course to a player’s technique and will of a movement, but almost inevitably makes up for it with a push to the final ca- ultimately produce a unique and dence. The final cadences typically have an especially solid tonal character, but they very special effect. In many ways, often feature some alteration in the final this quality seems analogous to chord that sidesteps a simple triadic end- ing (perhaps a missing third or a discreet Burgess’s use of arcane vocabulary added tone; see example 3). The recorder and piano (and violin in in his literary works the trio piece) are fully equal members in in order to involve the reader the musical conversation. As a chordal in- strument, the piano carries most of the more deeply through harmonic coloration, of course, and it is in intellectual effort. the complexity of Burgess’s harmonic lan- guage that the origin of the very full piano writing lies. Although the piano part changes its character constantly from sim- ple chordal accompaniment to melodic punctuation to more soloistic writing (even some fugal passages), it most fre- quently takes the form of rhythmically ac- tive, harmonically dense accompanimen- tal figuration. There are rarely fewer than four notes being played at a time, and there can be as many as 12 notes required at once (see example 4). Burgess also uses a wide range for tonal effect, sometimes us- ing just a very high or very low tessitura, Example 4: Sonata No. 2 for Tenor (?) Recorder and Piano, I Allegro, bar 11 sometimes spreading a chord wide with the use of the sustaining pedal. While all of this is challenging to play, it is always id- iomatic and fits the hands well (though it helps to have hands as large as Burgess’s own!). It is in the melodies and rhythms of Burgess’s music that the Elgarian influence is primarily felt. Burgess’s fast melodies are Example 5: Sonata in C for Great Bass Recorder and Piano, I Allegro Moderato, rhythmically clear-cut and motivic in na- bars 1-11 (recorder part) ture (see example 5). His slow melodies tend to be rhapsodic, even improvisation- al, creating expansive, arching phrases that are effectively supported by the strongly characteristic accompanying har- monies to create an effect that is grand but never sentimental (see example 6). Sweep- ing fast-note melodic gestures often appear as connecting material and then reappear motivically later in the movement, while repeated-note figures are also frequently employed as a contrast to the more typical wide-ranging melodic activity. Burgess uses rhythm with an almost or- chestral variety, especially in the piano part. Changing rhythmic textures are used Example 6: Sonata No. 2 for Great Bass Recorder and Piano, II Andante Lugubre, bars 5-18 with great flexibility, sometimes in unison between the hands but sometimes in two or three layers at once (usually with yet an-
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There is a sadness in the other layer in the recorder part). Accompa- this research, several of the miscellaneous nying figures are often rhythmically pro- movements are in a very different style reflection that the sonatas pulsive, with a frequent use of accented off- from the sonatas, a style strongly influ- beats (reminiscent of the “backbeat” of enced by Baroque music. for tenor are probably the popular music). Mild syncopations and The Sonate pour flûte à bec is for alto re- last music Burgess ever the use of two-against-three figures (espe- corder rather than the C recorders of the cially in compound time) frequently enliv- sonatas. It is in four movements rather wrote. The “St. John’s” en the texture. than three—Adagio (common time), Alle- Formally, the sonatas are generally in gro (2/4), Largo (3/2), and Allegro (3/8)— Sonata (named, according three movements. The first movements are with the fast movements in clear binary to Burgess’s wife, in honor usually in a moderate tempo and in a fore- form. The melodic writing is more period- shortened sonata form with two clearly ic while the harmonic scheme is clearly of the composer’s patron contrasting themes (sometimes even with tonal and employs a traditional pattern of a repeat of the exposition) and an extensive modulations. Trills are used for harmonic saint) is dated just ten days development section based primarily on emphasis rather than for melodic color, before he died of lung the first theme, but with a recapitulation of and there are even penciled indications of the first theme only, which leads directly to a “tu-ru” articulation in passages of paired cancer and is marked “post a coda-like push to the final cadence. sixteenths! operationem glottalem,” The second movements are slow and Both the common-time movement for are either long cantilenas in a loose rondo alto and the Siciliano for tenor are in a tra- referring to a throat structure, or fantasia-like with sudden, ditional binary form with repeated sec- wide-ranging, and unexpected gestures. tions. The rather restrained keyboard parts operation to restore Third movements are usually more show a strong influence of continuo tex- his voice. rhythmically complex—sometimes broad ture with melodic motion in the left hand and majestic in 3/2 or 5/4 time or quick against a regular chordal motion in the and scherzo-like in compound time. They right. These two movements are almost are usually built around a rondo scheme unique in Burgess’s recorder music in end- that uses a clearly identifiable motivic ing with unalloyed major triads. melody as a structural anchor. The fourteen-bar Andante for three Interestingly, Burgess seems to have flutes or recorders is closest in character to been brought to a close study of Baroque one of Burgess’s sonata slow movements. style by his interest in the recorder. While It seems better adapted to the flute—par- none of the larger works shows evidence of ticularly because of its extensive dynamic markings—but is also effective in its re- corder version (best realized on three References tenors). The Three Little Pieces for wind Burgess writes entertainingly and quintet or recorder quintet share the har- in detail about his musical interests in monic complexity of the sonatas and are many of his books, but three are espe- more rhythmically complex than the An- cially informative: dante. The three short pieces are formally This Man and Music. London, Mel- uncomplicated, though the second move- bourne, Sydney, Auckland, Johannes- ment is a contrapuntal Fugato. The Due burg: Hutchinson, 1982. Pezzetti for flute or alto recorder and piano Little Wilson and Big God, Being the similarly share the language of the sonatas First Part of The Confessions of Anthony in a simpler formal setting. Burgess. London, New York, Victoria, While space does not permit a detailed Toronto, Auckland: Penguin Books, analysis of each work individually, there 1987. are a several touches of wit and imagina- You’ve Had Your Time, Being the Sec- tion that are worth noting in the individual ond Part of The Confessions of Anthony pieces. Burgess. London, New York, Victoria, Formally, the Sonata for violin, great Toronto, Auckland: Penguin Books, bass, and piano, the “St. John’s” Sonata, 1990. and the Sonata No. 2 for tenor all share pe- culiarities in relation to their slow move- Little of Burgess’s music has been ments. The second movement of the trio is recorded, but the following 1995 disc marked “Pastorale” and features long, im- of Burgess’s three guitar quartets gives provisatory solos for recorder, then violin, a good impression of his style: each interrupted by an Allegro outburst by Music of an English Writer on the the other instrument with piano, consist- Riviera. Aïghetta Guitar Quartet. Nu- ing of two bars of motoric 9/8 rhythms to men ED 13049. be repeated “at least six times.” The “St. John’s” Sonata has a surprising attacca
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Anthony Burgess: Works for Recorder Held at Harry Ransom Humanities Research Center, The University of Texas at Austin
Works for great bass recorder in C 1) Sonata in C with piano [dated April 13, 1990; published by Da Capo Music, Ltd., authorizing performance on other C recorders or bassoon] 2) Sonata No. 2 with piano [dated September 18, 1992] 3) Sonata No. 3 with piano [N.B., a Sonata No. 3 for Great Bass Recorder or Bassoon and Piano published by Saga Music Publishing, Ltd., is a different work] 4) Sonata with violin and piano [first movement dated January 18, 1993] 5) Andantino with piano [first page only]
Works for tenor recorder 1) Sonata (St. John’s) No. 1 with piano [inscribed November 12, 1993 “post operationem glottalem”] 2) Sonata No. 2 with piano 3) Sonata No. 3 with piano [six bars only] 4) Siciliano with piano 5) Andante for Three Flutes or Recorders [TTT, ATT, or ATA]
Works for alto recorder 1) Sonatina [first movement only] While it is possible that the Sonatina originally had more movements, this Allegro is the only one currently identifiable. With the permission of the Ransom Center, a facsimile of the composer’s original manuscript is now available as part of the ARS Erich Katz Contemporary Music Series. Ordering information is printed in the ARS Publications listing on page 38. 2) Allegro Vivo [third movement of an unidentified work] 3) Common time movement with piano 4) Sonate Pour Flute à Bec Alto (Treble Recorder) [solo part only]
Da Capo Music may be contacted at 26 Stanway Road, Whitefield, Manchester M45 8EG, UK, while Saga Music may be contacted at 84, Brendon Close, Harlington, Middlesex UB3 5NH, UK.
from an accelerating rising-scale figure at the notes of Scriabin’s famous “mystical Scott Paterson is a recorder and Baroque the end of the first movement directly into chord” and waggishly identifies the mo- flute teacher, ensemble coach, and former a rhapsodic Andantino (see example 1). In ment with an arrow and the notation chair of the Wind Department at The Royal the Second Sonata for tenor there is an ex- “Hommage a Scriabin.” Conservatory of Music in Toronto. He is a tra movement between the Adagio and There is a sadness in the reflection that freelance performer in the Toronto area and closing Allegro non troppo marked “An- the sonatas for tenor are probably the last writes regularly for music magazines in dante languroso” that consists of an im- music Burgess ever wrote. The “St. John’s” Canada and the United States. He is a past provisatory dialogue between the two in- Sonata (named, according to Burgess’s secretary of the ARS and book review editor of struments featuring sudden changes of wife, in honor of the composer’s patron American Recorder. texture, trills, and darting arpeggio figures. saint) is dated just ten days before he died He would like to thank his student Harry The published Sonata No. 3 for great of lung cancer and is marked “post opera- Howie for first suggesting trying to track bass and piano is different from the manu- tionem glottalem,” referring to a throat op- down some of Anthony Burgess’s recorder script Third Sonata. It is similar in style to eration to restore his voice. It is amazing to music. Mrs. Liana Burgess graciously gave the other sonatas save that its second think that in this extremity Burgess had the permission to examine the music and patient- movement is a short “Blues” while the last concentration to compose two full sonatas ly answered all inquiries; Maureen Turquet of movement is a 79-bar “Passacaglia.” and begin work on a third. Rochefort sur Loire, France, was able to pro- There are some unusual markings in As is so often the case, the features that vide insight about the music in performance; several of these pieces. For example, there initially seem most problematic about this while Artellus Limited gave permission to is a long low F at the end of the “St. John’s” music are the key to its success. While the publish selections and Dell Hollingsworth of Sonata with the marking “pure breath.” It music’s idiosyncrasies will certainly give the Ransom Center rendered invaluable as- is also marked crescendo to a triple-forte pause, the work of surmounting them will sistance by arranging for photocopies of the and probably means “senza vibrato,” but add greatly to a player’s technique and will music to be provided and by answering many the imaginative player may find another ultimately produce a unique and very spe- questions. implication to match the marking “sehr cial effect. In many ways, this quality By generous permission of Mrs. Burgess, scharf und lebhaft” in the piano part (the seems analogous to Burgess’s use of arcane Artellus Limited (agents for the Burgess es- only use of German in all these pieces). As vocabulary in his literary works in order to tate), and the Ransom Center, we are able to well, about halfway through the isolated involve the reader more deeply through in- print the Siciliano for tenor and piano to ac- Allegro Vivo movement, Burgess employs tellectual effort. company this article.
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While the sound of the recorder is certainly not unknown in church settings, its ability to enrich and enliven a religious service is often overlooked
NLIVENING THE PRAYER LIFE of any Most modern editions of vocal music Easter, and even Sundays of Ordinary E worship community has almost al- for worship include a part for C instru- Time. Another good collection in this same ways been the special ministry of the in- ment, generally assigned to the flute, oboe, style is Die Tanze (1683) by A Bartolomeo strumentalists. It is also true that the sim- or violin. If the instrumental part lies from de Selma, published by Pelikan Editions, plest instruments to bring to any musical middle C up to the C above the staff, the Zurich. celebration of faith are those that readily part can easily be played by a soprano re- A movement or two of any Baroque read the music at hand. Thus, players of corder. Soprano recorders, reading vocal sonata can set the right mood for almost non-transposing instruments in C have al- music, sound an octave higher than notat- any celebration. Sonatas of Corelli, Han- ways had the advantage in the area of litur- ed and will carry well. For example, in Mar- del, Telemann, Vivaldi, and others too gical music. Flutes, violins, oboes, cellos, ty Haugen’s Mass of Creation, a soprano re- many to name would have been a natural bassoons—these are the instruments gen- corder can play almost any of the parts for choice for the recorder player of the 18th erally heard in our worship. flute or oboe very effectively. The tenor in- century. Accompaniments for these kinds Perhaps one of the most overlooked in- strument will play the same parts at their of pieces are usually not at all difficult for struments in this genre of instrumental en- normal pitch, in the same octave as the the organist and can be supported with a hancement is the simple recorder. Its light flute or oboe. light instrumental bass played on cello or tone and peculiarly pleasant sound lend a If the instrumental part goes no lower bassoon. grace and delicacy to public prayer that im- than F on the first space, the part can be The sound of the recorder can be easily mediately lift almost every heart to an atti- played by an alto recorder. Frequently, in obliterated by over-registration. It should tude of meditation, praise, and thanks. children’s two-part vocal anthems, when be noted that J.S. Bach had one gedackt The recorder’s use in uplifting prayer can the second part cannot be sung, a recorder (stopped) flute at chamber pitch that he be as simple as playing an inner harmony can be used to play this line, making a very used to accompany instrumental music. part above the ensemble by way of descant, pleasant descant instrumental part. This speaks volumes about the simplicity or as a solo instrument sailing gracefully on Recorder players, particularly alto play- that should be exercised in registration the waves of its own delightful repertoire. ers, are (or should be) adept at changing with instruments: less is best. Simplicity The recorder is everywhere in our the octaves in a line of music to fit the range also makes the accompanist’s job less dif- schools, and yet oddly absent in our hous- of the instrument. This “leaping” is not ob- ficult and less intrusive, allowing the pure es of worship. Many public schools teach trusive if done well and makes the recorder sound of the recorder to show through in a recorder as a pre-band instrument. But quite adaptable to music that might wan- transparent way that will take the congre- young adults who have learned the basics der a note or two out of its range. gation by pleasant surprise. of the recorder in school often do not know In small communities celebrating Lit- There is, of course, also music for en- that it can be a rich and viable instrument urgy of the Hours, an unaccompanied re- sembles of recorders in 2, 3, 4, 5 parts, and in their daily lives, particularly in the corder can gather the breath of the assem- more. I have found that London Pro Musi- prayer life of their church families. bly into one gentle song of prayer. Merely ca is an excellent source for all kinds of The accessibility of the recorder ought playing the melody of the first hymn in a suitable ensemble music from the 15th to make it a first choice for use with liturgi- free, unmeasured pattern can be a most ef- through the 20th centuries, and these edi- cal music. Its refinement and immediacy in fective call to worship. tions are priced for the budget-conscious prayer is beyond almost any other instru- Instrumental music before liturgy, at group. Among their publications is the ment, save the organ. Indeed, when one the Preparation of the Gifts during Eu- Danserye (1551) of Tielman Susato. The considers the names of many organ charist, and as meditation music after Danserye pieces are simple enough for ele- stops—Gedackt, Stopped Flute, Block- Communion can be an effective tool in the mentary students and elegant enough for flute, all imitative of the recorder—it is sur- ministry of music in worship. A bright so- any celebration. If it is difficult to find a prising just how often the sound of the re- prano recorder solo can also be used with bass recorder, the organ gedackt stop can corder is used in worship, if not the instru- light organ as postlude music. One good play the bass line. To get large numbers of ment itself. collection is Twenty-five Masque Dances for players involved, these pieces can be dou- How can the recorder be used in wor- Soprano and Continuo, London Pro Musica bled with four or more instruments on a ship? What will it play? Where is it best Editions. Yes, they are dances—rhythmic, part, or equally effectively, they can be pre- suited? What occasions respond well to its joyful, short pieces that can be strung to- sented by a simple quartet of instruments. particular sentiments? gether nicely for weddings, Christmas, Every publisher has collections of mu-
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sic for special times of the year, particular- When one considers the names of many organ stops— ly Christmas, Easter, and other celebra- tions such as weddings. Most Baroque Gedackt, Stopped Flute, Blockflute, all imitative of the sonatas are excellent music for all of these times and occasions. I would be remiss in recorder—it is surprising just how often the sound of the not mentioning my own compositions for recorder is used in worship, if not the instrument itself. alto recorder with accompaniment, Joy to the World! Two Carols for Solo Instrument, Keyboard and Bass Continuo, published by Augsburg Fortress, Minneapolis. While written for the more advanced alto re- corder player, these two chamber-style sonatas are good material for Christmas and other times of general joy. (There is even a transposed B part for the clarinet!) The second piece in this collection is a set of variations on the tune “Weisse Flaggen.” We are lucky to have chapters of the American Recorder Society all over the country with members who are willing and able to help organize and participate in a developing music ministry in almost every church of every denomination. It will only take a little initiative on the part of both re- corder players and church musicians to open up a world of possibilities for use of the recorder in worship. The simple unas- suming sound of the recorder can add a dimension of humility and noble simplic- ity to any prayer event in the faith life of the church. Unfettered by keys, easily learned and lovingly prac- ticed, the recorder’s place in worship is immediately evident as among the best choices for an instrument that inspires prayer. When the celebrant says, “Let us pray,” the re- corder player need do little more than exhale to lift the mind and heart of the assem- bly into the breath of the Spirit.
In addition to being a church or- ganist and choir director, Peter Ramsey is director of the Past Time Consort in Latrobe, Pennsylvania. His three- movement, three-part Triptych is being is- sued this month as an ARS Members’ Library Edition. This article is adapted from its publi- cation in the Spring 1999 GIA Quarterly, A Liturgical Music Journal. Reprinted with permission of GIA by Peter A. Ramsey Publications, Chicago, Illinois. AMR20.qxd 8/18/00 12:36 AM Page 20 AMR20.qxd 8/18/00 12:37 AM Page 21
BOOK REVIEWS ______Two books that explore music-making in the Baroque era
BAROQUE WOODWIND INSTRU- the chalumeau and baroque clarinet.) Car- mances, music publishing, contemporary MENTS. BY PAUL CARROLL. Ashgate Pub- roll begins each with an overview of the in- commentaries, and composers’ careers en- lishing, 1999. 208 pp. Hardcover, $65.95. strument’s history and development up to liven the fairly comprehensive discussion. ISBN: 1-35928-326-8. the Baroque period, including details of There is a great deal of useful information In his introduction, Paul Carroll writes surviving instruments, their makers, collected here, and the chapter on reper- that most 18th-century instrument tutors iconography and uses in various locales. toire for each of the other instruments is which contain instructions and fingering This is followed by a discussion of the similarly extensive and entertaining. charts for more than one instrument can repertoire for each woodwind that can best The section on buying a recorder is be misleading or incomplete and that we be described as encyclopedic, with in- again typical in containing common sense are fortunate to have treatises by Quantz, formed commentary on many works, Car- tips about pitch, material and price con- Corrette, Leopold Mozart, et al. which do roll’s personal evaluations, and sugges- siderations, as well as instructions on oil- focus in clearer detail on one particular in- tions for effective performance. ing, adjusting cork- and thread-wrapped strument. While making no claim to be The chapter on the recorder gives a joints, and combating condensation. comprehensive, Carroll’s volume contains summary of the instrument’s develop- The main weakness of the book lies in a wealth of information on the Baroque ment from a Medieval/Renaissance cylin- the sections on playing the various instru- bassoon, flute, oboe and recorder and can drical bore construction to that of a conical ments. Carroll gives careful instructions on be highly recommended as a repertoire bore, which increases the range and holding and producing a sound on the survey. Readers expecting practical techni- changes the tone quality. The confusing flute, for instance, then gives step by step cal guidance, however, may end up as frus- subject of the “Ganassi-type” recorder, directions to place the fingers one at a time trated with Carroll’s book as he is with however, is further muddled by Carroll’s on the tone holes, and blow. After three or some of the historical sources. statement on the matter: “The renaissance four fingers the “and blow” becomes an- Carroll is professor of Baroque and clas- recorder was made from one piece of wood noyingly redundant. He then directs the sical bassoon at the Royal College of Mu- with an almost cylindrical bore and a range aspiring flutist to learn the fingerings for sic, London, and his stated aim is to “pro- of about an octave and a half. Ganassi’s the other notes, practice long tones daily vide enough information to enable a per- treatise adds another six notes to the and consult Quantz for alternate fingerings son who has achieved a reasonable facility range, a result of the quite different bore to correct intonation deficiencies. on a modern instrument to play a baroque shape of the renaissance instrument, with While he says that La Barre and Hot- woodwind instrument to a basic level.” He a set of fingerings which even the author teterre give advice on articulation and or- stresses the desirability of a good teacher, admitted to be difficult.” An editor might namentation, he gives no hint what that but “for the player or student who does not have clarified the point about bore shape might be. Hotteterre’s Principes has previ- have access to a teacher this book will also here, and other ambiguities elsewhere. ously been described as “really only ap- make it possible to attain a reasonable The discussion of the repertoire of the plicable to the French, Hotteterre-type standard without one.” Baroque recorder begins with J.B. Lully, flute which was in use from about 1670 un- After considering the choice of which and many interesting details of perfor- til about 1720 and as such it is not recom- instrument to learn based on repertoire mended for use with other types of flute.” preferences, relative difficulty, and the Performers may Strictly speaking this may be correct, but practicalities of a reliable reed supply, he surely any player of a Baroque woodwind gives good advice on the purchase of in- experience some initial can learn a great deal from Hotteterre struments from early music specialty disappointment that about how articulation shapes melodic shops or from individual makers, and on Anthony excluded lines, and not just in French music from choosing performing editions of music performance practice the early 18th century. Carroll is similarly which are faithful to the composer’s inten- brief in his comments on articulation for tions, listing publishers of urtext editions issues from his study, but the other instruments. If this book is in- and facsimile reprints. In regard to style the discussion often tended to help someone with a reasonable and ornamentation, he suggests that we touches upon issues of proficiency on a modern instrument to consult the original treatises to form a per- achieve the same on a Baroque one, then spective on these subjects. form, genre, and scoring, aside from tone quality, the greatest differ- The four following chapters cover in which are certainly ence in playing technique must be tongu- turn the bassoon, flute, oboe and recorder. important considerations ing concepts. (We are referred to the books by Colin for performers. An appendix on the preparation of per- Lawson and Albert Rice for information on formance material from original sources
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mental music, and vocal music. There is trio of recorder and viola and is then fol- BOOK REVIEWS some overlap between these four cate- lowed by a full string ensemble. Anthony (cont.) gories, since nearly all religious music of also describes an unusual scoring with six the era is also vocal music, but the divi- recorders used in a performance of Atys offers an introduction to this topic: what sions are useful for understanding the (act III, scene iv) in 1676 in which, accord- questions to ask oneself when appraising a ways that French composers thought ing to the libretto, the recorders were used manuscript, and what conventions to ap- about categories of musical compositions. in a 3 + 3 combination in the sommeil ply to make it useful to modern perform- By far, the largest section of the book deals (sleep scene). The scoring of voice with re- ers. The fingering charts from Hotteterre, with stage music, which includes corder and strings can also be found in sa- Quantz, Diderot, Corrette, etc. in the ap- tragedies, opera-ballet, and other works cred music too, as in Couperin’s Quatre pendix do not include trill fingerings “as that include dancing, scenery, and cos- versets d’un motet (1703) for 2 high sopra- these are deemed to require a more ad- tumes. This is appropriate in view of the nos, violins as the basso continuo, and re- vanced standard,” although two trill charts emphasis in the 17th and 18th centuries on corders. In another of Couperin’s works, do appear in the body of the book. A se- ballet and opera as the principal musical verse 13 of psalm 118 (Mirabilia testimonia lected list of instrument makers with ad- entertainment, and Anthony’s impressive tua), Anthony points to an unusual scoring dresses is included. knowledge of Campra’s and Montéclair’s for soprano solo with a ritournelle for re- Carroll has achieved part of his goal in music contributes significantly to a pene- corders accompanied by “all the violins.” providing us with a valuable guide to the trating discussion of the period between Few French Baroque composers can repertoire of Baroque woodwinds, his his- Lully and Rameau. Within each section, compare with Marc Antoine Charpentier tories of those instruments are accurate composers are treated in chronological or- when it comes to choice of instruments for within the context of a brief overview, and der, with enough biographical information colour and contrast. Anthony’s discussion all is presented in an engaging manner. to situate composers within their milieu, of Charpentier’s music offers a significant However, his actual playing advice leaves references to significant scholarly work, lo- contribution to the literature on this ex- significant topics unexplained. As he him- cations of important manuscripts, and ceptional composer. Charpentier’s Messe self suggests, a good teacher would seem to brief but vivid descriptions of the music pour plusieurs instrument au lieu des orgues be a necessity, not just in the 18th century. and the specific instruments employed. is scored for four recorders, three trans- Colin Savage Performers may experience some initial verse flutes, four bass flutes, two oboes, disappointment that Anthony excluded one crumhorn, and a four-part string en- FRENCH BAROQUE MUSIC: FROM performance practice issues from his semble (without basso continuo). One BEAUJOYEULX TO RAMEAU (RE- study, but the discussion often touches up- Kyrie (#7) in this work also is scored for re- VISED EDITION). BY JAMES R. ANTHONY. on issues of form, genre, and scoring, corders. Charpentier uses recorder in Amadeus Press, 1997. 586 pp. Hardcover, which are certainly important considera- some of his secular music too, as for exam- $39.95. ISBN: 1-57467-021-2. tions for performers. There is also a six- ple, the cantata composed for Mlle de It is a pleasure to welcome the third page epilogue, “Thoughts on the Perfor- Huise entitled Orphée descendant aux en- English edition of James Anthony’s com- mance of French Baroque Music,” in fers, which is scored for three voices, two prehensive and important study of French which the author raises some of the most violins, recorder, flute, and b.c. Baroque music. Originally published in controversial issues, such as ornamenta- Early in the 18th century, the recorder 1974 and revised 4 years later, Anthony’s tion and rhythmic alteration. Performers was often indicated as an alternate to the work was also translated into French in will then need to turn to the bibliography flute or oboe in solo music, but later on it 1981 and revised again in 1992. Of these for more detailed studies and references. came to be considered more of an amateur four editions, only the latter French one re- The recorder may not have figured instrument and generally fell out of use as mains in print. The two decades that sepa- prominently in French chamber music of a solo instrument. As Anthony points out, rate the second and third English editions the Baroque period, but as Anthony certain well-known performers such as are characterized by what the author calls a demonstrates, it did achieve a certain Michel Blavet also helped to popularize the “veritable explosion of interest in French prominence in stage works, either on its flute, which even began to rival the violin Baroque music” (p. 9), which has given own or in combination with the flute. In as a solo instrument. rise to new archival research, new scholar- Lully’s music, the word flûte generally Anthony demonstrates the indebted- ly editions, and hundreds of new record- refers to the recorder, whereas flûte d’Alle- ness of French composers to Italian music ings. Anthony adds his own observations magne is the term for transverse flute. The with considerable insight, especially in dis- and insights to this new research, and the two instruments co-existed in the late 17th cussing Leclair’s hybrid style. He also in- result is an invaluable reference tool and century in France, and Anthony discusses cludes mention of some little-known com- historical survey for both scholars and per- some unusual examples where the two in- posers, such as Jean-Baptiste Dupuis (fl. formers. At least a third of the 586-page struments can be heard together, as in the 1741-1753) who wrote music for the vielle volume represents new material, including “prélude pour l’Amour” from Le triomphe (hurdy gurdy). Perhaps these few examples a substantial (70-page) bibliography. The de l’Amour, in which flutes are used along of the breadth of Anthony’s work demon- book offers visual appeal too, with a jacket with tenor, bass, and great bass recorders. strate that his book can be not only used as adorned by a full-colour reproduction of Anthony also discusses Lully’s frequent a reference tool but also read for pleasure. Nicolas Tournier’s painting “Le concert” use of recorders with either violin or viola It is an outstanding achievement for one and high quality production from in trio episodes within his 5-part dance musicologist and should find a place in the Amadeus Press. music. As a variant to this procedure, a library of players who wish to include The organization of the book is by minuet from the prologue to Armide de- French Baroque music in their repertoire. genre: stage music, religious music, instru- parts from the norm by beginning with a Mary Cyr
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volved performance of Frog in the Milk by BERKELEY FESTIVAL (cont.) Eric Davis (b. 1970), an episodic work re- counting an improbable occurrence from Proosdij. Intonation and phrasing were uma nuvem rosea, lenta couldn’t erase the a child’s point of view. superb throughout, and the program memory of Legêne’s own transfixing per- The radiant smile of Eileen Hadidian went beyond the standard repertoire for formance at Berkeley in 1992, when its suffused the playing of Celtic Spirit, a young players to include van Proosdij’s dramatic special effects seemed new, the group that included Natalie Cox, harp, arrangement of Bartók’s Poor Goose Thief, strength of its underlying message was and David Morris and Julie Jeffrey, violas Matthias Maute’s arrangement of Satie’s perhaps easier to appreciate now that the da gamba. While the traditional tunes Chez le Docteur, Tábortúznél by Bárdos novelty had worn off. from Ireland and Scotland and the pieces Lajos, and a premiere of Andrew’s Trios by Letitia Berlin and Frances Blaker from Playford’s Dancing Master were Andrew Levy, a member of the group. started their mini-recital with three beautifully realized, a special moment Friday morning, recorder enthusiasts Couperin airs “in the theatrical style,” came in Hadidian’s performance of Tur- headed over early to Loper Chapel at the proceeded to an estampie from the lough O’Carolan’s Sí bheag sí mhór on an First Congregational Church to catch the Robertsbridge Codex with dramatically old Moeck Rottenburgh tenor. eighth annual ARS Great Recorder Relay, extreme dynamics, and concluded with A real sense of snappy dialog was a series of showcasing mini-recitals. It Blaker’s own Vejen til Island skrives på van- achieved when Frances Feldon teamed was notable that all performances had det (“The way to Iceland is written on the up with percussionist Karolyn Stonefelt roots in the teaching of Eva Legêne and water”), an evocative piece that included in the concluding mini-recital. A Me- the early music program established by in- and out-of-sync sputato chords, liquid dieval “parlamento” for recorder and Thomas Binkley at Indiana University. calliope sounds, and swirling sopranos dumbek set the stage for two modern Kim Pineda, a force for early music vs. a moving ostinato at the end. works: Hans-Martin Linde’s Divertimento and the recorder in the Seattle area where Standing alone, Patrick O’Malley for alto recorder and miscellaneous per- he was until recently president of the created a Berkeley Improvisation on the cussion, and Werner Heider’s Gassen- Seattle Recorder Society, offered four spot, working with the intervals suggest- hauer for soprano recorder and snare movements of Bach’s Violin Partita III, ed by the word “Berkeley” in a slow, ru- drum. In keeping with the title, the per- BWV 1006, on a colorful Beha & Gibbons minative first section and evolving into formers requested that the doors be alto, starting out with a welcoming, im- more rhythmic, repeating material that opened to let in the street noises. provised, warm-up toccata. While his seemed to take its cue from the local Tele- Recorders showed up elsewhere at the presentation of Gerardo Dirie’s Tarde, graph Avenue. He ended with a totally in- Continued on page 38
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MUSIC
______REVIEWS ______Teaching texts and music, along with new music from Britain and Italy, and a piece for csakan
COUNTRY SWING, BY KEN HARRIS. she listened to the piece, however, her tracks, the first played by the recorders and Sweet Pipes SP2374, 2000. SS, full sc 8 pp, shining eyes told me she would have no synthesizer and the second played only by rec sc 4 pp. Complete package (teacher sc, trouble with it. A week later she came back the synthesizer, leaving the solo part open 1 set of rec pts, 1 CD), $17.95; CD, $12.95; with an almost perfect presentation. “This for the “live” recorders. 1 set of rec pts, $2.50; 10-pack rec pts. is what I love,” she said, pointing to a re- I heartily recommend these pieces for $19.95. curring syncopated figure. young beginners. I have a ten-year-old beginning student, Though these pieces are written to be Virginia Ebinger very bright, keen, in love with the recorder, played by two recorders, they can stand but—until recently—too impatient to quite adequately with one recorder and ac- RECORDER EDVENTURES: TEACH- spend much time learning to read music. companying synthesizer—really a bonus ING RECORDER IN THE CLASS- She much preferred making her own for us. Now as to the accompaniment and ROOM, BY MARILYN WINTER. Published songs, or at best picking up by ear things my prejudice: I do believe that such ac- by the author (1100 Legion Lane, Butte, she liked. And there’s certainly nothing companiments, no matter how tastefully MT 59701; recorderedventures.com; 406- wrong with this, as far as it goes, because, done, are unforgiving; they allow no room 494-4415), 1999. S, 244 pp. Softcover, after all, music is an aural activity. We, for anything but absolutely strict obedi- $35.00. teachers and players sometimes forget ence to rhythm and tempo. For a student Marilyn Winter, teacher, music special- that, putting too much emphasis on the lit- like Julie this was fine discipline. For others ist and recipient of a Masters of Education tle black squiggles on the page. But there is I’ve known, it would mean frustration and degree in School Administration from no getting around the fact that reading is failure or at best only part success. Montana State University, has compiled a important and simply must be addressed. Julie went on to learn the third piece, comprehensive recorder method that in- Julie had asked at a lesson, “Can the re- “Boogie Swing,” built on six tones—F, G, corporates contemporary strategies for in- corder play anything jazzy?” I don’t think A, B, C, and D—and with a different syn- structing today’s youth. Recorder EdVen- she meant real jazz, but rather modern, copated figure. This one was a little more tures is primarily a teacher’s manual devel- catchy, rhythmic, tuneful music. I looked difficult, probably because of the F finger- oped for use in an elementary classroom through catalogues, searched my own ing, but it was also appealing enough to setting. Contained in the manual are many files, checked sources but could find noth- Julie that she mastered it in a very short reproducible materials including songs ing just right for her—until Country Swing: time. She was reluctant to try the other two and attractive worksheets for students. “Four great arrangements with a country pieces—possibly because the titles did not Through active participation, this sequen- sound and swing style which will be en- appeal to her—and I chose not to push our tial approach introduces young students to joyed by students and teachers.” I almost luck by forcing her to tackle them. “Coun- the joys of recorder playing. Students de- overlooked this suite of pieces for a couple try Swing” is also somewhat syncopated velop musicality and musical proficiency of reasons. First, we are in a place where and is spelled on E, F, G, A, B, C, and D. through exploration, manipulation, and there simply are not two recorder players of “Country Ballad” covers the full D octave reconstruction of musical components. Julie’s age. Second, there was my own prej- and is rhythmically straightforward and The book, comprised of eleven chapters udice against a “canned” accompaniment. “square.” The accompaniments are similar plus appendices, is presented in dialogue But we gave it a try. to the other two. Each piece has two CD form with teacher prompts in italics. Ra- The four pieces are: “Country Swing,” tionale for teaching strategies are displayed “Country Ballad,” “Boogie Swing,” and in a column to the left of the main text. “Jazz Swing,” all of them “easy/intermedi- Julie had asked at a This book would be invaluable for new ate arrangements for two soprano re- lesson, “Can the recorder teachers, since it addresses every aspect of corders...sure to be a hit.” Julie didn’t like play anything jazzy?” recorder instruction. Experienced teach- the titles of the first two, not even enough ers, seeking to utilize innovative teaching to hear them; she pricked up her ears at the I looked through techniques and creative methods of assess- third title, and she simply jumped to at- catalogues, searched ment, would also find Recorder EdVentures tention when she saw the name of the my own files, checked to be a useful resource. The study of re- fourth piece. “That’s it,” she said. “I’ll sources but could find corder is valued on its own merit and not learn that one.” as a pre-band experience or only as a She knew the pitches—C pentatonic: nothing just right means to teach note reading. The author E, G, A, C, and D—but even these she rec- for her— until Ken acknowledges that recorder may be the on- ognized on the page haltingly, and the syn- Harris’s Country Swing. ly instrument some children will play dur- copated rhythm was a mystery to her. As ing their lifetime and realizes its impor-
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Order your recorder discs through the ARS CD Club! The ARS CD Club makes hard-to-find or lim- recorders; with other members of Musick Fyne ited release CDs by ARS members available (voice, harpsichord, lute/theorbo) and W. M. Gay, to ARS members at the special price listed cello. 17th and 18th century duos, trio sonatas, (non-members slightly higher), postage and arias, diminutions. Upbeat Classics. $17 ARS/$20 handling included. An updated listing of others. available CDs may be found at the ARS web ____NEO-MEDIEVAL Tina Chancey, Grant Herreid, site:
the sequential passages are imitative be- MUSIC REVIEWS (cont.) tween the solo and bass lines; the solo part begins the sequence, and the bass part im- tance for establishing positive attitudes to- grated with recorder study. Students sing itates the passage at the interval of a fifth ward music. words, pitch letter names, and solfa sylla- (sometimes a fourth) below. The instructional approach is unhur- bles combined with Curwen hand signs. A quite lovely passage ending the first ried and embraces singing as an integral Students are also challenged to transfer syl- movement in the dominant comes about part of each lesson. Multisensory and in- lables to pitch letter names and vice-versa. through homophonic parallel sixths lead- terdisciplinary activities allow for student Chapter ten includes supplemental activi- ing to a lovely phrygian cadence. Most of achievement. The teaching techniques in- ties, some of which include practical solu- the sixteenth-note passages are scalar, or corporate traditional methodologies, such tions for teaching students with varying they use patterns that are quite common in as Kodaly and Orff. Students are allowed abilities, Native American studies, and a Baroque music. Therefore, I feel that this time to analyze, predict outcomes, and charming story entitled, “A Gift for Guil- sonata is accessible to high-intermediate record their individual progress in a re- laume.” Chapter eleven presents 35 song players who have a little time for practice, corder folder. Enjoyment is fostered scores featuring traditional songs and clas- and would be quickly mastered by ad- through games and cooperative activities sical excerpts that students know and en- vanced players. to engage students and broaden under- joy. The author observes that students are The editor has corrected obvious errors standing. more successful when they begin with fa- without comment and realized the contin- To ensure correct playing technique, miliar songs and allow repetition to facili- uo. It is accurate to the figures, rhythmi- much emphasis is placed upon the first tate learning. A concluding section of ap- cally interesting, not overly busy, and only three chapters. Basic playing procedures pendices provides additional reference rarely crosses the solo recorder line. Most are presented with “student friendly” vo- material including information on where harpsichordists will find the realization to cabulary. From the outset, students are en- to buy recorders. Recorder EdVentures pre- be readable at sight. One measure I would couraged to demonstrate independence sents an approach to teaching the recorder have realized differently (measure 23 of the and assist in establishing desirable class- that ensures success for learners of diverse Aria), because it creates parallel octaves room protocol. Prior to reading and writ- ability and unique learning styles. with the recorder part. ing formal notation, chapter four provides Gwen Skeens Although my initial reaction to this activities for the development of innate sonata was lukewarm, I find myself return- musicality, challenging students to play by SONATA IN C MINOR (1762), BY ing to it again and again. Each new hearing rote, by ear, and to improvise. In chapter CHRISTOPHE NAUDOT, ED. HUGO RUF. brings a musical element to my attention five, students are guided to experiment Schott OFB 185 (European American), that I did not fully appreciate during the with nontraditional notation while discov- 1998. A and bc, sc 10 pp, pts 4 pp each. previous hearing. ering a variety of ways to convey melodic $14.95. ideas through the use of melody graphs Naudot lived in Paris for many years RONDO 1812, BY ABBÉ JOSEPH GELINEK, and song dots. The use of a hand staff pro- and died there on November 25, 1762. J. J. ARR. PETER THALHEIMER. Carus-Verlag vides a tactile reference prior to the place- Quantz included him on his list of Carus 11.234 (49-711-797-330-0; ment of notes on the lines and spaces of “renowned Parisian virtuoso flautists.” [email protected]), 1998. S and the written staff. Traditional notation is in- This sonata is from a manuscript entitled kbd, sc 6 pp, pt 3 pp. $8.50 plus P/H. troduced in chapters six and seven. Notat- SONATES / Dessus et Basse / Qui convien- The editor includes the following infor- ing (drawing) music helps the learner deal nent aux Flûtes-à-bec, Flûtes-traversières, mation about Abbé Joseph Gelinek (1758- with the elements on a concrete level, con- Hautbois that “originated in France around 1825): He was born in Bohemia and died necting the sound with the symbol. Chap- the middle of the 18th century and con- in Vienna. A priest as well as a musician, he ter eight provides students opportunities tains compositions for the recorder by Bel- received his musical training from Joseph to notate and create their own musical gian, French, and Italian composers.” Seeger and Johann Georg Albrechtsberger. arrangements of familiar songs. Two The four movements of this sonata are With the encouragement of Mozart, he unique instructional tools, “pocket charts” marked Adagio, Allegro, Aria, and Allegro. went to Vienna to become a domestic and “form books,” are introduced in chap- My first reaction was that it appears to rely chaplain as well as a piano teacher to ter nine. These learning tools allow stu- very heavily on melodic sequences and Count Philipp Kinsky. There he met dents to investigate elements of music that it would require an imaginative player Beethoven and Haydn and published nu- (rhythm, melody, etc.) isolated from one to add some interesting ornamentation to merous works for piano and chamber another, so the reading of music symbol- the many sequences to avoid excessive rep- groups. He later became the domestic pi- ization is more easily interpreted. By study- etition. I still hold with this opinion. How- anist and chaplain to Prince Nikolaus II ing the phrases and elements separately, ever, a closer examination of the score re- von Esterházy. students better understand the whole vealed some interesting aspects of the The editor, Peter Thalheimer, was born composition. Singing is continually inte- many sequences. Many are harmonic se- in Stuttgart in 1946. Since 1978, he has quences that lead to important harmonic been a lecturer in recorder and transverse KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contra goals through a series of descending fifths, flute methodology and performance prac- bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- a very common technique. One of the se- tice at the University for Music Nürnberg word; opt=optional; perc=percussion; pp= pages; quential passages in the second movement Augsburg. He has performed as a soloist sc=score; pt(s)=part(s); kbd=keyboard; bc=basso continuo; hc=harpsichord;P/H=postage and han- goes through the entire series of descend- with many different ensembles in Europe dling. Multiple reviews by one reviewer are followed by ing fifths, beginning on and returning to and the U.S.A. that reviewer’s name. tonic harmony—it’s fun to play! Many of Rondo was originally published in Vien-
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gers. I am very attracted to this piece, and MUSIC REVIEWS (cont.) recommend it to very advanced perform- ers. It is light-hearted, fun to hear, and fun na in 1812 and was scored for csakan and hearted performer. There are no metro- to play, and would be great as an encore. pianoforte. The original publication placed nomic or tempo indications, but rondo Susan Groskreutz the piano part in A-flat major and the themes are typically performed at a lively csakan part in C major, as the csakan was pace. I would recommend that this theme KONZERTSTÜCK (1998), BY PAUL LOEB normally pitched in A-flat. This edition has be played no slower than = 72 in order VAN ZUILENBURG. A-Z Publishers (14 Oran- transposed the piano part to C major so the to preserve its rondo character. The theme je Ave., Stellenbosch 7600, Rep. of South piece can be played on a soprano recorder. is predominantly eighth notes with a few Africa; [email protected]), 1998. A with A good portion of the literature for csakan groups of sixteenth notes, but the transi- string orchestra (piano reduction by the is very virtuostic, and this is no exception. tional section contains sixteenth-note and composer), sc 17 pp, pt 4 pp. $14 (full or- The form of this piece is really quite thirty-second-note runs, as well as six- chestra score and parts $31). simple. It opens up with an A section in C teenth-note triplets that wind around an F 36 LOGOS: SOLO PIECES FOR major on a very classical sounding (almost diminished-seventh chord. However, I be- TREBLE RECORDER (1983), BY PAUL Mozartian) rondo theme. This is followed lieve that recorder players who can run up LOEB VAN ZUILENBURG. A-Z Publishers, by a transitional section that modulates to and down C, G, and D major scales and 1983. A or flute, sc 36 pp. $11.00. the key of G major. The end of the B section arpeggios can master this piece with some 12 MEMOS (1991), BY PAUL LOEB VAN modulates back to C for a repeat of the A serious sessions in the practice room. You ZUILENBURG. A-Z Publishers, 1991. S and section, again in C major, followed by a co- will need a good, cooperative high C on pf, sc 16 pp., pt 8 pp. $9.00. da that rounds out the piece in C Major. your soprano (several times). The key- 12 MOTTOS (1995), BY PAUL LOEB VAN The harmonies of the piece are also simple. board part is easily read by a pianist/harp- ZUILENBURG. A-Z Publishers, 1995. Trum- The recorder part is not for the faint- sichordist who has good scale-playing fin- pet (A) and pf, sc 23 pp, pts 8 pp. $9.00.
Since my appointment at the Conser- Teaching Recorder in South Africa vatory of the University of Stellenbosch in 1970, a few students each year have INCE 1966, I have been involved in the teaching of the recorder would have taken the recorder as a main subject, S guiding students on a path I had not to be more than only a technical training sometimes combining it with piano or traveled myself and of which I did not course, as is often the case with wood- harpsichord. These students have never know the outcome. The popularity of wind instruments like the oboe or flute. had any problems obtaining teaching the recorder in South Africa had soared It would need to include study of the Re- posts. In primary schools especially, in the sixties due to recordings of Carl naissance and Baroque periods, perfor- there always seems to be a demand for Dolmetsch and later Frans Brüggen. mance practice, especially basso contin- recorder instructors. There was suddenly a shortage of quali- uo and ornamentation. It would also I see a bright future for the recorder fied teachers (and may I add, there still have to include ensemble playing, a in South Africa. A large part of our popu- is!). Promising pupils showed up at uni- knowledge of all the recorders and their lation is relatively poor but anxious to versities and conservatories prepared to particular technical problems, and of learn “serious” music and also theory. study recorder, but they could not pro- course, the usual conservatory subjects The recorder is an ideal introduction to ceed any further, because no course was like harmony, counterpoint, solfege or the vast amount of good music written available at any university or conservato- aural training, accompaniment on a key- in the Baroque era and in the 20th cen- ry in the country. board instrument, and the history of tury. Most plastic instruments are good Having just started as a lecturer in pi- music in general. Teaching methods enough as far as intonation and tone ano at a newly established conservatory were a large part of the curriculum. quality are concerned. They are reliable in Pretoria, I proposed to my director to We planned a three-year Diploma and stand up to our dry climate. And start a full-time diploma course in re- course followed by a Higher Diploma fortunately they are still affordable. corder. One student applied—Marié curriculum lasting two years. Soon after, The training of teachers is well on its McLachlan, a former schoolteacher who other educational institutions in South way, and annually new music educators had decided that she wanted to become Africa started up similar courses of strengthen the body of qualified educa- a music teacher. When another full-time study. At the University of Port Eliza- tors. I am happy to say that my 36 Logos student entered the next year, we were beth, Theo Boekkooi introduced a simi- are used from grades 1 through 7 in the well on our way to acquire permanency lar syllabus, and the same happened at Practical Certificate Examinations of the as a course of study. the University of Durban Westville. The University of South Africa, the largest ex- The Conservatorium for Music in University of South Africa began granti- amination body of the country. Musica Pretoria provided the ideal environment ng Licentiates in Recorder Performance Variata, 20 lessons in variation form, for our ideals. It was based on Continen- and Teaching fairly soon afterwards, also were especially written for beginning tal principles concerning music teach- following our new syllabus. In this way, full-time music students at the Universi- ing, stressing the building of a large students who were not registered at a ty of Stellenbosch. They, too, figure in repertoire and long teaching periods. university or conservatory could obtain a the University examination programs. From the beginning it was clear that teaching qualification. Paul Loeb van Zuilenburg
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MUSICA VARIATA (1972), BY PAUL LOEB (which are based on Latin phrases such as VAN ZUILENBURG. A-Z Publishers, 1972. S, tempus fugit) show their origin as trumpet sc 30 pp. $9.00. pieces with a preponderance of fanfare-like 12 NOTAS (1992), BY PAUL LOEB VAN figures and especially sonorous piano ZUILENBURG. A-Z Publishers, 1992. A and parts, but are all the more intriguing as re- pf, sc 20 pp, pt 8 pp. $9.00. corder pieces because of that. Paul Loeb van Zuilenburg wrote these The Konzertstück is by contrast a pro- collections for his students at the Conser- fessional-level piece of approximately 200 vatoire in Stellenbosch, South Africa. The bars which poses several challenges— first two, Musica Variata of 1972 and 36 Lo- from changing time signatures to fast-note gos of 1983, are the most clearly pedagogi- passagework and quick leaping figures. cal in intent. Musica Variata is in the form While full of novel textures (especially with of 18 lessons, most consisting of a theme the use of strings rather than piano) and and variations plus one other short piece, several effective changes of mood, the which is sometimes by another composer, work lacks the charm of the student pieces while 36 Logos includes at least one piece and is less distinctive in its overall effect. for every letter of the alphabet, ranging All books are computer set and quite from theoretical terms such as “Anacrusis” legible with only a couple of small errors. It and “Inversion” through dance forms such is good to get a small peek at the recorder as “Courante” and “Waltz” to non-Western scene in South Africa (see accompanying references such as “Yo” (an Indian flute). box on page 28). If van Zuilenburg’s writ- The pieces in both sets are tuneful and ing is any indication, there is a firm basis imaginative (sometimes employing ex- there in various European musical styles tended techniques or unusual time signa- but also a bit of an outsider’s original per- tures) and often quite witty. For instance, spective. The pedagogical pieces would van Zuilenburg poses himself the problem provide distinctive and rewarding material of portraying the concept “L.H.,” or left for students of all ages, while the Konzert- hand (really a pianistic usage), in the Lo- stück might well be of interest to a profes- gos, and he solves the puzzle by making a sional performer looking for fresh reper- piece out of notes playable on the recorder toire, particularly if strings are available. by left hand alone. The pieces in both Scott Paterson books range from just a few lines to a page or two in length. Musica Variata starts at a SONATINA, BY JOHN R. WILLIAMSON. Cu- beginning level, while the Logos begins at a riad 7016 (www.curiad.co.uk), 1998. S and lower-intermediate level, though both pf, sc 12 pp., solo pt 4 pp. Abt. $10.00. work their way up to an upper-intermedi- REFLECTIONS, BY JOHN R. WILLIAMSON. ate or advanced level by the final page. Curiad 7017. S and pf, sc 11 pp, solo pt 3 Both books fulfill very well van Zuilen- pp. Abt. $10.00. burg’s intention to provide captivating and Both of these pieces by British compos- challenging supplementary material to be er John Williamson are delightful multi- used with any recorder method. movement affairs. Cast in a slightly disso- The Notas, Memos, and Mottos are all nant, although rather tonal language, they similarly inventive and melodious charac- explore interaction between the recorder ter pieces, though with supportive and and the piano. Both pieces are based on sometimes rather independent piano ac- palindromic ideas. The light-hearted and companiments. There is not the same ped- joyous three-movement Sonatina is cast in agogic intent, although the Memos are for a fast-slow-fast structure. The four-move- beginning players (fitting for a soprano ment Reflections is a more hushed and in- book), while the other two sets could be trospective piece—the four movements all enjoyed by intermediate performers. In explore a quiet mood. Both are moderate each case, van Zuilenburg is able to take fa- in difficulty, although the Sonatina has miliar forms such as “Blues” (Nota No. 3) some passagework that is more difficult or “Marcia” (Memo No. 4) and make some- than any found in Reflections. The score thing special out of them, whether by pos- and parts are well laid out for the most ing a technical challenge, combining re- part, although the solo part in the Sonatina corder and piano to especially good effect, has two bad page turns. or simply by presenting a memorable tune. Once again, unusual time signatures and SERENADE, BY JOHN TURNER. Moeck ZfS key signatures (five sharps, two sharps, 723/724 (Magnamusic), 1999. S and pf, sc and one flat simultaneously in one piece) 11 pp, $8.00. appear occasionally, though to carefully Well-known British composer and re- judged and rewarding effect. The Mottos corder player John Turner had a long and
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MUSIC REVIEWS (cont.)
distinguished career as a musicians’ lawyer but has since moved into extensive com- position and performance activities on the recorder. His Serenade is an absolutely de- lightful three-movement work written in an expressive tonal language. The opening “Intrada” is quiet and lyrical (somewhat of a departure from a typical intrada). The second movement, “Danza Dolce,” is a lilt- ing waltz with an ostinato figuration in the piano. The final “Toccatina” is vigorous and rhythmic, exploring extensive polyrhythmic ostinato figurations and a motive of off-beat stabbing octaves that re- curs throughout the movement. The work builds to a dramatic climax after an up- wards scale in the recorder, punctuated by just a single very quiet octave chord on the lower register of the piano. The piece is a true “divertimento” that is moderate in dif- ficulty and would prove appealing and ac- cessible to a variety of performers and au- diences. In the edition that this reviewer received, there was no solo part, but the full score is easy to read and play from.
MEMORIA, BY BARBARA POLACCHI. Moeck 1578 (Magnamusic), 1999. A, sc 7 pp, $14.00. Italian composer Barbara Polacchi is best known for her compositions in areas other than recorder music, having written radio and television music as well as tran- scriptions of Rossini symphonies. Memoria is a seven-and-a-half minute work that ex- plores a contrast of two textures: slow and long-breathed notes (in the high range) and very fast chromatic filigree and trills (in the low range). These two concepts in- Restoration, Repair, teract, leading to the work’s vigorous con- and Maintenance clusion. Polacchi comments that by the of Fine Instruments end the fast music has migrated to the Courtly Music “high register” previously occupied by the Unlimited Collins and Williams slow music—from this she gets the title, Historic Woodwinds referring to the “memory” of the first idea 800-2-RICHIE recalled through the second. The work is 5 White Hollow Road metered but written without barlines, and (800 274-2443) Lakeville, CT 06039 the demands involved would present a (860) 435-0051 www.courtlymusic.com good challenge to a player beginning to www.leecollins.com learn such notation. The work is difficult in "Everything for the recorder Authorized warranty the leaps and chromatic runs throughout. enthusiast, or those who repair agents for To this reviewer, the music itself loses in- Moeck, ZenOn, Coolsma, terest after a few minutes, although the would like to be." Dolmetsch, and other leading makers. continual contrast of sounds, trills, and Fine wood and plastic recorders, sheet All our work carries a guarantee leaps make it more interesting than some music, method books, play-along CDs, of your satisfaction. similar pieces. The score is easy to read and accessories, workshops. clearly notated. Carson P. Cooman
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OPENING
______MEASURES ______How to breathe in music
I have talked before about how to breathe, doesn’t it? You will take a breath, but have having got rid of stale air and taken a re- but I find that students I work with still little room for fresh air, so you will go even laxed breath of appropriate size, blow in a don’t know how to get the air they need further into oxygen debt during your next steady stream using your abdominal mus- while actually playing a piece of music. phrase, even while you have more air in cles. If your first breath has been of an ap- There are two causes of this problem: your lungs! This can be a very confusing propriate size for the length of your phrase, first, insufficient exhalation, and then, in- feeling but here is a way to solve the prob- and if you have used your abdominal mus- sufficient inhalation. lem: cles to exhale (think of your abdominal Before launching into a piece of music, muscles as being the source of all sound on Insufficient Exhalation exhale to get rid of stale air, then inhale in the recorder), your body will be perfectly In normal breathing, people do not ex- a free and relaxed manner and begin play- ready for a good relaxed breath at your next hale fully, nor take in large breaths. Those ing. Base the size of your first breath on the breath mark. functions are reserved for times when length of the phrase you are about to play. Now we come to the second part of our more oxygen is needed, such as during If you avoid taking too much air you will problem. physical effort. In normal situations, just not have to devise ways of getting rid of sitting still and writing at a computer, for stale air in the middle of your piece. Unless Insufficient Inhalation. example, one has a certain amount of air in you have a long rest, you should not ex- I meet up again and again with recorder the lungs, a small volume of which is ex- hale-then-inhale in the middle of the mu- players who are conscientiously using haled and an equally small volume in- sic. their abdominal muscles to exhale but haled. The rest of the air just sits around in Now a quick review of breathing is can’t get a proper breath during music. your lungs getting stale. (Have you ever needed. This is because the brain has not ceased been sitting in your office, overcome by Blow out in a long steady stream, using sending the abdominal muscles the im- yawning? It is not, in fact, the extreme the abdominal muscles to expel the air. pulse to contract, so of course it is impos- boredom produced by your job, but rather When you have used up your air you will sible to expand the lungs much at all, and that your lungs have too much oxygen-de- find that your abdominal muscles are taut only a tiny, very tense and desperate breath pleted air in them and your brain is in- — as if your stomach is against your spine.. is taken. Do you recognize this feeling? structing your body to get a bunch of fresh Now in order to breathe, you simply relax Once you have begun your phrase, air, Now!) If you take a nice breath of air your stomach muscles; a vacuum will be making sure to blow in an even manner us- and hold it, the oxygen in that air will be created in your lungs and fresh air will rush ing your abdominal muscles, you must absorbed into your blood stream, ex- in. If you need a larger breath than this you prepare yourself for your next breath. First, changed for carbon dioxide — I call this just help the process by further expanding you must know when that will be—Write stale air: you have air in your lungs, but the abdominal muscles after the initial re- in Your Breath Marks!!! If you cannot see a very little oxygen. You will notice that even laxation. breath mark coming up (out of the corner while holding this full breath of air you will You will notice that I say, “Use your ab- of your eye), you will not be able to prepare begin to feel out of breath! Your brain is dominal muscles to expel the air.” If you for it. telling your body, “Alert! No oxygen! No don’t squeeze those abdominal muscles, As you approach the breath mark, pre- oxygen! Must inhale now!” You can try this you will only get part of the air out of your pare your abdominal muscles for the in- — see how it feels. (Warning! Always pay lungs, leaving a reserve that will soon be- stant relaxation that will be required in or- close attention to how you feel when you come stale—and there you are right back der for you to pull a breath low into your do breathing and blowing exercises. If you where we started! As you begin your piece, body. Your mind and muscles have been fo- feel uncomfortable, stop the exercise and begin again using less effort.) In recorder playing, if you do not exhale fully The same thing can happen in recorder playing: if you do not exhale fully while while playing a phrase, you will still have air in playing a phrase, you will still have air in your lungs but virtually no oxygen when you get to your lungs but virtually no oxygen when you get to your next breath mark. If your your next breath mark. If your lungs are partially lungs are partially filled with stale oxygen- filled with stale oxygen-depleted air, there depleted air, there will be little room for will be little room for fresh oxygen rich air. fresh oxygen rich air. Makes perfect sense,
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don’t breathe just because you need air, OPENING MEASURES (cont.) and will take it wherever you like. Take breaths at places appropriate to the phras- cusing on moving in one direction in order beginning part of Corelli’s La Follia (mea- ing of the piece of music you are playing. to get air out; suddenly, you must relax sures 1 - 12). This is a sarabande in which Some of these breaths will naturally be those muscles, creating a vacuum in your you should take a very small breath at the smaller and some larger, depending on the lungs thus pulling air down into the pit of end of measure 2, a larger breath at the end length of phrase. your body. Then you will be truly ready for of measure 4, a small breath at the end of This means, of course, that when you the next phrase. measure 8, a larger breath at the end of begin studying a piece of music, one of The flaw I see continually in wind play- measure 10. Practice this until you can your first jobs is to figure out where the ers (and singers as well) is that although breathe calmly and take breaths of just the phrases begin and end. If you can’t figure it they may blow well enough, that crucial re- right size for each phrase. out yourself, ask your teacher; if you have laxation at the breath does not happen, so Another thing. If you have a rest in your no teacher, find a recording of the piece the air is pulled only a short way into the music, especially a longer rest, don’t just and listen for the breaths. That will at least lungs, and naturally the breath taken is sit there, then suddenly breathe with ten- give you a starting place. In some pieces, quite small—how can you go far on that? sion at the last second! Use a larger portion there may be spots where phrasing is not of your rest to take a slow, calm, and re- clear, and therefore open to varying inter- The Key to Breathing in Music: laxed breath. pretation. Try different things, and judge Get rid of stale air first. for yourself what you think sounds best. Take a low and relaxed breath. Phrases If you breathe simply to get air, regard- Exhale using your abdominal muscles. You must judge the size of your breath less of musical phrase, you will sound like Focus your mind on relaxing your ab- to match the length of your phrase. If you a gulping fish and your music will not dominal muscles as you arrive at the breath are playing a nice Sarabande with the typi- move your listeners (other than moving mark (of course, I know that you always cal phrase pattern of two measures, two them to gasp for air with you). If you mark your breathing spots and don’t just measures, then four measures in the first breathe with the phrases, you will find that count on remembering where you will half of the piece, naturally you will take a you can actually take a tiny bit more time breathe). At the breath mark, take a low smallish breaths at the beginning and after for your breaths, and your playing will and relaxed breath, using your whole measure two and a somewhat larger breath sound altogether more natural and pleas- breathing time to actually breathe. at the end of measure four to get through ing to yourself and your listeners. I suggest that you try all this out on the the next four measures at one go. In short, Frances Blaker
FOR INFORMATION ON: •More th an 2,000 revie ws of m usic new and old, pr inted and recorded •Ar ticles on the recorder in history, its players, and perfor m ance pr actice •Teaching ideas and pr actice tips CHECK THE NEW INDEXES FOR AMERICAN RECORDER Cumulative Index for Vols. I - XXXX. C ompile d by Scott Paterson. ARS members, $20 per cop y; non-m e m bers, $32 per copy. Index Sup plem ent, Vols. XXXIV - X XXX. C ompile d by Scott Paterson. (for tho se who ow n the Cumulative Index f or Vols. I - XXXIII). ARS members, $8 per cop y; non-m e m bers, $14 per copy. Back Issues are available at the following prices (includi ng postage). Vols. V-XXVI (1964-1985): 1 copy-$5; 2 copie s-$8; 3-$11; 4-$14 Vols. XXVII-X X X X (1986-1999): 1 c opy-$6; 2 copie s-$10; 3-$14; 4-$18 Please i nqui re regarding availability of specific issues (includi ng Vols. I-IV). Please do no t order issues not yet published. Prices i nclude postage. F or Can adian or foreign surface postage, please add an addi tional $1 per item. F or Can adian or foreign air mail, please add an addi tional $3 per i tem. W hen ordering five or mor e items to be shipped to the same addr ess at the same tim e, ARS m em bers may de duc t a further discount of $2 fr om th e total. Ne ed a copy of just one article? Search Americ an R ecorder table of contents pages on the Internet thr ough th e fax-back service of The Uncover Company (http://uncweb.carl.org/). AMERICAN RECORDER SOCIETY Box 631, Littleton, CO 80160 • 303-347-1120
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ON THE
______CUTTING EDGE ______Transcending technology
I wonder how many readers of AR have that there are a few aspects of this music ever heard of Ulrich Pollmann? My guess is about which I am not knowledgeable that it’s a very small percentage. Pollman enough to discuss. First, I’m not at all ac- studied recorder with Wolfgang Dey and quainted with the particulars of Poll- Winfried Michel in Munster, Germany, mann’s live electronic set up (the CD lists and now resides in Munster. Self-taught as a Yamaha SY99 synthesizer). All I can tell a composer, he is the creator of Different you is that his sound is always amplified Density (Mieroprint 6001), an outstanding and subject to varying degrees of echo, and CD of his own electro-acoustical music. In that he uses prerecorded material includ- it, Pollmann makes highly effective use of ing recorder, acoustic piano, electric pi- both the recorder and live-electronics, but ano, electric bass, and drum set sounds. the truly remarkable thing about this Second, I’m not able to assess accurate- recording is neither the technology nor the ly how much of this music, if any, is im- sounds. It is the way Pollmann has some- provised. As a listener, I would venture a how transcended such superficial fascina- guess that Pollmann does improvise at tions and single-handedly produced an en- times but only within the context of thor- tire CD full of highly expressive and artistic oughly preconceived compositional struc- music. tures. To put it another way, I believe he us- Pollmann’s compositions are extremely es improvisation to extend and/or develop eclectic. Most of his in-tempo music dis- his basic premises and also to fill in the plays the influence of both Stravinsky’s small details of larger, immutable events. “Dynamism” period and minimal music. Third, I have no way of knowing His freer out-of-tempo material is general- whether or not Pollmann is able to perform ly influenced by Eastern European and these works in a live concert and, if so, just Middle Eastern traditions—the core melo- how they come across in person. The brief dies being slow and simple but heavily liner notes state that Pollmann gives con- adorned with rapid ornamentation. Har- certs of live-electronic works, so he proba- monically—except for a few instances—he bly does perform this music live. However, is never far from a clearly identifiable tonal sounds on a CD can be manipulated after or modal center. Some of his pieces utilize the music has been recorded. But whatev- jazz elements, though always combined er electronic equipment Pollmann uses, and integrated with other musical styles whether or not he improvises, and howev- and material. But no matter what he er close or distant his live performances writes, there is a boldness and inevitability may be to what we hear on this recording, to Pollmann’s music that is due partly to the CD is the particular product it is and the clarity of his ideas and partly to his in- should be considered from that point of strumental command. view. Before going on, I want to make clear The opening number, appropriately ti-
Pollmann makes highly effective use of both the recorder and live-electronics, but the truly remarkable thing about this recording is neither the technology nor the sounds. It is the way Pollmann has somehow transcended such superficial fascinations and single-handedly produced an entire CD full of highly expressive and artistic music.
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chords. Over this electronic material Poll- CUTTING EDGE (cont.) mann seems to be improvising in a heavily frilled manner. Not all of the pieces are completely suc- tled Entrée, serves as an excellent introduc- tones—at first only two or three pitches— cessful. Least so is a work called Piano Res- tion to Pollmann’s world of sound. It starts evolve into a dense, dissonant chord. onances, which, as the title suggests, cou- with electronic flutter- tongued noises over Suddenly they stop and the recorderist ples the recorder with various piano-like which a long, slow pentatonic recorder plays solo for a brief time. The piece ends sounds. The longest of the pieces (almost melody gradually unfolds. After a period of with a big dissonant chord that is sus- 15 minutes), it is rather rambling, never time, the flutter-tongue noises drop out, tained for a long time and slowly fades out. quite settling into an identifiable groove. leaving the solo recorder on its own, but The second selection, entitled Glocken- The most revealing works in terms of only briefly. Soon, a collage of long tones spiegel, is to my ears the most effective. It getting a handle on what Pollmann might (recorder timbre) appears, and the soloist features a static dynamism of clockwork sound like in person are his Solo 1/Vocalise reacts with a dissonant free music that bell-clangors that, after a few minutes, Sublime and Solo 2/Vocalise Legere, both of sounds as if it were improvised. The long erupt into a string of lovely sounding which feature predominantly, though not entirely, solo playing. The compositions differ in that Sublime has a wider degree of intensity and freer playing, while Legere is more motivic. Both works are long and complex, yet manage to hold interest very well. One of the most exciting tracks on the disk is Pièce Euphorique, which features a rapid seven-beat ostinato in electric piano sound against which Pollmann sometimes connects, and other times plays freely. The CDs title work, Different Density, utilizes a synthesized jazz rhythm section—electric piano, bass, and drum set. Not quite jazz, it resembles a Brazilian bossa nova, but the genre of music is interrupted here and there by harmonically and rhythmically freer interludes. Several times in this piece, a little riff figure à la “In The Mood” ap- pears as a musical non-sequitur. It is played in a very old-fashioned, ricky-ticky manner. Was this done on purpose as par- ody? Or is Pollmann simply unaware of how a jazz musician would interpret such a figure? My guess is that it is the former, because Pollmann has a good understand- ing of the voicings of modern jazz harmo- ny. I can’t imagine that he could be that un- informed rhythmically. The CD ends with Solo 3/Vocalise des Enfants, which has little in common with the other Solo/Vocalise pieces. This brief outing on a simple child-like tune over a steady drone offers a delightful ending SWEETHEART touch. FLUTE CO. Avid readers of On The Cutting Edge should hear this CD. Even if the whole no- Baroque Flutes: our own tion of electro-acoustical music doesn’t ap- “Sweetheart” model Fifes, Flageolettes peal to you, you should nevertheless be “Irish” Flutes & Whistles. aware of it. Live electronics has taken the Send for brochure and/or European recorder scene by storm and is Peg Hoenack’s antique flute list. ™ an important part of the recorder’s current MusicWorks life. Music Literacy for Every ChildTM 32 South Maple Street Enfield, CT 06082 This recording represents electro- FREE Programs & Products Guide (860) 749-4494 acoustical recorder music with its best foot Toll-Free: 1-800-466-TOOT (8668) [email protected] forward. www.sweetheartflute.com www.netcom.com/~phoenack Pete Rose
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The Hawaii Chapter’s May workshop at the Academy Art Center was attended by 15 members, including five who flew over from the “Big Island.” Geoffrey Naylor directed Renaissance music. CHAPTERS & CONSORTS ______Contest winners, school performances, workshops, and swing band
In June, members of the Greater Denver Chicago Chapter Presents Contest Winners (CO) Chapter met for what was termed the “Recorder Swing Band,” a reading ses- The Chicago Chapter celebrated its sion of Big Band and swing music from the 1999 prize-winning composers at the chapter’s library. Another summer meet- chapter meeting on April 9, 2000. Two of ing featured the capped-reed “Mega- the honored composers were present: buzzies.” The final meeting of the past sea- Suan Guess-Hanson, second prize, from son was led by three current or past presi- Bloomington, Illinois, and Dick East- dents of the chapter: Ed Taylor, Keith man, honorable mention, from Emerson, and Bruce Nelson. Naperville, Illinois. Stanley McDaniel, first prize, was listening hard from Santa The members of the Bella Vista (AR) Rosa, California. Each of the prize-win- Chapter enjoyed a welcome change from Composer Dick Eastman (center) ning works was first performed by a their usual summer activity of entertaining with recorderists, left to right, Kim small consort, one-on-a-part, and then adults when they presented a Show-and- Katulka, Mary Ann Wolff-Gardner, everyone present was invited to choose a Tell program for a group of elementary Patrick O’Malley, and Mike Becker. part and play in the group performance. school children in Bentonville. Bill Rees re- (Inset: Stanley McDaniel) The composers were invited to comment ports, “We were pleased to discover that on the ideas behind their pieces, the tem- some of these children had played re- pos intended, and the nuances they felt corders in school or in a class offered by a should be brought out musically. Dick Richard Adams, Ben Eisenstein, John local church, and were able to ask sensible Eastman especially appreciated hearing Thompson, Elizabeth Sharp, and Rober- and thoughtful questions. They were in- his piece played by the quartet of re- ta Sweet. Judges for the contest were trigued by the larger instruments, especial- corders—quite a different tonal quality Mike Becker, Kim Katulka, and Roberta ly the contrabass. We are hopeful that pro- from the keyboard where he has had to Sweet. grams such as this will further the mission compose since he lost his left arm in of the ARS to encourage a younger genera- 1997 to a flesh-eating bacteria. Announcing Next Year’s Contest tion of recorder enthusiasts.” This year, the pieces offered three mu- The Chicago Chapter has announced sical pictures: a cycle of daily activities— its seventh biennial recorder composi- Continued overleaf One Day by Dick Eastman; characteristic tion contest for 2001. The entries should sounds of Chicago in the four seasons— be original compositions suitable for en- Bella Vista (AR) Chapter members Second City Cycles by Suan Guess-Han- semble playing in recorder society chap- with students from nearby Bentonville. son; and a visit to Gwernon Lake in ter meetings that are likely to have play- Wales—Quick Rain by Stanley Mc- ers of varying levels of ability. It is open to Daniel. His use of the interval of the per- the entire ARS membership. The dead- fect fourth suffused the composition line is May 15, 2001. The first-place com- with a modal character. The titles of his position will be awarded $150 and the three movements, “On a Grey Morning,” second place, $75. There will also be one “Quick Rain,” and “Wind on the Tarn,” honorable mention.The winners will be accurately described the impressions the announced in the fall of 2001. Detailed music made. rules of the contest should be obtained Among the musicians who invested by contacting Hilde Staniulis, 1700 E. their time and talent to make the day a 56th Street #1009, Chicago, IL 60637; success: Mike Becker, Mary Anne Wolff- 773-363-7476; or by a message to Arlene Gardner, Kim Katulka, Patrick O’Malley, Ghiron at [email protected].
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Kalamazoo Recorder Players Invite School Students to Join Them The Kalamazoo Recorder Players mu- and the actual performance at the park. sic selection committee meets each sum- The Concert was a great success (thanks mer to plan the next year’s recorder ac- to Judy’s good planning and musical di- tivities and concerts. Last year, in an ef- rection)—a hit with the Kazoo School fort to publicize our favored instrument, and with the participating students, the committee decided to present a many of whom asked that their lessons spring outdoor concert in a public park continue next year! and invite area recorder playing stu- dents to join us for a portion of the presentation. By good luck, we learned that a local independent school, The Kazoo School, was look- ing for musical entertainment at their “Mayfest,” a popular children’s fair they sponsor each year in Kala- mazoo’s historic Bronson Park. They offered the KRP the opportuni- ty to play there on May 20 and sug- gested that some of their students (who In September, schools will be con- did not have many musical opportuni- tacted with a new proposal to have KRP ties) might want to participate. Music di- volunteers go into schools to teach a se- rector Judy Whaley wrote up an informa- ries of “mini-lessons” in a flexible way tion packet explaining the basics, and that will not interfere with established this was sent to many other elementary music programs. It is hoped that the school music teachers Although there promise of performing in a public con- was little response, personal contacts cert with the Kalamazoo Recorder Play- were made with several area schools in ers will motivate a good number of stu- the Kalamazoo area. KRP member Rick dents to participate. Herbert Johnson (a retired teacher with time on But more important, we hope that his hands!), volunteered to teach weekly this is the beginning of a more effective Paetzold “mini-lessons” to students in those outreach program in the years ahead. schools who were interested in playing With the help of our volunteers, we can Square Bass with us at the “Mayfair.” The schools co- better encourage recorder playing in the operated, kids volunteered, creative schools, and by inviting students to join Recorders schedules were made, and everyone was us in public performance, we can Modeled after an organ pipe, in pretty good musical shape by May 20. demonstrate to our community the plea- four sizes are now available: bass In addition, one music teacher and an in- sures and the beauty of making music in F, great bass in C, contrabass terested parent joined in with the kids for with recorders. in FF, and sub-contrabass in CC. the two recorder orchestral rehearsals Rick Johnson These relatively inexpensive instruments have a unique design and an impressively strong, rich Letitia Berlin leads a group in English Renaissance music at the tone, even on the lowest bottom notes, with a quick and light East Bay (CA) Chapter’s annual Marin Headlands Workshop in May. articulation over an easy two-octave response. I’m now a Mollenhauer Dealer. Contact me for lowest US prices.
Bill Lazar, Exclusive N. American Distributor 1377 Bluebird Ct. Sunnyvale, CA 94087 (408) 737-8228 (phone & FAX) E-mail: [email protected] http://members.aol.com/ jblazar/paetzold.html
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On May 11, the Quinto Consort per- formed on recorders, krummhorns, and percussion for students at the Willard Ele- ARS Membership Enrollment and Renewal mentary School in Ridgewood, New Jersey. Please enroll/renew me as a member of the Society. I’m looking forward to: Members of the Consort are Barbara Cahn, ✰ American Recorder, ARS Newsletter, and the Members’ Directory Gayle Black, Mary Comins, Len Gersten, ✰ Members’ Library musical editions and Adila Goldman. Since the school had ✰ Eligibility for the ARS Education Program examinations designated that day as Renaissance Day, ✰ Discounts to some recorder workshops and on ARS publications the Consort played pavanes, galliards, ron- ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made des, courantes, and bourees by such com- available only to purveyors of goods and services for recorder players.) ✰ Information on all aspects of playing the recorder posers as Gervaise, Susato, Praetorius, Phalese, and Byrd. When the Consort U.S./Canadian membership: ❏ one year $40, ❏ two years $75 played a pavane, students were shown Foreign membership: ❏ one year $50, ❏ two years $95 how to do dance. After some reluctance to U.S./Canadian Student* membership: ❏ one year $20 ❏ two years $40 hold hands while dancing, many students ❏ ❏ volunteered! Foreign Student* membership: one year $25 two years $50 Workshop membership: ❏ one year $60 Business membership: ❏ one year $120 Together with the Pavane Dance Ensemble ❏ Address and/or phone information has changed in past year. and guest artists, the members of the ❏ Do not list my name in Directory. Boston Recorder Society’s Concordia *Enclose proof of full-time enrollment. Consort (Sheila Beardslee, director) were presented by the Massachusetts-based So- All dues paid in U.S. funds by check on U.S. bank, or by international money order. ciety for Historically Informed Perfor- Family members residing at the same address may share a membership. However, the mance (SoHIP) in performances June 20- student rate is not applicable to a shared family membership. For an additional listing in 22 called “Golden Dreams: Shakespeare’s the ARS Directory under different surnames at the same address, add $5. World in Music and Verse.” Members of Please check to be included on the ARS list of ❏ ❏ Condordia are Audrey Benevento, Mark Recorder teachers and/or Professional performers. (Since your recorder activities may change, you must indicate on each renewal if you want to continue to be listed.) Maiden, George Mastellone, and Susan Pundt, recorders. Boston-area recorder ❏ I wish to contribute $______to help sustain the work of the Society. players John Tyson, Sarah Cantor, and An- Please charge to my VISA/MASTERCARD: thony Allen also participated in the well- #______Exp. Date: ______known summer series. Cardholder’s signature______NAME______PHONE (______) ______Members of the Sacramento (CA) Re- ADDRESS ______E-MAIL ______corder Society were busy in the commu- CITY______STATE ____ ZIP ______nity this spring. Dorothy Orolin, Kathy Canan, Jeff Cleveland, and Martha Nanez CHAPTER/CONSORT AFFILIATION, IF ANY: ______provided recorder music for a production OPTIONAL INFORMATION: at the local Waldorf School of Christopher Chapter officer or committee member? ❏ Yes (officer/committee: ______) Fry’s The Lady’s Not for Burning (SRS pres- ❏ No ❏ Have served chapter in the past ident Ronald Koetsch starred as Thomas Age: _____ For how many years have you played the recorder? _____ Mendip). Kathryn Canan, Alex Ives, and ❏ ❏ ❏ Gerry Greer demonstrated recorders at the Level of recorder playing: Amateur Semi-professional Professional Green Oaks Elementary School. Kathryn Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 ❏ ❏ ❏ and E.J. Koford also performed as part of $50,000-75,000 $75,000-100,000 Over $100,000 the tenth annual Apollo Music Festival. Portion of your income derived from music: ❏ All ❏ Some ❏ None Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None The Sonoma County (CA) Recorder So- ciety Recorder Ensemble played The If all or some, what kind of recorder activities are involved? (Check all that apply.) Glass Elevator by Frederic Palmer and SCRS ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music ❏ ❏ ❏ vice-president Dale Jewell played The Lo- Performance Recorder maker Musical director/coach ❏ Other ______tos-Eaters by Stanley McDaniel on June 3 at the Spring Concert of the Sonoma Valley What type of recorder music do you play? (Check all that apply.) ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo Chorale at the Sonoma Community Center. ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as trio sonatas) ❏ Broken consort with other instruments (such as a collegium) ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort CHAPTER NEWSLETTER EDITORS (format used in many chapter meetings, with several recorders playing on each part) Want to see your chapter in the news? Check to be sure that a copy of your chapter newsletter goes to American Recorder, 472 AMERICAN RECORDER SOCIETY Point Road, Marion, MA 02738; or e-mail P. O. Box 631, Littleton, CO 80160-0631, U.S.A. text to [email protected]. Fax (with handset down) or call in credit card renewals to 303-347-1181
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BERKELEY FESTIVAL ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Berkeley Festival, notably on Tuesday in Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 the finals of the American Bach Soloists Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 International Young Artist Violin Compe- Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 tition (won by Simos Papanas), in which Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) Judith Linsenberg and Frances Blaker edited by Alan Drake (3 scores) $8 $14 Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders played the recorder parts in the Fourth (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Brandenburg Concerto, and in the wind Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 band accompaniment to the 17th-centu- Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 ry equestrian ballet, Le Carrousel du Roi, Musical Editions from the Members’ Library: led by Herb Myers. In addition to per- ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 forming the original ballet score by Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 Robert Ballard as it was reconstructed by The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. UC Berkeley professor Kate van Orden, Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Dancers (Richard Eastman) the players interpolated music by Praeto- Different Quips (Stephan Chandler) *Elegy for Recorder Quartet (Carolyn Peskin) rius and other contemporaneous com- Elizabethan Delights Los Pastores (arr. Virginia N. Ebinger) New Rounds on Old Rhymes (Erich Katz) Other Quips (Stephan Chandler) posers. Poinciana Rag (Laurie G. Alberts) *Santa Barbara Suite (Erich Katz) On Saturday afternoon, the superbly Sentimental Songs (arr. David Goldstein) *Serie for Two Alto Recorders (Frederic Palmer) prepared music-making of the Mid- Slow Dance with Doubles (Colin Sterne) Three Bantam Ballads (Ann McKinley) Three Cleveland Scenes (Carolyn Peskin) Tracings in the Snow Peninsula Recorder Orchestra, led by Trios for Recorders (George T. Bachmann) in Central Park (Robert W. Butts) Frederic Palmer, graced the open recep- Two Bach Trios (arr. William Long) Two Brahms Lieder (arr. Thomas E. Van Dahm) tion hosted by the American Recorder So- Vintage Burgundy ciety at the UC Berkeley Faculty Club. On Other Materials from ARS Thursday, at the Matthias Maute Master ARS Information Booklets: Class, seven area recorder players were ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 able to benefit from the helpful advice of Non-members: 1 booklet, $18 2 booklets, $33 3, $44 $4, 55 5, $66 6, $76 7, $86 the German virtuoso. A quartet of Mary Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) Ellen Reed, Karen Nebelkopf, Kathy American Recorder Music (Constance Primus) The Burgundian Court and Its Music (Judith Whaley, coord.) Cochran, and Britt Ascher played Fres- Improve Your Consort Skills (Susan Carduelis) cobaldi on a set of David Ohannessian re- Music for Mixed Ensembles (Jennifer W. Lehmann) corders, Israel Stein, accompanied by Playing Music for the Dance (Louise Austin) Recorder Care (Scott Paterson) Ruth Unger, played a prelude from Hot- Education Publications teterre’s Suite III, Op. 5, and Glen Shan- non, accompanied by Katherine Heater, The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). First copy free to ARS members, replacement copies for members or non-members, $3. played the opening “Adagio ma non tan- Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study to” from the Bach sonata, BWV 1034. Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. Most interesting for the auditors, per- ARS Music Lists (1996). Graded list of solos, ensembles, and method books. Members $8; non-members, $14. haps, was the interchange between Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. Maute and a fearless and talented young Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class student named Howard Na, who Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for brought Maute’s own Once There Was a groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. Child for the composer’s appraisal. One Other Publications could say that Maute’s advice to Na was Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming to bring the same audacity to the perfor- an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). mance of the music as to the choice of it, One free copy sent to each ARS chapter with 10 members or more. Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. encouraging foot-stamping, pitch-bend- Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. ing, and the production of jazzy, “explo- Either single volume: ARS members $23; non-members, $28. sive” sounds on the instrument. Both Discography volumes together: ARS members only, $40. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Benjamin Dunham Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. with additional material by Martha Bixler All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, please add an additional $1 per item; for Canadian or foreign air mail, please add an additional ED. NOTE: A report on the Friday morning $3 per item. When ordering five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the discounted members' price. Please make checks payable to the ARS. ARS panel session involving professional VISA/MasterCard also accepted. recorder players David Barnett, Frances American Recorder Society Feldon, Cléa Galhano, Judith Linsenberg, P.O. Box 631, Littleton, CO 80160-0631, U.S.A. and Matthias Maute, moderated by 303-347-1120 Martha Bixler, will appear in the Novem- ber American Recorder.
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______RESPONSE ______Both readers and authors provide additional information
Handel Edition Addition wants. For further information, contact a teaching and performing. I experimented When I was in Tucson at a workshop, I local Yamaha dealer or visit our web site at with exercises and followed Walter van happened to see at Ruth Harvey’s Boulder
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Consider advertising in: ______CLASSIFIED ______Full page ...... $500 Where the haves 2/3 page ...... $365 1/2 page ...... $300 and have-nots 1/3 page ...... $240 1/4 page ...... $180 of the recorder world 1/6 page ...... $140 1/8 page ...... $105 can find each other 1/12 page ...... $ 75 1 column inch ...... $ 45 ONE BAROQUE OBOE (440 Hz) FOR SALE. Circulation: Includes the membership of the Wood, carved, in excellent condition. Carved in American Recorder Society, libraries, and September 1993 and sold by Magnamusic Dis- music organizations. tributors of Sharon, Connecticut. Please contact Published five times a year: January, March, May, Fr. Stephen DiGiovanni, 203-324-5331, ext. 11. September, November. Reservation Deadlines: December 1, February 1, FOR SALE: Alto Rottenburgh recorder, excellent April 1, August 1, October 1. condition. Ebony, double holes, Baroque turnings, Rates good through November 2000. Please $500. Contact [email protected]; 607- inquire about discounts on multiple-issue contracts, 546-2556. inserts, or other special requests. Extra charges for typesetting, layout, halftones, and size alterations. RECORDERS AND SHEET MUSIC FOR SALE: Bleeds (full pages only) 10% additional. 133-line screen recommended. Advertising subject to We’d love to sell our collection. I’ve put the details acceptance by magazine. First-time advertisers on our website, which is
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